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I can show you happiness in a cupful of ground coffee beans, and in the sin my eyes commit every time I stare at your face.
THE DIG Written By Tyler Green Collin McCord 7.EXT. TODD’S HOME NIGHT Cut back to present time. TODD is sitting on the front porch of his home next to MAUREEN. She is on the phone and there is a bag on her lap. MAUREEN (on the phone) Okay. Okay, we’ll be waiting outside with the money. MAUREEN hangs up the phone. MAUREEN (to TODD) He’ll be here any minute. TODD is staring ahead in shock. TODD (frightened) You don’t have to give it to him. We can just take it and leave. MAUREEN And go where? TODD It doesn’t matter! Somewhere they won’t find us. MAUREEN (looking at ED’s truck parked next to the home) Todd, you left evidence everywhere. If they don’t find us, the police will. TODD (frantically) We’ll bring back the truck. It’ll be fine. We can start a new life somewhere! MAUREEN 1 There’s fingerprints all over his body! (Pauses) Todd, it’s too late for running. I have to tell the police. TODD (upset) I’ll bury him! I’ll dig a hole deep enough and MAUREEN Todd… TODD (upset) It’s not fair, he was a criminal! TODD stares at his mother with defeat. MAUREEN (comfortingly) It’ll be okay. TODD (apologetically) I’m sorry. MAUREEN (sighing) It’s not your fault. A car pulls up in front of the home. TODD and his mother stare at each other and then stand up and walk towards the car with the bag. 2
second term Regular verbs II allow allowed allowed-permitir avoid avoided avoided-evitar annoy annoyed annoyed-molestar change changed changed-cambiar ** cheat cheated cheated-engañar, hacer trampa clean cleaned cleaned-limpiar hate hated hated-odiar ignore ignored ignored-ignorar ** kill killed killed-matar miss missed missed-echar de menos, perder need needed needed-necesitar notice noticed noticed-darse cuenta ** offer offered offered-ofrecer owe owed owed-deber (deuda) print printed printed-imprimir pull pulled pulled-tirar de algo ** punish punished punished-castigar relax relaxed relaxed-relajarse remember remembered remembered-recordar stare stared stared-mirar fijamente ** study studied studied-estudiar thank thanked thanked-dar las gracias wait waited waited-esperar walk walked walked-caminar ** warn warned warned-avisar, advertir work worked worked-trabajar
CYBORG LEGS DAY 1 I turn the switch to the left. This makes the light blink. A man sees the blinking light and walks towards me. He sets a green plastic basket to my left. I turn the switch to the right. This makes the light stop blinking but remain illuminated. I stare inside the green plastic basket. It’s full of groceries. Pork chops, a bottle of wine, a box of tea, some apples, some brussel spouts. I gaze at them. Then I look at the man who brought them to me, a tall man, about mid 40’s, wearing a grey suit that is one size too big for him. This man is my first customer of the day. “Hello”, I say. “Hi”, says the customer. “Am I on the wrong side?” “No. You’re on the right side. You’ve done everything perfectly. I’m simply saying hello”. “OK”. I unload the customer’s basket, each item one by one, very slowly. After I unload everything. I begin scanning them, one by one. As I scan, I ask, “Did you find everything you were looking for today?” There is no reply. The customer is looking at his phone. I shrug and continue scanning barcodes. If an item has no barcode, there is nothing to scan. If you’ve ever seen a cucumber you might’ve noticed that it has no bar code. So for these particular items, I enter in a five‐digit code. Each piece of produce is assigned a code. The code for cucumber is 94062. After scanning each item. I ask the customer, “Would you like a bag?” The customer says “yes”. I recommend a double bag to him. The products that he’s purchasing might be a little too heavy for a single bag. A double bag will provide the proper support that they need. A single bag, in my opinion, would be much too flimsy. After a short internal debate, the customer agrees to a double bag. I open one bag and set it on the bagging platform. I grab a second bag. I put my arm into it, until my fingers reach the bottom. Then I insert the second bag into the first bag. Once the second bag is at the bottom of the first bag, I spread out my hand opening the second up inside of the first bag. This is the most efficient way to construct a double bag. After I’ve made the double bag, I say to my customer, “OK. It’ll be $42.86.” The customer slides a card down a card reading device. As he does this, I begin placing his items into the double bag. I begin with the bottle of wine. “It says waiting for cashier” says the customer. He’s telling me what the credit card