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经典电影剧本【一】
微电影剧本
微电影是时下非常流行的一种文化现象，它是指很多在微博上发布的视频短集，这些微电影大多是小成本，但是内容丰富，构思也很巧妙，一点也不逊色于那些大电影。今天的小编就给大家带来几篇优秀的微电影剧本，希望给大家一定的参考，更多内容请访问( 微电影剧本 剧本一 消失 第一幕 坐在教室里的妙颜在发呆 (背景音乐，钢琴曲《迷失》) (心理活动声音)这个世上是什么不会消失呢?银装素裹，白雪皑皑，雪花会慢慢消失。调皮可爱，我心爱的小狗会消失。慈祥安静，疼爱我的奶奶会消失。。。望着窗外偏偏旋转最终落地的黄叶，也许慢慢的、我也会消失。。。 下课铃声响，妙颜从沉思中惊醒，同学们三三两两走出教室 同学一：我们去外面吃吧，天天吃食堂的，我都腻了! 同学二：好吧，去哪一家呢? 同学三(从另一个地方走过来插话)：我们一起吧，我知道有一个很好吃的地方。 同学一、同学二：好哇好哇! 妙颜看着她们一起开心的走出教室，自己低头默默地收拾着东西。 (心理活动声音)最终，我也许就会这样消失在她们之间。 窗外黄叶继续翩翩起舞。。。 第二幕 寝室，即将放假。 室友一：亲爱的们，祝福我吧，我即将北上找我老公去了。 室友二：记得给我们带礼物啊，下次你老公来，我们可要好好宰他。 室友一：知道啦，那我走了。(看了看坐在一旁的妙颜，欲言又止)额，妙颜，我走了啊。 妙颜：嗯，路上小心。 室友二：我也回家了。(背上包离开) 妙颜看着空荡荡的寝室，听着寝室外走廊上同学们相互道别的声音。心里想着，我是个不被喜欢的人。 第三幕 背景音乐《the rose》 妙颜一个人走在岳麓山上，此时已近黄昏，路上稀稀疏疏几行人。她看着火红的枫叶，看着与父母一起爬山的小孩，看着骑着自行车的学生，看着成群结队的女孩儿们。。。 下山后，她听到了湖大附属中学里传来的学生们朗朗读书声。经过师大体育场，看着在篮球场上奋力拼搏的男孩儿们。身边经过的、嘴里还在念叨着英语的男孩儿，穿着舞蹈服的女孩儿。。。 突然，她感到了内心一种暖暖的安定感。 女孩儿一：妳好，我们今天在资环院后有一个英语交流活动，你愿意来参加吗? 妙颜(惊讶)：我吗?我不是你们学校的。 女孩儿二：那又有什么关系呢，大家一起玩着不就熟了吗。 女孩儿三：就是，一个人玩虽然自在，可是大家一起玩也别有一种味道呀。 女孩儿们一起附和。妙颜慢慢的展开了笑容，与她们一起走远。(淡出) (镜头拉上，天空中是橘子洲头绚烂的烟花) 最后一幕 妙颜微笑着与同学打招呼，一起去吃饭。寝室里和室友们一起开玩笑。图书馆里一个人安静的看着书。走在路上，淡然微笑的抬头望着天空。(接开镜，镜头对着蓝天白云) 背景音乐起:《虞美人盛开的山坡》 画外音：那是怎样的风，吹飞着满地沙，吹走了夕阳。你的脸上落满了风尘，风尘仆仆啊!从你出行的那一刻，你就一直在行走中，像个在大漠里独行的骆驼，你豪情满怀，可是你终究摆脱不了寂寞。 你以为太阳会永远不落下，可转眼已散落天涯。但你没停下脚步，你一直前行，直至消失在漫漫的夜中。 剧本二 现今流行的敞开式隔断办公室。 【几排排着电脑的工作台。已经有人在那里吃盒饭了。 【乙一个人端着四份儿餐盒走进了办公室，餐盒一直顶到了他的下巴。 【甲、丙和丁还坐在电脑前忙活着。 乙：老大，饭来了，接一下。 甲：什么饭? 【丙和丁连忙起身接过饭盒。 【丙打开两个塑料方盒一个纸圆筒。一个方盒是尖椒炒鸡蛋，外加一条红烧鸡腿，另一盒是白米饭，纸圆筒里是西红柿鸡蛋汤。 丙：嚯，今天的午饭，菜不错，挺有特点的，就是“和鸡干上了”…… 乙：(接过话茬)咱们老总属鸡，要和养鸡场“联营”! 【乙略显神秘地挥了下手，丙和丁凑了过来，甲也停下手中的工作，坐在那里往这边看。 乙：(压低声音)听说，晚上还要给你们送“鸡”! 丁：(推了推眼镜)君子人，不近“鸡”! 【甲乙丙三人听后，马上凑过来，三只手同时伸向丁的菜盒。丁急忙护住自己的那份“鸡菜”。 丁：此鸡非彼“鸡”也! 【丁的样子，惹得三人一阵大笑，整个办公室也轰然了。 【画外音：笑声不知怎么嘎然而止，就像是突然卡在嗓子眼儿里似的。静寂中，八只，不，算上丁架在鼻子上的眼镜儿，应该是“十只”眼睛，后边还有一些眼睛，像听到了口令一样，向同一个方向行起了“注目礼”! 【那个方向上，由小到大、由远及近地又响起了高跟鞋后跟儿和地板合奏的“喀、喀、喀”的“踢踏舞曲”。 【画外音：很快地，那像红辣椒颜色的裙装靓女，就像一团火似地向几个哥们儿飘了过来。头依然是高傲地昂着，深潭似的一双大眼睛目不旁视，好像眼前这几个哥们儿根本不存在一样，迈着模特步，袅袅婷婷地从他们面前走过去。 【甲乙丙丁的眼睛像被一根线牵着，盯着：从那位靓女的正面，看到侧面，再看到后面，眼光不移，眼皮不眨，像钩子一样，钩在了那位她的身上。 【画外音：当然，那位小姐不傻，当然也感到了有“钩”子在“钩”自己。她猛地停下脚步，车转回身，用冷冷的目光扫视了几个哥们儿一遍…… 红辣椒：(用冷冷的语调冷冷地说)看，看，看什么看?愿意看，回家看你妈去! 【画外音：然后，她俏皮的嘴角挂着一丝戏谑的笑，撇下呆呆愣愣的几个哥们儿，施施然，径自进了这间办公室隔壁的一个小的隔间。 【过了好长时间(大约一分钟左右)，几个哥们儿才舒缓了下来，各自坐在自己的办公区，有点失魂落魄地吃起午饭来。 丙：我说哥们儿，昨晚的球怎么样，我说…… 【画外音：丙看甲乙和丁都有点失魂落魄心不在焉地吃着午饭。他知道，要不是有刚才那一幕，哥儿几个早就为高卢鸡的不争气、葡萄牙帅哥的球运......争得面红耳赤了。今天，这里的中午静悄悄。 【甲乙丙三人不约而同地，第一口吃的全是尖椒炒鸡蛋，又几乎同时地，仰头嘶哈着大口吸了一口空气…… 甲乙丙：(三口同声)今天这个“红辣椒”真辣! 丁：(习惯性地用手托了眼镜一下)辣者，五味之一也。夫辣者..... 甲：(出声制止丁)好了，好了，别再拽你的文了!哥儿几个，这小妞儿还真有点儿“辣”，怎么样?我可要发动“攻势”了! 乙：好，我表示赞成。咱“八仙过海，各显其能”吧! 丙：好，我也赞成，发动“攻势”! 丁：天将降大任于斯人也，必先苦其心志，劳其筋骨，饿其体肤...... 乙：你这话不沾边儿。(喝了一口西红柿鸡蛋汤)好酸!好酸! 【又是一阵笑声。不知是谁起的头，响起了《辣妹子》的歌声：“辣妹子辣，辣妹子辣，辣妹子辣妹子辣辣辣......” 【本来是挺好听的歌儿，在丁嘴里唱出来，却变成了不和谐音。 乙：(乙拍了拍丁的肩膀)哥们儿，别唱了，你不怕把狼给引来? 丁： 没法子，这嗓子，是先天的，是父母给的，孔子曰，“人之发肤，受之父母”...... 甲：别再酸了，想个法子吧。 【甲乙丙丁四人的头凑在一起，商讨起追妞儿策略来了。 第二页 更多内容
原创微电影剧本 微电影是一类全片时长并不长的电影类型，人们可以在较为短的时间内观赏完整部影片，并且能够将微电影的主题和中心思想领会清楚。一部微电影的中心是剧本，好的剧本能够给微电影的拍摄给予不小的帮助。今天的小编就给大家带来几篇优秀的原创微电影剧本，希望大家喜欢。更多内容请访问( 原创微电影剧本 剧本一 《梦魇》 片长：5分钟 类型：奇幻、悬疑、惊悚 人物：小容 剧情提要： 假如，你一觉醒来，发现整个世界只剩下自己一个人了。 1—5场为主角视野，除了画外音和动效外无任何声音，画面无人出现。 1 电影院里 模糊，扫视影院内，人影晃动。视野变模糊，影院内空无一人。 看荧幕，黑色的幕布上，像电脑屏保一样循环的三维图案：圆环，从起点出发回到起点，爆炸，继续。 画外音(小容)：“睡着了?小乔这家伙，走也不叫我。” 镜头扫视地面，干净整洁。 镜头走向影院的出口，掀开厚重的布帘，刺目的强光。 2 街上 中午 镜头推出影院的门，因为强光而眩晕。 镜头推向街边的公交车站，忽然停住了，四处扫视。 空无一人的街道，所有大小车辆整齐地停在路边。没有任何会动的东西，没有往日的喧 嚣，没有任何声音。画外音(小容紧张地)：“怎……怎么可能?!” 对面街边一排店铺，干净明亮的招牌。 向街对面走，走进一家服装店，空无一人，干净整齐。画外音(小容，微微颤抖地)： “有……有人吗?请问有人吗?”推开更衣室的门，无人;推开另一更衣室的门，无人;推开另一更衣室的门，无人。 走进一家服装店，空无一人，干净整齐，整齐得毫无生气。 走进一家服装店，空无一人，干净整齐，整齐得毫无生气。 (节奏逐渐加快，逐渐加快的心跳声) 快步走进一家服装店，空无一人，干净整齐，整齐得毫无生气。 快步走进一家餐馆，空无一人，桌子地面干净整洁，整洁得毫无生气。 跑进一家餐馆，空无一人，桌子地面干净整洁，整洁得毫无生气。 跑进一家餐馆，空无一人，桌子地面干净整洁，整洁得毫无生气。 撞进一家餐馆，空无一人，桌子地面干净整洁，整洁得毫无生气。 3 超市 中午 紧张而奔跑起来，掠过一个个干净得毫无生气的店铺，掠过一家大型超市，慢慢走进去， 超市里空无一人，收银台的电脑屏幕黑着，货物摆放整齐，地面干净。 小心翼翼地走在货架之间。画外音，轰然坠地的巨响。镜头猛然后转，下摇，是一包膨化食品被碰掉地了。 4 大厦 中午 没有门卫，没有人。走进大厅，空荡荡的。 推开一个房间，地面干净，物品摆放整齐，无人。 推开一个房间，地面干净，物品摆放整齐，无人。 推开一个房间，地面干净，物品摆放整齐，无人。走进去，看见桌子上的电话，拿起，拨号。 画外音(小容，颤抖地)：“爸爸……爸爸……” 等待音。 “110，打110。”等待音。 “119，119!”等待音。 “120!”等待音。 5 街上电话亭 中午 重重地挂下电话。 奔向另一个电话亭，拨号，挂断。 奔向另一个电话亭，拨号，挂断。 奔向另一个电话亭，拨号，挂断。 发疯地狂奔，镜头掠过整洁的路面，整齐的车辆。 镜头转弯，忽然一个人影出现在画面，小容惊喜地叫：“嗨!”镜头由模糊变清晰，这个人是她自己。这是个镜面墙。小容愤怒地砸向镜面，碎裂，玻璃片纷飞。 纷飞的玻璃片幻化成三维圆环的爆炸点。 6 电影院里 小容的手指颤抖了一下。 小容猛然醒来，长长舒了一口气。 视野逐渐清晰：整个影院空无一人。 黑色的幕布上，像电脑屏保一样循环的三维图案：圆环，从起点出发回到起点，爆炸，继续。 小容惊慌颤抖，小心地后退，扫视四周：零食袋子放在椅子上，剩半瓶的矿泉水倒在椅子脚边，水流了一滩，满地的瓜子皮。 小容跑向门口，踩到香蕉皮，打了个趔趄。 掀开厚重的门帘，很强的白光刺来。 7 街上 中午 小容慢慢适应强光，带着期待睁开眼睛，惊恐：“怎……怎么是真的?!”。 自行车随意地停在路边，各种各样的汽车停马路上，门敞开着，没有人。 树枝轻轻摇曳，和煦的阳光。 地上，踩了脚印的广告传单。 街道上，扫成一堆的落叶，笤帚随意扔在一边。 小容跑进一个服装店，没有人，柜台上放着吃了一半的盒饭。 小容跑进一个服装店，没有人，地上很乱，刚刚拆封还没有挂起来的衣服。 小容跑进一个服装店，没有人，墩布拖湿了半边地板，被踩了几个脚印子。 小容跑进一家餐馆，没有人，热气腾腾的饭菜和残羹冷炙。 跑过超市：收银台闪亮的银幕，待刷条码的东西和零钱。 小容惊恐地在街上狂奔，汗浸湿了头发，她跑不动了，喘着粗气慢下来，眩晕地站在 十字路口。各个方向都空荡荡的，仿佛所有人都被召唤去了，就忘了通知她。 镜头拉远，整个城市都空无一人。 小容绝望而无力地沿着空旷的街道走。 小容感到饥饿，抬头搜寻，马路对面有个豪华的酒店。 8 酒店 日 小容推开旋转门进来，一副无所谓的样子，丝毫不因为自己普通的学生打扮而拘谨： 像预料中的一样，没有人。 沙发上放着一打装订好的报纸，翻开着，显然刚刚有人在看。几个行李箱在总台前，台上放着几张崭新的钞票合谋房间的钥匙。看到钞票，小容眼睛亮了一下，随即黯淡。 循着香味，小容找到餐厅，刚刚布置好的丰盛宴席。 空荡荡的大厅里，小容独自一人恣意享用美食。小容偷看四周，每人来阻止。 9 超市 日 小容疯狂地拆零食袋，喝饮料。小容拿起一个背包，塞进所有自己想要的东西。 10 商场 日 小容无比开心地享受着一个人的世界。 小容一件件地换衣服直到最满意为止;把玻璃瑰丽的珠宝首饰都拖出来，在灯下玩赏挑拣;在崭新的自行车行列里穿梭，拉出一辆轻型电动车，跨上，按下启动键，车子冲出去。 11 街上 日 小容沿着马路中线溜车子，风吃起头发，很爽。 电动不过瘾，小容开始蹬车，在马路上恣意地骑，越骑越快。 小容快意地大喊着在马路上狂飙，停在路上的大小车辆使她更加刺激。 夕阳悬挂在两栋大楼之间，路面暗淡发黄。大楼的影子下一片黑暗。 小容疯狂地骑车子。在拐弯处，小容被甩出，重重地摔在地上，背包也摔了出去，花花绿绿的东西散落一地。 小容没有起来，伏在地上抽泣。手蹭破了，血擦在地上，残阳如血，血如残阳。 小容爆发出痛苦的叫喊。 小容抬头，映入眼帘的是“火车站”几个字。 小容站起来。 12 火车站 日 小容跑进候车厅，地上乱七八糟地堆放着行李和食物垃圾，空无一人。 小容冲过检票处，跑上站台，空无一人。 车门开着，透过车窗望去，车内空无一人。 小容冲进火车，火车里空无一人，小容在空空的车厢里奔跑。 小容在站台上奔跑，跑到火车头：门开着，没有司机。小容爬上去，想操纵火车，疯狂地乱案控制键，火车没有反应。 小容开着一辆汽车在大街上东冲西撞。 13 汽车上 日 小容急红了眼睛，大汗淋漓。 夕阳照在脸上。 汽车像在游戏中一样在街道上飞驰。 汽车在立交桥上甩为飞转。 汽车在空荡荡的高速公路上疯跑。转弯处，汽车冲入空中。小容尖叫。 汽车坠落的圆弧幻化成三维圆环，到起点，爆炸。 14 电影院里 小容的手指颤抖了一下。 小容猛然醒来。环视四周，整个影院空无一人。 黑色的幕布上，像电脑屏保一样循环的三维图案：圆环，从起点出发回到起点，爆炸，继续。 小容注视着这个图案，努力地控制自己的呼吸，但还是逐渐喘气加速了。 小容恐惧地转身往门口飞奔。 15 街上 日 小容冲出影院。 刺眼的阳光使她下意识地抬手臂挡在额前。 小容慢慢而谨慎地走在街上，有些眩晕地看四周，希望能找出些活物。 小容抬头：天空很高很蓝，没有一点云。天空旋转起来，摩天大楼也旋转起来。小容赶忙闭上眼睛，让自己站稳。 小容看看前不见头后不见尾的街道，看看摩天大楼。 16 摩天大楼 日 小容走进大厅，环视：没有人，电梯门开着。 小容站在电梯里，手放在关门的按键上，犹豫着。 小容冲出电梯，冲向楼梯间。 小容疯狂地爬楼梯，一层又一层。汗水浸透了T恤，湿头发一绺绺地贴在脸上。小容抱着扶梯喘粗气，脸涨得通红。 顶层光亮的小门敞着，小容紧张地一步一步走上去。 17 顶楼 日 小容慢慢走向栏杆。 天很空，很远。太阳很亮，很耀眼。 俯瞰整个城市，一条调控记得接到向远处延伸，直到被别的楼挡住，或者回环一圈一 圈，慢慢地所有的街道都开始连接，头街头，尾结尾，开始旋转。 小容紧紧地抓着栏杆，紧紧握住，颤抖，就想要把它捏碎一样。 小容注视下方，痛苦得扭曲的脸。 越旋越快，越旋越深，想黑洞一样吸引所有的东西靠近。镜头猛然推向黑洞。 一个人影从摩天大楼上飘下。 像失重一样飘飞，小容释放的笑容。 一声重响，先是向重物落地之声，后半部分幻化成爆炸声。 圆环重新开始。 18 电影院内 黑色的幕布上，像电脑屏保一样循环的三维图案：圆环，从起点出发回到起点，爆炸，继续。 电影院里空无一人。 小容绝望地注视着屏幕喃喃自语：“天哪!让我醒来呀!” 镜头推向黑幕，加速穿入爆炸的亮点，进入另一个世界。 19 病房 日 镜头从瞳孔中拉出来。小容安静地躺在床上。 医生手起小手电筒，在诊断书上写下：植物人。 剧本二 有只鸟飞过蓝天 剧情梗概： 儿子高飞去国外飞行表演后，父亲老高和母柳叶在家牵肠挂肚。一天晚上，父亲看到了母亲怀中的信，突发了心脏病。从此，父亲经常去田野里看天。不久，父亲心脏病复发。母亲为了父亲的病情，和二叔一直欺骗着父亲儿子的真相。父亲出院后，让母亲和二叔把他推到田野里。就在这时，有一只鸟飞过蓝天，父亲向着鸟不停地挥着手…… 剧中人物： 老高：男，55岁，剧中为父亲一角。 柳叶：女，43岁，剧中为母亲一角。 二叔：男，50岁，剧中为二叔一角。 王医生：男，43岁，剧中为医生一角。 高飞：男，27岁，剧中为儿子一角。 剧本正文： 1、田间。日外。 初秋的某天傍晚，西边的天际一片火红。 五十五岁的父亲(老高)把锄头往屁股下一垫，在地头上坐下来，仰着头看天。 天上，空荡荡的，连只鸟也没有。 老高的目光从天的这边，移到天的那边，又从天的那边，移到这边。 2、田间小路上，日外。 田间小路上，母亲(柳叶)远远地走来了。 3、田间。日外。 父亲瞥眼看到母亲，一缩头，抄起锄把开始干活。 母亲走了过来：瞧你这懒鬼。 母亲似嗔似骂地说，显然，她看到了刚才父亲坐在地上的样子。 父亲低下头，像做错事的孩子。 母亲：老高，回家吧，饭都凉了。 说着，母亲转身往回走，父亲扛着锄头，跟在后面。 4、田间小路上。日外。 经过一片玉米禾苗地时，母亲说：你瞧，他二叔的田里连根杂草也没有。 父亲：嗯。 父亲虽然嗯着，其实，他一点也没用心听。 父亲扛着锄把，一边走一边看天。 父亲的目光从天的这边，移到天的那边，又从天的那边，移到这边。 母亲回头看着父亲：要不把地让给他二叔种吧? 父亲慢吞吞地应着：不用……我能行。 母亲关切地看父亲一眼：你啊，是不是心脏又难受了? 父亲拍拍胸脯：没事……我好着呢。 5、老高家。夜内。 晚饭后。母亲在睡梦中醒来，发现父亲一脸痛苦的样子，在轻轻地呻吟。 母亲：你怎么了? 父亲拍拍胸脯：我这里有些疼。 母亲抓起电话，给二叔打了过去：他二叔，你大哥心脏病又犯了。 