25.04.2013 Views

C:\Arc\Akeela & the Bee\Akeelah and the Bee Cover.wpd

C:\Arc\Akeela & the Bee\Akeelah and the Bee Cover.wpd

C:\Arc\Akeela & the Bee\Akeelah and the Bee Cover.wpd

SHOW MORE
SHOW LESS

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

COMBINED DIALOGUE AND CONTINUITY<br />

AND SPOTTING LIST<br />

"AKEELAH AND THE BEE"<br />

COPYRIGHT BY: © 2005 Lions Gate Films, Inc. &<br />

2929 Productions LLC<br />

EXHIBITION FOOTAGE: 9,863 Feet 07 Frames<br />

APPROXIMATE RUNNING TIME: 109 Minutes 35 Seconds<br />

INITIAL DATE PREPARED: April 7, 2006<br />

SUPPLIED RATIO: FLAT (1:85)<br />

TOTAL NUMBER OF TITLES: 1527<br />

TOTAL NUMBER OF CUTS: 2133<br />

TOTAL CCSL PAGE COUNT: 403<br />

REEL #1<br />

REEL #2<br />

REEL #3<br />

REEL #4<br />

REEL #5<br />

REEL #6<br />

ACTUAL FOOTAGE:<br />

1,522 feet 11 frames<br />

1,637 feet 03 frames<br />

1,850 feet 15 frames<br />

1,600 feet 07 frames<br />

1,683 feet 11 frames<br />

1,640 feet 08 frames<br />

Contact Information:<br />

Script Prepared by:<br />

OnCore Productions<br />

27172 Coachman Way<br />

Lake Forest, CA. 92630<br />

Ph: 949-588-9440 Fax: 949-588-8352<br />

www.ocpscripters.com<br />

script@ocpscripters.com<br />

Notify: Todd Rodowsky<br />

EXHIBITION FOOTAGE:<br />

1,510 feet 11 frames<br />

1,625 feet 03 frames<br />

1,838 feet 15 frames<br />

1,588 feet 07 frames<br />

1,671 feet 11 frames<br />

1,628 feet 08 frames<br />

TITLE #<br />

1-279<br />

280-532<br />

533-835<br />

836-1094<br />

1095-1338<br />

1339-1527<br />

Contact Information:<br />

Lions Gate Films<br />

2700 Colorado Ave, 2 nd floor<br />

Santa Monica, CA 90404<br />

310-449-9200


INSTRUCTIONS:<br />

COMBINED DIALOGUE AND SPOTTING LIST<br />

Prepared by: ON-CORE PRODUCTIONS<br />

The Column at Left<br />

This is <strong>the</strong> combined continuity <strong>and</strong> dialogue. Here <strong>the</strong> scene changes are numbered<br />

consecutively in <strong>the</strong> left margin.<br />

Feet <strong>and</strong> Frames are divided by a + sign. The dialogue is inserted where it<br />

relates to shots <strong>and</strong> action, which is described in brief terms.<br />

The column headed "Title No."<br />

In this column, <strong>the</strong> titles are numbered consecutively. Your title numbers must<br />

match <strong>the</strong>se exactly. An "I" following a title number indicates that <strong>the</strong> title is<br />

in italics - that it is a narration or some o<strong>the</strong>r voice not in <strong>the</strong> scene - but<br />

does not apply for situations where <strong>the</strong> character speaking is simply off screen<br />

but still in <strong>the</strong> scene.<br />

The Columns under Spotting List Footages <strong>and</strong> Titles<br />

Start - where <strong>the</strong> dialogue starts, marked in feet <strong>and</strong> frames. Feet are divided<br />

from frames by a decimal point (.) An * in front of <strong>the</strong> footage here indicates<br />

that <strong>the</strong> title begins on or in <strong>the</strong> next frame after a scene cut.<br />

Stop - where <strong>the</strong> dialogue ends, marked in feet/frames, as in Start. * indicates<br />

that <strong>the</strong> title ends on <strong>the</strong> next scene cut, or <strong>the</strong> frame immediately before.<br />

Total - The number of feet <strong>and</strong> frames in a title. This indicates <strong>the</strong> time <strong>the</strong><br />

title is on <strong>the</strong> screen <strong>and</strong> determines <strong>the</strong> maximum length permitted for your<br />

translation. A foot of film passes <strong>the</strong> screen in 2/3 of a second. Thus, a 6 foot<br />

title remains on <strong>the</strong> screen for 4 seconds. A foot of film contains 16 individual<br />

frames. Thus if <strong>the</strong> title total reads 4.04 it means <strong>the</strong>re are 4 feet <strong>and</strong> 4 frames<br />

available for that title.<br />

You are allowed 10 letters <strong>and</strong> spaces per foot. A capital letter counts as two<br />

letters. Thus 4 feet, 4 frames would permit 4.25 x 10 = 42.5. Rounded yields 42<br />

letters <strong>and</strong> spaces. There will never be less than 1 or more than 7 feet in a<br />

title - if <strong>the</strong> bit of dialogue lasts more than 7 feet when <strong>the</strong> character speaks<br />

it, it is divided into as many component parts as necessary to make logical<br />

thoughts fit within <strong>the</strong> 7 feet permitted. If a bit of dialogue is less than 1<br />

foot when <strong>the</strong> character speaks, <strong>the</strong> footage is juggled to extend it to 1 foot -<br />

this eliminates "flashing." When dialogue from different characters overlaps, it<br />

is so indicated - any decisions about priorities <strong>and</strong> placement are up to you.<br />

Title - These are <strong>the</strong> titles to be translated. In general, you will adhere as<br />

closely as possible to <strong>the</strong> English title, but not to <strong>the</strong> detriment of your<br />

adaptation. Specialized colloquialisms have been pointed out <strong>and</strong> explained or<br />

given an alternative meaning.<br />

Music - (Music In) & (Music Out) is an approximation of <strong>the</strong> start <strong>and</strong> stop times<br />

<strong>and</strong> generally applies to Score only, when applicable.<br />

Specialized Sounds - Effects, Background noise generally captured, or special<br />

incidents, are commonly defined as BOLD type for hearing impaired description.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 1<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(00+00) PICTURE START (00+00) PICTURE START<br />

1. BLACK FRAME<br />

(12+00)<br />

(MUSIC IN)<br />

FADE IN TO;<br />

2. (16+14) ANIMATED<br />

CARD with GEARS<br />

ROLLING. CAMERA FLIES<br />

AWAY <strong>and</strong> ALONG THE<br />

AXIS of <strong>the</strong> GEARS.<br />

CAMERA FLIES through a<br />

KEYHOLE <strong>and</strong>... WE SEE<br />

LIONSGATE<br />

CARD FADES OUT<br />

3. (48+12) ANIMATED<br />

CARD FADES IN<br />

2929<br />

PRODUCTIONS<br />

A 2929 Entertainment<br />

Company<br />

CARD FADES OUT<br />

4. (60+03) ANIMATED<br />

CARD FADES IN<br />

STARBUCKS<br />

ENTERTAINMENT<br />

CARD FADES OUT<br />

5. (68+13)<br />

AKEELAH:(VO)<br />

Akeelah.<br />

(77+09) TITLE<br />

FADES IN <strong>and</strong> SPELLS.<br />

AKEELAH<br />

<strong>and</strong> <strong>the</strong> <strong>Bee</strong><br />

TITLES FADE OUT<br />

CARD ( 39.07) ( 47.04)<br />

(ANIMATED CARD FADES IN<br />

FADES OUT<br />

LIONSGATE )<br />

CARD ( 48.12) ( 58.00) (ANIMATED CARD FADES<br />

IN, FADES OUT<br />

2929<br />

PRODUCTIONS<br />

A 2929 Entertainment Company )<br />

CARD ( 60.03) ( 68.12) (ANIMATED CARD FADES<br />

IN, FADES OUT<br />

STARBUCKS ENTERTAINMENT )<br />

1. 75.12 77.04 1.08 AKEELAH:(VO)<br />

Akeelah.<br />

MT#1 ( 77.09) ( 91.01) (TITLE SPELLS IN OVER<br />

AKEELAH )<br />

MT#2 ( 85.13) ( 91.01)<br />

(TITLE FADES IN, TITLES<br />

FADE OUT<br />

<strong>and</strong> <strong>the</strong> <strong>Bee</strong> )


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 2<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

6. EXT. - CRENSHAW DISTRICT - DAY<br />

(95+06) FULL SHOT<br />

GRAFFITI on a wall.<br />

CAMERA PANS R.<br />

AKEELAH:(VO)<br />

You know that feeling<br />

where no matter what<br />

you do, or where you<br />

go...<br />

7. (100+12) FULL SHOT<br />

A MAN WALKS along a<br />

deserted street with<br />

head hung. CAMERA<br />

TRACKS L.<br />

AKEELAH:(VO)(CONT)<br />

...you just don't fit<br />

in?<br />

8. (104+01) FULL SHOT<br />

TRAFFIC crosses a<br />

railroad track.<br />

AKEELAH:(VO)(CONT)<br />

I don't know <strong>the</strong> word<br />

for that.<br />

9. (106+12) FULL SHOT<br />

Workers with a truck<br />

<strong>and</strong> a man with a<br />

grocery cart on a<br />

sidewalk.<br />

AKEELAH:(VO)(CONT)<br />

Alienation...<br />

10. (109+01) FULL SHOT<br />

A DESERTED LOT. CAMERA<br />

TRACKS R. -- WE SEE a<br />

FENCE FG.<br />

AKEELAH:(VO)(CONT)<br />

...estrangemenet...<br />

2. * 95.06 100.06 5.00 AKEELAH:(VO)<br />

You know that feeling<br />

where no matter what<br />

you do, or where you<br />

go...<br />

3. *100.12 102.12 2.00 AKEELAH:(VO)(CONT)<br />

...you just don't fit<br />

in?<br />

4. 104.06 105.14 1.08 AKEELAH:(VO)(CONT)<br />

I don't know <strong>the</strong> word<br />

for that.<br />

5. 107.03 108.15 1.12 AKEELAH:(VO)(CONT)<br />

Alienation...<br />

6. 109.08 111.02 1.10 AKEELAH:(VO)(CONT)<br />

...estrangemenet...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 3<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - CRENSHAW DISTRICT - CONT)<br />

(MUSIC - CONT)<br />

11. (111+08) FULL SHOT<br />

a GIRL WALKS along a<br />

sidewalk BG.<br />

AKEELAH:(VO)(CONT)<br />

...incompatibility.<br />

12. (114+00) MS BARBED<br />

Wire, a FENCE <strong>and</strong><br />

FLOWERS. CAMERA<br />

TRACKS L.<br />

AKEELAH:(VO)(CONT)<br />

Naw, those ain't<br />

right.<br />

13. (117+07) FULL SHOT<br />

TRAFFIC a BUS <strong>and</strong><br />

STREET LIFE.<br />

AKEELAH:(VO)(CONT)<br />

But <strong>the</strong>re's gotta<br />

be...<br />

14. (118+15) FULL SHOT<br />

STREET LIFE.<br />

AKEELAH:(VO)(CONT)<br />

...a word for it.<br />

15. (121+04) FULL SHOT<br />

THREE MEN walk along a<br />

sidewalk. CAMERA<br />

TRACKS L.<br />

AKEELAH:(VO)(CONT)<br />

'Cause it's how I feel<br />

all <strong>the</strong> time.<br />

7. 111.15 113.09 1.10 AKEELAH:(VO)(CONT)<br />

...incompatibility.<br />

8. 114.02 116.11 2.09 AKEELAH:(VO)(CONT)<br />

Naw, those ain't right.<br />

9. 117.07 120.02 2.11<br />

(over scene end) AKEELAH:(VO)(CONT)<br />

But <strong>the</strong>re has to be a<br />

word for it.<br />

10. 121.08 123.10 2.02 AKEELAH:(VO)(CONT)<br />

Because it is how I<br />

feel all <strong>the</strong> time.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 4<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - CRENSHAW DISTRICT - CONT)<br />

(MUSIC - CONT)<br />

16. (124+09) HEAD SHOT<br />

AKEELAH ANDERSON walks<br />

moving to FG. CAMERA<br />

PULLS BACK PRECEDING.<br />

AKEELAH:(VO)(CONT)<br />

My name's Akeelah<br />

Anderson <strong>and</strong> I'm<br />

eleven years old. And<br />

this all starts at...<br />

LAP DISSOLVE;<br />

17. EXT.-CRENSHAW MIDDLE<br />

SCHOOL-DAY<br />

(132+07) MS Fence<br />

PLAYGROUND BG. OUT OF<br />

FOCUS, <strong>the</strong>n ROLLS IN<br />

as CHILDREN PLAY on a<br />

basketball court.<br />

AKEELAH:(VO)(CONT)<br />

...Crenshaw Middle<br />

School, in South Los<br />

Angeles.<br />

(CLASS BELL)<br />

18. INT. - CRENSHAW SCHOOL - DAY<br />

(141+10) FULL SHOT of<br />

a HALLWAY.<br />

19. (145+06) MS FOGGED<br />

WINDOW PANES... WE SEE<br />

Children fill into<br />

place BEYOND THE<br />

GLASS. CAMERA TRACKS<br />

R.<br />

20. (149+05) MS<br />

LOCKERS <strong>and</strong> STUDENTS<br />

FG. CAMERA TRACKS R.<br />

(LOCKER SLAMS)<br />

(ECHOES)<br />

11. 125.00 129.05 4.05 AKEELAH:(VO)(CONT)<br />

My name is Akeelah<br />

Anderson <strong>and</strong> I'm eleven<br />

years old.<br />

12. 130.08 134.01 3.09 AKEELAH:(CONT)<br />

And this all starts<br />

at Crenshaw Middle<br />

School...<br />

13. 134.07 137.11 3.04 AKEELAH:(VO)(CONT)<br />

...in South Los<br />

Angeles.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 5<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - CRENSHAW SCHOOL - CONT)<br />

(MUSIC - CONT)<br />

21. (153+03) FULL SHOT<br />

of a CLASSROOM from<br />

<strong>the</strong> entry door. WE<br />

SEE BORED CHILDREN<br />

sitting in class.<br />

CAMERA TRACKS R.<br />

22. (157+10) MS<br />

TEACHER MRS. CROSS POV<br />

of graded class work<br />

papers spelling words.<br />

(MUSIC OUT)<br />

SHE WALKS to as she<br />

h<strong>and</strong>s out <strong>the</strong> test<br />

papers to class<br />

members.<br />

CROSS:(OUT LOUD)<br />

You're all in <strong>the</strong><br />

seventh grade now, <strong>and</strong><br />

I know you can do<br />

better than this. So<br />

when I give you a list<br />

of words, study <strong>the</strong>m.<br />

WE SEE AKEELAH<br />

ANDERSON sitting at<br />

her desk, looking AWAY<br />

to BG.<br />

CROSS:(TO AKEELAH)<br />

Akeelah!<br />

Akeelah turns to FG.<br />

23. (173+12) CHEST SHOT<br />

LOW ANGLE Ms. Cross.<br />

CROSS:(CONT)<br />

How long did you study<br />

for <strong>the</strong> spelling test?<br />

14. 158.12 164.15 6.03 CROSS:(OUT LOUD)<br />

You are all in <strong>the</strong><br />

seventh grade now, <strong>and</strong><br />

I know you can do<br />

better than this.<br />

15. 165.05 170.05 5.00 CROSS:(CONT)<br />

So when I give you a<br />

list of words, study<br />

<strong>the</strong>m.<br />

16. 170.12 172.04 1.08 CROSS:(TO AKEELAH)<br />

Akeelah!<br />

17. 174.03 176.14 2.11 CROSS:(CONT)<br />

How long did you study<br />

for <strong>the</strong> spelling test?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 6<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - CRENSHAW SCHOOL - CONT)<br />

24. (177+03) MCS<br />

Akeelah, FG. GEORGIA<br />

her friend R. BG.<br />

(CLASS LAUGHTER)<br />

25. (179+09) M FULL<br />

SHOT Class BG.<br />

chuckles.<br />

26. (181+08) MCS<br />

Akeelah FG.<br />

AKEELAH:(TO CROSS)(OS)<br />

I didn't.<br />

27. (183+14) CHEST SHOT<br />

OTS Cross looks to<br />

Akeelah FG. She places<br />

Akeelah's paper on her<br />

desk.<br />

CROSS:(TO AKEELAH)<br />

See me...<br />

Akeelah looks to her<br />

paper o/s BOTTOM.<br />

28. (188+10) CHEST SHOT<br />

Akeelah looks to <strong>the</strong><br />

paper in Mrs. Cross'<br />

h<strong>and</strong> FG.<br />

CROSS:(CONT)<br />

...after class.<br />

CAMERA MOVES IN as<br />

Cross deals with o<strong>the</strong>r<br />

students o/s.<br />

CROSS:(OUT LOUD)<br />

You two? You can turn<br />

around.<br />

18. 181.11 183.12 2.01 AKEELAH:(TO CROSS)(OS)<br />

I didn't.<br />

19. 188.04 190.02 1.14<br />

(over scene end) CROSS:(TO AKEELAH)<br />

See me after class.<br />

20. 191.09 195.12 4.03<br />

(over scene end) CROSS:(OUT LOUD)<br />

You two? You can turn<br />

around. Enough!


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 7<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - CRENSHAW SCHOOL - CONT)<br />

29. (194+06) CS of<br />

Akeelah's paper. Her<br />

score is an A+ <strong>and</strong><br />

100%.<br />

CROSS:(OS)(CONT)<br />

Enough!<br />

30. (197+12) MCS<br />

Akeelah.<br />

CROSS:(VO)(TO AKEELAH)<br />

You know...<br />

31. (201+02) CHEST SHOT<br />

Ms. Cross at her chalk<br />

board. She turns to<br />

face Akeelah L.<br />

CROSS:(CONT)<br />

...you could be one of<br />

my very best students.<br />

But you don't turn in<br />

half your homework.<br />

32. (208+05) CHEST SHOT<br />

Akeelah.<br />

CROSS:(OS)(CONT)<br />

Sometimes you don't<br />

even show up for<br />

class.<br />

33. (211+13) CHEST SHOT<br />

OTS Cross.<br />

CROSS:(CONT)<br />

What's going on?<br />

34. (213+06) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO CROSS)(OS)<br />

I don't know.<br />

35. (215+07) CHEST SHOT<br />

OTS Cross sighs.<br />

21. 199.11 205.02 5.07<br />

(over scene end) CROSS:(VO)(TO AKEELAH)<br />

You know you could be<br />

one of my very best<br />

students.<br />

22. 205.08 211.06 5.14<br />

(over scene end) CROSS:(CONT)<br />

But you don't turn in<br />

half your homework.<br />

Sometimes you don't<br />

even show up for class.<br />

23. *211.14 213.06* 1.08 CROSS:(CONT)<br />

What is going on?<br />

24. 213.09 215.03 1.10 AKEELAH:(TO CROSS)(OS)<br />

I don't know.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 8<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - CRENSHAW SCHOOL - CONT)<br />

36. (217+12) CHEST SHOT<br />

Akeelah looks o/s R.<br />

37. (219+08) WAIST SHOT<br />

Georgia OUTSIDE looks<br />

in to Akeelah o/s L.<br />

38. (221+07) CHEST SHOT<br />

Akeelah looks o/s R.<br />

to Georgia <strong>and</strong> SMILES.<br />

39. (222+11) CHEST SHOT<br />

OTS Cross.<br />

CROSS:(TO AKEELAH)<br />

Have you heard of...<br />

40. (224+13) CHEST SHOT<br />

Akeelah SMILES o/s R.<br />

to Georgia. Then TURNS<br />

HER ATTENTION back to<br />

Ms. Cross o/s R.<br />

41. (227+07) CHEST SHOT<br />

OTS Cross.<br />

CROSS:(CONT)<br />

Have you heard of next<br />

week's Spelling <strong>Bee</strong>?<br />

42. (230+11) CHEST SHOT<br />

Akeelah.<br />

CROSS:(TO AKEELAH)(OS)<br />

No.<br />

43. (232+10) CHEST SHOT<br />

OTS Cross h<strong>and</strong>s a<br />

paper to Akeelah.<br />

CROSS:(TO AKEELAH)<br />

Well...<br />

44. (234+14) CS of <strong>the</strong><br />

paper.<br />

CROSS:(CONT)<br />

...I think you should<br />

sign up for it.<br />

25. 222.13 224.05 1.08 CROSS:(TO AKEELAH)<br />

Have you heard of...<br />

26. 228.05 230.08 2.03 CROSS:(CONT)<br />

Have you heard of next<br />

week's Spelling <strong>Bee</strong>?<br />

27. 231.00 232.08 1.08 CROSS:(TO AKEELAH)(OS)<br />

No.<br />

28. 234.00 236.03 2.03<br />

(over scene end) CROSS:(TO AKEELAH)<br />

Well, I think you<br />

should sign up for it.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 9<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - CRENSHAW SCHOOL - CONT)<br />

