Today we’ll carry on with the Top 101 Screenplays as voted by the Writer’s Guild Of America. You can find tons of Oscar-nominated scripts at Simply Scripts here.

If you ever wanted to go to Film School, here’s one of the exercises we do. Compare and contrast. I’ll cut and paste a favorite scene from the scripts, find the corresponding scene on YouTube, and post both. You can run the video link and read the script to examine what’s the same, what’s changed, writing style, action line and dialogue analysis….  let’s go to the video tape!

  • #41: GOODFELLAS: Get Your Shine Box!

This famous scene is quite different from what we know as the final film. I’ll include the first half of the screenplay sequence for you to compare…

JUNE 11, 1970S  QUEENS, NEW YORK. THE SUITE - NIGHT

               A smoky, overdecorated cocktail lounge and nightclub on 
               Queens Boulevard. Sergio Franchi is in full voice on the 
               jukebox.  It is after midnight.  It has bean a long night.. 
               Balloons and empty glasses litter the place.  BILLY BATTS, 
               a 50-year-old hood in an out-of-date suit, court at the 
               bar. WE SEE a younger, more sharply-dressed HOOD walk in 
               with a BEEHIVE GIRLFRIEND and hug BATTS.

                                     HOOD
                         Billy. You look beautiful. Welcome 
                         home.

                                     BAITS
                              (laughing and turning 
                              to the bartender)
                         What are you having? Give 'em what 
                         they're drinking.

               WE SEE FOUR OTHER MEN, including HENRY HILL and JIMMY BURKE, 
               standing near BILLY BATTS at the bar, raise their glasses 
               in salute. TOMMY DESIMONE and ANOTHER BEEHIVE BLONDE enter. 
               BILLY BATTS looks up and sees TOMMY.

                                     BILLY
                         Hey, look at him. Tommy. You grew 
                         up.

                                     TOMMY
                              (preening a little)
                         Billy, how are you?

                                     BILLY
                              (smiling broadly at 
                              Tommy and the girl)
                         Son of a bitch. Get over here.

               TOMMY walks over and BILLY, too aggressively, grabs TOMMY 
               around the neck.  TOMMY doesn't like it.

                                     TOMMY
                              (forcing a laugh)
                         Hey, Billy. Watch the suit.

                                     BILLY
                              (squeezing Tommy's 
                              cheek, a little 
                              too hard)
                         Listen to him.  "Watch the suit," 
                         he says.  A little pisser I've 
                         known all my life.  Hey, Tommy, 
                         don't go get too big.

                                     TOMMY
                         Don't go busting my balls. Okay?

                                     BILLY
                              (laughing, to the 
                              crowd at the bar)
                         Busting his balls?
                              (to Tommy)
                         If I was busting your balls, I'd 
                         send you home for your shine box.

               TOMMY'S smile turns to a glare as he realizes BILLY is 
               making fun of him. The Men at the bar are roaring with 
               laughter.  His GIRL is looking glumly at her shoes.

                                     BILLY
                              (to the hoods at 
                              the bar)
                         You remember Tommy's shines? The 
                         kid was great.  He made mirrors.

                                     TOMMY
                              (almost a threat)
                         No more shines, Billy.

                                     BILLY
                         Come ooonnn. Tommeeee. We're only 
                         kidding. You can't take a joke? 
                         Come ooonn.

               WE SEE that TOMMY is still angry, but begins to relax with 
               BILLY'S apparent apology, but as soon as BILLY sees that 
               TOMMY is beginning to relax, he contemptuously turns his 
               back on TOMMY.

                                     BILLY
                              (facing the bar)
                         Now get the hell home and get your 
                         shine box.

               HENRY quickly steps in front of TOMMY who is about to 
               explode. BATTS is facing the bar and does not see just how 
               furious TOMMY has become.

                                     HENRY
                              (gently wrestling 
                              Tommy away from 
                              the bar)
                         Come on, relax. He's drunk.  He's 
                         been locked up for six years.

                                     TOMMY
                         I don't give a shit. That guy's 
                         got no right.

                                     HENRY
                         Tommy. He. doesn't mean anything. 
                         Forget about it.

                                     TOMMY
                              (trying to wrestle 
                              past Henry)
                         He's insulting me. Rat bastard. 
                         He's never been any fuckin' good.

                                     HENRY
                         Tommy.  Come on. Relax.

                                     TOMMY
                              (to Henry)
                         Keep him here. I'm going for a 
                         bag.

               TOMMY roughly grabs his GIRL'S arm and storms out.

                                     HENRY
                              (rejoining Jimmy 
                              and Billy Batts at 
                              the bar)
                         Batts. I'm sorry.  Tommy gets 
                         loaded.  He doesn't mean any 
                         disrespect.