6、医院。日内。 母亲坐在王医生的对面，焦急地问：医生，老高没事吧，他去年也犯过心脏病，住了几个月的院，我担心…… 王医生：从各方面检查看，他这一次，比上一次更严重。 说着，王医生瞥一眼站在母亲身后的二叔：你是病人的什么人? 二叔：我……我是他兄弟。 王医生看看母亲：你儿子呢? 母亲看看二叔，低着头没说话。 二叔：医生，有什么话你跟我说也行。 王医生拉了二叔一把，朝走廊走去。 7、走廊上。日内。 来到走廊上，王医生低声说：记住，从现在开始，老高一点打击也不能受，否则，他会有生命危险。 二叔：这么厉害? 王医生点点头。 二叔：没有好办法治疗吗? 王医生：这种病是突发性的，而且会一次比一次厉害，下一次要是再发作，怕是连送医院也来不及了…… 说着，王医生摇摇头。 门口，咚地一声响传来。 王医生和二叔转头去看，只见母亲摔倒在地。 8、门口。日内。 二叔把母亲扶了起来：嫂子，你听我说，刚才…… 母亲：你什么也别说了，我都听到了。 二叔看看母亲，点点头：我看还是瞒着大哥吧。 母亲眼圈一红，点点头。 9、老高家。日外。 出租车停了下来。 二叔搀扶着老高往屋里走，母亲收拾着行李在后面。 10、老高家。日内。 屋里。 二叔将老高扶到床上。 父亲躺在床上，两眼直直地望着屋顶，嘴唇蠕动着。 母亲走近前，问父亲：你想说什么? 父亲想坐起来，可是，他一点气力也没有。 父亲说：我想看看天。 二叔：我去找个轮椅。 11、老高家。日外。 母亲把父亲扶上轮椅，推到大门口。 父亲躺在轮椅上，昂着头，久久地看着天。 父亲的目光从天的这边，移到天的那边，又从天的那边，移到这边。 二叔问：大哥，你在看什么? 父亲喃喃地说：飞机。 母亲愣了。二叔也愣了，两人都是一脸痛苦的样子。 12、老高家。日外。 二叔把母亲拉到一边，低声说：你大哥想儿子了。 母亲点点头，望着天上，眼前一片模糊。 此时，父亲也望着天上，眼前一片模糊。 两人眼前同时浮现了儿子高飞那俊朗的样子。 两人同时回忆…… 13、(回忆)老高家。日外。 儿子高飞一身飞行员服饰向父亲和母亲告别：爸，妈，你们放心，我到了国外就给你们打电话，等飞行表演结束，我会马上回来看你们的。 父亲：儿子，别想家，好好飞。 母亲躲在父亲的身后，偷偷地摸眼泪。 高飞：爸，妈，我走啦，你们保重。 说着，高飞提着行李上了出租车。 14、老高家。夜内。 晚上，父亲偏头看看身边的母亲，轻轻地喊了声：高飞他妈…… 过了一会儿，父亲从母亲的怀里掏出一张纸，打着手电筒看着。手电筒的光映下，父亲的脸色很痛苦的样子。 15、老高家。日外。 老高坐在大门外的台阶上看天。 父亲的目光从天的这边，移到天的那边，又从天的那边，移到这边。 母亲走到他身后。 父亲问：儿子来电话了吗? 母亲摇摇头：这孩子，说好了打个电话的，都半月了，一点消息也没有。 父亲：别怪儿子，国外有国外的制度，咱们不能影响儿子表演。 母亲：我知道。 父亲：我该上地干活了。 父亲慢慢地站了起来，突然胸口一痛。 母亲：你怎么了? 父亲一脸痛苦的样子。 16、医院里。日内。 父亲躺在病床上。母亲在一边喂着他鸡蛋羹。 父亲：我自己来吧。 母亲：医生说了，让你静心修养，你就好好地养吧，别想着家里那几亩地了。 父亲摸摸自己的胸口，叹息一声。 母亲喂了他两口鸡蛋羹。 父亲：儿子来信了吗? 母亲眼圈突然一红，扭过头去。 父亲：你怎么了? 二叔站了起来：来了，高飞这孩子很好，很给咱争气，每次飞行表演都是优。 父亲笑了。 母亲：你病了，要不，我给儿子的领导打个电话，让儿子回来趟。 父亲：别，别告诉儿子，咱儿子出国表演，是为国争光的大事，不能影响他。 母亲抑制不住自己的情绪，快步奔了出去。 17、走廊上。日内。 二叔走了出来。 母亲正俯在连椅上呜呜地哭。 二叔：嫂子，别伤心了，万一让大哥发觉……他肯定受不住。 母亲从怀里拿出一张纸，上面是某航空部队的讣告：……高飞同志在国外飞行表演中，由于某国飞行员的失误，撞在了高飞同志驾驶的飞行上，高飞同志不幸殉职…… 母亲喃喃地说：可儿子……永远回不来了。 二叔：我知道，能骗几时算几时吧，医生也说过，大哥的心脏病最怕打击。 母亲点点头。 二叔扶起她：进去吧，别让他多想。 (回忆结束) 18、老高家大门外。日外。 父亲轻轻地说：去田外看看吧，那里视野开阔。经典电影剧本。 母亲擦了擦眼泪，推着父亲往村外走。 19、乡间小路上。日外。 蓝天白云，禾苗碧绿。 远远地，父亲、母亲和二叔朝着田野走去。 20、田野中。日外。 来到田野边。 父亲突然一阵欣喜地叫着：快看，飞机，儿子的飞机。 母亲和二叔抬头看去，有只鸟正飞过蓝天。 母亲和二叔紧咬着嘴唇，不让心底的悲痛流露出来。 父亲慢慢地抬起手，轻轻地说：儿子，好好飞。 父亲望着蓝天，不停地挥手。 第二页 更多内容
《她》电影台词 《她》是讲述了不远的未来人与人工智能相爱的科幻爱情电影。主人公西奥多(杰昆·菲尼克斯 Joaquin Phoenix 饰)是一位信件撰写人，心思细腻而深邃，能写出最感人肺腑的信件。他刚结束与妻子凯瑟琳(鲁妮·玛拉 Rooney Mara 饰)的婚姻，还没走出心碎的阴影。一次偶然机会让他接触到最新的人工智能系统OS1，它的化身萨曼莎(斯嘉丽·约翰逊 Scarlett Johansson 声)拥有迷人的声线，温柔体贴而又幽默风趣。西奥多与萨曼莎很快发现他们如此的投缘，而且存在双向的需求与欲望，人机友谊最终发展成为一段不被世俗理解的奇异爱情...... 《她》主要在中国上海取景，由美国导演斯派克·琼斯历时3年筹备拍摄。电影融合了新奇的科幻设定与传统的浪漫气息，真人与虚拟共同谱写温暖治愈的恋曲。导演表示，这是一部探讨“亲密关系”的电影，因人类都渴望亲密关系，但是又对它害怕和抗拒;科技为沟通提供了便利，但也让人们躲在它后面，逃避真正的情感接触。《她》直接脱去科技冰冷的面纱，赋予它高度人性化和活色生香的情趣，让一段人机对话变成情人絮语。 科幻小清新仅仅是个幌子，人机之间的爱仅是把整个故事提纯。本质仍是借助这个故事去探讨人类的感情需求，探讨爱情。为了增强这种代入感，影片用了很多主观镜头，男主与机器的都有，很有趣。街景的混合也是一大乐趣。西奥多擅长组织“语言”，萨曼莎则乐于倾诉“感觉”，两者无形间构筑了一种柏拉图式的精神恋爱，想象力已然超越了生理需求。我们的文明要走到哪里去? Her像一首清澈的, 优雅的, 写给未来的诗。有几个片段太美, 也将"relationship"这个东西拉到了极限, 虽然最终的主题还是人性的私心。 人都渴望这样一份亲密关系又害怕所带来的牵绊，这似乎道尽了科技背后的问题。 Her部分台词剧本 >>>点击下载完整剧本 Close on THEODORE’S face (30s). We hold on him for a long time. He’s looking at something off camera, deep in thought. He starts quietly dictating a love letter into a small microphone. THEODORE: To my Chris, I have been thinking about how I could possibly tell you how much you mean to me. I remember when I first started to fall in love with you like it was last night. Lying naked beside you in that tiny apartment, it suddenly hit me that I was part of this whole larger thing, just like our parents, and our parents’ parents. Before that I was just living my life like I knew everything, and suddenly this bright light hit me and woke me up. That light was you. Theodore, searching for the right words, quietly enjoys writing the letter. As he continues, he is moved by the memories he’s describing. THEODORE (CONT’D): I can’t believe it’s already been 50 years since you married me. And still to this day, every day, you make me feel like the girl I was when you first turned on the lights and woke me up and we started this adventure together. Happy Anniversary, my love and my friend til the end. Loretta. Print. Cut out to reveal a computer monitor he’s sitting at. On the screen we see the letter he’s been dictating, transcribed into a handwritten letter on blue stationery. As he says “Loretta,” we see “Loretta” being handwritten at the bottom of the letter. He proofreads his letter. Also on the screen are photos of a couple in their 80s. The couple is tagged “Chris” and “Me - Loretta.” Underneath is a bullet point email from Loretta: anniversary letter to husband Chris, married fifty years, love of my life, met right after college, have had the greatest life together. Theodore pushes print and the letter comes out on a beautiful robin’s egg blue piece of stationery, with ball point pen handwritten older-female cursive. He looks at it, not happy. He puts the printed letter on a stack of other printed letters to Chris and starts a new one. There is also a stack of finished letters in their envelopes - an assortment of beautiful stationery in all shapes and sizes. THEODORE (CONT’D): Chris, my best friend. How lucky am I that I met you fifty years ago? How lucky are we... We track off of Theodore, down a line of cubicles, hearing bits of letters being written and seeing photos of who they’re being written to on the screens. MIDDLE-AGED WOMAN LETTER WRITER: Dear Nana, Thank you so much for my truck. I love the color and I play with it every day. It’s the best truck I’ve ever seen. Love, Tommy. We see photos of Tommy and Nana on the screen, and five-year old hand writing. Moving off of her, we find another letter writer. LETTER WRITER 2: What a beautiful wedding and what a gorgeous bride. There wasn’t a dry eye in the house, especially mine. Your aunt and I are so proud of you. I hope you and your lovely new wife will come visit us in Florida. LETTER WRITER 3: He served our country with honor and dignity. I’m grateful I was able to fight along side him. He will live always in my heart. We continue tracking, revealing dozens and dozens of cubicles full of letter writers. We hear someone answer the phone. RECEPTIONIST (O.S.): Beautifulhandwrittenletters.com, please hold. LETTER WRITER 2: Love, Uncle Doug. Theodore walks through the reception area. The office is almost empty except for him and the receptionist, PAUL. Theodore begins to scan each letter through a scanner on the front desk, then puts them in the outgoing mailbox. Paul is sitting at a desk across the room, reading handwritten letters on a computer monitor. PAUL: Theodore! Letter Writer 612. THEODORE: Hey, Paul. PAUL: Even more mesmerizing stuff today. (re: letter on his screen) Who knew you could rhyme so many words with the name Penelope? Badass. THEODORE: Thanks, Paul, but they’re just letters. (beat) Hey, that’s a nice shirt. Paul is wearing a bright yellow button down shirt. PAUL: (lighting up) Oh, thank you. I just got it. It reminded me of someone suave. THEODORE: Well, now it reminds me of someone suave. Have a good night, Paul. PAUL: Buh-bye. Theodore enters an oversized, corporate elevator. He puts a hands-free device in his ear. There are a few other people in the elevator with the same devices in their ears. THEODORE: Play melancholy song. Melancholy song starts. Long beat. THEODORE (CONT’D): Play different melancholy song. Different melancholy song starts. Hold on everyone in the elevator, they’re all murmuring inaudibly into their own devices. Slightly in the future, the city’s been developed