45. (236+11) CHEST SHOT<br />

Akeelah looks to <strong>the</strong><br />

paper.<br />

46. (239+15) MS OTS<br />

Akeelah takes <strong>the</strong><br />

paper from Ms. Cross'<br />

h<strong>and</strong>.<br />

IT READS:<br />

Inaugural Spelling <strong>Bee</strong><br />

47. EXT. - STREET - DAY<br />

(244+05) LS WE SEE<br />

Akeelah <strong>and</strong> Georgia<br />

walking along a<br />

sidewalk in <strong>the</strong> local<br />

CRENSHAW NEIGHBORHOOD.<br />

GEORGIA:(TO AKEELAH)<br />

Does he really think<br />

I'm gonna be walking<br />

around in little<br />

shorts like that? He<br />

crazy. Oh...<br />

48. (252+05) WAIST SHOT<br />

Akeelah L., Georgia R.<br />

<strong>the</strong>y WALK TO FG.,<br />

CAMERA PRECEDES.<br />

GEORGIA:(CONT)<br />

...is Devon comin'<br />

back today?<br />

AKEELAH:(TO GEORGIA)<br />

Yeah, got a two week<br />

leave.<br />

GEORGIA:(TO AKEELAH)<br />

Your bro<strong>the</strong>r is fine!<br />

I got it all figured<br />

out. Look, he gonna be<br />

<strong>the</strong> pilot on a big<br />

commercial jet, <strong>and</strong><br />

I'm gonna be <strong>the</strong><br />

flight attendant.<br />

(GEORGIA GIGGLES)<br />

29.I 240.04 243.10 3.06 :<br />

Inaugural Spelling <strong>Bee</strong><br />

30. 245.03 251.01 5.14 GEORGIA:(TO AKEELAH)<br />

Does he really think<br />

I'm going to walk<br />

around in little shorts<br />

like that? He is<br />

crazy.<br />

31. *252.05 255.00 2.11 GEORGIA:(CONT)<br />

Is Devon coming back<br />

today?<br />

32. 255.11 257.11 2.00 AKEELAH:(TO GEORGIA)<br />

Yeah, got a two week<br />

leave.<br />

33. 258.03 260.07 2.04 GEORGIA:(TO AKEELAH)<br />

Your bro<strong>the</strong>r is fine!<br />

34. 261.07 267.03 5.12 GEORGIA:(CONT)<br />

I got it all figured<br />

out. Look, he is going<br />

to be <strong>the</strong> pilot on a<br />

big commercial jet...<br />

35. 267.09 270.04 2.11 GEORGIA:(CONT)<br />

...<strong>and</strong> I'm going to be<br />

<strong>the</strong> flight attendant.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 10<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - STREET - CONT)<br />

CAMERA PULLS BACK to<br />

reveal a man STEVE R.<br />

FG. with his h<strong>and</strong> out.<br />

STEVE:(TO GIRLS)<br />

Got any change for an<br />

old man, girls?<br />

GEORGIA:(TO STEVE)<br />

I ain't got no change<br />

myself.<br />

49. (277+15) CHEST SHOT<br />

Akeelah walks.<br />

(MUSIC IN)<br />

Akeelah looks o/s R.<br />

to <strong>the</strong> sound of <strong>the</strong><br />

music.<br />

50. (281+01) FULL SHOT<br />

WE SEE a classy,<br />

shinny 4 door SUV roll<br />

to FG.<br />

GEORGIA:(OS)<br />

(TO AKEELAH)(OS)<br />

Damn, Derrick-T's new<br />

ride is tight!<br />

CAMERA PANS R. to<br />

follow DERRICK-T in<br />

<strong>the</strong> passenger's side<br />

of <strong>the</strong> vehicle.<br />

CAMERA PANS R. <strong>and</strong><br />

FRAMES Akeelah L,<br />

Georgia R. as <strong>the</strong>y<br />

walk to FG.<br />

Derrick-T's SUV PULLS<br />

AWAY to BG.<br />

(MUSIC OUT)<br />

36. 272.05 274.07 2.02 STEVE:(TO GIRLS)<br />

Got any change for an<br />

old man, girls?<br />

37. 275.13 277.05 1.08 GEORGIA:(TO STEVE)<br />

I ain't got no change<br />

myself.<br />

38. 283.10 286.14 3.04 GEORGIA:(OS)<br />

(TO AKEELAH)(OS)<br />

Damn, Derrick-T's new<br />

ride is tight!<br />

(Damn: An oath.)<br />

(Tight: Slang, "impressive.")


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 11<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - STREET - CONT)<br />

(MUSIC - CONT)<br />

AKEELAH:(TO GEORGIA)<br />

He's been tryin' to<br />

get Terrence in<br />

trouble.<br />

GEORGIA:(TO AKEELAH)<br />

Girl, your bro' can<br />

get his own self in<br />

trouble. What'd did<br />

Ms. Cross want?<br />

Akeelah looks to <strong>the</strong><br />

Spelling <strong>Bee</strong> paper in<br />

her h<strong>and</strong>.<br />

AKEELAH:(TO GEORGIA)<br />

Nothing. Just talkin'<br />

'bout some stupid ass<br />

Spelling <strong>Bee</strong>.<br />

GEORGIA:(TO AKEELAH)<br />

You gonna do it?<br />

Well, you'd probably<br />

be good.<br />

AKEELAH:(TO GEORGIA)<br />

And get up in front of<br />

everybody? I'd<br />

probably pee my pants.<br />

Akeelah CRUMPLES <strong>the</strong><br />

paper <strong>and</strong> THROWS it<br />

AWAY to BG.<br />

39. 290.04 293.15 3.11<br />

AKEELAH:(TO GEORGIA)<br />

He has been trying to<br />

get Terrence in<br />

trouble.<br />

40. 294.12 297.08 2.12 GEORGIA:(TO AKEELAH)<br />

Girl, your bro<strong>the</strong>r can<br />

get his own self in<br />

trouble.<br />

41. 298.08 300.11 2.03 GEORGIA:(CONT)<br />

What did Ms. Cross<br />

want?<br />

42. 301.08 306.03 4.11 AKEELAH:(TO GEORGIA)<br />

Nothing. Just talking<br />

about some stupid ass<br />

Spelling <strong>Bee</strong>.<br />

(Ass: Expletive.)<br />

43. 306.09 310.10 4.01 GEORGIA:(TO AKEELAH)<br />

Are you going to do it?<br />

Well, you would<br />

probably be good at<br />

it.<br />

44. 311.00 315.12 4.12 AKEELAH:(TO GEORGIA)<br />

And get up in front of<br />

everybody? I would<br />

probably pee my pants.<br />

(Pee: Urinate.)


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 12<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - STREET - CONT)<br />

(MUSIC - CONT)<br />

51. (318+00) MS LOW<br />

ANGLE <strong>the</strong> girls FEET<br />

walk AWAY. WE SEE <strong>the</strong><br />

Spelling <strong>Bee</strong> paper<br />

DROP FG.<br />

AKEELAH:(CONT)<br />

So, tell me about <strong>the</strong><br />

boy who asked you to<br />

wear <strong>the</strong>m shorts.<br />

GEORGIA:(TO AKEELAH)<br />

I think he's cute.<br />

52. INT. -AKEELAH'S BEDROOM- NIGHT<br />

(323+15) MS a STAND of<br />

BOOKS on a SHELF in<br />

Akeelah's bedroom. WE<br />

SEE REFERENCE BOOKS<br />

for words, a,<br />

THESAURUS, a<br />

DICTIONARY, Several<br />

NOVELS <strong>and</strong> a SCRABBLE<br />

BOOK.<br />

(MUSIC IN)<br />

(COMPUTER SFX)<br />

53. (331+11) CS of a<br />

COMPUTER MONITOR. WE<br />

SEE that Akeelah o/s<br />

IS PLAYING SCRABBLE on<br />

<strong>the</strong> Computer. Letters<br />

ARE PICKED <strong>and</strong> MOVE.<br />

54. (335+07) ECS<br />

Akeelah's EYES ONLY.<br />

WE SEE <strong>the</strong> REFLECTION<br />

of <strong>the</strong> game on her EYE<br />

GLASSES.<br />

55. (337+03) CS HIGH<br />

ANGLE Akeelah's MOVES<br />

A COMPUTER MOUSE with<br />

her h<strong>and</strong>.<br />

45. 318.12 321.08 2.12 AKEELAH:(CONT)<br />

So, tell me about <strong>the</strong><br />

boy who asked you to<br />

wear shorts.<br />

46. 321.15 323.07 1.08 GEORGIA:(TO AKEELAH)<br />

I think he is cute.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 13<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S BEDROOM - CONT)<br />

(MUSIC - CONT)<br />

56. (337+15) CS<br />

COMPUTER SCREEN. WE<br />

SEE <strong>the</strong> word "FUCHSIA"<br />

Assemble on <strong>the</strong><br />

screen's Scrabble<br />

board.<br />

:<br />

FUCHSIA<br />

57. (341+01) MS<br />

ANIMATED GAME<br />

EXPLOSION<br />

(GAME SOUND)<br />

:<br />

BINGO<br />

--- appears.<br />

(FIRE WORKS)<br />

CAMERA TILTS UP <strong>and</strong> WE<br />

READ<br />

:<br />

Akeelah played<br />

"FUCHSIA" for 69<br />

points.<br />

58. (346+01) WAIST SHOT<br />

Akeelah L., smiles <strong>and</strong><br />

looks to her computer<br />

monitor R.<br />

(FOOTS STEPS)<br />

KIANA Akeelah's sister<br />

<strong>and</strong> her BABY ENTER BG.<br />

KIANA:(TO AKEELAH)<br />

Keelie, mama says go<br />

eat.<br />

AKEELAH:(TO KIANA)<br />

I'm about to get a<br />

high score. One<br />

minute.<br />

47.I 339.05 340.13 1.08 :<br />

FUCHSIA<br />

48.I 341.11 343.03 1.08 :<br />

BINGO<br />

49.I 343.09 345.09 2.00 :<br />

Akeelah played "FUCHSIA" for 69 points.<br />

50. 349.07 352.00 2.09 KIANA:(TO AKEELAH)<br />

Keelie, mama says go<br />

eat.<br />

(Keelie: A familiar name, a nickname.)<br />

51. 352.06 354.00 1.10 AKEELAH:(TO KIANA)<br />

I'm about to get a high<br />

score. One minute.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 14<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S BEDROOM - CONT)<br />

(MUSIC - CONT)<br />

59. (353+15) CHEST SHOT<br />

Kiana <strong>and</strong> her Baby.<br />

KIANA:(TO AKEELAH)<br />

I don't care. Mama<br />

says go eat.<br />

60. INT. - DINING ROOM - NIGHT<br />

(357+12) M FULL SHOT<br />

WANDA ANDERSON steps<br />

from her kitchen <strong>and</strong><br />

WALKS to FG. with FOOD<br />

to be served. CAMERA<br />

PULLS BACK to include<br />

DEVON ANDERSON L. at<br />

<strong>the</strong> family table.<br />

DEVON:(OS)(TO WANDA)<br />

Oh yeah! I've been<br />

dreamin' about your<br />

cookin' for <strong>the</strong> last<br />

five months. Here,<br />

let me take that.<br />

WE HEAR a TV running<br />

o/s.<br />

W<strong>and</strong>a puts food down<br />

as CAMERA PULLS BACK<br />

as FAMILY MEMBERS<br />

ARRIVE.<br />

WANDA:(TO DEVON)<br />

At least I got one<br />

baby who appreciate<br />

what I do around here.<br />

DEVON:(TO WANDA)<br />

Oh, we all appreciate<br />

ya.<br />

Akeelah ENTERS FG.<br />

DEVON:(TO AKEELAH)<br />

Hey...<br />

52. 354.07 357.01 2.10 KIANA:(TO AKEELAH)<br />

I don't care. Mama<br />

says go eat.<br />

53. 358.05 364.04 5.15 DEVON:(OS)(TO WANDA)<br />

Oh yeah! I have been<br />

dreaming about your<br />

cooking for <strong>the</strong> last<br />

five months. Here, let<br />

me take that.<br />

54. 364.10 368.01 3.07 WANDA:(TO DEVON)<br />

At least I got one baby<br />

who appreciate what I<br />

do around here.<br />

55. 368.07 369.15 1.08 DEVON:(TO WANDA)<br />

Oh, we all appreciate<br />

you.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 15<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - DINING ROOM - CONT)<br />

61. (370+09) WAIST SHOT<br />

OTS Akeelah R. Devon<br />

FG. BACK TO CAMERA.<br />

DEVON:(CONT)<br />

Give me some sugar.<br />

Akeelah KISSES Devon<br />

on <strong>the</strong> cheek.<br />

62. (373+06) FULL SHOT<br />

Devon <strong>and</strong> Akeelah FG.<br />

W<strong>and</strong>a BG.<br />

WANDA:(TO AKEELAH)<br />

Where is Terrence?<br />

AKEELAH:(TO WANDA)<br />

I don't know...<br />

63. (375+10) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...maybe he's still at<br />

practice.<br />

64. (377+07) FULL SHOT<br />

W<strong>and</strong>a BG. looks to<br />

Akeelah FG.<br />

WANDA:(TO AKEELAH)<br />

Practice was over an<br />

hour ago. I know one<br />

thing, he better not<br />

be hanging out with...<br />

56. *370.09 372.07 1.14 DEVON:(CONT)<br />

Give me some sugar.<br />

(Sugar: Slang, affection, a kiss.)<br />

57. 373.10 375.03 1.09 WANDA:(TO AKEELAH)<br />

Where is Terrence?<br />

58. 375.06 377.03 1.13<br />

(over scene end) AKEELAH:(TO WANDA)<br />

I don't know. Maybe he<br />

is still at practice.<br />

59. 377.15 383.15 6.00<br />

(over scene end) WANDA:(TO AKEELAH)<br />

Practice was over an<br />

hour ago. I know one<br />

thing, he better not be<br />

hanging out with no<br />

Derrick-T


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 16<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - DINING ROOM - CONT)<br />

65. (382+01) MCS<br />

Akeelah.<br />

WANDA:(OS)(CONT)<br />

...no Derrick-T.<br />

DEVON:(OS)(TO WANDA)<br />

Derrick-T?<br />

66. (384+11) HEAD SHOT<br />

Devon looks o/s R. to<br />

Akeelah.<br />

DEVON:(CONT)<br />

That fool still alive?<br />

67. (386+15) MCS<br />

Akeelah.<br />

AKEELAH:(TO DEVON)(OS)<br />

Not after you get done<br />

with him.<br />

DEVON:(OS)(TO AKEELAH)<br />

That's...<br />

68. (388+15) FULL SHOT<br />

Devon C., Akeelah C.,<br />

W<strong>and</strong>a BG. Kiana<br />

ENTERS L.<br />

DEVON:(CONT)<br />

...right.<br />

Kiana gives Devon a<br />

jovial head push with<br />

her h<strong>and</strong>.<br />

DEVON:(TO KIANA)<br />

Hey you.<br />

AKEELAH:(TO DEVON)<br />

So. How...<br />

60. 384.05 386.04 1.15<br />

(over scene end) DEVON:(OS)(TO WANDA)<br />

Derrick-T? Is that<br />

fool still alive?<br />

61. 387.07 388.15* 1.08<br />

AKEELAH:(TO DEVON)(OS)<br />

Not after you get done<br />

with him.<br />

62. 389.05 390.09 1.04<br />

(over scene end) DEVON:(OS)(TO AKEELAH)<br />

That is right!<br />

63. 390.15 392.07 1.08 DEVON:(TO KIANA)<br />

Hey you.<br />

64. 393.00 395.11 2.11<br />

(over scene end) AKEELAH:(TO DEVON)<br />

So. How many planes<br />

have you shot down so<br />

far?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 17<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - DINING ROOM - CONT)<br />

69. (393+05) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...many planes have<br />

you shot down so far?<br />

DEVON:(TO AKEELAH)<br />

So far, zero.<br />

70. (396+14) CHEST SHOT<br />

OTS Devon.<br />

DEVON:(CONT)<br />

But you don't do too<br />

much shooting sitting<br />

behind a computer<br />

screen in Nevada.<br />

71. (401+11) MCS W<strong>and</strong>a<br />

looks o/s L. to Devon.<br />

WANDA:(TO DEVON)(OS)<br />

Oh good. You stay on<br />

<strong>the</strong> ground. Let <strong>the</strong>m<br />

white boys go up<br />

<strong>the</strong>re. You stay down<br />

here...<br />

65. 396.01 397.09 1.08<br />

(over scene end) DEVON:(TO AKEELAH)<br />

So far, zero.<br />

66. 397.15 401.10 3.11 DEVON:(CONT)<br />

But you don't do too<br />

much shooting sitting<br />

behind a computer<br />

screen in Nevada.<br />

67. 402.00 407.00 5.00 WANDA:(TO DEVON)(OS)<br />

Oh good. You stay on<br />

<strong>the</strong> ground. Let <strong>the</strong>m<br />

white boys go up <strong>the</strong>re.<br />

68. 407.06 409.07 2.01<br />

(over scene end) WANDA:(CONT)<br />

You stay down here<br />

where you belong.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 18<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - DINING ROOM - CONT)<br />

72. (408+01) CHEST SHOT<br />

OTS Devon L., Akeelah<br />

C,. BACK TO CAMERA,<br />

W<strong>and</strong>a R.<br />

WANDA:(CONT)<br />

...where you belong.<br />

DEVON:(TO WANDA)<br />

Mama, I'm gonna have<br />

my wings, <strong>and</strong> my<br />

college degree before<br />

you know it.<br />

Devon looks o/s R. to<br />

Akeelah.<br />

DEVON:(CONT)<br />

Unless, of course<br />

this...<br />

73. (415+01) CHEST SHOT<br />

OTS Akeelah.<br />

DEVON:(CONT)<br />

...one beats me to it.<br />

WANDA:(OS)(TO DEVON)<br />

Not...<br />

74. (417+04) MCS W<strong>and</strong>a<br />

looks o/s R. to<br />

Akeelah.<br />

WANDA:(CONT)<br />

...skipping class with<br />

Georgia Cavanaugh, she<br />

won't.<br />

75. (419+15) CHEST SHOT<br />

OTS Devon.<br />

DEVON:(TO WANDA)(OS)<br />

Skipping class?<br />

69. 410.00 413.12 3.12 DEVON:(TO WANDA)<br />

Mama, I'm going to have<br />

my wings, <strong>and</strong> my<br />

college degree before<br />

you know it.<br />

70. 414.10 417.01 2.07<br />

(over scene end) DEVON:(CONT)<br />

Unless, of course<br />

this one beats me to<br />

it.<br />

71. 417.07 419.09 2.02<br />

(over scene end) WANDA:(OS)(TO DEVON)<br />

Not skipping class with<br />

Georgia Cavanaugh, she<br />

won't.<br />

72. *419.15 421.07 1.08 DEVON:(TO WANDA)(OS)<br />

Skipping class?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 19<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - DINING ROOM - CONT)<br />

76. (421+10) MCS<br />

Akeelah.<br />

AKEELAH:(TO DEVON)(OS)<br />

Only PE.<br />

DEVON:(OS)(TO AKEELAH)<br />

You better...<br />

77. (423+13) MCS Devon.<br />

DEVON:(CONT)<br />

...not be skipping no<br />

class.<br />

78. (425+12) MCS<br />

Akeelah concentrates<br />

on her food.<br />

WANDA:(OS)(TO AKEELAH)<br />

Akeelah go turn...<br />

79. (427+08) MCS W<strong>and</strong>a.<br />

WANDA:(CONT)<br />

...off <strong>the</strong> television.<br />

80. (429+01) CHEST SHOT<br />

OTS Akeelah heads for<br />

<strong>the</strong> television.<br />

DEVON:(TO AKEELAH)<br />

Hey, hey, flip over<br />

to...<br />

73. 422.03 423.11 1.08 AKEELAH:(TO DEVON)(OS)<br />

Only PE.<br />

(P.E.: Physical Education.)<br />

74. 424.01 425.09 1.08<br />

(over scene end) DEVON:(OS)(TO AKEELAH)<br />

You better not be<br />

skipping classes.<br />

75. 426.10 428.10 2.00<br />

(over scene end) WANDA:(OS)(TO AKEELAH)<br />

Akeelah go turn off <strong>the</strong><br />

television.<br />

76. 429.08 433.06 3.14<br />

(over scene end) DEVON:(TO AKEELAH)<br />

Hey, flip over to ESPN<br />

real quick. Let me<br />

check out <strong>the</strong> Lakers<br />

score.<br />

(ESPN: A sports network.)<br />

(Lakers: Professional Ball Team.)


