One of a hand-picked selection of some of the most popular and cult-worthy titles on Faber and Faber's extensive list of film scripts.

    This short play by Caryl Churchill was an entry in the 1997 London International Festival of Theatre.

    Fleabag: The Scriptures includes new writing from Phoebe Waller-Bridge alongside the filming scripts and the never-before-seen stage directions from the award-winning series.

    But look closer. Lester Burnham's wife, Carolyn, regards him with contempt, his daughter, Jane, thinks he's a loser, and his boss is positioning him for the ax.Captivated by Jane's sultry high school friend Angela, Lester decides to make a few changes in his mere existence—changes that are less mid-life crisis than a life reclaimed. The freer he gets, the happier he gets, which is even more maddening to his wife and daughter. Complicating matters, Lester finds an unexpected ally in Ricky, the teenage son of the new next-door neighbors, who sees life through a camera lens that has lately focused on Jane Burnham.In pursuit of his new vision of the American dream, Lester is about to learn that the ultimate freedom comes at the ultimate price.The 1999 winner of five Academy Awards®, including Best Picture and Best Original Screenplay, American Beauty boasts an accomplished cast led by two-time Academy Award® Best Actor winner Kevin Spacey (The Usual Suspects) and Oscar® nominee Annette Bening (The Grifters). The ensemble cast also includes Thora Birch (Ghost World), Wes Bentley (The Claim), Mena Suvari (American Pie), Peter Gallagher (Mr. Deeds), Allison Janney (NBC's The West Wing), Scott Bakula (NBC's Quantum Leap), Sam Robards (A.I.: Artificial Intelligence), and Chris Cooper (Adaptation).American Beauty marks the feature film directorial debut of award-winning theater director Sam Mendes (The Blue Room, Cabaret). The film is produced by Dan Jinks (Nothing to Lose) and Bruce Cohen (The Flintstones in Viva Rock Vegas) from an original screenplay by Alan Ball (HBO's Six Feet Under). Stan Wlodkowski (One Hour Photo) and Alan Ball are the co-producers.

    In a series of sketches and animations, the Pythons recount scenes from the Grail legend in which the knights forsake their chorus line can-can dancing in Camelot for a higher aim. Typically, the Pythons set-up a 'historical' tale which is really a take on the modern world. Memorable scenes, like Graham Chapman's King Arthur battling with John Cleese's Black Knight until the latter is reduced limb by limb down to a speaking stump of a torso, capture both the hilarity and grotesque nature of brutality. In scene after scene King Arthur's men are led a merry chase through the countryside, encountering life on many different social levels. This screenplay edition contains just the script and is supplemented by stills from the film.

    Albee there is a theme beneath the surface, in this case the corruption of money and the rottenness of this bigoted exurbia where conformity to its illiberal standards and its hypocritical show of respectability is all that counts. The scene is the suburban home of Jenny and Richard, beautifully played by Barbara Bel Geddes and Barry Nelson. The only thing that seems to stand in the way of their happiness is a lack of money. The action starts in an entertaining comedy of manners style. Then abruptly there enters a Mrs. Toothe in the menacing and fascinating person of Beatrice Straight who offers Jenny the opportunity to make more money than they have ever had, to buy a greenhouse and all the other luxuries that they require for their garden and their lives. Richard's realization that their newfound money is being earned by his wife's whoring comes almost simultaneously with the return of their fourteen-year-old son from school and a champagne cocktail party which they are giving to impress their country club friends. As a result, his horror, disgust and rage has to be kept under wraps in order to keep up essential appearances until tragedy strikes, and Richard realizes that the assembled wives are all involved and their husbands are aware and condoning." More than that, they are prepared not merely to justify but defend the ends through which their means are attained and the devastated Richard, left in agonized despair by the ironic events that charge the final moments of the play, must face the fact of his own share in their communal guilt.

    Starring WillFerrell, Maggie Gyllenhaal, Dustin Hoffman, Queen Latifah,and Emma Thompson, Stranger Than Fiction is a heartfelt film,perhaps a comedy, perhaps a tragedy, about love and literatureand death and taxes.