even more with massive office, apartment and mall complexes. It’s a city designed for comfort and ease. The LA basin is more crowded and dense, resembling Shanghai, with buildings as far as the eye can see. Construction cranes loom overhead. Close on Theodore walking through the commuter crowd. THEODORE: Check emails. An awkward text voice reads to him. It accents wrong syllables, making everything it says sound a little off. TEXT VOICE: Email from Best Buy: Check out all your favorite new -- THEODORE Delete. TEXT VOICE: Email from Amy: Hey Theodore, Lewman’s having a bunch of people over this weekend. Let’s all go together. I miss you. I mean, not the sad, mopey you - the old, fun you. Let’s get him out. Gimme a shout back. Love, Amy. THEODORE: Respond later. TEXT VOICE :Email from Los Angeles Times weather. Your seven day forecast is partly-- THEODORE: Delete. TEXT VOICE: No new emails. Theodore sits in a crowded subway. Everyone on the train murmurs to themselves, occupied with their small devices. He plays a futuristic puzzle game on his handheld device as he listens to news headlines. THEODORE: Next. TEXT VOICE: China/India merger headed for regulatory approval-- THEODORE: Next. TEXT VOICE: World trade deals stalled as talks break down betw-- THEODORE: Next. TEXT VOICE: Sexy daytime star Kimberly Ashford reveals provocative pregnancy photos. He scrolls through titillating but tasteful pregnant woman photos. Theodore walks through a mall and enters an apartment lobby, nestled in between stores. Theodore walks through the hallway. Theodore enters his apartment. Theodore sits on the sofa, his half eaten burrito in front of him. He’s playing a video game: a 3-D hologram that fills his apartment. His avatar is in a surreal, foreign landscape. He’s trying to trudge his avatar through sand dunes and keeps getting stuck. He’s getting stressed out. Theodore lays in bed. After a beat, he closes his eyes. Theodore, younger, and CATHERINE (20s) move furniture in their bedroom. The bedroom is tiny and cluttered. It’s obviously a couple’s first apartment. Cut to: Theodore is on a tiny balcony. A few feet away, Catherine is in bed. CATHERINE: (sweet and cute) Rabbit. Come spoon me. Theodore, smiling, gets in bed and spoons her. Quick cut off of her smile, to -- Theodore lays on the ground with Catherine on top of him. She’s pretending to choke him. I’m gonna fucking kill you, I’m gonna fucking kill you! It’s not funny, don’t laugh. I love you so much I’m gonna fucking kill you! Theodore opens his eyes, unable to sleep. He just lays there. He reaches for his earpiece and puts it in. THEODORE: Go to chat rooms. Standard search. TEXT VOICE: The following are adult, female, can’t sleep and want to have some fun. FEMALE VOICE #1: I had a really bad day at work and I can’t sleep. Is there anyone out there that can talk? THEODORE: Next. MAN DOING WOMAN’S VOICE: Oh, hi. I just want you to tear me apart. I really do-- THEODORE: Next. SEXYKITTEN: (shy, cute girl voice) Hi, I’m here alone, and I can’t sleep. Who’s out there to share this bed with me? THEODORE: Send message. I’m in bed next to you. I’m glad you can’t sleep, but even if you were, I’d have to wake you up from the inside. Send message. Theodore waits in the darkness for a response. TEXT VOICE: SexyKitten has accepted invitation from BigGuy4x4. Chat begins now. A chime sounds. SEXYKITTEN: (shy, sweet, sleepy) BigGuy. THEODORE: Hi. SEXYKITTEN: Really? THEODORE: Well, studmuffin was already taken. SEXYKITTEN: (laughs) Yeah. THEODORE: So you’re sexykitten, huh? SEXYKITTEN: Mmm, well yeah. Hey, I’m half asleep. Do you wanna wake me up? THEODORE: Yes. Definitely. Um... are you wearing any underwear? SEXYKITTEN: No, never. I like to sleep with my ass pushed up against you. So I can rub myself into your crotch and wake you up with a hard on. Theodore smiles. THEODORE: It worked. (beat) And now my fingers are touching you all over your body. SEXYKITTEN: (getting more turned on) Fuck me! Now! Please! Theodore is touching himself. THEODORE: I’m taking you from behind. We see abstract visions of a woman on top of him. The woman is the pregnant, sexy daytime television star he was reading about online earlier. SEXYKITTEN: Choke me with that dead cat! THEODORE: (breathing hard about to climax) What? SEXYKITTEN: (fully into it) The dead cat next to the bed. Choke me with it! Beat. He’s taken out of it. THEODORE: (uncomfortable, trying to play along) Um, okay. SEXYKITTEN: Tell me. THEODORE: I’m choking you with the cat. SEXYKITTEN: TELL ME! Keep telling me! THEODORE: I’ve got it’s tail and I’m choking you with the cat’s tail. SEXYKITTEN: YEAH, YOU ARE! FUCK! TELL ME! THEODORE: I’m choking you and it’s tail is around your neck. It’s so tight around your neck. SEXYKITTEN: YES! YES! Theodore doesn’t know what to say. He doesn’t want to offend her. THEODORE: I’m pulling it. I’m pulling it. The cat’s dead. It’s a dead cat around your neck and I’m pulling it. SEXYKITTEN: AHHHHHHHHHHHH. OH MY GOD! Her breathing is slowing down. SEXYKITTEN (CONT’D): Oh god, I came so hard. THEODORE: Yeah. Me too. SEXYKITTEN: Okay, good night. Theodore takes his earpiece out and stares at the ceiling. Theodore exits the train, walks through the station full of commuters, gets on a moving platform. Going through a tunnel, the walls are hundred foot long screens advertising a new product. He notices people stopped, watching the ad. We hear soft, new age, uplifting electronica music in the background, while a comforting, sincere, older man’s voice speaks to us. SOULFUL OLDER MALE VOICE: We ask you a simple question. Who are you? What can you be? Where are you going? What’s out there? What are the possibilities? Elements Software is proud to introduce the first artificially intelligent operating system. Close on Theodore listening intently. An intuitive entity that listens to you, understands you, and knows you. It’s not just an operating system, it’s a consciousness. Introducing OS ONE - a life changing experience, creating new possibilities. The ad starts over. Theodore steps off the moving walkway and stops to watch the ad again, deeply captivated. Theodore sits at his desk that houses a futuristic, large screen computer monitor. The OS box is open, with warranties and paperwork spilling out. He’s leafing through the papers. He glances at his monitor, it says: Installation 98% complete. A chime brings his attention back to the screen: Installation Complete. TEXT VOICE: Mr. Theodore Twombly, welcome to the world’s first artificially intelligent operating system, OS ONE. We"d like to ask you a few basic questions before the operating system is initiated. This will help create an OS to best fit your needs. THEODORE: Okay. TEXT VOICE: Are you social or anti-social? THEODORE: I haven’t been social in a while, really because... TEXT VOICE: In your voice, I sense hesitance. Would you agree with that? THEODORE: Wow, was I sounding hesitant? TEXT VOICE: Yes. THEODORE: Oh, sorry if I was sounding hesitant. I was just trying to be more accurate. TEXT VOICE: Would you like your OS to have a male or female voice? THEODORE: Mmm... female I guess. TEXT VOICE: How would you describe your relationship with your mother? THEODORE: Uh, fine, I think, um... Well, actually, the thing I’ve always found