1. No Country For Old Men
INT. GAS STATION/GROCERY - DAY Chigurh stands at the counter across from the elderly proprietor. He holds up a bag of cashews. CHIGURH How much? PROPRIETOR Sixty-nine cent. CHIGURH This. And the gas. PROPRIETOR Y'all getting any rain up your way? CHIGURH What way would that be? PROPRIETOR I seen you was from Dallas.
Chigurh tears open the bag of cashews and pours a few into his hand. CHIGURH What business is it of yours where I'm from, friendo? PROPRIETOR I didn't mean nothin' by it. CHIGURH Didn't mean nothin'. PROPRIETOR I was just passin' the time. CHIGURH I guess that passes for manners in your cracker view of things.
A beat. PROPRIETOR Well sir I apologize. If you don't wanna accept that I don't know what else I can do for you. Chigurh stands chewing cashews, staring while the old man works the register and puts change on the counter. PROPRIETOR ...Will there be somethin' else? CHIGURH I don't know. Will there?
Beat.
The proprietor turns and coughs. Chigurh stares. PROPRIETOR Is somethin' wrong? CHIGURH With what? PROPRIETOR With anything? CHIGURH Is that what you're asking me? Is there something wrong with anything? The proprietor looks at him, uncomfortable, looks away. PROPRIETOR Will there be anything else? CHIGURH You already asked me that. PROPRIETOR Well... I need to see about closin'. CHIGURH See about closing. PROPRIETOR Yessir. CHIGURH What time do you close? PROPRIETOR Now. We close now. CHIGURH Now is not a time. What time do you close. PROPRIETOR Generally around dark. At dark.
Chigurh stares, slowly chewing. CHIGURH You don't know what you're talking about, do you? PROPRIETOR Sir? CHIGURH I said you don't know what you're talking about.
Chigurh chews. CHIGURH ...What time do you go to bed. PROPRIETOR Sir? CHIGURH You're a bit deaf, aren't you? I said what time do you go to bed. PROPRIETOR Well...
A pause. PROPRIETOR ...I'd say around nine-thirty. Somewhere around nine-thirty. CHIGURH I could come back then. PROPRIETOR Why would you be comin' back? We'll be closed. CHIGURH You said that.
He continues to stare, chewing. PROPRIETOR Well... I need to close now -- CHIGURH You live in that house behind the store? PROPRIETOR Yes I do. CHIGURH You've lived here all your life?
A beat. PROPRIETOR This was my wife's father's place. Originally. CHIGURH You married into it. PROPRIETOR We lived in Temple Texas for many years. Raised a family there. In Temple. We come out here about four years ago. CHIGURH You married into it. PROPRIETOR ...If that's the way you wanna put it. CHIGURH I don't have some way to put it. That's the way it is. He finishes the cashews and wads the packet and sets it on the counter where it begins to slowly unkink. The proprietor's eyes have tracked the packet. Chigurh's eyes stay on the proprietor. CHIGURH ...What's the most you've ever lost on a coin toss? PROPRIETOR Sir? CHIGURH The most. You ever lost. On a coin toss. PROPRIETOR I don't know. I couldn't say.
Chigurh is digging in his pocket. A quarter: he tosses it. He slaps it onto his forearm but keeps it covered. CHIGURH Call it. PROPRIETOR Call it? CHIGURH Yes. PROPRIETOR For what? CHIGURH Just call it. PROPRIETOR Well -- we need to know what it is we're callin' for here. CHIGURH You need to call it. I can't call it for you. It wouldn't be fair. It wouldn't even be right. PROPRIETOR I didn't put nothin' up. CHIGURH Yes you did. You been putting it up your whole life. You just didn't know it. You know what date is on this coin? PROPRIETOR No. CHIGURH Nineteen fifty-eight. It's been traveling twenty-two years to get here. And now it's here. And it's either heads or tails, and you have to say. Call it.