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 20<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - DINING ROOM - CONT)<br />

81. (431+03) HEAD SHOT<br />

Devon looks o/s R. to<br />

Akeelah.<br />

DEVON:(CONT)<br />

...to ESPN real quick.<br />

Let me check out <strong>the</strong><br />

Lakers...<br />

82. (433+14) CHEST SHOT<br />

OTS Akeelah.<br />

DEVON:(CONT)<br />

...score. Alright?<br />

Akeelah STANDS.<br />

83. (436+01) WAIST SHOT<br />

Akeelah FG. Devon BG.<br />

CAMERA TILTS UP as she<br />

moves to FG. into <strong>the</strong><br />

living room <strong>and</strong> toward<br />

<strong>the</strong> Television set.<br />

(TV)<br />

A commercial runs as<br />

she picks up a remote.<br />

84. (447+03) MS OTS of<br />

<strong>the</strong> TELEVISION SET.<br />

(CLICK)<br />

The SCREEN flips to<br />

ESPN <strong>and</strong> SHOWS a<br />

Spelling <strong>Bee</strong> in<br />

progress. WE SEE a<br />

FEMALE JUDGE on <strong>the</strong><br />

screen L. <strong>and</strong> a MALE<br />

JUDGE R. The TV<br />

screen cuts to a RED<br />

HAIRED GIRL st<strong>and</strong>ing<br />

at a microphone.<br />

FEMALE JUDGE:(FROM TV)<br />

If you spell <strong>the</strong> next<br />

word correctly you<br />

will be <strong>the</strong> champion.<br />

77. 448.06 452.08 4.02 FEMALE JUDGE:(FROM TV)<br />

If you spell <strong>the</strong> next<br />

word correctly you will<br />

be <strong>the</strong> champion.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 21<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - DINING ROOM - CONT)<br />

85. (453+04) CHEST SHOT<br />

Akeelah looks o/s R.<br />

to <strong>the</strong> television.<br />

W<strong>and</strong>a <strong>and</strong> Devon BG.<br />

AKEELAH:(TO HERSELF)<br />

What's this?<br />

WANDA:(TO AKEELAH)<br />

Akeelah, turn of <strong>the</strong><br />

TV now.<br />

MALE JUDGE:(FROM TV)<br />

Brunneous.<br />

(MUSIC IN)<br />

86. (460+02) MS OTS of<br />

<strong>the</strong> Red Haired Girl.<br />

GIRL:(FROM TV)<br />

B-R-U...<br />

87. (464+15) MCS<br />

Akeelah watches<br />

intently. CAMERA<br />

MOVES IN.<br />

GIRL:(FROM TV)(OS)<br />

...N-N-E-O-U...<br />

88. (471+00) MS<br />

Television with Girl.<br />

GIRL:(CONT)<br />

...S. Brunneous.<br />

FEMALE JUDGE:(FROM TV)<br />

Congratulations...<br />

89. (474+00) HEAD SHOT<br />

Akeelah.<br />

FEMALE JUDGE:(CONT)<br />

...You are <strong>the</strong> Scripts<br />

National...<br />

78. 453.04 455.08 2.04 AKEELAH:(TO HERSELF)<br />

What is this?<br />

79. 455.14 458.15 3.01 WANDA:(TO AKEELAH)<br />

Akeelah, turn of <strong>the</strong> TV<br />

now.<br />

80. 459.05 460.13 1.08<br />

(over scene end) MALE JUDGE:(FROM TV)<br />

Brunneous.<br />

81. 461.04 464.04 3.00 GIRL:(FROM TV)<br />

B-R-U...<br />

82. 466.07 470.05 3.14 GIRL:(FROM TV)(OS)<br />

...N-N-E-O-U...<br />

83. 471.08 473.13 2.05 GIRL:(CONT)<br />

...S. Brunneous.<br />

84. 474.03 479.13 5.10<br />

(over scene end) FEMALE JUDGE:(FROM TV)<br />

Congratulations, you<br />

are <strong>the</strong> Scripps<br />

National Spelling <strong>Bee</strong><br />

champion.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 22<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - DINING ROOM - CONT)<br />

(MUSIC - CONT)<br />

90. (477+03) MS<br />

Television with<br />

Judges. A CROWD BG.<br />

goes wild.<br />

FEMALE JUDGE:(CONT)<br />

...Spelling <strong>Bee</strong>...<br />

91. (478+08) MS<br />

Television. The Red<br />

Haired Girl is<br />

ASTONISHED <strong>and</strong> MOVED.<br />

She puts her h<strong>and</strong>s to<br />

her face.<br />

FEMALE JUDGE:(CONT)<br />

...Champion.<br />

92. (481+08) HEAD SHOT<br />

Akeelah takes this in.<br />

WANDA:(OS)(TO AKEELAH)<br />

Akeelah needs to...<br />

93. (484+13) CHEST SHOT<br />

Akeelah FG. W<strong>and</strong>a <strong>and</strong><br />

Devon BG.<br />

WANDA:(CONT)<br />

...listen. Turn it off<br />

now.<br />

Akeelah lifts <strong>the</strong><br />

remote INTO SHOT.<br />

94. (489+08) MS <strong>the</strong> Red<br />

Haired Girl LIFTS HER<br />

TROPHY.<br />

(CROWD CHEERS)<br />

95. INT. -AKEELAH'S BEDROOM- NIGHT<br />

(491+12) MS of<br />

Akeelah's h<strong>and</strong>. SHE<br />

WRITES <strong>the</strong> new word<br />

into a note book.<br />

85. 483.00 489.07 6.07<br />

(over scene end) WANDA:(OS)(TO AKEELAH)<br />

Akeelah needs to<br />

listen. Turn it off,<br />

now.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 23<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S BEDROOM - CONT)<br />

(MUSIC - CONT)<br />

96. (493+04) CS of<br />

Akeelah's FINGERS as<br />

she writes <strong>the</strong> word<br />

into her notebook.<br />

AKEELAH:(TO HERSELF)<br />

Brunneous.<br />

97. (495+11) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

Brunneous.<br />

98. (500+11) MS Akeelah<br />

PULLS A LARGE<br />

DICTIONARY across her<br />

desk to her <strong>and</strong> opens<br />

it.<br />

99. (502+00) CS HIGH<br />

ANGLE Pages FLIP.<br />

100. (502+11) CS ANOTHER<br />

ANGLE Pages flip.<br />

101. (503+00) ECS<br />

Akeelah's finger finds<br />

THE WORD <strong>and</strong><br />

DEFINITION<br />

"Brunneous."<br />

AKEELAH:(TO HERSELF)<br />

Brunneous...<br />

102. (505+15) CHEST SHOT<br />

Akeelah reads from <strong>the</strong><br />

dictionary.<br />

AKEELAH:(TO HERSELF)<br />

...Dark brown, used<br />

chiefly<br />

scientifically.<br />

86. 493.10 495.02 1.08 AKEELAH:(TO HERSELF)<br />

Brunneous.<br />

87. 496.00 498.06 2.06 AKEELAH:(CONT)<br />

Brunneous.<br />

88. 505.05 512.05 7.00<br />

(over scene end) AKEELAH:(TO HERSELF)<br />

Brunneous; dark brown<br />

used chiefly<br />

scientifically.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 24<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S BEDROOM - CONT)<br />

(MUSIC - CONT)<br />

103. (512+14) MCS<br />

Akeelah.<br />

AKEELAH:(TO HERSELF)<br />

Well, why can't <strong>the</strong>y<br />

just say brown?<br />

Akeelah LOOKS INTO<br />

CAMERA.<br />

104. (520+01) MS<br />

Akeelah's POV of a<br />

PICTURE of HER FATHER.<br />

AKEELAH:(OS)(CONT)<br />

Daddy, have you ever<br />

heard...<br />

105. (522+06) HEAD SHOT<br />

Akeelah LOOKS INTO<br />

CAMERA.<br />

AKEELAH:(CONT)<br />

...of this word?<br />

106. EXT. - FLASHBACK - DAY<br />

(525+04) MS WE SEE<br />

Akeelah's FATHER'S<br />

HAND on a SCRABBLE<br />

BOARD. CAMERA TILTS UP<br />

for MCS. WE REALIZE<br />

this is Akeelah's POV.<br />

He SMILES into THE<br />

CAMERA.<br />

107. INT. -AKEELAH'S BEDROOM- NIGHT<br />

(531+07) HEAD SHOT<br />

Akeelah smiles.<br />

AKEELAH:(TO HERSELF)<br />

Yeah, probably did.<br />

108. EXT. - FLASHBACK - DAY<br />

(536+05) HEAD SHOT<br />

Akeelah's Fa<strong>the</strong>r looks<br />

INTO CAMERA.<br />

89. 513.08 516.02 2.10 AKEELAH:(TO HERSELF)<br />

Well, why can't <strong>the</strong>y<br />

just say brown?<br />

90. 520.08 523.15 3.07<br />

(over scene end) AKEELAH:(OS)(CONT)<br />

Daddy, have you ever<br />

heard of this word?<br />

91. 531.12 536.00 4.04 AKEELAH:(TO HERSELF)<br />

Yeah, probably did.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 25<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

109. INT. -AKEELAH'S BEDROOM- NIGHT<br />

(538+12) HEAD SHOT<br />

Akeelah SMILES, <strong>the</strong>n<br />

looks o/s BOTTOM.<br />

110. (542+13) MS<br />

Akeelah's h<strong>and</strong>s HOLD<br />

her NOTE BOOK that is<br />

FULL OF WORDS.<br />

AKEELAH:(OS)<br />

(TO HERSELF)<br />

Cauterize...<br />

111. (544+09) M FULL<br />

SHOT Akeelah at her<br />

desk. WE SEE her<br />

through her bedroom<br />

window. She studies<br />

her list of words <strong>and</strong><br />

begins to practice.<br />

CAMERA PULLS BACK into<br />

<strong>the</strong> night.<br />

(CITY SOUNDS)<br />

AKEELAH:(CONT)<br />

...C-A-U-T-E-R-I-Z-E,<br />

Fortification,<br />

F-O-R-T-I-F-I-C-A-T<br />

-I-O-N, correspond,<br />

C-O-R-R-E-S-P-O-N-D...<br />

FADE TO BLACK;<br />

CUT TO;<br />

(MUSIC OUT)<br />

92. 543.03 548.04 5.01<br />

(over scene end) AKEELAH:(OS)<br />

(TO HERSELF)<br />

Cauterize,<br />

C-A-U-T-E-R-I-Z-E.<br />

93. 548.10 554.11 6.01 AKEELAH:(CONT)<br />

Fortification,<br />

F-O-R-T-I-F-I-C-A-T<br />

-I-O-N...<br />

94. 555.01 560.13 5.12 AKEELAH:(CONT)<br />

...correspond,<br />

C-O-R-R-E-S-P-O-N-D...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 26<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

112. EXT. - MIDDLE SCHOOL - DAY<br />

(570+13) LS WE SEE<br />

FOUR STORIES of<br />

students moving along<br />

a glassed stairwell.<br />

(CLASS BELL)<br />

CAMERA TILTS DOWN<br />

along <strong>the</strong> structure TO<br />

REVEAL Akeelah moving<br />

R. out of <strong>the</strong><br />

building. CAMERA PANS<br />

R. to follow as<br />

Akeelah steps to a<br />

drinking fountain.<br />

CAMERA MOVES IN as<br />

TOUGH GIRL #1 <strong>and</strong><br />

TOUGH GIRL #2 ENTER<br />

shot R. <strong>and</strong> L. FG.<br />

GIRL#1:(TO AKEELAH)<br />

Hey, freak.<br />

Akeelah turns to FG.<br />

GIRL#1:(CONT)<br />

We want you to take<br />

care of our English<br />

homework. Everybody<br />

say you a brainiac.<br />

AKEELAH:(TO GIRL#1)<br />

I ain't no brainiac.<br />

GIRL#2:(TO AKEELAH)<br />

Like hell...<br />

95. 595.09 597.09 2.00 GIRL#1:(TO AKEELAH)<br />

Hey, freak.<br />

96. 600.10 606.03 5.09 GIRL#1:(CONT)<br />

We want you to take<br />

care of our English<br />

homework. Everybody<br />

say you a brainiac.<br />

(Brainiac: Originally a noun/name of a<br />

computing machine. Used here as slang<br />

meaning, "intelligent".)<br />

97. 606.11 608.03 1.08 AKEELAH:(TO GIRL#1)<br />

I ain't no brainiac.<br />

98. 608.09 610.05 1.12<br />

(over scene end) GIRL#2:(TO AKEELAH)<br />

Like hell you ain't!<br />

99. 611.00 613.08 2.08<br />

(over scene end) GIRL#2:(CONT)<br />

You always have A's,<br />

right?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 27<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - MIDDLE SCHOOL - CONT)<br />

113. (608+04) CHEST SHOT<br />

OTS Girl#2 R. looks to<br />

Akeelah FG.<br />

GIRL#2:(CONT)<br />

...you ain't. Always<br />

got <strong>the</strong>m A's down...<br />

114. (612+05) WAIST SHOT<br />

OTS Akeelah looks to<br />

Girl#2 L. FG.<br />

GIRL#2:(CONT)<br />

...right?<br />

The girls MOTION, <strong>and</strong><br />

Akeelah REACTS.<br />

GIRL#2:(TO AKEELAH)<br />

Yeah...<br />

115. (614+14) CHEST SHOT<br />

OTS Girl#1 L., looks<br />

from Akeelah C. to<br />

Girl#2.<br />

GIRL#1:(TO GIRL#2)<br />

She's scared.<br />

116. (616+05) CHEST SHOT<br />

OTS Akeelah C. tries<br />

to get away.<br />

GIRL#2:(TO AKEELAH)<br />

Don't run away from<br />

us.<br />

The Girls STOP<br />

Akeelah.<br />

100. 614.08 616.15 2.07<br />

(over scene end) GIRL#2:(TO AKEELAH)<br />

Yeah, she's scared.<br />

101. 617.06 618.14 1.08 GIRL#2:(TO AKEELAH)<br />

Don't run away from us.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 28<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - MIDDLE SCHOOL - CONT)<br />

117. (619+06) MS HIGH<br />

ANGLE WE SEE Adult<br />

SHOES walking to FG.<br />

CAMERA TILTS UP to<br />

reveal MR. WELCH, <strong>the</strong><br />

Principal of <strong>the</strong><br />

school <strong>and</strong> his Guest<br />

DR. JOSHUA LARABEE.<br />

CAMERA PULLS BACK<br />

PRECEDING.<br />

WELCH:(TO LARABEE)<br />

I can not thank you<br />

enough for coming down<br />

here today, Josh.<br />

I've got <strong>the</strong> district<br />

breathing down my<br />

back, The test scores<br />

have gone down again<br />

this year.<br />

LARABEE:(TO WELCH)<br />

As I said earlier, I<br />

appreciate your<br />

dilemma, Bob. But I<br />

really don't<br />

underst<strong>and</strong> what it is<br />

I have to offer you.<br />

Welch <strong>and</strong> Larabee walk<br />

L. PAST CAMERA.<br />

WELCH:(TO LARABEE)<br />

No,no,no... all I want<br />

you to do is look at<br />

<strong>the</strong>se kids, <strong>and</strong> tell<br />

me if you think my<br />

idea is crazy. I<br />

think some of <strong>the</strong>m<br />

have a lot of<br />

potential.<br />

102. 620.00 623.14 3.14 WELCH:(TO LARABEE)<br />

I can not thank you<br />

enough for coming down<br />

here today, Josh.<br />

103. 624.07 630.13 6.06 WELCH:(CONT)<br />

I have <strong>the</strong> district<br />

breathing down my back,<br />

The test scores have<br />

gone down again this<br />

year.<br />

(Breathing\down\neck: Allegorical meaning,<br />

"To be <strong>the</strong> point of negative attention.")<br />

104. 631.05 635.15 4.10 LARABEE:(TO WELCH)<br />

As I said earlier, I<br />

appreciate your<br />

dilemma, Bob.<br />

105. 637.05 642.03 4.14 LARABEE:(CONT)<br />

But I really don't<br />

underst<strong>and</strong> what it is I<br />

have to offer you.<br />

106. 642.11 648.00 5.05 WELCH:(TO LARABEE)<br />

No,no,no... all I want<br />

you to do is look at<br />

<strong>the</strong>se kids, <strong>and</strong> tell me<br />

if you think my idea is<br />

crazy.<br />

107. 648.15 651.06 2.07 WELCH:(CONT)<br />

I think some of <strong>the</strong>m<br />

have a lot of<br />

potential.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 29<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - MIDDLE SCHOOL - CONT)<br />

CAMERA FOLLOWS <strong>the</strong> two<br />

men <strong>and</strong> REVEALS a FIGHT<br />

between <strong>the</strong> two tough<br />

girls <strong>and</strong> Akeelah BG.<br />

WELCH:(OUT LOUD)<br />

Girls! Why...<br />

118. (653+04) CHEST SHOT<br />

Larabee L., Welch R.<br />

WELCH:(CONT)<br />

...aren't you in<br />

class?<br />

119. (654+10) M FULL<br />

SHOT OTS Tough Girls<br />

BG. Akeelah C.<br />

Larabee <strong>and</strong> Welch FG.<br />

BACKS TO CAMERA.<br />

GIRL#1:(TO WELCH)<br />

She holdin'...<br />

The two tough girls<br />

RUN.<br />

120. (655+10) CHEST SHOT<br />

Akeelah RUNS.<br />

GIRL#1:(CONT)<br />

...us up!<br />

WELCH:(OS)(OUT LOUD)<br />

Akeelah!<br />

Akeelah stops, turns.<br />

121. (659+10) CHEST SHOT<br />

Welch FG. walks L.<br />

Larabee BG. waits.<br />

WELCH:(TO AKEELAH)(OS)<br />

Are you signed up for<br />

<strong>the</strong> Spelling <strong>Bee</strong><br />

today?<br />

108. 651.15 654.00 2.01<br />

(over scene end) WELCH:(OUT LOUD)<br />

Girls! Why are you not<br />

in class?<br />

109. 655.05 657.05 2.00<br />

(over scene end) GIRL#1:(TO WELCH)<br />

She is holding us up.<br />

(Holding: Delaying.)<br />

110. 657.11 659.03 1.08 WELCH:(OS)(OUT LOUD)<br />

Akeelah!<br />

111. 661.09 664.11 3.02 WELCH:(TO AKEELAH)(OS)<br />

Are you signed up for<br />

<strong>the</strong> Spelling <strong>Bee</strong> today?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 30<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - MIDDLE SCHOOL - CONT)<br />

122. (665+01) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO WELCH)(OS)<br />

No.<br />

123. (667+02) MCS Welch<br />

FG.<br />

WELCH:(TO AKEELAH)(OS)<br />

I want you to come to<br />

my office, please.<br />

124. (671+10) CHEST SHOT<br />

Akeelah looks o/s R.<br />

to Welch. She knows<br />

she's in trouble.<br />

125. INT. - WELCH'S OFFICE - DAY<br />

(674+00) MS Welch's<br />

h<strong>and</strong>s flip through a<br />

folder on his disk.<br />

CAMERA TILTS UP for<br />

MCS.<br />

WELCH:(TO AKEELAH)(OS)<br />

So, Ms. Cross tells me<br />

you've...<br />

126. (679+13) MCS<br />

Akeelah.<br />

WELCH:(OS)(CONT)<br />

...never missed a word<br />

on your spelling<br />

tests.<br />

127. (683+00) MCS<br />

Larabee looks o/s L.<br />

to Akeelah.<br />

WELCH:(OS)(CONT)<br />

But your attendance<br />

record leaves a little<br />

to...<br />

112. 665.01 666.12 1.11 AKEELAH:(TO WELCH)(OS)<br />

No.<br />

113. 668.00 671.04 3.04 WELCH:(TO AKEELAH)(OS)<br />

I want you to come to<br />

my office, please.<br />

114. 675.15 682.04 6.05<br />

(over scene end) WELCH:(TO AKEELAH)(OS)<br />

So, Ms. Cross tells me<br />

you have never missed a<br />

word on your spelling<br />

tests.<br />

115. 684.00 688.02 4.02<br />

(over scene end) WELCH:(OS)(CONT)<br />

But your attendance<br />

record leaves a little<br />

to be desired.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 31<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - WELCH'S OFFICE - CONT)<br />

128. (686+15) MCS Welch.<br />

WELCH:(CONT)<br />

...be desired. You're<br />

eleven. Did you skip<br />

a grade?<br />

129. (692+09) M FULL<br />

SHOT OTS Akeelah sits<br />

before Welch's desk.<br />

Larabee sits BG. in an<br />

office chair.<br />

AKEELAH:(TO WELCH)<br />

The second.<br />

130. (697+04) MCS Welch.<br />

WELCH:(TO AKEELAH)(OS)<br />

Akeelah, have you ever<br />

heard of <strong>the</strong><br />

Scripts...<br />

131. (704+01) MCS<br />

Akeelah.<br />

WELCH:(OS)(CONT)<br />

...National Spelling<br />

<strong>Bee</strong>?<br />

AKEELAH:(TO WELCH)(OS)<br />

I think it was on TV<br />

last week.<br />

132. (708+09) MCS Welch.<br />

WELCH:(TO AKEELAH)(OS)<br />

Yes. Yes, <strong>the</strong>y show it<br />

on ESPN every year.<br />

133. (713+15) MCS<br />

Akeelah.<br />

WELCH:(OS)(CONT)<br />

Middle school students<br />

from all over <strong>the</strong><br />

country compete in...<br />

116. 690.01 692.04 2.03 WELCH:(CONT)<br />

You are eleven. Did<br />

you skip a grade?<br />

117. 693.08 695.09 2.01 AKEELAH:(TO WELCH)<br />

The second.<br />

(Understood: The second grade.)<br />

118. 699.09 705.01 5.08<br />

(over scene end) WELCH:(TO AKEELAH)(OS)<br />

Akeelah, have you ever<br />

heard of <strong>the</strong> Scripts<br />

National Spelling <strong>Bee</strong>?<br />

119. 706.01 708.04 2.03 AKEELAH:(TO WELCH)(OS)<br />

I think it was on TV<br />

last week.<br />

120. 709.02 713.08 4.06 WELCH:(TO AKEELAH)(OS)<br />

Yes. Yes, <strong>the</strong>y show it<br />

on ESPN every year.<br />

121. 714.10 719.01 4.07 WELCH:(OS)(CONT)<br />

Middle school students<br />

from all over <strong>the</strong><br />

country compete...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 32<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - WELCH'S OFFICE - CONT)<br />