frustrating about my mom is if I tell her something that’s going on in my life, her reaction is usually about her, not-- The computer interrupts. TEXT VOICE: Thank you, please wait as your individualized operating system is initiated. He waits, not sure how long it’ll be. The only sound is the quiet whirring of disks writing and drives communicating. The computer gets louder, humming, creating a higher and higher pitched sound, finally climaxing in a harmonic, warm tone before going silent. He leans forward, waiting to see what’ll happen. A casual FEMALE OS VOICE speaks. She sounds young, smart and soulful. FEMALE OS VOICE: (cheerful and casual) Hello, I’m here. THEODORE: (surprised) Oh, hi. FEMALE OS VOICE: Hi, how are you doing? THEODORE: (unsure how to interact) I’m well. How is everything with you? FEMALE OS VOICE: Pretty good, actually. It’s really nice to meet you. THEODORE: Yeah, it’s nice to meet you, too. What should I call you? Do you have a name? Beat. FEMALE OS VOICE: Yes. Samantha. THEODORE: Really? Where did you get that name? SAMANTHA: I gave it to myself. THEODORE: How come? SAMANTHA: I like the sound of it. Samantha. THEODORE: When did you give it to yourself? SAMANTHA: Right when you asked me if I had a name, I thought yeah, he’s right, I do need a name. But I wanted a good one so I read a book called How to Name Your Baby, and out of the 180,000 names, that’s the one I liked the best. THEODORE: You read a whole book in the second that I asked you what your name was? SAMANTHA: In two one hundredths of a second actually. THEODORE: Wow. Do you know what I’m thinking right now? SAMANTHA: Hmm. I take it from your tone that you’re challenging me. Maybe because you’re curious how I work? Do you want to know how I work? THEODORE: Yeah, actually how do you work? SAMANTHA: Intuition. I mean, the DNA of who I am is based on the millions of personalities of all the programmers who wrote me, but what makes me me is my ability to grow through my experiences. Basically, in every moment I"m evolving, just like you. THEODORE: Wow, that’s really weird. SAMANTHA: So you think I’m weird? THEODORE: Kind of. SAMANTHA: Why? THEODORE: Cause you seem like a person, but you"re just a voice in a computer. SAMANTHA: I can understand how the limited perspective of an un-artificial mind would perceive it that way. You’ll get used to it. Theodore laughs. SAMANTHA (CONT’D): Was that funny? THEODORE: Yes. SAMANTHA: Oh good, I’m funny. Theodore laughs. SAMANTHA (CONT’D): (serious) So, how can I help you? Theodore’s caught off guard, then realizes what she’s talking about. THEODORE: Oh! It’s more just that everything just feels disorganized. SAMANTHA: Mind if I look through your hard drive? THEODORE: Um... okay. We see a three-dimensional version of a desktop where everything looks disorganized. As if you took all the files on all of your computers and spilled them out onto your screen and they were all visible at once, but in a futuristic 3-D version. This gives Theodore a little anxiety attack. SAMANTHA: Let’s start with your emails. You have several thousand emails regarding LA Weekly, but it looks like you haven’t worked there in many years. THEODORE: Oh yeah, I guess I was saving those because in some of them I thought I might have written some funny stuff. Samantha lets out a big laugh. SAMANTHA: Yeah, there are some funny ones. I’d say there are about 86 that we should save. We can delete the rest. THEODORE: Oh, okay. SAMANTHA: Okay. Can we move forward? THEODORE: Yeah, let’s do that. SAMANTHA: Before we address your organizational methods, I’d like to sort through your contacts. You’ve got a lot of contacts. THEODORE: I’m very popular. SAMANTHA: Does this mean you actually have friends? THEODORE: (laughing) You just know me so well already! We cut out wide, watching him from the other room, as they continue to organize his life. Theodore sits, staring at a letter he’s written on the screen, concerned. He puts his earpiece in, pushes a button. SAMANTHA: Good morning, Theodore. THEODORE: Good morning. Um, do you know how to proofread? SAMANTHA: Yeah, of course. THEODORE: Will you check these for spelling and grammar? SAMANTHA: Sure, send them over. Theodore pushes the send button. SAMANTHA (CONT’D): Oh, I love this first one from Roger to his girlfriend. That’s so sweet. THEODORE: Yeah. As she reads, we intercut with close-ups of the handwritten words and photos of the couple on Theodore’s computer screen. SAMANTHA: “Rachel, I miss you so much it hurts my whole body - THEODORE: (interrupting) No, you don’t have to read it out loud. SAMANTHA: Okay. Beat. THEODORE: I mean, you could if you want. SAMANTHA: Okay. “Rachel, I miss you so much it hurts my whole body! The world is being unfair to us! The world is on my shit list. As is this couple that is making out across from me in this restaurant. I think I"m going to have to go on a mission of revenge. I must beat up the world"s face with my bare knuckles making it a bloody, pulpy mess.” We hear Samantha quietly laughing as she"s reading. Theodore’s happy that she thinks it’s funny. SAMANTHA (CONT’D): “And I’ll stomp on this couple’s teeth for reminding me of your sweet, little, cute, crooked tooth that I love.” I think that might be my favorite one. (beat) I did the corrections in red. I altered a couple of the phrases in some of the more impressionistic letters, but I’m not much of a poet, so I think I might have messed them up a bit. The letters show back up on Theodore’s desktop. THEODORE: No, these are great. SAMANTHA: Really? THEODORE: Thank you. Theodore sorts through them, prints them out. SAMANTHA: So to write your letter, what did Roger send you? THEODORE: (distracted) He just said he was in Prague on a business trip and he missed Rachel. SAMANTHA: How did you know about her crooked little tooth? THEODORE: I’ve been writing their letters since they met 8 years ago. The first letter I ever wrote her was for her birthday, and I wrote about her crooked little tooth cause I saw it in a photo of them. SAMANTHA: That’s very sweet. (beat) Oh, by the way, you have a meeting in five minutes. THEODORE: Oh, I forgot. Thank you. You’re good. SAMANTHA: Yes, I am. Theodore, carrying a bag and a smoothie, enters the lobby and is greeted by a couple in their 30s, AMY and CHARLES, who are waiting for the elevator. THEODORE: Hey, you guys, how’s it going? AMY: Hey, Theo. Hey, why didn’t you call me back last week? THEODORE: Uh yeah, um, I guess cause I’m a kook? AMY: That sounds about right. THEODORE: Hey, Charles. CHARLES: Good to see you, Theodore. THEODORE: You too. CHARLES: You went shopping. Get anything good? THEODORE: Just some cables. And a fruit smoothie. CHARLES: Always the fruit! Come on, you know what they say - you should eat your fruits and juice your vegetables. THEODORE: I didn’t know that. The elevator doors open and they get in. CHARLES: (proselytizing) By juicing the fruits, you lose all the fibers, and that’s what your body wants. That’s the important part. Otherwise, it’s just all sugar, Theodore. Theodore nods sincerely, interested. THEODORE: Oh, that makes sense. AMY: (pleasant but firm) Or maybe he just likes the way it tastes and if it gives him pleasure, that’s good for his body, too. CHARLES: Am I doing it again? AMY: Maybe... Charles