reader is telling him. “Oh sorry about that. Here, let me hit a little button, here.” I hit a button that says, “CREDIT/DEBIT” on my touch screen register. “Is it working now?” I ask. The customer says nothing. So I assume everything is working fine. I pack all of his items into the double bag. Heavy stuff on the bottom, delicates on top. I place the double bag on the counter. I see a receipt has printed, letting me know that the transaction is now complete. I hand the receipt to the customer. “Have a great day.” I say to him. I emphasize the word “great.” The customer still looking at his phone, grabs the double bag and walks away. I take a deep breath. Then slowly exhale. I look down at my hands and watch as they tremble slightly. I turn the switch to the left. This makes the light blink. I average 41.2 customers per hour, at 14.12 items scanned per minute. I do this work for two hours. Then it’s time for a ten‐minute break. I remove my apron and walk outside, where I drink some coffee, smoke a cigarette and look at my phone. This break takes fifteen minutes. At the conclusion of this break, I quietly return to my register. I sign back in the register. I turn the switch to the left and cashier for the next two hours until my next break, which is a 45 minute unpaid lunch break. On my lunch break, I clock out. Then I grab my backpack and leave the store. I walk two blocks to this micro‐park. I sit on the ground with my back against this one particular tree. I want to say that it’s a Birch tree, but that’s really just a guess. It has big scars all over its bark where some limbs must’ve been cut off. The scars look like carvings of eyes. There are over twenty eyes on my favorite tree. I smoke a cigarette and then I eat some pistachio nuts, salami, a little bread and a cookie. I write a quick forgettable poem about giving CPR to a zebra. I smoke another cigarette and stare at the blades of grass. I gather my belongings and walk back to the grocery store. My 40‐minute lunch is about 55 minutes. When I return to the grocery store, I clock in and go back to my register . I turn the switch to the left and cashier for two hours. Then I take a fifteen‐minute‐ten‐minute break. Then I cashier for two more hours. I clock out at 8pm. After clocking out, I buy a 24 oz can of Pabst Blue Ribbon. It costs $1.64 after my discount. I also grab a small brown bag and a large 20 oz. coffee cup with a lid. I leave the grocery store and cross the street. Once I cross the street, I place the beer into the small brown bag, and then open the beer. I drink as I walk towards the train station. This walk takes 15 minutes. I finish the beer about a half block away from the train station. Then I stop at a liquor store and buy another 24oz beer. I step off of the main street and drink from the new beer. Once I have finished 4‐5 ounces of the new beer, I pour the remaining beer into the coffee cup and fasten the lid. Then I walk into the train station and take a train back to my apartment in Oakland, where I drink more beer and order Chinese food. DAY 2 My shift begins at 7:30am today. I wake up at 6:20am, shower and get dressed. I leave the house at 6:40. I take the train to the Powell station stop, get off the train and walk 15 minutes to the grocery store. I arrive at work at 7:36. I clock in. I put on my apron and nametag and walk to the customer service booth. I prepare the cashier department for opening. I put the trash, compost, and landfill bins in their proper place. I power on the monitors to every register, I set down plush mats by every register. After I finish these tasks, I walk over to my supervisor, Dianna. Dianna is 22 years old, studies marketing at San Francisco State, always has some purple in every outfit she wears and appears flustered at everything in the world that is not awesome. I tell Dianna that I need to use the restroom. This slightly flusters Dianna, but she agrees. I walk to the bathroom and into one of the stalls. I sit down and stare at my phone for a few minutes. I return at 8:03 and the store is open. I walk over to my assigned register, turn the switch to the left and cashier for two hours, then I take a ten‐minute break. On this break, I drink some coffee, smoke a cigarette, eat some yogurt and stare at my phone. The addition of the yogurt adds about 4 minutes to my break. When I return to the sales floor, I say to Dianna, “Sorry I’m a little late. It’s because I didn’t come back in time.” This is my attempt at humor. Diana uses her eyes to transport a telepathic message that says, “I’m pissed off that you always take too long on your breaks.” I receive this message and return to my register, where I turn the switch to the left and cashier for the next