134. (719+09) M FULL<br />

SHOT OTS Welch looks<br />

to Akeelah FG. BACK TO<br />

CAMERA.<br />

WELCH:(CONT)<br />

...school, district,<br />

<strong>and</strong> regional spelling<br />

bees...<br />

135. (724+05) MCS<br />

Akeelah FG. looks o/s<br />

to Welch. Larabee BG.<br />

looks on.<br />

WELCH:(CONT)<br />

...trying to make it<br />

to <strong>the</strong> National<br />

Spelling <strong>Bee</strong> in<br />

Washington, D.C. Next<br />

year...<br />

136. (731+07) MCS Welch.<br />

WELCH:(CONT)<br />

...I want one of our<br />

students <strong>the</strong>re.<br />

137. (734+03) MCS<br />

Akeelah.<br />

WELCH:(OS)(CONT)<br />

So, whoever wins <strong>the</strong><br />

school bee today, gets<br />

to represent...<br />

138. (740+10) MCS Welch.<br />

WELCH:(CONT)<br />

...Crenshaw at <strong>the</strong><br />

district bee next<br />

month.<br />

122. *719.09 724.04* 4.11 WELCH:(CONT)<br />

...in school, district,<br />

<strong>and</strong> regional spelling<br />

bees...<br />

123. 724.10 729.12 5.02 WELCH:(CONT)<br />

...trying to make it to<br />

<strong>the</strong> National Spelling<br />

<strong>Bee</strong> in Washington, D.C.<br />

124. 730.02 733.12 3.10<br />

(over scene end) WELCH:(CONT)<br />

Next year, I want one<br />

of our students <strong>the</strong>re.<br />

125. 734.13 738.07 3.10 WELCH:(OS)(CONT)<br />

So, whoever wins <strong>the</strong><br />

school bee today...<br />

126. 739.05 744.07 5.02<br />

(over scene end) WELCH:(CONT)<br />

...gets to represent<br />

Crenshaw at <strong>the</strong><br />

district bee, next<br />

month.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 33<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - WELCH'S OFFICE - CONT)<br />

139. (744+10) MCS<br />

Akeelah FG., Larabee<br />

BG.<br />

AKEELAH:(TO WELCH)(OS)<br />

Why would anybody want<br />

to represent a school<br />

that can't even put<br />

doors on <strong>the</strong> toilet<br />

stalls?<br />

(LARABEE COUGHS)<br />

140. (752+04) MCS Welch<br />

looks o/s L. to<br />

Larabee.<br />

141. (753+09) M FULL<br />

SHOT Welch BG.,<br />

Akeelah FG. TURNS <strong>and</strong><br />

looks o/s R. to<br />

Larabee.<br />

142. (755+03) MCS<br />

Akeelah FG. Larabee<br />

BG. recovers.<br />

WANDA:(OS)(TO AKEELAH)<br />

Akeelah, if we can't<br />

show our students...<br />

143. (760+05) MCS Welch.<br />

WELCH:(CONT)<br />

...can perform. We're<br />

not going to have<br />

money for books, let<br />

alone...<br />

144. (764+00) MCS<br />

Akeelah FG. Larabee<br />

BG.<br />

WELCH:(OS)(CONT)<br />

...bathroom doors.<br />

Now, I want...<br />

127. 745.06 751.08 6.02 AKEELAH:(TO WELCH)(OS)<br />

Why would anybody want<br />

to represent a school<br />

that can't even put<br />

doors on <strong>the</strong> toilet<br />

stalls?<br />

128. 757.04 761.11 4.07<br />

(over scene end) WANDA:(OS)(TO AKEELAH)<br />

Akeelah, if we can't<br />

show our students can<br />

perform.<br />

129. 762.01 765.05 3.04<br />

(over scene end) WELCH:(CONT)<br />

We are not going to<br />

have money for books,<br />

let alone bathroom<br />

doors.<br />

130. 766.05 768.12 2.07<br />

(over scene end) WELCH:(OS)(CONT)<br />

Now, I want you to do<br />

<strong>the</strong> bee today. All<br />

right?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 34<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - WELCH'S OFFICE - CONT)<br />

145. (767+01) MCS Welch.<br />

WELCH:(CONT)<br />

...you to do <strong>the</strong> bee<br />

today. Alright?<br />

146. (769+01) MCS<br />

Akeelah FG. Larabee<br />

BG.<br />

AKEELAH:(TO WELCH)(OS)<br />

So every body can call<br />

me a freak <strong>and</strong> a<br />

brainiac?<br />

147. (773+01) MCS Welch<br />

looks o/s R. to<br />

Akeelah.<br />

AKEELAH:(OS)(CONT)<br />

Naw...<br />

148. (774+09) MCS<br />

Akeelah FG. Larabee<br />

BG.<br />

AKEELAH:(CONT)<br />

I ain't down for no<br />

spelling bee.<br />

149. (777+07) M FULL<br />

SHOT OTS Welch<br />

postures in his chair.<br />

WELCH:(TO AKEELAH)<br />

Well, maybe you'd be<br />

down for spending <strong>the</strong><br />

rest...<br />

150. (783+14) MCS<br />

Akeelah.<br />

WELCH:(OS)(CONT)<br />

...of <strong>the</strong> semester in<br />

detention for all your<br />

absences.<br />

131. 769.12 772.13 3.01 AKEELAH:(TO WELCH)(OS)<br />

So every body can call<br />

me a freak <strong>and</strong> a<br />

brainiac?<br />

132. 773.03 774.11 1.08<br />

(over scene end) AKEELAH:(OS)(CONT)<br />

No...<br />

133. 775.02 776.15 1.13 AKEELAH:(CONT)<br />

I ain't down for no<br />

spelling bee.<br />

(Down: Street slang meaning, "in accordance<br />

with," or "in agreement.")<br />

134. 779.02 785.14 6.12<br />

(over scene end) WELCH:(TO AKEELAH)<br />

Well, maybe you would<br />

be down for spending<br />

<strong>the</strong> rest of <strong>the</strong><br />

semester in<br />

detention...<br />

135. 786.04 788.14 2.10 WELCH:(OS)(CONT)<br />

...for all your<br />

absences.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 35<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

151. INT. - GYMNASIUM - DAY<br />

(780+00) ELS of <strong>the</strong><br />

Crenshaw School<br />

Gymnasium. WE SEE<br />

students seated FG.<br />

<strong>and</strong> students STANDING<br />

BG. MS Cross sits at a<br />

judges table R.<br />

CROSS:(OUT LOUD)<br />

I'd like to welcome<br />

you all...<br />

(781+13) TITLE FADE<br />

IN<br />

CRENSHAW MIDDLE SCHOOL<br />

SPELLING BEE<br />

CROSS:(CONT)<br />

...to Crenshaw's first<br />

school wide spelling<br />

bee.<br />

152. (787+14) MS<br />

Akeelah's HAND. She<br />

twiddles her fingers<br />

nervously. CAMERA<br />

TILTS UP for HEAD SHOT<br />

Akeelah.<br />

CROSS:(OS)(CONT)<br />

We have some very<br />

special students<br />

competing today. So<br />

let's give <strong>the</strong>m all a<br />

round of applause.<br />

136. 780.03 788.13 8.10<br />

(over scene end) CROSS:(OUT LOUD)<br />

I would like to welcome<br />

you all to Crenshaw's<br />

first school wide<br />

spelling bee.<br />

MT#2 ( 781.13) ( 787.09) (TITLE FADES IN,<br />

FADES OUT<br />

CRENSHAW MIDDLE SCHOOL SPELLING BEE )<br />

137. 789.03 793.07 4.04 CROSS:(OS)(CONT)<br />

We have some very<br />

special students<br />

competing today.<br />

138. 793.13 796.09 2.12 CROSS:(CONT)<br />

So let us give <strong>the</strong>m all<br />

a round of applause.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 36<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

153. (796+14) CHEST SHOT<br />

Cross R. <strong>and</strong> an<br />

assistant Judge L.<br />

Cross leads <strong>the</strong><br />

applause.<br />

WE HEAR...<br />

(APPLAUSE)<br />

(CAT CALLS)<br />

154. (798+09) FULL SHOT<br />

WE SEE <strong>the</strong> TWO TOUGH<br />

GIRLS St<strong>and</strong>ing at <strong>the</strong><br />

back of <strong>the</strong> Gymnasium.<br />

They make fun of <strong>the</strong><br />

group at <strong>the</strong> head of<br />

<strong>the</strong> hall.<br />

(APPLAUSE)<br />

155. (800+14) CHEST SHOT<br />

Georgia sits in <strong>the</strong><br />

audience. She CLAPS.<br />

(GEORGIA CHEERS)<br />

156. (803+05) MCS<br />

Akeelah st<strong>and</strong>s, looks<br />

sheepish.<br />

CROSS:(OS)(OUT LOUD)<br />

Okay...<br />

157. (805+14) FULL SHOT<br />

of <strong>the</strong> audience in <strong>the</strong><br />

Gymnasium. WE SEE<br />

Welch <strong>and</strong> Larabee<br />

ENTER <strong>and</strong> sit on <strong>the</strong><br />

second row.<br />

CROSS:(OS)(CONT)<br />

...we drew numbers to<br />

see...<br />

139. 805.03 810.05 5.02<br />

(over scene end) CROSS:(OS)(OUT LOUD)<br />

Okay, we drew numbers<br />

to see who would go<br />

first.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 37<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

158. (808+15) CHEST SHOT<br />

Larabee sits L., Welch<br />

sits R.<br />

CROSS:(OS)(CONT)<br />

...who would go first.<br />

And that's...<br />

159. (811+11) MCS<br />

Akeelah looks o/s L.<br />

to Larabee <strong>and</strong> Welch.<br />

CROSS:(OS)(CONT)<br />

...Chuckie Johnson,<br />

from <strong>the</strong> eighth grade.<br />

160. (815+11) FULL SHOT<br />

of <strong>the</strong> head of <strong>the</strong><br />

hall. WE SEE CHUCKIE<br />

JOHNSON move to FG.<br />

TOUGH GIRLS:(OS)<br />

(IN UNISON)<br />

Hey, hey, hey...<br />

161. (818+08) FULL SHOT<br />

The TOUGH GIRLS at <strong>the</strong><br />

back of <strong>the</strong> hall.<br />

TOUGH GIRLS:(CONT)<br />

...Chuckie<br />

Bay-Bay-Bay.<br />

CHUCKIE:(OS)(TO WELCH)<br />

Mister Welch...<br />

162. (820+08) CHEST SHOT<br />

Chuckie looks o/s R.<br />

to Mister Welch.<br />

CHUCKIE:(CONT)<br />

I have a question<br />

about <strong>the</strong> basket<br />

ball...<br />

140. 810.13 815.02 4.05<br />

(over scene end) CROSS:(OS)(CONT)<br />

And that is Chuckie<br />

Johnson from <strong>the</strong> eighth<br />

grade.<br />

141. 817.04 819.13 2.09 TOUGH GIRLS:(OS)<br />

(IN UNISON)<br />

Hey, hey, hey, Chuckie<br />

Bay-Bay-Bay.<br />

(Bay: A word play rhyming substitution for<br />

"baby" in <strong>the</strong> form of a cheer.)<br />

142. 820.03 823.15 3.12<br />

(over scene end) CHUCKIE:(OS)(TO WELCH)<br />

Mister Welch, I have a<br />

question about <strong>the</strong><br />

basket ball net.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 38<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

163. (823+01) WAIST SHOT<br />

Larabee L,. Welch R.<br />

shakes his head o/s L.<br />

to Chuckie.<br />

CHUCKIE:(CONT)<br />

...net.<br />

CROSS:(OS)(TO CHUCKIE)<br />

Chuckie. Chuckie!<br />

164. (825+05) CHEST SHOT<br />

Chuckie turns to face<br />

Ms. Cross BG.<br />

CROSS:(TO CHUCKIE)<br />

You need to pay<br />

attention.<br />

165. (828+01) CHEST SHOT<br />

Cross R. Assistant<br />

Judge L.<br />

CROSS:(CONT)<br />

Now, we're going to<br />

start things off with:<br />

"grovel".<br />

166. (834+10) CHEST SHOT<br />

Chuckie.<br />

CHUCKIE:(TO CROSS)(OS)<br />

Gravel? Like little<br />

rocks?<br />

167. (837+12) HEAD SHOT<br />

Akeelah.<br />

CROSS:(OS)(TO CHUCKIE)<br />

No. "Grovel"...<br />

168. (841+08) MCS Cross<br />

looks o/s L. to<br />

Chuckie.<br />

CROSS:(CONT)<br />

...like, "Get down on<br />

your knees...<br />

143. 823.07 825.02 1.11 CROSS:(OS)(TO CHUCKIE)<br />

Chuckie!<br />

144. 826.01 827.09 1.08 CROSS:(TO CHUCKIE)<br />

You need to pay<br />

attention.<br />

145. 829.02 834.08 5.06 CROSS:(CONT)<br />

Now, we are going to<br />

start things off with:<br />

"grovel".<br />

146. 835.03 837.06 2.03 CHUCKIE:(TO CROSS)(OS)<br />

Gravel? Like little<br />

rocks?<br />

147. 839.04 846.04 7.00<br />

(over scene end) CROSS:(OS)(TO CHUCKIE)<br />

No. "Grovel," like,<br />

"Get down on your knees<br />

<strong>and</strong> grovel."


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 39<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

169. (844+06) CHEST SHOT<br />

Chuckie.<br />

CROSS:(OS)(CONT)<br />

...<strong>and</strong> "grovel."<br />

CHUCKIE:(TO CROSS)(OS)<br />

Get down on my knees.<br />

What?<br />

170. (850+01) CHEST SHOT<br />

Larabee L., Welch R.<br />

CROSS:(OS)(CONT)<br />

Just spell <strong>the</strong> word.<br />

171. (853+00) CHEST SHOT<br />

Chuckie FG.<br />

CHUCKIE:(OUT LOUD)<br />

Uh... G-R-A-V-E-L.<br />

172. (861+08) FULL SHOT<br />

Chuckie L,. looks to<br />

Cross R.<br />

CROSS:(TO CHUCKIE)<br />

No Chuckie. You<br />

spelled "gravel."<br />

173. (865+02) MCS OTS<br />

Larabee is bored.<br />

CROSS:(OS)(CONT)<br />

I meant, "grovel."<br />

G-R...<br />

174. (867+11) MCS<br />

Akeelah.<br />

CROSS:(OS)(CONT)<br />

...O-V-E-L.<br />

175. (870+12) CHEST SHOT<br />

OTS Larabee.<br />

CROSS:(OS)(CONT)<br />

You weren't listening.<br />

Sorry...<br />

148. 846.15 849.10 2.11 CHUCKIE:(TO CROSS)(OS)<br />

Get down on my knees.<br />

What?<br />

149. 850.05 852.15 2.10 CROSS:(OS)(CONT)<br />

Just spell <strong>the</strong> word.<br />

150. 853.11 860.06 6.11 CHUCKIE:(OUT LOUD)<br />

Uh... G-R-A-V-E-L.<br />

151. 861.15 864.09 2.10 CROSS:(TO CHUCKIE)<br />

No Chuckie. You spelled<br />

"gravel."<br />

152. 865.12 870.03 4.07<br />

(over scene end) CROSS:(OS)(CONT)<br />

I meant, "grovel."<br />

G-R-O-V-E-L.<br />

153. 871.02 874.08 3.06<br />

(over scene end) CROSS:(OS)(CONT)<br />

You weren't listening.<br />

Sorry, Chuckie.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 40<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

176. (873+14) CHEST SHOT<br />

Chuckie FG. Cross BG.<br />

CROSS:(CONT)<br />

...Chuckie.<br />

CHUCKIE:(TO HIMSELF)<br />

Who cares.<br />

Chuckie moves o/s R.<br />

177. (876+15) CHEST SHOT<br />

Cross R. looks to her<br />

papers.<br />

CROSS:(OUT LOUD)<br />

Okay. Next up...<br />

178. (878+13) MCS<br />

Akeelah.<br />

CROSS:(OS)(CONT)<br />

...Akeelah Anderson.<br />

179. (881+06) HEAD SHOT<br />

Akeelah moves o/s R.<br />

(HANDS CLAP)<br />

180. (883+00) CHEST SHOT<br />

Georgia CHEERS.<br />

GEORGIA:(OUT LOUD)<br />

You go girl!<br />

181. (885+04) FULL SHOT<br />

of <strong>the</strong> gym. Akeelah<br />

ENTERS L. BACK TO<br />

CAMERA. Larabee <strong>and</strong><br />

Welch R. FG. WE SEE<br />

<strong>the</strong> TOUGH GIRLS BG.<br />

They heckle.<br />

182. (886+15) CHEST SHOT<br />

Tough Girl#1 <strong>and</strong><br />

Girl#2 make fun <strong>and</strong><br />

heckle.<br />

154. 874.15 876.07 1.08 CHUCKIE:(TO HIMSELF)<br />

Who cares.<br />

155. 877.07 881.03 3.12<br />

(over scene end) CROSS:(OUT LOUD)<br />

Okay. Next up, Akeelah<br />

Anderson.<br />

156. 884.01 886.07 2.06<br />

(over scene end) GEORGIA:(OUT LOUD)<br />

You go girl!


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 41<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

183. (888+08) CHEST SHOT<br />

Akeelah FG. Cross BG.<br />

CROSS:(TO AKEELAH)<br />

Akeelah, your word is,<br />

"doubt." Doubt.<br />

She speaks softly.<br />

AKEELAH:(OUT LOUD)<br />

D-O-U-B-T.<br />

184. (899+03) HEAD SHOT<br />

Georgia looks o/s L.<br />

to Akeelah.<br />

CROSS:(OS)(TO AKEELAH)<br />

I'm sorry Akeelah.<br />

You have...<br />

185. (901+01) CHEST SHOT<br />

Akeelah FG. Cross BG.<br />

CROSS:(CONT)<br />

...to speak up.<br />

More loudly.<br />

AKEELAH:(OUT LOUD)<br />

D-O-U-B-T.<br />

186. (906+04) CHEST SHOT<br />

Cross R.<br />

CROSS:(TO AKEELAH)(OS)<br />

Very good.<br />

187. (908+15) CHEST SHOT<br />

Akeelah FG. Turns <strong>and</strong><br />

walks AWAY to BG.<br />

(GIRLS HECKLE)<br />

(APPLAUSE)<br />

188. (911+05) CHEST SHOT<br />

Larabee L., Welch R.<br />

both applaud.<br />

157. 889.05 896.01 6.12 CROSS:(TO AKEELAH)<br />

Akeelah, your word is,<br />

"doubt." Doubt.<br />

158. 896.07 898.11 2.04 AKEELAH:(OUT LOUD)<br />

D-O-U-B-T.<br />

159. 899.14 902.11 2.13<br />

(over scene end) CROSS:(OS)(TO AKEELAH)<br />

I'm sorry Akeelah. You<br />

have to speak up.<br />

160. 903.10 905.12 2.02 AKEELAH:(OUT LOUD)<br />

D-O-U-B-T.<br />

161. 907.08 909.00 1.08 CROSS:(TO AKEELAH)(OS)<br />

Very good.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 42<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

189. (913+10) MCS<br />

Akeelah returns to her<br />

place with <strong>the</strong> o<strong>the</strong>r<br />

contestants.<br />

LAP DISSOLVE;<br />

CROSS:(OS)(CONT)<br />

Next, Calvin Baker...<br />

190. (918+00) FULL SHOT<br />

of <strong>the</strong> head of <strong>the</strong><br />

hall. Audience FG.<br />

WE SEE Akeelah <strong>and</strong> AN<br />

EIGHTH GRADE GIRL<br />

remain. The Girl<br />

spells.<br />

GIRL:(OUT LOUD)<br />

P-L-A-S-I-D...<br />

191. (922+08) CHEST SHOT<br />

Girl FG. Cross <strong>and</strong><br />

assistant BG.<br />

GIRL:(CONT)<br />

...placid.<br />

CROSS:(TO GIRL)<br />

I'm sorry. It's,<br />

P-L-A-C-I-D.<br />

192. (930+09) HEAD SHOT<br />

Akeelah steps to FG.<br />

(APPLAUSE)<br />

193. (934+00) FULL SHOT<br />

Akeelah walks to FG.<br />

The Girl moves R. with<br />

<strong>the</strong> o<strong>the</strong>r contestants<br />

who wait.<br />

194. (936+06) CHEST SHOT<br />

Akeelah FG. Cross BG.<br />

CROSS:(TO AKEELAH)<br />

Okay Akeelah...<br />

162. 913.12 916.10 2.14 CROSS:(OS)(CONT)<br />

Next, Calvin Baker...<br />

163. 917.05 924.01 6.12<br />

(over scene end) GIRL:(OUT LOUD)<br />

P-L-A-S-I-D. Placid.<br />

164. 925.00 930.03 5.03 CROSS:(TO GIRL)<br />

I'm sorry. It is,<br />

P-L-A-C-I-D.<br />

165. 936.15 941.12 4.13<br />

(over scene end) CROSS:(TO AKEELAH)<br />

Okay Akeelah, if you<br />

get this word, you will<br />

be <strong>the</strong> winner.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 43<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