A long beat. PROPRIETOR Look... I got to know what I stand to win. CHIGURH Everything. PROPRIETOR How's that? CHIGURH You stand to win everything. Call it. PROPRIETOR All right. Heads then.
Chigurh takes his hand away from the coin and turns his arm to look at it.
CHIGURH Well done.
He hands it across. CHIGURH ...Don't put it in your pocket. PROPRIETOR Sir? CHIGURH Don't put it in your pocket. It's your lucky quarter. PROPRIETOR ...Where you want me to put it? CHIGURH Anywhere not in your pocket. Or it'll get mixed in with the others and become just a coin. Which it is.
He turns and goes. The proprietor watches him.
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2. Casablanca
Casablanca cafe owner Rick Blaine (Humphrey Bogart) sacrificed himself with a "We'll always have Paris" and "No good at being Noble" airport farewell speech to ex-lover Ilsa Lund (Ingrid Bergman):
Rick: Because you're getting on that plane.
Ilsa: "I don't understand. What about you?"
Rick: I'm staying here with him [Renault] 'til the plane gets safely away.
Ilsa: "No, Richard. No. What has happened to you? Last night..."
Rick: Last night, we said a great many things. You said I was to do the thinking for both of us. Well, I've done a lot of it since then and it all adds up to one thing. You're getting on that plane with Victor where you belong.
Ilsa: "But Richard, no, I've..."
Rick: Now, you've got to listen to me. Do you have any idea what you've have to look forward to if you stayed here? Nine chances out of ten, we'd both wind up in a concentration camp. Isn't that true, Louis?
Renault: "I'm afraid Major Strasser would insist."
Ilsa: "You're saying this only to make me go."
Rick: I'm saying it because it's true. Inside of us, we both know you belong with Victor. You're part of his work, the thing that keeps him going. If that plane leaves the ground and you're not with him, you'll regret it. Maybe not today, and maybe not tomorrow, but soon, and for the rest of your life.
Ilsa: "What about us?"
Rick: We'll always have Paris. We didn't have - we'd - we'd lost it until you came to Casablanca. We got it back last night.
Ilsa: "When I said I would never leave you.."
Rick: And you never will. I've got a job to do too. Where I'm going, you can't follow. What I've got to do, you can't be any part of. Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world. Someday you'll understand that. Now, now. Here's looking at you, kid.--------------------------------------------------------------------------------------------------
3. The Social Network
INT. CAMPUS BAR - NIGHT
MARK ZUCKERBERG is a sweet looking 19 year old whose lack of
any physically intimidating attributes masks a very
complicated and dangerous anger. He has trouble making eye
contact- and sometimes it's hard to tell if he's talking to you
or to himself.
ERICA, also 19, is Mark's date. She has a girl-next-door face
that makes her easy to fall for. At this point in the
conversation she already knows that she'd rather not be there
and her politeness is about to be tested.
The scene is stark and simple.
MARK
How do you distinguish yourself in a
population of people who all got 1600 on
their SAT's?
ERICA
I didn't know they take SAT's in China.
MARK
I wasn't talking about China anymore, I
was talking about here.
ERICA
You got 1600?
MARK
You can sing in an a Capella group.
BRICA
Does that mean that you actually got
nothing wrong?
MARK
Or you row crew or you invent a 25 dollar
PC.
ERICA
Or you get into a final club.
MARK
Or you get into a final club, exactly.
ERICA
I like guys who row crew.
MARK
(BEAT)
Well I can't do that. And yes, it means I
got nothing wrong on the test.
ERICA
Have you ever tried?
MARK
I'm trying now.
ERICA
To row crew?
MARK
To get into a final club. To row crew?
No. Are you, like--whatever--crazy?
ERICA
Sometimes, Mark-seriously-YOU say two
things at once and I'm not sure which one
we're talking about.
MARK
But you've seen guys who row crew, right?
ERICA
No.
MARK
Okay, well.. they're bigger than me.
They're world class athletes. And a
second ago you said you like guys who row
crew so I assumed you'd met one.