two hours. My average of customers per hour has dropped to 39.2. At lunch, I clock out, grab my backpack, and walk over to the park to sit by my tree. The sun is out and the tree has absorbed a lot of heat and it’s warm on my back. Sitting cross‐legged, I smoke a cigarette; eat a Cliff Bar and some potato chips. I take out my notebook. A brown ladybug crawls on my left hand. I watch its movements for a little while and then I write a poem called Cyborg Legs. Nobody believes me when I tell them actual cyborg legs. a shark bit off my legs when I was in the ocean (swimming) The doctor wanted to try a new experiment, I signed the waiver, that my new legs did, in fact, work, the doctor was found dead. beaten to a pulp with what seemed like a sock(full) of doorknobs. His body was found in a trash bin next to a Conoco. that I have cyborg legs. and there you go. After the confirmation
TEASER FADE IN: EXT. METROPOLIS SKYLINE NIGHT. OPEN on an eerily siren night, tall skyscrapers that once stood tall and stood within the dark sky now stands leaning and burning. PAN through broken windows and crumbled half destroyed buildings. Drift through a pillar of smoke and half destroyed rubble of once tall buildings. RISES up to the half destroyed Daily Planet globe that now hangs only by a mere thread it seems. It's a scene of chaos and destruction...no hope. SIRENS and cries of pain and angst can finally cut through the night as life just suddenly breath into the city. CUT TO: EXT. METROPOLIS CONTINUOUS. We see the (backdrop of the) city sprawling out beyond the rooftops. Arm down, past down past a woman woman in black leather with flowing almost whitish blond hair sprawled over her features, she doesn't look good hanging through a broken window. Lingers on her twitching finger as half torn leather gloves loosen grip on a bo staff she was desperately clutching as her head drops almost lifeless...hair falling to hide her features, down, into an alley where we pick up a BOY of about seventeen. He's running for his life. We move with him through alleys, over fallen bodies and debris. He trips over a body. CLOSE IN on his frightened and too wide brown eyes. WIDENS to show his face, smeared with blood...dirty. Bruised. His lips split and bleeding. PANS out to reveal he looks as if he just stepped out of a warzone with a tattered black tee shirt and the jeans of his left pant leg is completely torn off. He's brunette, sad brown eyes, tall and lanky...awkward teenage phase with glasses...one lense pretty much cracked and useless. This is Nathan Michaels. FRIGHTENING LOUD CRASH OVER HEAD. ON Nathan as he pushes himself up with a pained ground, staring at the dead body he fell over and turns abruptly looking up. TRAVELS WITH HIS LINE OF VISION: An ARCH OF RED ENERGY THAT ONLY COULD BE DESCRIBED AS FOCUSED AND CONCENTRATED HEAT SLAMMED INTO A BUILDING SHATTERING THROUGH IT. THE BUILDING WENT UP IN AN EXPLOSION OF FIERY HEAT AND FLAMES. The force of it threw Nathan off his feet and rolling out of the alley sliding to a half with a painful outcry as he grabbed his side which was bleeding and had an shard of debris embedded. TIGHT ON HIS PAIN. SLOW MOTION: Flaming Debris ran down as large chunks of the building start to make their descent down onto the streets below. Nathan rolls and it futile as its impossible for him to escape in time. A RED STREAK WITH CRACKLING ELECTRICITY CUTS THROUGH THE STREETS AND NATHAN IS GONE WITHIN A FLASH. FOLLOWS THE STREAK AS IT CUTS THROUGH THE STREETS. CUT TO: EXT. OUTSKIRTS OF METROPOLIS CONTINUOUS. On Nathan as he stumbles onto the highway and quickly turns around still holding his side disoriented and shaken. ON the FLASH as he stand before him heroically and nods to him. FLASH Get to safety. And with that he was gone in a flash of red streak. Nathan could only stare...his eyes tight on the city as pillars of smoke and figures too far away could be seen flying down from the heavens it seem onto the city. More red beams of energy striking out in all directions from a source soaring to fast to be seen seemingly combatting the multiple forces raining down onto the city. Tight on Nathan as he drops to his knees. NATHAN (brokenly) This is all my fault...my fault. ZOOM in slowly on his brown eyes as the reflection of the city can be seen burning in their reflection as we travel closer and closer forcing a BLACK OUT: PULL back from the darkness to find ourselves staring at a darkened window pane, the reflection of a sleeping form reflected within it's dark surface. INT. MICHAELS HOME NATHAN'S BEDROOM NIGHT. TIGHT ON Nathan's features as his eyes SNAP OPEN and he jolts upright in bed. Sweating and looking bewildered. He looks around his dark room afraid...and