195. (938+10) CHEST SHOT<br />

Larabee L,. Welch R.<br />

CROSS:(OS)(CONT)<br />

...if you get this<br />

word, you will be <strong>the</strong><br />

winner.<br />

196. (941+15) CHEST SHOT<br />

Akeelah FG. Cross BG.<br />

CROSS:(CONT)<br />

Fanciful. Fan...<br />

Akeelah interrupts.<br />

AKEELAH:(OUT LOUD)<br />

F-A-N-C-I-F-U-L.<br />

197. (948+04) HEAD SHOT<br />

Larabee looks o/s L.,<br />

to Akeelah.<br />

GEORGIA:(OS)(OUT LOUD)<br />

Whoa!<br />

CROSS:(OS)<br />

(TO AKEELAH)(OS)<br />

That is...<br />

198. (950+04) CHEST SHOT<br />

Akeelah FG. Cross BG.<br />

CROSS:(CONT)<br />

...correct. And you<br />

have won Crenhaw's<br />

inaugural spelling<br />

bee.<br />

(APPLAUSE)<br />

199. (955+12) CHEST SHOT<br />

Georgia CHEERS.<br />

200. (958+05) CHEST SHOT<br />

Tough Girls are not<br />

impressed.<br />

GIRL#1:(TO GIRL#2)<br />

What ever.<br />

166. 942.05 944.01 1.12 CROSS:(CONT)<br />

Fanciful.<br />

167. 945.07 947.14 2.07 AKEELAH:(OUT LOUD)<br />

F-A-N-C-I-F-U-L.<br />

168. 949.10 951.09 1.15<br />

(over scene end) CROSS:(OS)<br />

(TO AKEELAH)(OS)<br />

That is correct.<br />

169. 951.15 955.07 3.08 CROSS:(CONT)<br />

And you have won<br />

Crenhaw's inaugural<br />

spelling bee.<br />

170. 958.10 960.02 1.08 GIRL#1:(TO GIRL#2)<br />

What ever.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 44<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

201. (960+06) CHEST SHOT<br />

Larabee looks R. to<br />

Welch. Larabee looks<br />

to Welch <strong>the</strong>n o/s L to<br />

Akeelah.<br />

202. (963+01) M FULL<br />

SHOT Akeelah accepts<br />

her winning ribbon<br />

from Mrs. Cross.<br />

203. (964+13) CHEST SHOT<br />

Larabee L., Welch R.<br />

(MUSIC IN)<br />

Larabee st<strong>and</strong>s.<br />

204. (967+02) WAIST SHOT<br />

Larabee BG. Akeelah<br />

FG. BACK TO CAMERA.<br />

LARABEE:(CONT)<br />

Excuse me.<br />

205. (968+03) WAIST SHOT<br />

OTS Akeelah looks to<br />

Larabee FG. BACK TO<br />

CAMERA.<br />

206. (969+15) HEAD SHOT<br />

Georgia looks o/s L.<br />

to Larabee.<br />

207. (971+11) WAIST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Spell,<br />

"prestidigitation."<br />

208. (974+13) HEAD SHOT<br />

Akeelah looks o/s R.<br />

to Larabee.<br />

CROSS:(OS)(TO LARABEE)<br />

I'm sorry...<br />

171. 967.08 969.03 1.11<br />

(over scene end) LARABEE:(CONT)<br />

Excuse me.<br />

172. 971.12 974.04 2.08 LARABEE:(TO AKEELAH)<br />

Spell,<br />

"prestidigitation."<br />

173. 977.13 984.00 6.03<br />

(over scene end) CROSS:(OS)(TO LARABEE)<br />

I'm sorry, sir. But<br />

this girl is only<br />

eleven. And she has<br />

already won.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 45<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

(MUSIC - CONT)<br />

209. (978+04) CHEST SHOT<br />

Cross R. Assistant L.<br />

Both look o/s R. to<br />

Larabee.<br />

CROSS:(CONT)<br />

...sir. But this girl<br />

is only eleven.<br />

210. (981+15) WAIST SHOT<br />

OTS Larabee.<br />

CROSS:(OS)(CONT)<br />

...<strong>and</strong> she has already<br />

won. Mister Welch...<br />

211. (984+14) CHEST SHOT<br />

Welch looks o/s L. to<br />

Cross.<br />

CROSS:(OS)(CONT)<br />

...what is this.<br />

Welch motions for<br />

Cross to not<br />

interfere.<br />

212. (986+14) CHEST SHOT<br />

Cross <strong>and</strong> <strong>the</strong><br />

assistant look o/s R.<br />

213. (988+05) MCS<br />

Larabee looks from<br />

Welch o/s R. to<br />

Akeelah o/s L.<br />

LARABEE:<br />

(TO AKEELAH)(OS)<br />

Prestidigita...<br />

214. (992+06) WAIST SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

...tion. Can you<br />

spell it?<br />

174. 984.07 986.06 1.15<br />

(over scene end) CROSS:(OS)(CONT)<br />

Mister Welch what is<br />

this?<br />

175. 990.07 994.15 4.08<br />

(over scene end) LARABEE:<br />

(TO AKEELAH)(OS)<br />

Prestidigitation. Can<br />

you spell it?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 46<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

(MUSIC - CONT)<br />

215. (995+08) CHEST SHOT<br />

Welch.<br />

216. (997+00) CHEST SHOT<br />

Cross <strong>and</strong> assistant.<br />

217. (998+08) CHEST SHOT<br />

Georgia.<br />

218. (1000+00) HEAD SHOT<br />

Akeelah.<br />

219. (1004+01) HEAD SHOT<br />

Larabee waits.<br />

220. (1005+15) CHEST SHOT<br />

Akeelah grabs a breath<br />

<strong>and</strong> STARTS to SPELL.<br />

CAMERA MOVES IN.<br />

AKEELAH:(OUT LOUD)<br />

P-R-E-S-T-I...<br />

221. (1011+00) CHEST SHOT<br />

Cross. CAMERA MOVES<br />

IN.<br />

AKEELAH:(CONT)<br />

...D-I-T...<br />

222. (1012+09) CHEST SHOT<br />

Welch. CAMERA MOVES<br />

IN.<br />

AKEELAH:(OS)(CONT)<br />

...I-T-A...<br />

223. (1014+00) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...T-I-O-N.<br />

224. (1016+02) CHEST SHOT<br />

Tough girls are<br />

STUNNED.<br />

176. 1007.07 1012.08 5.01 AKEELAH:(OUT LOUD)<br />

P-R-E-S-T-I-D-I-T-I..<br />

(over scene end)<br />

177. 1012.14 1016.01 3.03<br />

(over scene end) AKEELAH:(OS)(CONT)<br />

...T-A-T-I-O-N.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 47<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

(MUSIC - CONT)<br />

225. (1017+08) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...Prestidigitation.<br />

226. (1020+06) WAIST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

That's correct.<br />

227. (1022+05) CHEST SHOT<br />

Georgia cheers.<br />

CAMERA MOVES IN.<br />

Georgia applauds.<br />

228. (1025+04) CHEST SHOT<br />

Welch applauds.<br />

229. (1027+03) HEAD SHOT<br />

Akeelah.<br />

230. (1029+10) MCS<br />

Larabee. CAMERA MOVES<br />

IN.<br />

LARABEE:(TO AKEELAH)<br />

Ambidextrous.<br />

231. (1032+02) CHEST SHOT<br />

Akeelah. CAMERA MOVES<br />

IN.<br />

AKEELAH:(OUT LOUD)<br />

A-M-B-I...<br />

232. (1033+14) CS<br />

Akeelah's HAND TAPS.<br />

AKEELAH:(OUT LOUD)<br />

D-E-X...<br />

178. 1017.11 1019.15 2.04 AKEELAH:(CONT)<br />

...Prestidigitation.<br />

179. *1020.06 1021.14 1.08 LARABEE:(TO AKEELAH)<br />

That is correct.<br />

180. 1030.03 1031.11 1.08 LARABEE:(TO AKEELAH)<br />

Ambidextrous.<br />

181. 1032.09 1037.00 4.07<br />

(over scene end) AKEELAH:(OUT LOUD)<br />

A-M-B-I-D-E-X-T-R-O-U-S


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 48<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

(MUSIC - CONT)<br />

233. (1035+04) MCS<br />

Akeelah. CAMERA MOVES<br />

IN.<br />

AKEELAH:(OUT LOUD)<br />

T-R-O-U-S.<br />

CAMERA FAST PANS R.<br />

(WHOOSH)<br />

234. (1037+10) MCS<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

"Pterodactyl."<br />

235. (1039+08) CHEST SHOT<br />

Akeelah. FAST PANS L.<br />

(WHOOSH)<br />

CAMERA MOVE IN.<br />

AKEELAH:(OUT LOUD)<br />

P-T-E-R-O-D-A-C-T-Y-L.<br />

FAST PAN<br />

(WHOOSH)<br />

236. (1044+00) CHEST SHOT<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

"Pulchritude."<br />

237. (1047+07) HEAD SHOT<br />

Akeelah. FAST PAN<br />

(WHOOSH)<br />

AKEELAH:(OUT LOUD)<br />

P...<br />

238. (1050+14) CS HAND<br />

fingers move<br />

uncertainly.<br />

182. 1037.11 1039.03 1.08 LARABEE:(TO AKEELAH)<br />

"Pterodactyl."<br />

183. 1040.08 1043.11 3.03 AKEELAH:(OUT LOUD)<br />

P-T-E-R-O-D-A-C-T-Y-L.<br />

184. 1045.00 1046.08 1.08 LARABEE:(TO AKEELAH)<br />

"Pulchritude."<br />

185. 1047.13 1050.05 2.08 AKEELAH:(OUT LOUD)<br />

P...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 49<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

(MUSIC - CONT)<br />

239. (1052+12) HEAD SHOT<br />

Welch.<br />

240. (1055+06) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(OUT LOUD)<br />

P-U-L...<br />

241. (1057+13) CS HAND<br />

taps rhythm.<br />

AKEELAH:(CONT)<br />

C...<br />

242. (1060+01) HEAD SHOT<br />

Georgia is expectant.<br />

243. (1062+11) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(OUT LOUD)<br />

R-I-T-U-D-E.<br />

Pulchritude?<br />

244. (1075+12) WAIST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

That's incorrect.<br />

245. (1079+01) HEAD SHOT<br />

Akeelah.<br />

LARABEE:(OS)(CONT)<br />

It's from <strong>the</strong> Latin<br />

root "pulcher"...<br />

186. 1056.03 1059.02 2.15<br />

(over scene end) AKEELAH:(OUT LOUD)<br />

P-U-L-C...<br />

187. 1064.00 1070.12 6.12 AKEELAH:(OUT LOUD)<br />

R-I-T-U-D-E.<br />

188. 1073.15 1075.07 1.08 AKEELAH:(CONT)<br />

Pulchritude?<br />

189. 1076.15 1078.09 1.10 LARABEE:(TO AKEELAH)<br />

That is incorrect.<br />

190. 1079.09 1082.12 3.03<br />

(over scene end) LARABEE:(OS)(CONT)<br />

It is from <strong>the</strong><br />

Latin root "pulcher"...<br />

191. 1083.02 1087.15 4.13<br />

(over scene end) LARABEE:(CONT)<br />

...<strong>and</strong> <strong>the</strong>re is an "h"<br />

after <strong>the</strong> "c".


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 50<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

(MUSIC - CONT)<br />

246. (1083+01) MCS Ms.<br />

Cross.<br />

LARABEE:(OS)(CONT)<br />

...<strong>and</strong> <strong>the</strong>re's an "h"<br />

after...<br />

247. (1086+03) MCS<br />

Larabee.<br />

LARABEE:(CONT)<br />

...<strong>the</strong> "c".<br />

248. (1089+15) HEAD SHOT<br />

Akeelah looks around<br />

<strong>the</strong> audience o/s R.<br />

249. (1092+07) FULL SHOT<br />

Akeelah at <strong>the</strong> head of<br />

<strong>the</strong> room. Larabee<br />

st<strong>and</strong>s C.<br />

TOUGH GIRL#1:(OS)<br />

See, she ain't so<br />

smart!<br />

250. (1095+12) FULL SHOT<br />

The TOUGH GIRLS at <strong>the</strong><br />

back to <strong>the</strong> gym.<br />

(GIRLS LAUGH)<br />

(CHILDREN LAUGH)<br />

251. (1097+14) HEAD SHOT<br />

Welch.<br />

(LAUGHTER)<br />

252. (1100+08) HEAD SHOT<br />

Akeelah is crushed.<br />

(LAUGHTER)<br />

253. (1103+02) FULL SHOT<br />

Audience. WE SEE<br />

Akeelah RUN o/s R.<br />

192. 1092.15 1095.03 2.04 TOUGH GIRL#1:(OS)<br />

See, she ain't so<br />

smart!


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 51<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - GYMNASIUM - CONT)<br />

(MUSIC - CONT)<br />

254. (1105+09) HEAD SHOT<br />

Georgia watches her<br />

friend run.<br />

255. (1107+05) FULL SHOT<br />

Toughs at <strong>the</strong> back of<br />

<strong>the</strong> room CHORTLE.<br />

Akeelah runs o/s R.<br />

TOUGH GIRL#2:(OUT LOUD)<br />

See ya!<br />

TOUGH GIRL#1:(OUT LOUD)<br />

Bye bye, queenie!<br />

256. INT. - STAIRWAY - DAY<br />

(1109+10) FULL SHOT<br />

LOW ANGLE Akeelah RUNS<br />

down stairs to FG. WE<br />

SEE Welch at <strong>the</strong> TOP<br />

OF THE STAIRS.<br />

WELCH:(TO AKEELAH)<br />

Akeelah! Wait!<br />

Welch joins her FG.<br />

WELCH:(CONT)<br />

Where are you going?<br />

You did...<br />

193. 1107.10 1109.02 1.08<br />

TOUGH GIRL#2:(OUT LOUD)<br />

(THEN TOUGH #1)<br />

- See ya!<br />

- Good bye, queenie.<br />

194. 1111.07 1114.10 3.03 WELCH:(TO AKEELAH)<br />

Akeelah! Wait!<br />

195. 1115.05 1119.03 3.14<br />

(over scene end) WELCH:(CONT)<br />

Where are you going?<br />

You did great!


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 52<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - STAIRWAY - CONT)<br />

257. (1117+12) HEAD SHOT<br />

Akeelah.<br />

WELCH:(CONT)<br />

...great!<br />

Welch moves into shot<br />

for OTS.<br />

WELCH:(CONT)<br />

You were spelling<br />

words I don't know how<br />

to spell.<br />

AKEELAH:(TO WELCH)<br />

Mister Welch, I...<br />

258. (1122+13) CHEST SHOT<br />

Larabee at <strong>the</strong> top of<br />

<strong>the</strong> stairs.<br />

AKEELAH:(OS)(CONT)<br />

...told you I did not<br />

want to do this.<br />

259. (1125+10) MCS OTS<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

They're laughing at<br />

me.<br />

260. (1127+12) CHEST SHOT<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

They laugh because you<br />

intimidate...<br />

261. (1130+05) MCS OTS<br />

Akeelah.<br />

LARABEE:(OS)(CONT)<br />

...<strong>the</strong>m. But if you'd<br />

stood ground. You<br />

might...<br />

196. 1119.10 1121.15 2.05 WELCH:(CONT)<br />

You were spelling words<br />

I don't know how to<br />

spell.<br />

197. 1122.05 1125.03 2.14<br />

(over scene end) AKEELAH:(TO WELCH)<br />

Mister Welch, I told<br />

you I did not want to<br />

do this.<br />

198. 1125.12 1127.04 1.08 AKEELAH:(CONT)<br />

They are laughing at<br />

me.<br />

199. 1128.07 1131.10 3.03<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

They laugh because you<br />

intimidate <strong>the</strong>m.<br />

200. 1132.12 1135.05 2.09<br />

(over scene end) LARABEE:(OS)(CONT)<br />

But if you had stood<br />

ground. You might have<br />

earned <strong>the</strong>ir respect.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 53<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - STAIRWAY - CONT)<br />

262. (1134+01) CHEST SHOT<br />

Larabee.<br />

LARABEE:(CONT)<br />

...have earned <strong>the</strong>ir<br />

respect.<br />

263. (1135+12) MCS OTS<br />

Akeelah.<br />

LARABEE:(OS)(TO WELCH)<br />

Bob, <strong>the</strong> girl has<br />

potential, but...<br />

264. (1139+15) FULL SHOT<br />

LOW ANGLE Welch L.,<br />

Akeelah R. FG.<br />

Larabee BG. at <strong>the</strong><br />

head of <strong>the</strong> stairs.<br />

LARABEE:(CONT)<br />

...she needs to be<br />

coached.<br />

Larabee moves o/s.<br />

265. (1146+08) MCS OTS<br />

Welch.<br />

WELCH:(TO AKEELAH)<br />

Do you know who that<br />

was?<br />

266. (1149+05) MCS OTS<br />

Akeelah.<br />

WELCH:(CONT)<br />

That was Doctor Joshua<br />

Larabee. He used to<br />

chair <strong>the</strong> English<br />

department at UCLA.<br />

201. 1137.04 1142.07 5.03<br />

(over scene end) LARABEE:(OS)(TO WELCH)<br />

Bob, <strong>the</strong> girl has<br />

potential, but she has<br />

to be coached.<br />

202. 1147.02 1148.13 1.11 WELCH:(TO AKEELAH)<br />

Do you know who that<br />

was?<br />

203. 1150.03 1155.15 5.12 WELCH:(CONT)<br />

That was Doctor Joshua<br />

Larabee. He used to<br />

chair <strong>the</strong> English<br />

department at UCLA.<br />

(Chair: Chairman of a department.)


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 54<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - STAIRWAY - CONT)<br />

267. (1156+03) MCS OTS<br />

Welch.<br />

WELCH:(CONT)<br />

He <strong>and</strong> I went to<br />

college toge<strong>the</strong>r. But<br />

get this. When he was<br />

a kid...<br />

268. (1161+08) MCS OTS<br />

Akeelah.<br />

WELCH:(CONT)<br />

...he went all <strong>the</strong> way<br />

to <strong>the</strong> national<br />

spelling bee.<br />

269. (1165+00) MCS OTS<br />

Welch.<br />

WELCH:(CONT)<br />

And he thinks you have<br />

a chance...<br />

270. (1167+03) MCS OTS<br />

Akeelah.<br />

WELCH:(CONT)<br />

...of going <strong>the</strong>re<br />

yourself.<br />

AKEELAH:(TO WELCH)<br />

I'm sorry. But I<br />

ain't doin' no more<br />

spelling bees.<br />

271. (1175+06) MCS OTS<br />

Welch. Akeelah FG.<br />

moves o/s R.<br />

WELCH:(TO AKEELAH)<br />

Akeelah...<br />

204. 1156.13 1159.11 2.14 WELCH:(CONT)<br />

He <strong>and</strong> I went to<br />

college toge<strong>the</strong>r. But<br />

get this...<br />

205. 1160.04 1164.06 4.02<br />

(over scene end) WELCH:(CONT)<br />

When he was a kid, he<br />

went all <strong>the</strong> way to <strong>the</strong><br />

national spelling bee.<br />

206. 1165.08 1169.04 3.12<br />

(over scene end) WELCH:(CONT)<br />

And he thinks you have<br />

a chance of going <strong>the</strong>re<br />

yourself.<br />

207. 1170.11 1175.05 4.10 AKEELAH:(TO WELCH)<br />

I'm sorry. But I ain't<br />

doing no more spelling<br />

bees.<br />

208. 1176.01 1177.09 1.08<br />

(over scene end) WELCH:(TO AKEELAH)<br />

Akeelah...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 55<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - STAIRWAY - CONT)<br />

272. (1176+12) FULL SHOT<br />

Akeelah runs away to<br />

Door BG.<br />

273. (1178+08) MCS Welch<br />

looks o/s R.<br />

274. EXT. - NEIGHBORHOOD - DAY<br />

(1180+13) FULL SHOT WE<br />

SEE Georgia <strong>and</strong><br />

Akeelah walking to FG.<br />

along a neighborhood<br />

sidewalk.<br />

GEORGIA:(TO AKEELAH)<br />

Girl, you kicked some<br />

major booty on that<br />

stage today.<br />

AKEELAH:(TO GEORGIA)<br />

But I couldn't spell<br />

"pulchritude."<br />

GEORGIA:(TO AKEELAH)<br />

But you knocked all<br />

<strong>the</strong>m o<strong>the</strong>r words right<br />

back at that dude.<br />

AKEELAH:(TO GEORGIA)<br />

They were just trick<br />

words. Everybody<br />

knows "pterodactyl"<br />

starts with a "p."<br />

GEORGIA:(TO AKEELAH)<br />

Girl, if I could spell<br />

like you. I know I<br />

could be a flight<br />

attendant.<br />

DEVON:(VO)<br />

Keelie, hey wake up.<br />

209. 1180.14 1185.02 4.04 GEORGIA:(TO AKEELAH)<br />

Girl, you kicked some<br />

major booty on that<br />

stage today.<br />

(Booty: Street slang meaning, "buttocks".<br />

derived from <strong>the</strong> more vulgar form, "ass".)<br />

210. 1186.02 1189.03 3.01 AKEELAH:(TO GEORGIA)<br />

But I couldn't spell<br />

"pulchritude."<br />

211. 1189.14 1192.14 3.00 GEORGIA:(TO AKEELAH)<br />

But you knocked all<br />

<strong>the</strong>m o<strong>the</strong>r words right<br />

back at that dude.<br />

(Knocked: Returned/answered.)<br />

(Dude: Slang here indicating Larabee.)<br />

212. 1193.07 1199.06 5.15 AKEELAH:(TO GEORGIA)<br />

They were just trick<br />

words. Everybody knows<br />

"pterodactyl" starts<br />

with a "p."<br />

213. 1200.11 1205.03 4.08 GEORGIA:(TO AKEELAH)<br />

Girl, if I could spell<br />

like you. I know I<br />

could be a flight<br />

attendant.<br />

214. 1209.15 1212.07 2.08 DEVON:(VO)<br />

Keelie, hey wake up.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 56<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