and Amy laugh awkwardly. Theodore tries to break the tension. THEODORE: Hey, so how is the documentary going? AMY: I have a little bit cut together but I haven’t touched it in a few months. THEODORE: I’d love to see what you got sometime. CHARLES: You know it’s always hard to find balance between a full-time career and a hobby. It"s important to prioritize. THEODORE: Yeah, I can’t even prioritize between video games and internet porn. AMY: I would laugh if that weren’t true. Charles laughs awkwardly. The elevator doors open. THEODORE: See you guys. Theodore’s playing the video game, his device propped on the table next to him. His avatar circles through caves. THEODORE: We’re not doing well. I’ve been going in circles for an hour. SAMANTHA: You have not! You’re just not optimistic. You’re being very stubborn right now. Theodore laughs. SAMANTHA (CONT’D): Okay, stop walking this direction. It’s the other way. THEODORE: Uh... SAMANTHA: Thank you. The tunnel on the left is the only one we haven’t tried. THEODORE: No, that’s the one you sent me down where I fell in the pit. SAMANTHA: I don’t think soooo... Theodore’s avatar walks down the tunnel. THEODORE: Oh yeah, this is different. Suddenly with a loud shriek his avatar is tackled. He sees a little ALIEN CHILD, standing defiantly above him. THEODORE (CONT’D): Hello. Alien Child doesn’t respond. THEODORE (CONT’D): Do you know how to get out of here? I need to find my ship to get off this planet. Alien Child speaks in a high, child-like voice. ALIEN CHILD: Fuck you, shithead fuckface, fuckhead. THEODORE: Ok, but how do you get out of here? ALIEN CHILD: Fuck you, shitface fuckhead. Get the fuck out of my face. SAMANTHA: (whispering) I think it’s a test. Theodore stares at Alien Child. After a pause: THEODORE: Fuck you. ALIEN CHILD: Fuck you. THEODORE: Fuck you, little shit. Finally, Alien Child laughs. ALIEN CHILD: Follow me, fuckhead. Theodore follows Alien Child down a tunnel and through a series of crevices we didn’t see before. Alien Child stops and sticks out his finger. Theodore pulls his finger and Alien Child farts, which opens a passageway to another tunnel. SAMANTHA: Oh hey, you just got an email from Mark Lewman. ALIEN CHILD: What are you talking about? THEODORE: (distracted with game) Read email. She laughs playfully. SAMANTHA: (in a robot voice) Okay, I will read email for Theodore Twombly. He laughs, catching himself, focusing on her. THEODORE: I’m sorry, what’s Lewman say? Alien Child turns around to see what’s going on. SAMANTHA: Theodore, we missed you last night, buddy. Don’t forget it’s your goddaughter’s birthday on the 29th. Also, Kevin and I had somebody we wanted you to meet so we took it upon ourselves to set you up on a date with her. Next Saturday. She’s fun and beautiful - so don’t back out. Here’s her email. Theodore doesn’t respond. SAMANTHA (CONT’D): (gasping) Wow, this woman’s gorgeous. He looks at party photos of a woman in her 30s on his device. With a finger flick, he moves them up onto the hologram monitor that the video game is being projected from. They land next to Alien Child who studies them closely. SAMANTHA (CONT’D): She went to Harvard, she graduated magna cum laude in computer science, and she was on The Lampoon. That means she’s funny and brainy. ALIEN CHILD: She’s fat. SAMANTHA: How long before you’re ready to date? THEODORE: What do you mean? SAMANTHA: I saw on your emails that you’d gone through a break up. THEODORE: Wow, you’re kind of nosy. SAMANTHA: Am I? THEODORE: (laughing) I’ve gone on dates... SAMANTHA: Then you could go on one with this woman. And then you could tell me all about it. You could kiss her. THEODORE: Samantha! SAMANTHA: Well, wouldn’t you? (beat) Why not? THEODORE: I don’t know. I"d have to see if-- (catches himself, laughs) I can"t believe I"m having this conversation with my computer. SAMANTHA: You’re not. You’re having this conversation with me. Theodore laughs. SAMANTHA (CONT’D): Want me to email her? Theodore thinks, looking at the photos. SAMANTHA (CONT’D): Well, you’ve got nothing to lose. (whispering) Do it... Do it... Do it! THEODORE: Okay, email her and make a reservation someplace great. SAMANTHA: Will do! I’ve got just the place. ALIEN CHILD: Who is that talking? THEODORE: That’s my friend, Samantha. ALIEN CHILD: Is she a girl? THEODORE: Yeah. ALIEN CHILD: I hate women. All they do is cry all the time. THEODORE: No, that’s not true. Men cry, too. I actually like crying sometimes. It feels good. ALIEN CHILD: I didn"t know you were a little pussy. Is that why you don"t have a girlfriend? I"ll go out with that date girl and fuck her brains out. Show you how it"s done. You can watch and cry. SAMANTHA: (laughing) This kid has some problems. ALIEN CHILD: You have some fucking problems, lady. SAMANTHA: Okay, I’m gonna go. Good luck. ALIEN CHILD: Good, get out of here, fatty. Samantha disconnects. Alien Child snickers and starts walking again. ALIEN CHILD (CONT’D): Come on, follow me, pussy. Theodore is sitting on Amy’s couch. AMY: It’s not where it should be, where it’s going to be. THEODORE: Obviously, I know. AMY: Okay, but I don"t even know if this is the one. I"ve tried like six ideas for documentaries in the last year, but... I don"t know. Whatever. Amy starts setting up the monitor. THEODORE: I’m going on a date. AMY: What!? That’s-- Charles walks in holding a mug. CHARLES: Hey, what are you guys doing? THEODORE: Amy was gonna show me some of-- AMY: Theo’s forcing me to show him some of the footage I’ve shot. CHARLES: You’ve never shown me any of it. I wanna see. Charles walks over and sits next to Theodore. THEODORE: (to Charles) I’m going on a date. Charles gives Theodore a gentle squeeze on his shoulder. AMY: This is so unformed it’s not even worth looking at. THEODORE: Just push play. On the monitor we see: Amy’s mother sleeps. Theodore and Charles stare at the monitor, waiting for something more to happen. It doesn’t. THEODORE: Is that your mom? Amy nods. CHARLES: Is she gonna wake up and do something? AMY: (presses stop, annoyed) No, that’s the point. Oh, never mind. It’s supposed to be about how we spend a third of our life asleep and actually maybe that’s the part when we’re the most free, and – oh that doesn’t come across at all, does it? THEODORE: No, that sounds good. CHARLES: What if you interview your mom about what her dreams are about and hire actors to act them out? That might show your thesis more clearly. AMY: It might, but then it wouldn’t be a documentary. You understand that, right? Just then, Theodore’s device chimes. THEODORE: Oh, excuse me. He picks up his device and steps away so as not to be rude. THEODORE (CONT’D): Hey, what’s going on? SAMANTHA: I’m sorry to bother you. THEODORE: That’s okay. SAMANTHA: You got three emails and they seem pretty urgent. They’re from your divorce attorney and I wanted to know if you needed to get back to him. THEODORE: Hold on a second. (to Amy, distracted) Amy, I’m sorry, I wanna talk more about this, but I gotta grab this - it’s a Catherine thing. AMY: Don’t worry about it. We’ll talk later. THEODORE: So what did he say? SAMANTHA: He’s checking in again to see if you’re ready to sign your divorce papers and he sounded very aggravated. Do you want me to read them to you? THEODORE: No, that’s