                                     BATTS
                         He's got a hot head.

               WE SEE the LAST TWO GUESTS get up to leave. HENRY puts 
               another dollar in the jukebox and moves back behind the 
               bar and starts to total the register receipts.

  • 18: ON THE WATERFRONT: I coulda been a contender

Terry looks at him.

				CHARLEY
		There's a slot for a boss loader on the
		new pier we're opening up.

				TERRY
			(interested)
		Boss loader!

				CHARLEY
		Ten cents a hundred pounds on everything
		that moves in and out. And you don't have
		to lift a finger. It'll be three-four hundred a week
		just for openers.

				TERRY
		And for all that dough I don't do nothin'?

				CHARLEY
		Absolutely nothing. You do nothing and you
		say nothing. You understand, don't you, kid?

				TERRY
			(struggling with an unfamiliar problem of conscience
			and loyalties)
		Yeah— yeah— I guess I do— but there's
		a lot more to this whole thing than I thought,
		Charley.

				CHARLEY
		You don't mean you're thinking of testifying
		against—
			(turns a thumb in toward himself)

				TERRY
		I don't know— I don't know! I tell you I
		ain't made up my mind yet. That's what I wanted
		to talk to you about.

				CHARLEY
			(patiently, as to a stubborn child)
		Listen, Terry, these piers we handle through
		the locals— you know what they're worth to us?

				TERRY
		I know. I know.

				CHARLEY
		Well, then, you know Cousin Johnny
		isn't going to jeopardize a setup like that for one
		rubber-lipped—

				TERRY
			(simultaneous)
		Don't say that!

				CHARLEY
			(continuing)
		—ex-tanker who's walking on his heels— ?

				TERRY
		Don't say that!

				CHARLEY
		What the hell!!!

				TERRY
		I could have been better!

				CHARLEY
		The point is— there isn't much time, kid.

There is a painful pause, as they appraise each other.

				TERRY
			(desperately)
		I tell you, Charley, I haven't made up my mind!

				CHARLEY
		Make up your mind, kid, I beg you, before we get
		to four thirty-seven River... .

				TERRY
			(stunned)
		Four thirty-seven— that isn't where Gerry G...?

Charley nods solemnly. Terry grows more agitated.

				TERRY
		Charley... you wouldn't take me to Gerry G... .?

Charley continues looking at him. He does not deny it. They stare at 
each other for a moment. Then suddenly Terry starts out of the cab. 
Charley pulls a pistol. Terry is motionless, now, looking 
at Charley.

				CHARLEY
		Take the boss loading, kid. For God's
		sake. I don't want to hurt you.

				TERRY
			(hushed, gently guiding the gun down toward
		Charley's lap)
		Charley... . Charley... . Wow... .

				CHARLEY
			(genuinely)
		I wish I didn't have to do this, Terry.

Terry eyes him, beaten. Charley leans back and looks at Terry 
strangely. Terry raises his hands above his head, somewhat in the 
manner of a prizefighter mitting the crowd. The image nicks Charley's 
memory.

				TERRY
			(an accusing sigh)
		Wow... .

				CHARLEY
			(gently)
		What do you weigh these days, slugger?

				TERRY
			(shrugs)
		...eight-seven, eighty-eight.
		What's it to you?

				CHARLEY
			(nostalgically)
		Gee, when you tipped one seventy-five
		you were beautiful. You should've
		been another Billy Conn. That skunk I got to
		manage you brought you along too fast.

				TERRY
		It wasn't him!
			(years of abuse crying out in him)
		It was you, Charley. You and Johnny. Like the
		night the two of youse come in the dressing
		room and says, "Kid, this ain't your night— we're
		going for the price on Wilson." It ain't my night.
		I'd of taken Wilson apart that night! I was ready—
		remember the early rounds throwing them combinations.
		So what happens— This bum Wilson
		he gets the title shot— outdoors in the ballpark!
		– and what do I get— a couple of bucks and
		a one-way ticket to Palookaville.
			(more and more aroused as he relives it)
		It was you, Charley. You was
		my brother. You should of looked out for me.
		Instead of making me take them dives for the
		short-end money.

				CHARLEY
			(defensively)
		I always had a bet down for
		you. You saw some money.

				TERRY
			(agonized)
		See! You don't understand!

				CHARLEY
		I tried to keep you in good with Johnny.

				TERRY
		You don't understand! I could've been a
		contender. I could've had class and been somebody.
		Real class. Instead of a bum, let's face it,
		which is what I am. It was you, Charley.

Charley takes a long, fond look at Terry.  Then he glances quickly out 
the window.