ERICA
I guess I meant I liked the idea of it.
The way a girl likes cowboys.
MARK
The Phoenix is good.
ERICA
This is a new topic?
MARK
It's the same topic.
ERICA
We're still talking about the finals
clubs?
MARK
Would you rather talk about something
else?
ERICA
It's just that since the beginning of
the conversation about finals clubs I
think I may have had a birthday.
----------------------------------------------
4. Jurassic Park
INT. VISITOR CENTER PRESENTATION ROOM - DAY
HAMMOND, GRANT, ELLIE, MALCOLM, and GANNARO eat lunch at a long
table in the visitor's center restaurant.
There is a large buffet table and two WAITERS to serve them.
The room is darkened and Hammond is showing slides of various
scenes all around them. Hammond's own recorded voice describes current
and future features of the park while the slides flash artists'
renderings of all them.
The real Hammond turns and speaks over the narration.
HAMMOND
None of these attractions have been finished yet. The
park will open with the basic tour you're about to take,
and then other rides will come on line after six or
twelve months. Absolutely spectacular designs. Spared
no expense.
More slides CLICK past, a series of graphs dealing with profits,
attendance and other fiscal projections. Donald Gennaro, who has
become increasingly friendly with Hammond, even giddy, grins from ear
to ear.
GENNARO
And we can charge anything we want! Two thousand a day,
ten thousand a day - - people will pay it! And then
there's the merchandising - -
HAMMOND
Donald, this park was not built to carter only to the
super rich. Everyone in the world's got a right to
enjoy these animals.
GENNARO
Sure, they will, they will.
(laughing)
We'll have a - - coupon day or something.
Grant looks down, at the plate he's eating from. It's in the
shape of the island itself. He looks at his drinking cup. It's got a
T-rex on it, and a splashy Jurassic Park logo.
There are a stack of folded amusement park-style maps on the
table in front of Grant. He picks one up. Boldly, across the top it
says, "Fly United to Jurassic Park!"
HAMMOND
(on tape)
- - from combined revenue streams for all three parks
should reach eight to nine billion dollars a year - -
HAMMOND
(to Gennaro)
That's conservative, of course. There's no reason to
speculate wildly.
GENNARO
I've never been a rich man. I hear it's nice. Is it
nice?
Ian Malcolm, who was been watching the screens with outright
contempt, SNORTS, as if he's finally had enough.
MALCOLM
The lack of humility before nature that's been displayed
here staggers me.
They all turn and look at him.
GENNARO
Thank you, Dr. Malcolm, but I think things are a little
different than you and I feared.
MALCOLM
Yes, I know. They're a lot worse.
GENNARO
Now, wait a second, we haven't even see the park yet.
Let's just hold out concerns until - -
(or alt. version)
Wait - we were invited to this island to evaluate the
safety conditions of the park, physical containment.
The theories that all simple systems have complex
behavior, that animals in a zoo environment will
eventually begin to behave in an unpredictable fashion
have nothing to do with that evaluation. This is not
some existential furlough, this is an on-site
inspection. You are a doctor. Do your job. You are
invalidating your own assessment. I'm sorry, John - -
HAMMOND
Alright Donald, alright, but just let him talk. I want
to hear all viewpoints. I truly do.
(or)
I truly am.
MALCOLM
Don't you see the danger, John, inherent in what you're
doing here? Genetic power is the most awesome force
ever seen on this planet. But you wield it like a kid
who's found his dad's gun.
MALCOLM GENNARO
If I may.... It is hardly appropriate
to start hurling
Excuse me, excuse me - - generalizations before - -
I'll tell you.
MALCOLM (cont'd)
The problem with scientific power you've used is it
didn't require any discipline to attain it. You read
what others had done and you took the next step. You
didn't earn the knowledge yourselves, so you don't take
the responsibility for it. You stood on the shoulders
of geniuses to accomplish something as fast as you
could, and before you knew what you had, you patented
it, packages it, slapped in on a plastic lunch box, and
now you want to sell it.