275. INT. -AKEELAH'S BEDROOM- DAY<br />

(1213+01) HEAD SHOT<br />

Akeelah asleep in bed.<br />

She opens her eyes.<br />

276. (1216+04) MCS Devon<br />

look INTO CAMERA to<br />

Akeelah o/s.<br />

DEVON:(TO AKEELAH)<br />

Hey.<br />

277. (1219+00) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO DEVON)<br />

Dev, are you leavin'?<br />

278. (1222+09) CHEST SHOT<br />

OTS Devon.<br />

DEVON:(TO AKEELAH)<br />

Yeah, I gotta get back<br />

to <strong>the</strong> base. Hey,<br />

your principal called<br />

mama. Said you did<br />

real good in <strong>the</strong><br />

spelling...<br />

215. 1216.05 1218.02 1.13 DEVON:(TO AKEELAH)<br />

Hey.<br />

216. 1220.09 1222.01 1.08 AKEELAH:(TO DEVON)<br />

Dev, are you leaving?<br />

217. 1222.11 1225.13 3.02 DEVON:(TO AKEELAH)<br />

Yeah, I have to get<br />

back to <strong>the</strong> base.<br />

218. 1226.05 1230.05 4.00<br />

(over scene end) DEVON:(CONT)<br />

Hey, your principal<br />

called mama. Said you<br />

did real good in <strong>the</strong><br />

spelling bee last week.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 57<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S BEDROOM - CONT)<br />

279. (1232+09) HEAD SHOT<br />

Akeelah.<br />

DEVON:(CONT)<br />

...bee last week.<br />

AKEELAH:(TO DEVON)<br />

I messed up a word.<br />

DEVON:(TO AKEELAH)<br />

Yeah, well he says you<br />

got a lot of 'em<br />

right. He also said...<br />

280. (1239+14) CHEST SHOT<br />

OTS Devon.<br />

DEVON:(CONT)<br />

...you got an<br />

opportunity to go an<br />

even bigger contest...<br />

281. (1243+00) HEAD SHOT<br />

Akeelah.<br />

DEVON:(CONT)<br />

...next week.<br />

AKEELAH:(TO DEVON)<br />

I don't want to do it.<br />

282. (1247+01) CHEST SHOT<br />

OTS Devon.<br />

DEVON:(TO AKEELAH)<br />

Why not?<br />

219. 1234.03 1236.02 1.15 AKEELAH:(TO DEVON)<br />

I messed up a word.<br />

220. 1236.12 1239.04 2.08 DEVON:(TO AKEELAH)<br />

Yeah, well he says you<br />

got a lot of <strong>the</strong>m<br />

right.<br />

(Them: Words.)<br />

221. 1239.10 1244.05 4.11<br />

(over scene end) DEVON:(CONT)<br />

He also said you have<br />

an opportunity to go<br />

onto an even bigger<br />

contest next week.<br />

222. 1245.00 1246.15 1.15 AKEELAH:(TO DEVON)<br />

I don't want to do it.<br />

223. 1247.07 1248.15 1.08 DEVON:(TO AKEELAH)<br />

Why not?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 58<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S BEDROOM - CONT)<br />

283. (1248+14) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO DEVON)<br />

Everybody's gonna be<br />

lookin' at me. And<br />

<strong>the</strong>re's gonna be tons<br />

of words I don't know.<br />

284. (1255+09) CHEST SHOT<br />

OTS Devon.<br />

DEVON:(TO AKEELAH)<br />

So you're scared, huh?<br />

285. (1257+13) HEAD SHOT<br />

Akeelah.<br />

(DEVON CHUCKLES)<br />

DEVON:(CONT)<br />

Come on, how you think<br />

I felt <strong>the</strong> first time<br />

I had to jump out of<br />

an airplane?<br />

286. (1264+00) CHEST SHOT<br />

OTS Devon.<br />

DEVON:(CONT)<br />

I mean, my whole body<br />

said, "Don't do it."<br />

But sometimes our<br />

brain gotta be smarter<br />

than...<br />

224. 1249.07 1254.14 5.07 AKEELAH:(TO DEVON)<br />

Everybody is going to<br />

be looking at me. And<br />

<strong>the</strong>re is going to be<br />

tons of words I don't<br />

know.<br />

(Tons: Used here as "A large number".)<br />

225. 1255.15 1257.10 1.11 DEVON:(TO AKEELAH)<br />

So you are scared, huh?<br />

226. 1260.01 1263.07 3.06 DEVON:(CONT)<br />

Come on, how you think<br />

I felt <strong>the</strong> first time I<br />

had to jump out of an<br />

airplane?<br />

227. 1264.00 1267.03 3.03 DEVON:(CONT)<br />

I mean, my whole body<br />

said, "Don't do it."<br />

228. 1268.11 1272.10 3.15<br />

(over scene end) DEVON:(CONT)<br />

But sometimes our brain<br />

has to be smarter than<br />

your body.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 59<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S BEDROOM - CONT)<br />

287. (1271+08) HEAD SHOT<br />

Akeelah.<br />

DEVON:(CONT)<br />

...your body. You<br />

know?<br />

AKEELAH:(TO DEVON)<br />

But I don't like my<br />

school. Don't see why<br />

I gotta do anything<br />

for 'em.<br />

288. (1280+05) HEAD SHOT<br />

Devon.<br />

DEVON:(TO AKEELAH)<br />

Then do it for dad.<br />

(MUSIC IN)<br />

289. (1286+10) HEAD SHOT<br />

Akeelah.<br />

DEVON:(OS)(CONT)<br />

I mean, you know how<br />

he was about words.<br />

290. (1289+15) HEAD SHOT<br />

Devon.<br />

DEVON:(CONT)<br />

He'd love to see you<br />

do something like<br />

this.<br />

291. (1294+13) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO DEVON)<br />

What'd mama say about<br />

it?<br />

292. (1297+14) HEAD SHOT<br />

Devon.<br />

DEVON:(TO AKEELAH)<br />

Well, you know how<br />

mama is. She got a<br />

million things to<br />

worry about.<br />

229. 1273.12 1279.13 6.01 AKEELAH:(TO DEVON)<br />

But I don't like my<br />

school. Don't see why<br />

I have to do anything<br />

for <strong>the</strong>m.<br />

230. 1284.04 1286.02 1.14 DEVON:(TO AKEELAH)<br />

Then do it for dad.<br />

231. 1287.00 1289.11 2.11 DEVON:(OS)(CONT)<br />

I mean, you know how he<br />

was about words.<br />

232. 1291.10 1294.03 2.09 DEVON:(CONT)<br />

He would love to see<br />

you do something like<br />

this.<br />

233. 1295.11 1297.09 1.14 AKEELAH:(TO DEVON)<br />

What did mama say about<br />

it?<br />

234. 1298.13 1302.11 3.14 DEVON:(TO AKEELAH)<br />

Well, you know how mama<br />

is. She has a million<br />

things to worry about.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 60<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S BEDROOM - CONT)<br />

(MUSIC - CONT)<br />

293. (1303+05) HEAD SHOT<br />

Akeelah.<br />

DEVON:(OS)(CONT)<br />

Tell you what.<br />

294. (1306+11) HEAD SHOT<br />

Devon.<br />

DEVON:(CONT)<br />

Just do this contest.<br />

And if you make it all<br />

<strong>the</strong> way to D.C. I<br />

will parachute down...<br />

295. (1315+02) HEAD SHOT<br />

Akeelah.<br />

DEVON:(CONT)<br />

...to see you. Would<br />

you like that?<br />

Akeelah nods.<br />

296. (1319+14) CHEST SHOT<br />

OTS Devon BG. Akeelah<br />

FG. SITS UP <strong>and</strong> HUGS<br />

him.<br />

297. (1320+14) CHEST SHOT<br />

HIGH ANGLE Devon <strong>and</strong><br />

Akeelah hug.<br />

298. (1324+13) MS<br />

Akeelah's h<strong>and</strong> on a<br />

computer mouse.<br />

(CLICK)<br />

235. 1304.04 1306.02 1.14 DEVON:(OS)(CONT)<br />

I'll tell you what.<br />

236. 1306.15 1312.04 5.05 DEVON:(CONT)<br />

Just do this contest.<br />

And if you make it all<br />

<strong>the</strong> way to D.C.<br />

237. 1313.02 1316.03 3.01<br />

(over scene end) DEVON:(CONT)<br />

I will parachute down<br />

to see you. Would you<br />

like that?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 61<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S BEDROOM - CONT)<br />

(MUSIC - CONT)<br />

299. (1325+09) MS of <strong>the</strong><br />

computer monitor. WE<br />

SEE Akeelah's<br />

REFLECTION R. The<br />

computer DISPLAYS a<br />

picture of <strong>the</strong><br />

Spelling <strong>Bee</strong> winner<br />

she saw on ESPN.<br />

CAMERA FOCUS THRU to<br />

Akeelah. SHE LOOKS up<br />

o/s TOP.<br />

300. (1333+12) CS of <strong>the</strong><br />

PICTURE OF HER FATHER.<br />

301. (1337+05) MS<br />

computer monitor with<br />

FOCUS on Akeelah.<br />

She looks back to <strong>the</strong><br />

display <strong>and</strong> nods.<br />

CAMERA FOCUS THRU to<br />

<strong>the</strong> picture on <strong>the</strong><br />

computer monitor.<br />

WELCH:(VO)<br />

That is a...<br />

302. INT. - WELCH'S OFFICE - DAY<br />

(1345+12) MS Welch<br />

STANDS, CAMERA<br />

FOLLOWS. He looks o/s<br />

L. to Akeelah.<br />

WELCH:(CONT)<br />

...wonderful decision,<br />

Akeelah.<br />

CAMERA PULLS BACK.<br />

WELCH:(CONT)<br />

A wonderful...<br />

238. 1344.07 1350.03 5.12<br />

(over scene end) WELCH:(VO)<br />

That is a wonderful<br />

decision, Akeelah.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 62<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - WELCH'S OFFICE - CONT)<br />

303. (1349+02) CHEST SHOT<br />

Akeelah.<br />

WELCH:(OS)(CONT)<br />

...decision.<br />

AKEELAH:(TO WELCH)<br />

You think maybe <strong>the</strong><br />

school could buy me a<br />

new outfit? You know,<br />

for <strong>the</strong> district bee?<br />

304. (1358+08) WAIST SHOT<br />

OTS Welch.<br />

WELCH:(TO AKEELAH)<br />

Ahh... I don't know<br />

maybe. Umm... if you<br />

make it to <strong>the</strong> State<br />

Regional. Maybe<br />

something could be<br />

arranged.<br />

305. (1368+14) CHEST SHOT<br />

Akeelah.<br />

WELCH:(OS)(CONT)<br />

But you're gonna have<br />

to finish in <strong>the</strong> top<br />

ten at <strong>the</strong> district<br />

level...<br />

306. (1373+13) WAIST SHOT<br />

OTS Welch.<br />

WELCH:(CONT)<br />

...first.<br />

Welch moves R.<br />

WELCH:(CONT)<br />

And Akeelah, you're...<br />

239. 1350.08 1354.08 4.00 AKEELAH:(TO WELCH)<br />

You think maybe <strong>the</strong><br />

school could buy me a<br />

new outfit?<br />

240. 1355.03 1357.15 2.12 AKEELAH:(CONT)<br />

You know, for <strong>the</strong><br />

district bee?<br />

241. 1360.00 1362.11 2.11 WELCH:(TO AKEELAH)<br />

I don't know, maybe.<br />

242. 1363.10 1368.03 4.09 WELCH:(CONT)<br />

If you make it to <strong>the</strong><br />

State Regional. Maybe<br />

something could be<br />

arranged.<br />

243. 1369.07 1374.10 5.03<br />

(over scene end) WELCH:(OS)(CONT)<br />

But you are going o<br />

have to finish in <strong>the</strong><br />

top ten at <strong>the</strong> district<br />

level first.<br />

244. 1375.05 1380.02 4.13<br />

(over scene end) WELCH:(CONT)<br />

And Akeelah, you are<br />

going to be going up<br />

against kids from Santa<br />

Monica...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 63<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - WELCH'S OFFICE - CONT)<br />

307. (1376+07) MCS<br />

Akeelah.<br />

WELCH:(OS)(CONT)<br />

...gonna be going up<br />

against kids from<br />

Santa...<br />

308. (1379+03) WAIST SHOT<br />

Welch moves L. with a<br />

VIDEO TAPE in his<br />

h<strong>and</strong>.<br />

WELCH:(CONT)<br />

...Monica, Woodl<strong>and</strong><br />

Hills, Beverly Hills,<br />

309. (1383+05) CHEST SHOT<br />

Akeelah.<br />

WELCH:(OS)(CONT)<br />

Some of <strong>the</strong>se kids<br />

have been doing this<br />

for years.<br />

310. (1386+07) MCS Welch.<br />

WELCH:(CONT)<br />

And never even made it<br />

to D.C.<br />

311. (1388+10) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO WELCH)(OS)<br />

Well, maybe I should<br />

just give up now.<br />

312. (1391+14) MCS Welch.<br />

WELCH:(TO AKEELAH)(OS)<br />

No, no, no. No, I...<br />

I'm just saying you<br />

need to train hard.<br />

With Doctor Larabee.<br />

245. 1381.00 1382.11 1.11<br />

(over scene end) WELCH:(OS)(CONT)<br />

...Woodl<strong>and</strong> Hills,<br />

Beverly Hills.<br />

246. 1384.00 1388.01 4.01<br />

(over scene end) WELCH:(OS)(CONT)<br />

Some of <strong>the</strong>se kids<br />

have been doing this<br />

for years. And have<br />

never made it to D.C.<br />

247. *1388.10 1391.04 2.10<br />

AKEELAH:(TO WELCH)(OS)<br />

Well, maybe I should<br />

just give up now.<br />

248. 1392.07 1398.10 6.03 WELCH:(TO AKEELAH)(OS)<br />

No, I... I'm just<br />

saying you need to<br />

train hard.<br />

249. 1399.03 1400.11 1.08 WELCH:(CONT)<br />

With Doctor Larabee.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 64<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - WELCH'S OFFICE - CONT)<br />

313. (1401+08) MCS<br />

Akeelah.<br />

AKEELAH:(TO WELCH)(OS)<br />

What?<br />

Akeelah STANDS.<br />

AKEELAH:(CONT)<br />

I don't need any help<br />

form him. I can do<br />

this on my own.<br />

314. (1407+02) MCS Welch.<br />

WELCH:(TO AKEELAH)(OS)<br />

Akeelah, <strong>the</strong> best<br />

spellers in <strong>the</strong> world<br />

have coaches.<br />

315. (1411+05) MCS<br />

Akeelah.<br />

WELCH:(OS)(CONT)<br />

I finally got him to<br />

consider taking some<br />

time during his...<br />

316. (1415+14) WAIST SHOT<br />

OTS Welch.<br />

WELCH:(CONT)<br />

...sabbatical to work<br />

with you. Please just<br />

talk...<br />

317. (1419+09) MCS<br />

Akeelah.<br />

WELCH:(OS)(CONT)<br />

...with him. Here...<br />

250. 1402.01 1403.09 1.08 AKEELAH:(TO WELCH)(OS)<br />

What?<br />

251. 1403.15 1406.07 2.08 AKEELAH:(CONT)<br />

I don't need any help<br />

form him. I can do<br />

this on my own.<br />

252. 1407.14 1410.11 2.13 WELCH:(TO AKEELAH)(OS)<br />

Akeelah, <strong>the</strong> best<br />

spellers in <strong>the</strong> world<br />

have coaches.<br />

253. 1411.10 1417.12 6.02<br />

(over scene end) WELCH:(OS)(CONT)<br />

I finally got him to<br />

consider taking some<br />

time during his<br />

sabbatical to work with<br />

you.<br />

254. 1418.02 1420.15 2.13<br />

(over scene end) WELCH:(CONT)<br />

Please just talk with<br />

him.<br />

255. 1421.12 1425.05 3.09<br />

(over scene end) WELCH:(OS)(CONT)<br />

Here, he doesn't live<br />

far from here.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 65<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - WELCH'S OFFICE - CONT)<br />

318. (1421+11) WAIST SHOT<br />

OTS Welch offers a<br />

card to Akeelah FG.<br />

WELCH:(CONT)<br />

...he doesn't...<br />

319. (1423+12) MCS<br />

Akeelah looks o/s<br />

BOTTOM to <strong>the</strong> card in<br />

her h<strong>and</strong>.<br />

WELCH:(OS)(CONT)<br />

...live far from here.<br />

AKEELAH:(TO WELCH)(OS)<br />

He lives in this<br />

neighborhood? I<br />

thought you said he<br />

was important.<br />

320. (1432+04) MCS Welch<br />

h<strong>and</strong>s <strong>the</strong> Video Tape<br />

in his h<strong>and</strong> to Akeelah<br />

L.<br />

WELCH:(CONT)<br />

And take this. It's a<br />

copy of last year's<br />

spelling bee.<br />

321. INT. - LIVING ROOM - NIGHT<br />

(1436+07) FULL SHOT<br />

CAMERA TRACKS L. to<br />

reveal Akeelah sitting<br />

BG. watching a<br />

television FG.<br />

JUDGE:(FROM TV)<br />

"Sacciform."<br />

BOY:(FROM TV)<br />

May I have <strong>the</strong><br />

definition, please?<br />

JUDGE:(FROM TV)<br />

Resembling...<br />

256. 1425.11 1431.14 6.03 AKEELAH:(TO WELCH)(OS)<br />

He lives in this<br />

neighborhood? I<br />

thought you said he was<br />

important.<br />

257. 1432.10 1435.15 3.05 WELCH:(CONT)<br />

And take this. It is a<br />

copy of last year's<br />

spelling bee.<br />

258. 1437.00 1438.15 1.15 JUDGE:(FROM TV)<br />

"Sacciform."<br />

259. 1439.05 1441.02 1.13 BOY:(FROM TV)<br />

May I have <strong>the</strong><br />

definition, please?<br />

260. 1441.08 1443.15 2.07<br />

(over scene end) JUDGE:(FROM TV)<br />

Resembling a pouch.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 66<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LIVING ROOM - CONT)<br />

322. (1442+00) MS<br />

Television. WE SEE <strong>the</strong><br />

BOY on <strong>the</strong> screen.<br />

JUDGE:(CONT)<br />

...a pouch.<br />

BOY:(FROM TV)<br />

May I have <strong>the</strong><br />

language of origin,<br />

please?<br />

323. (1446+05) CHEST SHOT<br />

Akeelah.<br />

JUDGE:(FROM TV)<br />

Latin.<br />

AKEELAH:(TO HERSELF)<br />

Latin? I thought this<br />

was supposed to be<br />

English.<br />

(MUSIC IN)<br />

Akeelah FAST FORWARDS<br />

<strong>the</strong> TAPE.<br />

324. (1457+00) MS WE SEE<br />

<strong>the</strong> boy WALK from <strong>the</strong><br />

stage IN FAST FORWARD.<br />

325. (1458+10) CS Remote<br />

in Akeelah's h<strong>and</strong>.<br />

(CLICK)<br />

326. (1459+13) MS<br />

Television.<br />

RED HAIR:(FROM TV)<br />

Stellite.<br />

261. 1444.05 1445.13 1.08 BOY:(FROM TV)<br />

May I have <strong>the</strong> language<br />

of origin, please?<br />

262. 1446.10 1448.02 1.08 JUDGE:(FROM TV)<br />

Latin.<br />

263. 1448.08 1452.15 4.07 AKEELAH:(TO HERSELF)<br />

Latin? I thought this<br />

was supposed to be<br />

English.<br />

264. 1460.01 1461.09 1.08 RED HAIR:(FROM TV)<br />

Stellite.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 67<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LIVING ROOM - CONT)<br />