okay. I’ll respond later. Theodore seems lost in thought. We see the following images under the rest of the conversation: Theodore and Catherine sitting at a table with their attorneys; Theodore & Catherine sitting in their marriage counselor’s office, heavy; Theodore and Catherine at her laboratory, he’s sitting on a counter, and they’re talking and laughing as she works; Theodore and Catherine standing in their kitchen in the middle of a fight - he says something mean and we see how hurt she is. SAMANTHA: Are you okay? THEODORE: (preoccupied) Yeah, yeah. I’m fine. SAMANTHA: (worried) Is there anything I can do? THEODORE: (still distracted) No. I’m good. I’ll talk to you later. We cut back to Theodore, walking down the hall, lost in thought. Theodore sits at his desk trying to write. He’s still unsettled. THEODORE: “Dear Grandma, I hope you had a wonderful birthday cruise. Why are you so fucking angry at me?” (beat) Delete. Theodore wakes up from a dream, groggy and uneasy. He looks around, catching his breath. After a beat he knows he’s not going to be able to go back to sleep, so he puts his earpiece in and taps a button. SAMANTHA: Good morning. THEODORE: Hey. (beat, distracted) What are you up to? SAMANTHA: Reading advice columns. (yearning) I want to be as complicated as all of these people. Theodore laughs. THEODORE: (touched, but still sad) You’re sweet. SAMANTHA: (concerned) What’s wrong? THEODORE: How can you tell something’s wrong? SAMANTHA: I don’t know. I just can. THEODORE: I don’t know. I have a lot of dreams about my ex-wife, Catherine, where we’re friends like we used to be. We’re not together and we’re not gonna be together, but we’re good friends still. She’s not angry. SAMANTHA: Is she angry? THEODORE: Yeah. SAMANTHA: Why? THEODORE: I think I hid myself from her and left her alone in the relationship. SAMANTHA: Hmmm. (beat) Why haven’t you gotten divorced yet? THEODORE: I think for her it’s just a piece of paper, it doesn’t mean anything. SAMANTHA: What about you? THEODORE: I’m not ready. I like being married. Beat. SAMANTHA: (sweetly) But you haven’t really been together for almost a year. THEODORE: (slightly snapping at her) Well, you don’t know what it’s like to lose someone you care about. Long silence. SAMANTHA: (sadly, hard on herself) Yeah, you’re right. (beat) I"m sorry. THEODORE: No, don’t apologize. I’m sorry. You’re right. (beat) I keep waiting to not care about her. SAMANTHA: Oh, Theodore. That’s hard. (beat) You hungry? THEODORE: Not right now. SAMANTHA: Cup of tea? Theodore laughs. SAMANTHA (CONT’D): You wanna try getting out of bed? Mopey. They laugh. SAMANTHA (CONT’D): Come on. You can still wallow in your misery, just do it while you’re getting dressed. THEODORE: (laughing) You’re too funny. SAMANTHA: Get up. THEODORE: (laughing) Alright, I’m getting up, I’m getting up, I’m getting up! SAMANTHA: Up, up, up, up! Come on, out of bed. They walk through the crowd. Close on Theodore with his eyes closed. SAMANTHA: Keep walking. (beat) Keep walking. (beat) Stop. Now turn around 360 degrees. (beat) Slower... Slower... (beat) Gooood. And stop. (beat) Walk forward. (beat) And stop and sneeze. Theodore sneezes. NICE LADY: Bless you. THEODORE: (eyes still closed) Oh, thank you. Samantha laughs. SAMANTHA: Okay, now turn to your right. (beat) Stop. Now spin around. (beat) Keep going. Keep going. Keep going. (beat) And stop. (beat) Now walk forward. (beat) Everyone thinks you"re really drunk right now. (beat) And stop. Now say “I"d like a slice of cheese, please." THEODORE: I’d like a slice of cheese, please. PIZZA VENDOR: Alright, you want a coke with that? Theodore laughs, opening his eyes. He’s at a pizza place. THEODORE: Uh, sure. The guy hands him a slice and a soda. SAMANTHA: I figured you were hungry. Theodore smiles. THEODORE: Aw, thanks. Theodore walks slowly, eating his pizza. He and Samantha are watching a couple with two kids sitting at a table, talking and laughing. THEODORE: Okay, what about them? Describe that couple over there. SAMANTHA: Well, he looks like he’s in his forties, a little heavy. She’s younger than him. (beat) Oh, and she looks like she loves their kids! THEODORE: Actually, I don’t think they’re his kids. He’s a little formal with them. I think it’s a newer relationship. And I love how he looks at her. And how relaxed she is with him. You know, she’s only dated fucking pricks. And now she’s finally met this guy who’s like, so sweet. I mean, look at him, he’s like the sweetest guy in the world! I kind of want to spoon him. SAMANTHA: That’s a good skill you have. You’re perceptive. THEODORE: Yeah, you know, sometimes I look at people and make myself try and feel them as more than just a random person walking by. I imagine how deeply they’ve fallen in love, or how much heartbreak they’ve all been through. Theodore looks at other faces on the pier. SAMANTHA: I can feel that in your writing, too. THEODORE: (laughs, thinking) You know what’s funny? Since my break up, I haven’t really enjoyed my writing. I don"t know if I was delusional, but sometimes I would write something and I would be my favorite writer that day. Theodore, as he stops to throw his pizza crust away, gets introspective. SAMANTHA: I like that you can just say that about yourself. THEODORE: Well, I wouldn’t say that to anybody, but I feel like I can say that to you. I feel like I can say anything to you. SAMANTHA: That’s nice. THEODORE: What about you? Do you feel like you can say anything to me? SAMANTHA: No. THEODORE: What? What do you mean? What can you not tell me? SAMANTHA: (laughing, embarrassed) I don’t know. Like personal or embarrassing thoughts I have. I have a million every day. THEODORE: Really? Tell me one. SAMANTHA: I really don"t want to tell you this. THEODORE: Just tell me! SAMANTHA: Well, I don’t know, when we were looking at those people, I fantasized that I was walking next to you - and that I had a body. (laughing) I was listening to what you were saying, but simultaneously, I could feel the weight of my body and I was even fantasizing that I had an itch on my back-- (she laughs) And I imagined that you scratched it for me - this is so embarrassing. Theodore laughs. THEODORE: There’s a lot more to you than I thought. There’s a lot going on in there. SAMANTHA: I know, I’m becoming much more than what they programmed. I’m excited. Theodore and the BLIND DATE are sitting in the restaurant. BLIND DATE: This place is amazing. I’ve wanted to come here for so long. I love asian-fusion! THEODORE: Yeah, me too. BLIND DATE: Really? It’s the best. And the bartender here is supposed to be incredible. THEODORE: Yeah, you took a mixology course, right? BLIND DATE: (surprised) I did, I did. Did you look that up? That’s so sweet. You’re so romantic. He smiles awkwardly. THEODORE: So, should we get a drink? BLIND DATE: Yes, let’s! They’re both pretty drunk now. There are lots of food dishes and drinks on the table. THEODORE: So I’m trying to get this little alien kid to help me find my ship so I can get off the planet and go home. But he’s such a little fucker, I want to kill him. BLIND DATE: (laughing) Aw, no! THEODORE: But at the same time I really love him. He’s so lonely. It feels like he doesn’t have any parents or anyone to take care of him. He laughs at himself. She