    His dialogue--abrasive, rhythmic--illuminates a modern aesthetic evocative of Samuel Beckett. His plots--surprising, comic, topical--have evoked comparisons to masters from Alfred Hitchcock to Arthur Miller. Here are two screenplays demonstrating the astounding range of Mamet's talents.         The Spanish Prisoner, a neo-noir thriller about a research-and-development cog hoodwinked out of his own brilliant discovery, demonstrates Mamet's incomparable use of character in a dizzying tale of twists and mistaken identity. The Winslow Boy, Mamet's revisitation of Terence Rattigan's  classic 1946 play, tells of a thirteen-year-old boy accused of stealing a five-shilling postal order and the tug of war for truth that ensues between his middle-class family and the Royal Navy. Crackling with wit, intelligent and surprising, The Spanish Prisoner and The Winslow Boy celebrate Mamet's unique genius and our eternal fascination with the extraordinary predicaments of the common man.

    The story is basically one long chase, chiefly after two naughty grocer's assistants who, when their master goes off on a binge with a new mistress, escape to Vienna on a spree. "While preserving the beautiful intricacies of this construction, Stoppard has embellished Razzle with a dazzle of verbal wit an unremitting firework display of puns, crossword puzzle tricks and sly sexual innuendos." London Daily Telegraph . "Apart from Jumpers and The Importance of Being Earnest there may be no script in English funnier than On the Razzle." London Observer.

    Only two characters appear on stage; Hughie, the third and most important one, is dead. It is Hughie's innocence, gullibility, and need to believe in a far more exciting existence than he ever knew which gives some kind of purpose to the shabby lives of the two who remain. O'Neill here again writes of the defeated and the courage that comes by way of illusions reflecting still other illusions in a world that needs them all.Hughie, the only surviving manuscript from a series of eight one-act monologue plays that O'Neill planned in 1940, was completed in 1941.

    He is known for masterpieces of controlled human emotion, exploring every facet of the personality in relentless detail. He wrote: "I had the possibility of corresponding with the world around me in a language that is literally spoken from soul to soul."These two screenplays, liberally illustrated with production stills featuring actors, including his favourite actress, ex wife, Liv Ullman, are classics of the screen. They will be sought after by film students, and lovers of his films, New interest in Bergman is being generated by the recent release of Faithless, Liv Ullman's 2001 masterpiece, with a screenplay by Bergman.Born in Sweden in 1918, Ingmar Bergman is still contributing to his canon of work.

    Devout court composer Antonio Salieri plots against his rival, the dissolute but supremely talented Wolfgang Amadeus Mozart. How far will Salieri go to achieve the fame that Mozart disregards? The 1981 Tony Award winner for Best Play. An L.A. Theatre Works full cast performance featuring: Steven Brand as Baron van Swieten James Callis as Mozart Michael Emerson as Salieri Darren Richardson as Venticello 2 Alan Shearman as Count Orsini-Rosenberg Mark Jude Sullivan as Venticello 1 Simon Templeman as Joseph II Brian Tichnell as Count Johann Kilian Von Strack Jocelyn Towne as Constanze Directed by Rosalind Ayres. Recorded in Los Angeles before a live audience at The James Bridges Theater, UCLA in September of 2016.

    The show's unconventional structure consists of Cathy, the woman, telling her story backwards while Jamie, the man, tells his story chronologically; the two characters meet only once, at their wedding in the middle of the show.Jason Robert Brown won Drama Desk Awards for the music and the lyrics after the Off-Broadway premiere in 2002 starring Norbert Leo Butz and Sherie Rene Scott. The show has since been produced at almost every major regional theater in the U.S., and has been seen in Korea, Japan, the Philippines, Germany, Italy, Canada, Spain, and the UK.

    Moliere's farcical, tragic, anarchic Don Juan (1665) is the inspiration for Patrick Marber's new play in which the action of the original is relocated to present day Soho, London.Whereas Moliere condemned his anti-hero to a literal Hell, Marber condemns him to a hell of his own making.Don Juan in Soho premiered at the Donmar Warehouse in December 2006.

    This collection of three screenplays displays his defiantly unorthodox approach to film form, as well as the unclassifiable imaginative energy that drives all of his work.