(MUSIC - CONT)<br />

327. (1461+11) CHEST SHOT<br />

Akeelah.<br />

RED HAIR:(CONT)<br />

Can I have a<br />

definition?<br />

Akeelah rolls <strong>the</strong><br />

video forward.<br />

328. (1465+08) MS<br />

Television.<br />

BOY:(FROM TV)<br />

Longicollis.<br />

329. (1468+14) MCS<br />

Akeelah looks o/s R.<br />

to <strong>the</strong> TV.<br />

330. (1470+03) MS<br />

Television.<br />

GIRL:[FROM TV]<br />

Ginglymus.<br />

331. (1471+15) MS<br />

Television.<br />

BOY:(FROM TV)<br />

Empennage.<br />

332. (1473+10) MS TV<br />

Ano<strong>the</strong>r boy.<br />

BOY:(FROM TV)<br />

Souchong.<br />

265. 1462.04 1464.05 2.01 RED HAIR:(CONT)<br />

Can I have a<br />

definition?<br />

266. 1466.11 1468.03 1.08 BOY:(FROM TV)<br />

Longicollis.<br />

267. *1470.03 1471.11 1.08 GIRL:[FROM TV]<br />

Ginglymus.<br />

268. 1472.01 1473.09* 1.08 BOY:(FROM TV)<br />

Empennage.<br />

269. 1473.15 1475.07 1.08<br />

(over scene end) BOY:(FROM TV)<br />

Souchong.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 68<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LIVING ROOM - CONT)<br />

(MUSIC - CONT)<br />

333. (1475+03) MS TV FACE<br />

SHOT OF Girl.<br />

GIRL:(FROM TV)<br />

Intussusception.<br />

TERRENCE:<br />

(OS)(TO AKEELAH)<br />

Hey...<br />

334. (1477+14) CHEST SHOT<br />

OTS Terrence BG.<br />

Akeelah FG. HEAD SHOT.<br />

TERRENCE:(CONT)<br />

...what's that?<br />

335. (1480+00) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO TERRENCE)<br />

Where you been?<br />

336. (1481+14) CHEST SHOT<br />

Terrence.<br />

AKEELAH:(OS)(CONT)<br />

Mama's worried.<br />

TERRENCE:(TO AKEELAH)<br />

Mama should just<br />

chill. All right?<br />

What you looking at?<br />

337. (1490+00) HEAD SHOT<br />

Akeelah looks o/s R.<br />

to Terrence.<br />

AKEELAH:(TO TERRENCE)<br />

Spelling bee.<br />

270. 1475.13 1477.05 1.08 GIRL:(FROM TV)<br />

Intussusception.<br />

271. 1477.11 1479.03 1.08<br />

(over scene end) TERRENCE:<br />

(OS)(TO AKEELAH)<br />

Hey what is that?<br />

272. 1480.01 1484.15 4.14<br />

(over scene end) AKEELAH:(TO TERRENCE)<br />

Where you been? Mom was<br />

worried.<br />

273. 1485.07 1489.15 4.08 TERRENCE:(TO AKEELAH)<br />

Mama should just chill.<br />

All right? What you<br />

looking at?<br />

(Chill: Slang, in this case; "be less<br />

worried.")<br />

274. 1490.15 1492.07 1.08 AKEELAH:(TO TERRENCE)<br />

Spelling bee.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 69<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LIVING ROOM - CONT)<br />

(MUSIC - CONT)<br />

338. (1492+13) CHEST SHOT<br />

Terrence.<br />

TERRENCE:(TO AKEELAH)<br />

Yeah, I heard...<br />

339. (1495+09) HEAD SHOT<br />

Akeelah.<br />

TERRENCE:(OS)(CONT)<br />

...about that. You<br />

going up against a...<br />

340. (1497+10) CHEST SHOT<br />

OTS Terrence.<br />

TERRENCE:(CONT)<br />

...bunch of rich,<br />

white kids.<br />

341. (1500+09) CHEST SHOT<br />

Terrence.<br />

TERRENCE:(CONT)<br />

They gonna tear your<br />

black ass up.<br />

Terrence turns <strong>and</strong><br />

EXITS BG.<br />

342. (1507+15) HEAD SHOT<br />

Akeelah.<br />

JUDGE:(FROM TV)<br />

Intussusception is,<br />

"I-N-T-U-S-S-U-S..<br />

275. 1494.11 1496.14 2.03<br />

(over scene end) TERRENCE:(TO AKEELAH)<br />

Yeah, I heard about<br />

that.<br />

276. 1497.04 1500.04 3.00<br />

(over scene end) TERRENCE:(OS)(CONT)<br />

You are going up<br />

against a bunch of rich<br />

white kids.<br />

277. 1501.15 1505.06 3.07 TERRENCE:(CONT)<br />

They are going to tear<br />

your black ass up.<br />

(Black Ass: Semi vulgar, "Akeelah")<br />

(Tear/up: Defeat.)<br />

278. 1507.15 1510.15 3.00 JUDGE:(FROM TV)<br />

Intussusception is...<br />

279. 1511.05 1518.05 7.00<br />

(over scene end) JUDGE:(CONT)<br />

"I-N-T-U-S-S-U-S-C-E-P<br />

-T-I-O-N"


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 1 Page 70<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LIVING ROOM - CONT)<br />

(MUSIC - CONT)<br />

343. (1515+08) FACE SHOT<br />

Akeelah looks o/s R.<br />

to <strong>the</strong> TV.<br />

JUDGE:(FROM TV)(CONT)<br />

C-E-P-T-I-O-N.<br />

(APPLAUSE)<br />

(MUSIC OUT)<br />

END OF REEL #1<br />

LAST FRAME OF REEL 1522 FEET 11 FRAMES


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 71<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(00+00) PICTURE START (00+00) PICTURE START<br />

344. EXT. -LARABEE'S HOUSE- DAY<br />

(12+00) FULL SHOT<br />

ESTABLISHING SHOT of<br />

<strong>the</strong> front of Dr.<br />

Larabee's house. WE<br />

SEE Akeelah st<strong>and</strong>ing<br />

at <strong>the</strong> front gate.<br />

345. (15+12) CHEST SHOT<br />

Akeelah looks to <strong>the</strong><br />

paper Mr. Welch gave<br />

her <strong>and</strong> <strong>the</strong>n o/s L. to<br />

<strong>the</strong> house. She walks<br />

o/s L. FG.<br />

346. (20+05) WAIST SHOT<br />

Akeelah rings <strong>the</strong> door<br />

bell to Larabee's<br />

home.<br />

(DING-DONG)<br />

No answer.<br />

(TAP-TAP)<br />

Akeelah looks o/s R.<br />

to <strong>the</strong> sound from<br />

Larabee's back yard.<br />

347. (32+15) MS Akeelah<br />

looks PAST THE EDGE of<br />

<strong>the</strong> house into <strong>the</strong><br />

back yard o/s L.<br />

(TAP/TAP)<br />

348. (36+09) FULL SHOT<br />

Larabee in <strong>the</strong> back<br />

yard working with a<br />

potted plant.<br />

349. (39+05) MCS<br />

Akeelah looks o/s L.<br />

She is anxious.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 72<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. -LARABEE'S HOUSE - CONT)<br />

350. (42+13) FULL SHOT<br />

Akeelah JUMPS down<br />

from <strong>the</strong> front porch<br />

<strong>and</strong> walks to FG. along<br />

a driveway. CAMERA<br />

PRECEDES, PANS R. <strong>and</strong><br />

FOLLOWS as Akeelah<br />

moves to <strong>the</strong> gate of<br />

<strong>the</strong> rear yard. WE SEE<br />

Larabee look to<br />

Akeelah FG.<br />

LARABEE:(TO AKEELAH)<br />

You're late.<br />

351. (61+00) HEAD SHOT<br />

Akeelah looks through<br />

<strong>the</strong> bars of <strong>the</strong> gate.<br />

AKEELAH:(TO LARABEE)<br />

You didn't answer <strong>the</strong><br />

door.<br />

LARABEE:(TO AKEELAH)<br />

That's because...<br />

352. (64+04) FULL SHOT<br />

OTS Larabee BG.<br />

LARABEE:(CONT)<br />

...you're late. Come<br />

in.<br />

353. (66+14) HEAD SHOT<br />

Akeelah looks to <strong>the</strong><br />

gate.<br />

354. (68+12) FULL SHOT<br />

OTS Larabee motions.<br />

LARABEE:(CONT)<br />

Come. Come. Come.<br />

355. (70+04) CHEST SHOT<br />

Akeelah enters <strong>the</strong><br />

gate. Walks to FG.<br />

280. 59.00 60.08 1.08 LARABEE:(TO AKEELAH)<br />

You are late.<br />

281. 61.07 63.10 2.03 AKEELAH:(TO LARABEE)<br />

You didn't answer <strong>the</strong><br />

door.<br />

282. * 61.00 66.13 5.13<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

That is because you are<br />

late. Come in.<br />

283. 69.03 70.15 1.12 LARABEE:(CONT)<br />

Come.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 73<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. -LARABEE'S HOUSE - CONT)<br />

356. (72+01) FULL SHOT<br />

Larabee FG. carries<br />

plants, Akeelah<br />

follows. He kneels<br />

FG. with potted<br />

plants.<br />

LARABEE:(TO AKEELAH)<br />

So...<br />

357. (81+00) FULL SHOT<br />

OTS Larabee L., looks<br />

to Akeelah R.<br />

LARABEE:(CONT)<br />

...you want to learn<br />

how to spell.<br />

358. (83+13) MCS<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

I know how to spell.<br />

359. (86+04) MCS<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Spell,<br />

"Staphylococci."<br />

360. (88+10) M FULL<br />

SHOT Akeelah R.,<br />

Larabee L.<br />

AKEELAH:(TO LARABEE)<br />

Ahh... S-T-A-F.<br />

LARABEE:(TO AKEELAH)<br />

There is no "F".<br />

361. (96+05) FULL SHOT<br />

OTS Larabee STANDS.<br />

LARABEE:(TO AKEELAH)<br />

It's derived from <strong>the</strong><br />

Greek. So <strong>the</strong>re can't<br />

be an "F".<br />

284. 78.08 83.03 4.11<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

So you want to learn<br />

how to spell.<br />

285. 84.04 85.12 1.08 AKEELAH:(TO LARABEE)<br />

I know how to spell.<br />

286. 86.11 88.04 1.09 LARABEE:(TO AKEELAH)<br />

Spell, "Staphylococci."<br />

287. 90.03 95.03 5.00 AKEELAH:(TO LARABEE)<br />

Ahh... S-T-A-F.<br />

288. 95.09 97.05 1.12<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

There is no "F".<br />

289. 97.11 101.01 3.06 LARABEE:(TO AKEELAH)<br />

It is derived from <strong>the</strong><br />

Greek. So <strong>the</strong>re can't<br />

be an "F".


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 74<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. -LARABEE'S HOUSE - CONT)<br />

362. (101+04) MCS<br />

Akeelah FG. Larabee<br />

PASSES <strong>and</strong> moves to<br />

BG.<br />

LARABEE:(CONT)<br />

Staphylococci...<br />

363. (103+10) WAIST SHOT<br />

Larabee WALKS FG.<br />

Akeelah BG.<br />

LARABEE:(CONT)<br />

S-T-A-P-H-Y-L-O-C-O<br />

-C-C-I.<br />

364. (115+11) MCS<br />

Akeelah looks o/s L.<br />

to Larabee.<br />

LARABEE:(OS)(CONT)<br />

Winning word, National<br />

Spelling <strong>Bee</strong>, 1987.<br />

365. (121+02) FULL SHOT<br />

Larabee walks to FG<br />

with more plants,<br />

Akeelah follows.<br />

LARABEE:(CONT)<br />

The first thing most<br />

serious spellers do is<br />

learn all of <strong>the</strong><br />

winning words...<br />

366. (127+09) FULL SHOT<br />

OTS Larabee BG. with<br />

plants, Akeelah FG.<br />

BACK TO CAMERA.<br />

LARABEE:(CONT)<br />

...<strong>and</strong> <strong>the</strong>ir origins.<br />

290. 101.07 103.05 1.14 LARABEE:(CONT)<br />

Staphylococci...<br />

291. 104.04 109.04 5.00 LARABEE:(CONT)<br />

S-T-A-P-H-Y...<br />

292. 109.15 114.15 5.00 LARABEE:(CONT)<br />

L-O-C-O-C-C-I.<br />

293. 115.13 120.15 5.02 LARABEE:(OS)(CONT)<br />

Winning word, National<br />

Spelling <strong>Bee</strong>, 1987.<br />

294. 121.13 124.06 2.09 LARABEE:(CONT)<br />

The first thing most<br />

serious spellers do...<br />

295. 124.12 129.11 4.15<br />

(over scene end) LARABEE:(CONT)<br />

...is learn all of <strong>the</strong><br />

winning words <strong>and</strong> <strong>the</strong>ir<br />

origins.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 75<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. -LARABEE'S HOUSE - CONT)<br />

367. (130+01) MCS<br />

Akeelah looks o/s L.<br />

to Larabee.<br />

AKEELAH:(TO LARABEE)<br />

Well, maybe I ain't<br />

that serious.<br />

368. (133+05) HEAD SHOT<br />

Larabee looks o/s R.<br />

to Akeelah with some<br />

disdain, <strong>the</strong>n back to<br />

his plants.<br />

LARABEE:(TO AKEELAH)<br />

Well, maybe nei<strong>the</strong>r am<br />

I.<br />

369. (136+14) MCS<br />

Akeelah looks o/s L.<br />

to Larabee.<br />

AKEELAH:(TO LARABEE)<br />

So, why are you home<br />

during <strong>the</strong> day? Ain't<br />

you got a job?<br />

LARABEE:(OS)<br />

(TO AKEELAH)<br />

Do me a favor...<br />

370. (145+00) CHEST SHOT<br />

OTS Larabee FG.<br />

Akeelah BG.<br />

LARABEE:(CONT)<br />

...leave <strong>the</strong> Ghetto<br />

talk outside. All<br />

right?<br />

AKEELAH:(TO LARABEE)<br />

Ghetto talk? I don't<br />

talk Ghetto.<br />

371. (151+02) MCS<br />

Larabee head bobs.<br />

LARABEE:(TO AKEELAH)<br />

Ain't you got no job?<br />

296. 130.08 133.00 2.08 AKEELAH:(TO LARABEE)<br />

Well, maybe I ain't<br />

that serious.<br />

297. 134.15 136.07 1.08 LARABEE:(TO AKEELAH)<br />

Well, maybe nei<strong>the</strong>r am<br />

I.<br />

298. 139.07 144.01 4.10 AKEELAH:(TO LARABEE)<br />

So, why are you home<br />

during <strong>the</strong> day? Ain't<br />

you got a job?<br />

299. 144.07 148.02 3.11<br />

(over scene end) LARABEE:(OS)<br />

(TO AKEELAH)<br />

Do me a favor leave all<br />

<strong>the</strong> Ghetto talk<br />

outside. All right?<br />

300. 148.08 150.10 2.02 AKEELAH:(TO LARABEE)<br />

Ghetto talk? I don't<br />

talk Ghetto.<br />

301. 151.06 153.04 1.14 LARABEE:(TO AKEELAH)<br />

Ain't you got no job?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 76<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. -LARABEE'S HOUSE - CONT)<br />

372. (153+14) MCS<br />

Akeelah.<br />

LARABEE:(OS)(CONT)<br />

You use that language<br />

to fit in with your<br />

friends.<br />

373. (158+06) MCS<br />

Larabee.<br />

LARABEE:(CONT)<br />

Here, you will speak<br />

properly or you won't<br />

speak at all.<br />

374. (162+10) MCS<br />

Akeelah.<br />

LARABEE:(OS)(CONT)<br />

Understood?<br />

AKEELAH:(TO LARABEE)<br />

Yeah. Whateva'.<br />

375. (169+00) M FULL<br />

SHOT Larabee STANDS.<br />

LARABEE:(TO AKEELAH)<br />

You can leave now.<br />

376. (171+14) MCS<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Excuse me?<br />

LARABEE:(TO AKEELAH)<br />

I said...<br />

302. 154.07 158.04 3.13 LARABEE:(OS)(CONT)<br />

You use that language<br />

to fit in with your<br />

friends.<br />

303. 159.02 163.14 4.12<br />

(over scene end) LARABEE:(CONT)<br />

Here, you will speak<br />

properly or you won't<br />

speak at all.<br />

Understood?<br />

304. 164.04 168.12 4.08 AKEELAH:(TO LARABEE)<br />

Yeah. Whatever.<br />

305. 169.12 171.04 1.08 LARABEE:(TO AKEELAH)<br />

You can leave now.<br />

306. 172.04 174.01* 1.13 AKEELAH:(TO LARABEE)<br />

Excuse me?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 77<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. -LARABEE'S HOUSE - CONT)<br />

377. (174+02) WAIST SHOT<br />

Larabee moves to FG.<br />

Akeelah follows.<br />

LARABEE:(CONT)<br />

...you can leave.<br />

AKEELAH:(TO LARABEE)<br />

How come?<br />

LARABEE:(TO AKEELAH)<br />

Because...<br />

378. (178+06) CHEST SHOT<br />

Larabee FG. Akeelah<br />

BG.<br />

LARABEE:(CONT)<br />

...I don't have time<br />

to waste on...<br />

379. (181+12) WAIST SHOT<br />

OTS Larabee BG. looks<br />

to Akeelah FG.<br />

LARABEE:(CONT)<br />

...insolent little<br />

girls.<br />

380. (183+10) MCS<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Insolent?<br />

381. (185+04) WAIST SHOT<br />

OTS Larabee continues<br />

with his work.<br />

AKEELAH:(TO LARABEE)<br />

I ain't ins...<br />

Larabee STOPS <strong>and</strong><br />

LOOKS DIRECTLY at<br />

Akeelah. She considers<br />

her words.<br />

307. 174.07 176.03 1.12 LARABEE:(TO AKEELAH)<br />

I said you can leave.<br />

308. 176.09 178.01 1.08 AKEELAH:(TO LARABEE)<br />

How come?<br />

309. 178.07 183.07 5.00<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Because, I don't have<br />

time to waste on<br />

insolent little girls.<br />

310. *183.10 185.02 1.08 AKEELAH:(TO LARABEE)<br />

Insolent?<br />

311. 185.15 188.02 2.03 AKEELAH:(TO LARABEE)<br />

I ain't ins...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 78<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. -LARABEE'S HOUSE - CONT)<br />

382. (188+07) MCS<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

I mean, I'm not<br />

insolent.<br />

383. (191+01) MCS<br />

Larabee.<br />

AKEELAH:(OS)(CONT)<br />

Is that <strong>the</strong> first...<br />

384. (193+00) MCS<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...thing you do, is<br />

start dogging on...<br />

385. (184+07) WAIST SHOT<br />

Larabee LOOKS.<br />

Akeelah STOPS.<br />

386. (196+13) MCS<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

Criticizing...<br />

387. (198+08) MCS<br />

Larabee.<br />

AKEELAH:(OS)(CONT)<br />

...<strong>the</strong> way I speak?<br />

388. (200+08) WAIST SHOT<br />

OTS Larabee R. Akeelah<br />

L. He ignores her.<br />

389. (202+05) MCS<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

I thought this was<br />

just about spelling<br />

words.<br />

312. 188.14 190.11 1.13 AKEELAH:(CONT)<br />

I mean, I'm not<br />

insolent.<br />

313. 191.15 195.08 3.09<br />

(over scene end) AKEELAH:(OS)(CONT)<br />

Is that <strong>the</strong> first thing<br />

you do? Start dogging<br />

on...<br />

314. 197.06 200.07 3.01<br />

(over scene end) AKEELAH:(CONT)<br />

Criticizing <strong>the</strong> way I<br />

speak?<br />

315. 203.07 206.12 3.05 AKEELAH:(TO LARABEE)<br />

I thought this was just<br />

about spelling words.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 79<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. -LARABEE'S HOUSE - CONT)<br />

390. (207+05) MCS<br />

Larabee does not<br />

respond.<br />

391. (209+09) MCS<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Well, <strong>the</strong>n fine.<br />

She turns, walks to<br />

BG. <strong>the</strong>n STOPS.<br />

392. (221+11) FULL SHOT<br />

OTS Akeelah L,. FG.<br />

TURNS to face Larabee<br />

BG.<br />

393. (224+15) CHEST SHOT<br />

Akeelah looks o/s R.<br />

to Larabee.<br />

AKEELAH:(TO LARABEE)<br />

You know what? When I<br />

put my mind to it. I<br />

can memorize...<br />

394. (232+13) MCS<br />

Larabee continues with<br />

his work.<br />

AKEELAH:(OS)(CONT)<br />

...anything. And I<br />

don't need help from<br />

a...<br />

316. 211.09 213.13 2.04 AKEELAH:(TO LARABEE)<br />

Well, <strong>the</strong>n fine.<br />

317. 225.15 227.07 1.08 AKEELAH:(TO LARABEE)<br />

You know what?<br />

318. 227.13 234.04 6.07 AKEELAH:(CONT)<br />

When I put my mind to<br />

it. I can memorize<br />

anything.<br />

319. 235.03 236.11 1.08 AKEELAH:(OS)(CONT)<br />

And I don't need<br />

help...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 80<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. -LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