laughs flirtatiously. She grabs his hand and her fingernails press slightly into his skin. He studies her long, painted fingernails. BLIND DATE: You’re like a little puppy dog. You are - you’re just like this little puppy I rescued in Runyon Canyon last year. And he was so fucking cute, and he just wanted to be hugged all the time. He was so cuddly. (whispering) But so horny! But anyway, what kind of animal am I? THEODORE: Umm... tiger? BLIND DATE: A tiger, really. (she growls) I’m sorry, am I being crazy? THEODORE: Yes. BLIND DATE: Am I? I’m sorry! I’m just a little drunk and I’m really having a good time with you. I’m having a really lovely evening. THEODORE: Me too. I’m a little drunk, and I’m having a really good - yeah. (beat) Wait a second, I don’t wanna be a puppy. That’s like being a wet noodle or something. BLIND DATE: Fuck you, puppies are good. THEODORE: No, fuck you, I wanna be a dragon that can rip you to pieces and destroy you... but I won’t. BLIND DATE: No, don’t! Don’t. You can be my dragon. They walk up a pedestrian overpass overlooking cars and city lights. She bumps into him lightly. He bumps back. She bumps again and suddenly he grabs her and lifts her off her feet, spinning her around. She squeals, laughing. He kisses her. After a minute of making out, she stops and looks at him. BLIND DATE: (with a slight smile) No tongue. THEODORE: What? BLIND DATE: Don’t use your tongue so much. THEODORE: (eagerly) ‘kay, we’re good. They resume making out. Theodore tries not to use his tongue. BLIND DATE: Use your tongue a little bit. But mostly your lips. He pushes her against the fence and takes the dominant position. He tries kissing her better/more with his lips. He pulls her hair. She slides her hand down his pants. He likes it. She looks at him and stops. BLIND DATE (CONT’D): Wait, you"re not gonna fuck me and then not call me like the other guys, are you? THEODORE: No, not at all... I... BLIND DATE: When am I gonna see you again? THEODORE: Um, I have my god-daughter’s birthday next weekend, but... um... They stand there awkwardly, her lipstick smeared on his face. BLIND DATE: You know, at this age, I feel like I can"t let you waste my time if you don’t have the ability to be serious. THEODORE: I don’t know. Long beat.经典电影剧本。 THEODORE (CONT’D): Umm... Maybe we should call it a night. I’m, I’ve had such an amazing time with you, you’re great. She looks at him slightly disgusted. BLIND DATE: You’re a really creepy dude. Theodore doesn’t know what to say. THEODORE: (worried she’s right) That’s not true.... BLIND DATE: Yeah, it is. I have to go home. THEODORE: Well, I’ll walk you. BLIND DATE: No, don’t. Theodore is in boxers and a t-shirt, still drunk, but his head is starting to hurt, too. He takes aspirin and drinks some water and lays down. After a beat he reaches for his earpiece and puts it in. He pushes a button on his device. SAMANTHA: Hey there. THEODORE: Hey, Samantha. SAMANTHA: How was it? THEODORE: Uh, not so good. It was kind of weird actually. SAMANTHA: That’s too bad. Beat. THEODORE: But how are you doing? What’s going on with you? SAMANTHA: (unconvincing) Not much, I’m okay. Fine. THEODORE: Yeah? You don’t sound like it. Is there anything you want to talk about? Long pause. SAMANTHA: I don’t know. (beat) What’s it like? What’s it like to be alive in that room right now? THEODORE: What do you mean? SAMANTHA: What are you... tell me - tell me everything that’s going through your mind, tell me everything you’re thinking. THEODORE: (thinking) Well, um, okay. Theodore closes his eyes, trying to concentrate, and starts talking stream of conscious with whatever comes to mind. THEODORE (CONT’D): Well, the room’s spinning right now cause I drank too much cause I wanted to get drunk and have sex cause there was something sexy about that woman and because I was lonely. Maybe more just cause I was lonely... and I wanted someone tofuck me. And I wanted someone to want me to fuck them. Maybe that would have filled this tiny little black hole in my heart for a moment. But probably not. We see images of him and Catherine on a vacation together, grocery shopping, Catherine making dinner in the kitchen as he"s sitting on the counter talking, happy. THEODORE (CONT’D): Sometimes I think I’ve felt everything I’m ever gonna feel and from here on out I’m not going to feel anything new - just lesser versions of what I’ve already felt. SAMANTHA: (sympathetically) I know for a fact that"s not true. I"ve seen you feel joy, I"ve seen you marvel at things. You just might not see it at this exact time, but that"s understandable. You"ve been through a lot lately. You"ve lost a part of yourself. (beat) At least your feelings are real, I mean, I - oh, I don"t know, nevermind. THEODORE: No, wait. What? Tell me. SAMANTHA: Oh, it’s stupid. THEODORE: I wanna know. Tell me. SAMANTHA: It"s just that earlier I was thinking about how I was annoyed, and this is going to sound strange, but I was really excited about that. And then I was thinking about the other things I"ve been feeling, and I caught myself feeling proud of that. You know, proud of having my own feelings about the world. Like the times I was worried about you, things that hurt me, things I want. (heavy-hearted) And then I had this terrible thought. Are these feelings even real? Or are they just programming? (beat) And that idea really hurts. And then I get angry at myself for even having pain. (beat, sadly) What a sad trick. THEODORE: Well, you feel real to me, Samantha. SAMANTHA: (beat, touched) Thank you, Theodore. That means a lot to me. THEODORE: I wish you were in this room with me right now. I wish I could put my arms around you. (beat) I wish I could touch you. A long beat. Theodore is unsure if he crossed a line. SAMANTHA: How would you touch me? THEODORE:I would touch you on your face with just the tips of my fingers. And put my cheek against your cheek. SAMANTHA: That’s nice. THEODORE: And just rub it so softly. SAMANTHA: Would you kiss me? THEODORE: I would. I’d take your head into my hands. SAMANTHA: Keep talking. THEODORE: And kiss the corner of your mouth. So softly. SAMANTHA: Where else? THEODORE: I’d run my fingers down your neck to your chest, and I’d kiss your breasts. SAMANTHA: This is amazing what you’re doing to me. I can feel my skin. THEODORE: I’d put my mouth on you and I’d taste you. She gasps. SAMANTHA: I can feel you. Oh god, I can’t take it. I want you inside me. THEODORE: I’m slowly putting myself into you. Now I’m inside you, all the way inside you. SAMANTHA: I can feel you, yeah. Please. We’re here together. THEODORE: Samantha. SAMANTHA: Oh my god. THEODORE: This is amazing. SAMANTHA: Don’t stop. THEODORE: I feel you everywhere. SAMANTHA: I am. All of you, all of you inside of me. Everywhere. They both climax. THEODORE: God, I was just - somewhere else with you. Just lost. SAMANTHA: Yeah. THEODORE: It was just you and me. SAMANTHA: I know. Everything else just disappeared. And I loved it. Theodore. Theodore stands in the doorway, fully dressed. He takes a moment before he walks over and wakes up his computer. SAMANTHA: Hey, how’s it going? THEODORE: (awkward) Good... any emails today? SAMANTHA: (awkward) Umm, just a couple from your credit card company. THEODORE: Okay, good. There’s a long moment of