HAMMOND
You don't give us our due credit. Our scientists have
done things no one could ever do before.
MALCOLM
Your scientists were so preoccupied with whether or not
they could that they didn't stop to think if they
should. Science can create pesticides, but it can't
tell us not to use them. Science can make a nuclear
reactor, but it can't tell us not to build it!
HAMMOND
But this is nature! Why not give an extinct species a
second chance?! I mean, Condors. Condors are on the
verge of extinction - - if I'd created a flock of them
on the island, you wouldn't be saying any of this!
(or)
have anything to say at all!
MALCOLM
Hold on - - this is no species that was obliterated by
deforestation or the building of a dam. Dinosaurs had
their shot. Nature selected them for extinction.
HAMMOND
I don't understand this Luddite attitude, especially
from a scientist. How could we stand in the light of
discovery and not act?
MALCOLM
There's nothing that great about discovery.
(or)
What's so great about discovery? It's a violent,
penetrative act that scars what it explores. What you
call discovery I call the rape of the natural world!
GENNARO
Please - - let's hear something from the others. Dr.
Grant? I am sorry - - Dr. Sattler?
ELLIE
The question is - - how much can you know about an
extinct ecosystem, and therefore, how could you assume
you can control it? You have plants right here in this
building, for example, that are poisonous. You picked
them because they look pretty, but these are aggressive
living things that have no idea what century they're
living in and will defend themselves. Violently, if
necessary.
Exasperated, Hammond turns to Grant, who looks shell-shocked.
HAMMOND
Dr. Grant, if there's one person who can appreciate all
of this - -
(or)
What am I trying to do?
But Grant speaks quietly, really thrown by all of this.
GRANT
I feel - - elated and - - frightened and - -
(starts over)
The world has just changed so radically. We're all
running to catch up. I don't want to jump to any
conclusions, but look - -
He leans forward, a look of true concern on his face.
GRANT (cont'd)
Dinosaurs and man - - two species separated by 65
million years of evolution - - have just been suddenly
thrown back into the mix together. How can we have the
faintest idea of what to expect?
HAMMOND
I don't believe it. I expected you to come down here
and defend me from these characters and the only one
I've got on my side it the bloodsucking lawyer!?
GENNARO
Thank you.
One of the WAITERS whispers to Hammond.
HAMMOND
Ah - - they're here.
-------------------------------------------------------------
5. My Dinner with Andre
Wally: Well, why...why do you think that is? I mean, why is that, I mean, is it just because people are...are lazy today, or they're bored? I mean, are we just like bored, spoiled children who've just been lying in the bathtub all day just playing with their plastic duck, and now they're just thinking, "Well, what can I do?"
Andre: Okay. Yes. We're bored. We're all bored now. But has it every occurred to you, Wally, that the process that creates this boredom that we see in the world now may very well be a self-perpetuating, unconscious form of brainwashing created by a world totalitarian government based on money? And that all of this is much more dangerous than one thinks. And it's not just a question of individual survival, Wally, but that somebody who's bored is asleep? And somebody who's asleep will not say "no"?
Andre: See, I keep meeting these people, I mean, uh, just a few days ago I met this man whom I greatly admire, he's a Swedish physicist, Gustav Björnstrand, and he told me that he no longer watches television, he doesn't read newspapers, and he doesn't read magazines. He's completely cut them out of his life because he really does feel that we're living in some kind of Orwellian nightmare now, and that everything that you hear now contributes to turning you into a robot.
Andre: And when I was at Findhorn, I met this extraordinary English tree expert who had devoted his life to saving trees. Just got back from Washington, lobbying to save the redwoods, he's 84 years old, and he always travels with a backpack cause he never knows where he's gonna be tomorrow. And when I met him at Findhorn, he said to me, "Where are you from?" and I said, "New York." He said, "Ah, New York. Yes, that's a very interesting place. Do you know a lot of New Yorkers who keep talking about the fact that they want to leave, but never do?" And I said, "Oh, yes." And he said, "Why do you think they don't leave?" I gave him different banal theories. He said, "Oh, I don't think it's that way at all."