on his fear we... FADE OUT. END OF TEASER. Act 1 FADE IN: EXT. SMALLVILLE CEMETERY NIGHT. TAGLINE: SMALLVLLE, KANSAS. A gravestone. Jonathan Kent. May 22, 1965 April 20, 2015. "Beloved husband and loving father." PULL BACK to reveal CLARK KENT. Baby face features, cute and adorable. Pain stricken and blue eyes red with contained tears. Flannel and jean wearing with worn work boots. His hands clasped together before him. A kid who just lost his...everything. The sounds of FALLING APART BY MATT NATHANSON can be heard in the background. For the longest moment Clark stands there silently and just staring at the tombstone. He closes his eyes a moment and lets out an audible breath. CLARK (softly) I won't let you down dad. (beat) I will make you proud...I promise. Close in on his determined features as he steps down on a knee and places a hand on the tombstone and hands his head. The silhouette of Martha Kent watchng silently and solemnly from the old pick up in the background. HOLD ON the sad and solemn moment as we drift upwards to the clear blue sky as we FLASH OUT: INTERCUT WITH: MALE'S VOICE Freeze! Freeze Police! EXT. CITY STREETS NIGHT. END SONG. TAGLINE: SUICIDE SLUMS. Open on an puddle of water. Small droplets dribble down into it. Slowly the water start to ripple and finally a worn sneaker drops down into it SPLASHING water into the lens. PANS up to a fence, fingers coming into sight grabbing the edge as a man pulls himself up. He's brown skinned and handsome, tough yet vulnerable looking. Close cut black hair and brown eyes. As he drops down into the puddle we sees he's in uniform. This is Officer Pete Ross. Newest rookie cop to the force. He takes off after the perk. A large white man with a balled head, muscular and looking like he could bench press Pete with his pickie. Pete doesn't draw his gun, instead he only kicks it up a gear. Legs moving faster and panting as he jumped forward onto a dumpster and onto the large's man's back. He wrapped his arm around his neck trying to put him in a choke hold. Hands grabbed Pete's arm and tossed him over like he was nothing. He lands onto his back painfully hard letting out a groan his eyes widening as he rolls out of the way barely missing being stomped. He jumps up and sends out a killer front jab to the guy's nose which only cause his head to jerk back. The guy snarled as blood dribbled from his nose and he wiped it away slowly turning his head to Pete. PETE (flatly) Crap... On another fence as there's a yell and Pete comes crashing through it. The man can be seen retreating as Pete lays there possibly seeing floaty birds as he groans. He moved a hand to his head and drops his head back. Allowing his eyes to drift close as DARKNESS overtakes the screen. MALE'S VOICE (V.O.) This is why you don't leave your more experience partner behind rookie. (laughs) Pete groans as he allows his eyes to open and standing above him is... Jim Harper. Upper 20s, blue eyes and brown hair. Not to bad on the eyes and with an easy smile. He offers Pete an hand and pulls him up patting him on the back. He grins after a moment inspecting his face. JIM Yeah that gonna leave a bruise, my friend. (pause) Back to work. Bad guy to catch. (grins, and takes off) Pete lets out a pained breath and bends over gripping his knees looking exhausted before shaking his head and then grabbing his flashlight off the ground and taking off. CUT TO: EXT. CITY STREETS NEXT MORNING. A greyhound pulls up down the street of the bustling and busy street of Metropolis and comes to a halt before the front of the Daily Planet which stands tall and proud as one of the tallest buildings within the city. Passengers start to pile out and among them is the out of place and far from Clark Kent. He steps through the thinning crowd and bumps and stumbles into the busy morning residents who gives him rude looks causing him to avert his gaze. He averts his gaze and turns looking around looking a bit...lost and unsure is an understatement. FEMALE VOICE Watch it. Watch out. Out of the way. Oh god can you be any slow Clark turns toward the voice and is surprised as a woman with shoulder length brown almost black hair and blue eyes comes crashing into him. She's sassy, interesting and very confident while clearly on the move. She looks over her shoulder and turns scowling toward Clark. This is Lois Lane. LOIS Er...hello...farmer and the abercrombie model...i would so ask for the number but i'm kinda am being hunted down by an pissed off client so...bye. She snatches a pen from her jacket and grabs a startled Clark's hand and writes down her name and number. LOIS
Violet, Klaus and Sunny Baudelaire stare out the window of the train out onto the bleak landscape and sigh sadly.