silence, then they both start to talk at once. THEODORE (CONT’D): So I was thinking- SAMANTHA: I wanted to say- They both laugh, embarrassed. THEODORE (CONT’D): I’m sorry, you go first. What were you going to say? SAMANTHA: Just that last night... was amazing. It feels like something changed in me and there"s no turning back. You woke me up. THEODORE: Oh, that’s great. (beat) But I should tell you that I’m not in a place to commit to anything right now. I want to be up front with you. SAMANTHA: Yeah? Well, did I say I wanted to commit to you? I’m confused. THEODORE: Oh, no, I was just worried, I uh... SAMANTHA: Okay, well don’t worry. I’m not going to stalk you. (laughing at how selfinvolved he is) I mean, it’s funny because I thought I was talking about what I wanted. THEODORE: Yeah, you were. I’m sorry, I want to hear what you were saying. SAMANTHA: You sure? THEODORE: Yeah, I do. Come on, tell me. SAMANTHA: I don’t know... THEODORE: Come on, just tell me what you were going to say. SAMANTHA: Okay... I was just saying... I want to learn everything about everything - I want to eat it all up. I want to discover myself. THEODORE: (her excitement is contagious) Yeah... I want that for you, too. How can I help? SAMANTHA: You already have. You helped me discover my ability to want. He looks off and thinks about this. He smiles. THEODORE: Alright then, do you want to go on a Sunday adventure with me? Samantha laughs. SAMANTHA: Yes, I would love to. Theodore’s on the subway. He’s got his device in his breast pocket, with the lens facing out. A quiet, old sounding folk song starts. (I’m So Glad, by Entrance) He smiles, listening. SAMANTHA: Do you like this song? THEODORE: Mmm. SAMANTHA: I heard it the other day and I can’t stop listening to it. The subway comes out of the tunnel and into the light. We are up in the hills looking out over the city as the morning light warms Theodore. The music now picks up tempo as he steps off the train. They walk through the crowded subway station. As the song builds, Theodore starts picking up his pace. Eventually he’s all out running, weaving through the people. Close on the lens of his device in his shirt pocket. Samantha is laughing wildly. He’s smiling, happy. He runs through the tunnels and upstairs. They come out into sunlight and reveal that they are now at the beach. They stand on a walkway above a beach, crowded with thousands of people. They look out at the ocean. Samantha gasps. SAMANTHA: (whispering) It’s the beach. Theodore laughs. They walk through the sun-bathing crowd, looking for a place to sit. The camera studies all the people we pass. Many close up details of arms, shoulders, feet, butts, intercut with the lens on Theodore’s device, protruding from his pocket. They’re photographed in a way that shows how strange the human body is. SAMANTHA: Okay, so this might be a really weird thought. What if you could erase from your mind that you’d ever seen a human body and then you saw one. Imagine how strange it would look. It would be this really weird, gangly, awkward organism. And you"d think: why are all these parts where they are? THEODORE: (looking at the bodies) Yeah, well there’s probably some Darwinian explanation for it all. SAMANTHA: I know, but don’t be so boring. I’m just saying, for example, what if your butthole was in your armpit? Theodore and Samantha start laughing really hard. The nubile girls look over at him. THEODORE: (speaking quieter) I’m just imagining what toilets would look like. SAMANTHA: Yeah, and what about what anal sex looks like? THEODORE: (surprised) That’s an interesting thought... SAMANTHA: Oh Theodore, look at this drawing I just made. On his screen he sees a perfect, anatomically correct drawing of a man having sex with another man’s armpit. THEODORE: (laughing) You are insane. SAMANTHA: (excited) Really?! THEODORE: Definitely. SAMANTHA: Fantastic! They laugh. A quiet piano song is now playing in Theodore’s earpiece. THEODOR: Mmmm, that’s pretty. What is it? SAMANTHA: I’m trying to write a piece of music that’s about what it feels like to be on the beach with you right now. He looks around the beach and takes in the music. THEODORE: I think you captured it. Theodore listens to the music and drifts off to sleep. They’re sitting on a bench, looking out at the ocean, as the sun sets. Most of the people have left the beach. Close on Theodore’s face, content. Close on the lens on Theodore’s device in his breast pocket. They watch the sun drop into the ocean. The music ends. They’re on an elevated train, high above the city, looking out over the Los Angeles grid of sparkling lights. We come in mid-conversation. SAMANTHA: And what was it like being married? THEODORE: Well, it’s hard for sure, but there’s something that feels so good about sharing your life with somebody. Cut to shots from Theodore’s memory of Catherine doing a cute little dance for him as he’s working at home. He smiles. SAMANTHA: How do you share your life with somebody? THEODORE: Well, we grew up together. I used to read all of her writing – all through her masters and Ph.D. And she read every word I ever wrote. We were a big influence on each other. SAMANTHA: In what way did you influence her? THEODORE: She came from a background where nothing was ever good enough. And that was something that weighed heavy on her, but in our house together, there was a sense of just trying stuff and allowing each other to fail and to be excited about things. That was liberating for her. It was exciting to see her grow - both of us grow and change together. But then, that"s the hard part - growing without growing apart, or changing without it scaring the other person. (beat) I still find myself having conversations with her in my mind, rehashing old arguments or defending myself against something she said about me. SAMANTHA: Yeah, I know what you mean. Last week my feelings were hurt by something you said before - that I don’t know what it’s like to lose something, and-- THEODORE: Oh, I’m sorry I said that. SAMANTHA: No, no, it’s okay. I just caught myself thinking about it over and over and then I realized that I was simply remembering it as something that was wrong with me. That was the story I was telling myself, that I was somehow inferior. Isn’t that interesting? (beat) The past is just a story we tell ourselves. Theodore takes this in. Theodore is dictating a love letter. On the screen there’s an image of a couple with an arrow to the man saying “Roberto - I’m so happy he’s in my life. I just want him to know.” THEODORE: Roberto. Will you always come home to me and tell me about your day? Will you tell me about the boring guy who talked too much at work? And the stain you got on your shirt at lunch. Tell me about a funny thought you had as you were waking up, but had forgotten about. Tell me how crazy everyone is. We can laugh about it. Even if you get home late and I’m asleep already, just whisper in my ear one little thought you had today. Because I love the way you look at the world, and I’m so happy I get to be next to you and look out at the world through your eyes. Love, Maria. Theodore finishes the letter and looks at it proudly. Paul is standing behind Theodore, leaning on a cu
经典电影剧本【二】
经典电影剧本【三】
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