  • #13: THE GRADUATE: I have a date with Elaine
MRS. ROBINSON
		Listen to me very carefully,
		Benjamin.  You are not to see
		Elaine again.  Ever.  Those
		are my orders.  Is that clear?

	Ben stops the car in front of a house halfway down
	the block.

				BEN
		Mrs. Robinson -

				MRS. ROBINSON
		I can makes things quite unpleasant.

				BEN
		How?

				MRS. ROBINSON
		In order to keep Elaine away
		from you - I am prepared to
		tell her everything.

				BEN
		I don't believe you.

				MRS. ROBINSON
		Then you'd better start believing me.

				BEN
		Mrs. Robinson, don't wreck it.  I'm
		asking you please not to wreck it.

				MRS. ROBINSON
		Go home now.

				BEN
		I just don't believe you would do that.

	Mrs. Robinson looks at him for a moment.

				MRS. ROBINSON
		Try me.

	There is a pause while Ben looks at her expression.  Then
	he grabs the keys out of the ignition, opens the door on
	his side and jumps out of the car, carrying the package.

	TRACK WITH BEN as he runs up the street and up the drive-
	way toward the Robinson house.  Ben gets to the front
	door.

				BEN
			(as he goes through
			the door)
		Elaine!

126	INT. ROBINSON HALLS, STAIRS, DOOR TO ELAINE'S ROOM - DAY

	Ben runs in.

				BEN
		Elaine?

				ELAINE'S VOICE
		Benjamin?

				BEN
		I'm coming up.

				ELAINE'S VOICE
		I'm not dressed yet.

	Ben runs up the stairs.  He still carries the package.
	Ben gets to the top just as Elaine comes out of the door
	to her bedroom.  She is wearing a skirt and slip and
	carrying one shoe.

				ELAINE
		Benjamin - I said I wasn't dressed -

	Ben pushes her back into her room.

127	INT. ELAINE'S ROOM - DAY

				ELAINE
		What's the matter?

				BEN
		You've got to go over the back
		fence and I'll meet you on the
		corner.

				ELAINE
		Benjamin - what's happening?

				BEN
		Hurry up.  Put your shoes on.

	Ben turns and looks.

128	SHOT - OVER BEN'S SHOULDER

	Mrs. Robinson is just entering the house.

				BEN
		NO.

	He turns around.

129	NEW ANGLE

	Elaine is standing in the doorway watching him.  She
	still holds the shoe in her hand.

				BEN
		Why aren't you ready?

				ELAINE
		Because I want to know what's
		happening.

	SOUND of Mrs. Robinson's FOOTSTEPS in the hall below.

				BEN
		There isn't time!

130	INT. ELAINE'S ROOM - DAY

	Ben pulls Elaine around behind the open door.  They stand
	in the angle formed by the door and the wall as though
	they are hiding from someone.  Mrs. Robinson's FOOTSTEPS
	can be heard coming up the stairs.

				BEN
		Elaine - I have to tell you
		something.

	He holds her against the wall in the corner.

				ELAINE
		What is it?

				BEN
		That woman -

				ELAINE
		What?

				BEN
		That woman.  The older woman.

				ELAINE
		You mean the one who -

				BEN
		Yes.  The married woman - it
		wasn't just some woman -

	Mrs. Robinson's FOOTSTEPS can be heard coming down the
	hall.

				ELAINE
		What are you telling me?

	The FOOTSTEPS stop.

131	ANGLE - CLOSE ON ELAINE

	Back in the corner.  Mrs. Robinson's face appears in the
	crack in the door at Elaine's shoulder.  Elaine looks from
	Ben's face to the crack through which she can see her
	mother's eyes staring.

				ELAINE
		Please - will somebody tell me -

	She looks back at Ben, then back at her mother's face again.
	Mrs. Robinson's eyes watch her through the crack in the
	door.  Elaine looks away.

				ELAINE
		Oh - no.

	Ben backs up.

				BEN
		Elaine -

				ELAINE
		Oh my God -

	Moving along the wall as though to keep as far from Ben
	as possible, Elaine moves away from the door.

				BEN
		Please.

	Elaine walks a few steps toward the other side of the room
	then turns back toward Ben.  The tears are starting out
	of her eyes.

				BEN
		No - don't cry -

				ELAINE
		GET OUT!

				BEN
		Don't cry.
			(holds the package
			out to her)

				ELAINE
		Get out of here.

	She moves toward him as though to hit him.  He backs into
	the hall.  Elaine SLAMS the door shut.

				ELAINE
			(holding the door)
		Get out!

132	INT. ROBINSON HALL - DAY

	Mrs. Robinson stands at the end of it, looking at Ben.

				MRS. ROBINSON
			(calmly)
		Goodbye, Benjamin.

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