Andre: He said, "I think that New York is the new model for the new concentration camp, where the camp has been built by the inmates themselves, and the inmates are the guards, and they have this pride in this thing they've built. They've built their own prison. And so they exist in a state of schizophrenia where they are both guards and prisoners, and as a result, they no longer have, having been lobotomized, the capacity to leave the prison they've made or to even see it as a prison." And then he went into his pocket, and he took out a seed for a tree and he said, "This is a pine tree." He put it in my hand and he said, "Escape before it's too late."
Andre: See, actually, for two or three years now, Chiquita and I have had this very unpleasant feeling that we really should get out. That we really should feel like Jews in Germany in the late thirties. Get out of here. Of course, the problem is where to go, cause it seems quite obvious that the whole world is going in the same direction. See, I think it's quite possible that the 1960s represented the last burst of the human being before he was extinguished and that this is the beginning of the rest of the future now, and that, from now on there'll simply be all these robots walking around, feeling nothing, thinking nothing. And there'll be nobody left almost to remind them that there once was a species called a human being, with feelings and thoughts, and that history and memory are right now being erased, and soon nobody will really remember that life existed on the planet.
Andre: Okay. Yes. We're bored. We're all bored now. But has it every occurred to you, Wally, that the process that creates this boredom that we see in the world now may very well be a self-perpetuating, unconscious form of brainwashing created by a world totalitarian government based on money? And that all of this is much more dangerous than one thinks. And it's not just a question of individual survival, Wally, but that somebody who's bored is asleep? And somebody who's asleep will not say "no"?
Andre: See, I keep meeting these people, I mean, uh, just a few days ago I met this man whom I greatly admire, he's a Swedish physicist, Gustav Björnstrand, and he told me that he no longer watches television, he doesn't read newspapers, and he doesn't read magazines. He's completely cut them out of his life because he really does feel that we're living in some kind of Orwellian nightmare now, and that everything that you hear now contributes to turning you into a robot.
Andre: And when I was at Findhorn, I met this extraordinary English tree expert who had devoted his life to saving trees. Just got back from Washington, lobbying to save the redwoods, he's 84 years old, and he always travels with a backpack cause he never knows where he's gonna be tomorrow. And when I met him at Findhorn, he said to me, "Where are you from?" and I said, "New York." He said, "Ah, New York. Yes, that's a very interesting place. Do you know a lot of New Yorkers who keep talking about the fact that they want to leave, but never do?" And I said, "Oh, yes." And he said, "Why do you think they don't leave?" I gave him different banal theories. He said, "Oh, I don't think it's that way at all."
Andre: He said, "I think that New York is the new model for the new concentration camp, where the camp has been built by the inmates themselves, and the inmates are the guards, and they have this pride in this thing they've built. They've built their own prison. And so they exist in a state of schizophrenia where they are both guards and prisoners, and as a result, they no longer have, having been lobotomized, the capacity to leave the prison they've made or to even see it as a prison." And then he went into his pocket, and he took out a seed for a tree and he said, "This is a pine tree." He put it in my hand and he said, "Escape before it's too late."
Andre: See, actually, for two or three years now, Chiquita and I have had this very unpleasant feeling that we really should get out. That we really should feel like Jews in Germany in the late thirties. Get out of here. Of course, the problem is where to go, cause it seems quite obvious that the whole world is going in the same direction. See, I think it's quite possible that the 1960s represented the last burst of the human being before he was extinguished and that this is the beginning of the rest of the future now, and that, from now on there'll simply be all these robots walking around, feeling nothing, thinking nothing. And there'll be nobody left almost to remind them that there once was a species called a human being, with feelings and thoughts, and that history and memory are right now being erased, and soon nobody will really remember that life existed on the planet.
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6. The Big Lebowski
7. The Master
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