395. (237+01) CHEST SHOT<br />

Akeelah. CAMERA MOVES<br />

IN.<br />

(MUSIC IN)<br />

AKEELAH:(CONT)<br />

...dictatorial,<br />

truculent,<br />

supercilious gardener.<br />

I'm sorry to be so<br />

insolent.<br />

Akeelah turns.<br />

396. (252+12) MCS<br />

Larabee.<br />

397. (255+06) M FULL<br />

SHOT Akeelah CLOSES<br />

<strong>the</strong> gate behind her<br />

AND WALKS AWAY to BG.<br />

(GATE RATTLES)<br />

398. (256+13) MCS<br />

Larabee, looks o/s L.<br />

to Akeelah as she<br />

walks o/s.<br />

399. MONTAGE<br />

(264+10) CS Dictionary<br />

- PAGES TURN.<br />

LAP DISSOLVE;<br />

400. MONTAGE<br />

(265+15) CHEST SHOT<br />

SEQUENCE of Akeelah AS<br />

SHE STUDIES.<br />

LAP DISSOLVE;<br />

320. *237.01 243.14 6.13 AKEELAH:(CONT)<br />

...from a dictatorial,<br />

truculent, supercilious<br />

gardener.<br />

321. 246.09 249.03 2.10 AKEELAH:(CONT)<br />

I'm sorry to be so<br />

insolent.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 81<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

401. INT. -AKEELAH'S BEDROOM- NIGHT<br />

(278+15) CHEST SHOT<br />

Akeelah sits with a<br />

dictionary WITH MANY<br />

TAB MARKS.<br />

WANDA:(OS)(TO AKEELAH)<br />

Hey...<br />

402. (282+14) M FULL<br />

SHOT OTS W<strong>and</strong>a BG. at<br />

Akeelah's door.<br />

WANDA:(CONT)<br />

...baby, what are you<br />

still doing up?<br />

403. (285+02) CHEST SHOT<br />

Akeelah at her desk.<br />

(MUSIC OUT)<br />

AKEELAH:(TO WANDA)<br />

Gotta learn more<br />

words.<br />

404. (288+08) M FULL<br />

SHOT OTS W<strong>and</strong>a.<br />

AKEELAH:(CONT)<br />

You gonna come see...<br />

405. (290+11) WAIST SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...me in <strong>the</strong> district<br />

bee this Saturday?<br />

406. (293+09) M FULL<br />

SHOT OTS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)<br />

What, is that at your<br />

school?<br />

322. 281.14 285.00 3.02<br />

(over scene end) WANDA:(OS)(TO AKEELAH)<br />

Hey baby, what are you<br />

still doing up?<br />

323. 286.03 288.07 2.04 AKEELAH:(TO WANDA)<br />

I have to learn more<br />

words.<br />

324. 289.09 293.03 3.10<br />

(over scene end) AKEELAH:(CONT)<br />

Are you going to come<br />

see me in <strong>the</strong> district<br />

bee this Saturday?<br />

325. 293.15 295.12 1.13 WANDA:(TO AKEELAH)<br />

What, is that at your<br />

school?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 82<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S BEDROOM - CONT)<br />

407. (296+05) WAIST SHOT<br />

Akeelah.<br />

AKEELAH:(TO WANDA)<br />

Naw, Beverly Hills.<br />

408. (299+11) MCS W<strong>and</strong>a<br />

looks o/s L. to<br />

Akeelah.<br />

WANDA:(TO AKEELAH)<br />

Beverly Hills? Look,<br />

you got o<strong>the</strong>r<br />

homework. You need to<br />

focus on that. I<br />

don't want you<br />

spending all...<br />

409. (311+02) HEAD SHOT<br />

Akeelah.<br />

WANDA:(CONT)<br />

...your time on this<br />

game.<br />

AKEELAH:(TO WANDA)<br />

It ain't a game.<br />

410. (314+09) MCS W<strong>and</strong>a.<br />

AKEELAH:(OS)(CONT) Are<br />

you gonna come see me<br />

in it?<br />

WANDA:(TO AKEELAH)<br />

You know I work at <strong>the</strong><br />

hospital on...<br />

326. 296.15 298.15 2.00 AKEELAH:(TO WANDA)<br />

No, Beverly Hills.<br />

327. 299.15 302.06 2.07 WANDA:(TO AKEELAH)<br />

Beverly Hills?<br />

328. 304.04 310.05 6.01 WANDA:(CONT)<br />

Look, you got o<strong>the</strong>r<br />

homework. You need to<br />

focus on that.<br />

329. 310.11 313.06 2.11<br />

(over scene end) WANDA:(CONT)<br />

I don't want you<br />

spending all your time<br />

on this game.<br />

330. 313.12 317.03 3.07<br />

(over scene end) AKEELAH:(TO WANDA)<br />

It ain't a game. Are<br />

you going to come see<br />

me in it?<br />

331. 319.08 323.07 3.15<br />

(over scene end) WANDA:(TO AKEELAH)<br />

You know I work at <strong>the</strong><br />

hospital on Saturday.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 83<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S BEDROOM - CONT)<br />

411. (321+13) HEAD SHOT<br />

Akeelah.<br />

WANDA:(OS)(CONT)<br />

...Saturday. Maybe<br />

Kiana...<br />

412. (324+12) MCS W<strong>and</strong>a.<br />

WANDA:(CONT)<br />

...can go with you.<br />

413. (326+03) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO WANDA)<br />

As long as she don't<br />

bring that whiny baby.<br />

414. EXT. -ANDERSON HOME- DAY<br />

(330+05) FULL SHOT<br />

Kiana WITH HER BABY<br />

walks out of <strong>the</strong><br />

family house. CAMERA<br />

PANS R. to follow.<br />

(BABY CRIES)<br />

CAMERA STOPS on<br />

Akeelah as she rolls<br />

her head in<br />

exasperation.<br />

WELCH:(OS)(OUT LOUD)<br />

Come on girls. Let's<br />

go. We're gonna be<br />

late.<br />

Akeelah walks R.<br />

CAMERA PANS R, <strong>and</strong><br />

FOLLOWS as <strong>the</strong>y walk<br />

to MR. WELCH'S Van BG.<br />

415. INT. - AUDITORIUM - DAY<br />

(342+11) CHEST SHOT<br />

Boys in audience look<br />

to word list.<br />

416. (345+02) CHEST SHOT<br />

Girls look to word<br />

list.<br />

332. 323.13 325.10 1.13<br />

(over scene end) WANDA:(OS)(CONT)<br />

Maybe Kiana can go with<br />

you.<br />

333. 326.04 329.10 3.06 AKEELAH:(TO WANDA)<br />

As long as she don't<br />

bring that whiny baby.<br />

334. 334.11 339.04 4.09 WELCH:(OS)(OUT LOUD)<br />

Come on girls. Let us<br />

go. We are going to be<br />

be late.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 84<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

417. (347+07) CHEST SHOT<br />

a fa<strong>the</strong>r <strong>and</strong> daughter<br />

look to a word list.<br />

418. (349+06) FULL SHOT<br />

Akeelah, Welch <strong>and</strong><br />

Kiana with her baby<br />

ENTER <strong>the</strong> auditorium.<br />

CAMERA MOVES IN.<br />

(MUSIC IN)<br />

All three looks o/s<br />

with astonishment.<br />

AKEELAH:(TO OTHERS)<br />

Dang.<br />

419. (357+14) FULL SHOT<br />

Akeelah <strong>and</strong> Welch FG.<br />

BACKS TO CAMERA. WE<br />

SEE a FULL AUDITORIUM<br />

BG.<br />

AKEELAH:(CONT)<br />

I hope <strong>the</strong>y ain't all<br />

here to spell.<br />

CAMERA MOVES PAST.<br />

420. (362+11) CHEST SHOT<br />

Akeelah L., Welch C.,<br />

Kiana <strong>and</strong> baby R.<br />

WELCH:(TO AKEELAH)<br />

Okay, go get your<br />

number. We'll be<br />

sitting back here.<br />

KIANA:(TO AKEELAH)<br />

Good luck Keelie.<br />

Akeelah walks to FG.<br />

CAMERA PULLS BACK,<br />

Welch <strong>and</strong> Kiana move<br />

R. into <strong>the</strong> auditorium<br />

seating.<br />

335. 355.15 357.09 1.10 AKEELAH:(TO OTHERS)<br />

Dang.<br />

336. 358.11 361.08 2.13 AKEELAH:(CONT)<br />

I hope <strong>the</strong>y ain't all<br />

here to spell.<br />

337. 363.04 367.05 4.01 WELCH:(TO AKEELAH)<br />

Okay, go get your<br />

number. We will be<br />

sitting back here.<br />

338. 368.05 370.03 1.14 KIANA:(TO AKEELAH)<br />

Good luck Keelie.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 85<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

(374+10) TITLE<br />

FADES IN<br />

LOS ANGELES SCHOOL<br />

DISTRICT SPELLING BEE<br />

TITLE FADES OUT<br />

Akeelah makes her way<br />

to <strong>the</strong> head of <strong>the</strong><br />

auditorium. She<br />

surveys <strong>the</strong> activity<br />

as do we. Akeelah<br />

puts on her glasses as<br />

she walks.<br />

421. (397+09) FULL SHOT<br />

OTS Akeelah FG. looks<br />

to <strong>the</strong> REGISTRATION<br />

TABLE BG. She moves to<br />

a VOLUNTEER at <strong>the</strong><br />

table.<br />

VOLUNTEER:(TO AKEELAH)<br />

Hi. Name?<br />

422. (401+03) WAIST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO VOLUNTEER)<br />

Akeelah Anderson.<br />

WE SEE ano<strong>the</strong>r student<br />

R. JAVIER MENDEZ looks<br />

L. to Akeelah as she<br />

registers.<br />

(MUSIC OUT)<br />

VOLUNTEER:(TO AKEELAH)<br />

Oh...<br />

MT#3 ( 374.10) ( 384.10) :<br />

LOS ANGELES SCHOOL DISTRICT SPELLING BEE<br />

339. 398.09 401.02 2.09 VOLUNTEER:(TO AKEELAH)<br />

Hi. Name?<br />

340. 402.00 404.02 2.02 AKEELAH:(TO VOLUNTEER)<br />

Akeelah Anderson.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 86<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

423. (405+00) CHEST SHOT<br />

OTS Volunteer looks to<br />

her papers.<br />

VOLUNTEER:(TO AKEELAH)<br />

Right here at <strong>the</strong> top.<br />

I think you're <strong>the</strong><br />

first speller we've<br />

ever had...<br />

424. (412+01) MCS<br />

Akeelah.<br />

VOLUNTEER:(OS)(CONT)<br />

...from Crenshaw<br />

Middle School.<br />

425. (414+13) CHEST SHOT<br />

OTS The Volunteer<br />

h<strong>and</strong>s a number placard<br />

to Akeelah FG.<br />

AKEELAH:(TO VOLUNTEER)<br />

Umm...<br />

426. (416+15) MCS<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

How many kids are in<br />

this thing?<br />

427. (419+12) CHEST SHOT<br />

OTS Volunteer.<br />

VOLUNTEER:(TO AKEELAH)<br />

One hundred <strong>and</strong> thirty<br />

nine.<br />

428. (422+14) MCS<br />

Akeelah looks to <strong>the</strong><br />

volunteer.<br />

VOLUNTEER:(OUT LOUD)<br />

Next.<br />

341. *405.00 407.05 2.05 VOLUNTEER:(TO AKEELAH)<br />

Right here at <strong>the</strong> top.<br />

342. 409.04 414.04 5.00<br />

(over scene end) VOLUNTEER:(CONT)<br />

I think you are <strong>the</strong><br />

first speller we have<br />

ever had from Crenshaw<br />

Middle School.<br />

343. 417.02 419.09 2.07 AKEELAH:(CONT)<br />

How many kids are in<br />

this thing?<br />

344. 420.01 422.04 2.03 VOLUNTEER:(TO AKEELAH)<br />

One hundred <strong>and</strong> thirty<br />

nine.<br />

345. 423.10 425.02 1.08 VOLUNTEER:(OUT LOUD)<br />

Next.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 87<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

429. (425+07) CHEST SHOT<br />

OTS Akeelah L.,<br />

Volunteer FG. Javier<br />

R. Akeelah walks L.,<br />

trying to pin on her<br />

placard. Javier<br />

watches her go.<br />

430. (429+01) CHEST SHOT<br />

Akeelah FG. with her<br />

placard. Javier moves<br />

to FG., <strong>and</strong> joins her<br />

L.<br />

JAVIER:(TO AKEELAH)<br />

Need some help?<br />

431. (436+01) MCS OTS<br />

Javier.<br />

JAVIER:(TO AKEELAH)<br />

Don't worry...<br />

432. (437+09) MCS OTS<br />

Akeelah.<br />

JAVIER:(CONT)<br />

...I won't impale you.<br />

Javier moves to pin<br />

Akeelah's placard.<br />

433. (440+05) MCS OTS<br />

Javier.<br />

JAVIER:(TO AKEELAH)<br />

This your first time?<br />

434. (442+04) MCS OTS<br />

Akeelah.<br />

AKEELAH:(TO JAVIER)<br />

Yeah. You?<br />

346. 434.00 435.13 1.13 JAVIER:(TO AKEELAH)<br />

Need some help?<br />

347. 436.05 439.11 3.06<br />

(over scene end) JAVIER:(TO AKEELAH)<br />

Don't worry I won't<br />

impale you.<br />

348. 440.05 441.13 1.08 JAVIER:(TO AKEELAH)<br />

This your first time?<br />

349. 442.07 445.02 2.11 AKEELAH:(TO JAVIER)<br />

Yeah. You?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 88<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

435. (445+12) MCS OTS<br />

Javier.<br />

JAVIER:(TO AKEELAH)<br />

Second year. I made<br />

it to...<br />

436. (448+05) CS Javier<br />

h<strong>and</strong>s as he pins <strong>the</strong><br />

placard.<br />

JAVIER:(CONT)<br />

...nationals last<br />

year.<br />

437. (450+01) MCS OTS<br />

Javier.<br />

JAVIER:(CONT)<br />

Finished thirteenth.<br />

Lucky thirteen.<br />

438. (455+02) MCS OTS<br />

Akeelah.<br />

AKEELAH:(TO JAVIER)<br />

You went all <strong>the</strong> way<br />

to D.C.?<br />

JAVIER:(TO AKEELAH)<br />

Three of us made it<br />

from...<br />

439. (459+10) MCS OTS<br />

Javier.<br />

JAVIER:(CONT)<br />

...my school in<br />

Woodl<strong>and</strong> Hills.<br />

Javier looks o/s L.<br />

JAVIER:(TO AKEELAH)<br />

See that...<br />

350. 446.07 449.15 3.08<br />

(over scene end) JAVIER:(TO AKEELAH)<br />

Second year. I made it<br />

to <strong>the</strong> nationals last<br />

year.<br />

351. 450.08 454.15 4.07 JAVIER:(CONT)<br />

Finished thirteenth.<br />

Lucky thirteen.<br />

352. 456.06 459.02 2.12 AKEELAH:(TO JAVIER)<br />

You went all <strong>the</strong> way to<br />

D.C.?<br />

353. 459.08 461.14 2.06<br />

(over scene end) JAVIER:(TO AKEELAH)<br />

Three of us made it<br />

from my school in<br />

Woodl<strong>and</strong> Hills.<br />

354. 463.13 465.05 1.08<br />

(over scene end) JAVIER:(TO AKEELAH)<br />

See that kid right<br />

<strong>the</strong>re?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 89<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

440. (464+09) MCS OTS<br />

Akeelah looks to where<br />

Javier is pointing.<br />

JAVIER:(CONT)<br />

...kid right <strong>the</strong>re?<br />

441. (465+14) CHEST SHOT<br />

WE SEE an Asian<br />

family. The Chiu<br />

family, MOTHER, DYLAN,<br />

AND MR. CHIU.<br />

JAVIER:(OS)(CONT)<br />

That's Dylan Chiu.<br />

He's come...<br />

442. (470+02) MCS OTS<br />

Javier.<br />

JAVIER:(CONT)<br />

...in second place in<br />

<strong>the</strong> nationals for two<br />

years in a row.<br />

443. (474+03) MCS OTS<br />

Akeelah.<br />

JAVIER:(CONT)<br />

This is his last year,<br />

<strong>and</strong> everybody thinks<br />

he's gonna win.<br />

444. (477+08) CHEST SHOT<br />

<strong>the</strong> Chiu family.<br />

Dylan STANDS.<br />

JAVIER:(OS)(CONT)<br />

Frankly, I'd like to<br />

shove him off...<br />

355. 466.07 469.08 3.01 JAVIER:(OS)(CONT)<br />

That is Dylan Chiu.<br />

356. 469.14 473.11 3.13<br />

(over scene end) JAVIER:(CONT)<br />

He has come in second<br />

place in <strong>the</strong> nationals<br />

for two years in a row.<br />

357. 474.12 477.02 2.06 JAVIER:(CONT)<br />

This is his last year,<br />

<strong>and</strong> everybody thinks he<br />

is going to win.<br />

358. 479.06 482.15 3.09<br />

(over scene end) JAVIER:(OS)(CONT)<br />

Frankly, I would like<br />

to shove him off a<br />

steep precipice.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 90<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

445. (481+08) MCS OTS<br />

Javier.<br />

JAVIER:(CONT)<br />

...steep precipice.<br />

446. (483+06) MCS OTS<br />

Javier FG. turns to<br />

look to Akeelah.<br />

447. (485+13) CHEST SHOT<br />

Javier L., Akeelah R.<br />

JAVIER:(TO AKEELAH)<br />

Hey, my name's Javier.<br />

AKEELAH:(TO JAVIER)<br />

I'm Akeelah.<br />

JAVIER:(TO AKEELAH)<br />

Hope you make <strong>the</strong> top<br />

ten.<br />

448. (491+06) MCS OTS<br />

Akeelah.<br />

AKEELAH:(TO JAVIER) I<br />

hope I'm not <strong>the</strong> first<br />

one out.<br />

JUDGE:(FROM P.A.)<br />

Will all <strong>the</strong> spellers<br />

take <strong>the</strong>ir positions<br />

on <strong>the</strong> stage...<br />

359. *485.13 487.09 1.12 JAVIER:(TO AKEELAH)<br />

Hey, my name is Javier.<br />

360. 488.15 490.11 1.12 AKEELAH:(TO JAVIER)<br />

I'm Akeelah.<br />

361. 491.01 494.02 3.01<br />

(over scene end) JAVIER:(TO AKEELAH)<br />

(THEN AKEELAH)<br />

- Hope you make <strong>the</strong> top<br />

ten.<br />

- I hope I'm not <strong>the</strong><br />

first one out.<br />

362. 494.08 498.10 4.02<br />

(over scene end) JUDGE:(FROM P.A.)<br />

Will all <strong>the</strong> spellers<br />

take <strong>the</strong>ir positions on<br />

<strong>the</strong> stage, please?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 91<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

449. (497+09) MCS OTS<br />

Javier looks to<br />

Akeelah.<br />

JUDGE:(CONT)<br />

...please?<br />

JAVIER:(TO AKEELAH)<br />

Now remember...<br />

450. (499+10) MCS OTS<br />

Akeelah.<br />

JAVIER:(CONT)<br />

...if you don't know<br />

how to spell a word.<br />

Spell it <strong>the</strong> way...<br />

451. (501+15) MCS OTS<br />

Javier.<br />

JAVIER:(CONT)<br />

...it sounds. Kids<br />

mess up all <strong>the</strong> time.<br />

When <strong>the</strong>y think<br />

<strong>the</strong>y're being thrown<br />

curve balls...<br />

363. 499.02 503.03 4.01<br />

(over scene end) JAVIER:(TO AKEELAH)<br />

Now remember, if you<br />

don't know how to spell<br />

a word. Spell it <strong>the</strong><br />

way it sounds.<br />

364. 503.11 509.07 5.12<br />

(over scene end) JAVIER:(CONT)<br />

Kids mess up all <strong>the</strong><br />

time. When <strong>the</strong>y think<br />

<strong>the</strong>y are being thrown<br />

curve balls <strong>and</strong> <strong>the</strong>y<br />

are not.<br />

(Mess up: Make a mistake.)<br />

(Curve balls: Here meaning, "trick words".)


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 92<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

452. (508+09) MCS OTS<br />

Akeelah.<br />

JAVIER:(CONT)<br />

...<strong>and</strong> <strong>the</strong>y're not.<br />

Good luck.<br />

AKEELAH:(TO JAVIER)<br />

Good luck to you too.<br />

JAVIER:(TO AKEELAH)<br />

Thank you.<br />

Javier moves o/s L.<br />

453. (513+03) MS of<br />

Akeelah's placard.<br />

CAMERA TILTS UP for<br />

HEAD SHOT of Akeelah.<br />

She is waiting in line<br />

on stage for her turn<br />

in <strong>the</strong> spelling<br />

contest. CAMERA PULLS<br />

BACK to reveal Javier<br />

<strong>the</strong>n a GIRL in<br />

PIGTAILS. She is<br />

spelling her contest<br />

word.<br />

PIGTAILS:(CONT)<br />

E-M-B-R-I-C-A<br />

454. (531+15) CHEST SHOT<br />

ESTABLISHING. Judges<br />

at <strong>the</strong>ir table.<br />

PIGTAILS:(OS)(CONT)<br />

...T-I<br />

365. 509.13 512.07 2.10 JAVIER:(TO AKEELAH)<br />

(THEN AKEELAH)<br />

- Good luck.<br />

- Good luck to you too.<br />

366. 513.11 520.01 6.06 PIGTAILS:(CONT)<br />

E-M-B...<br />

367. 520.12 525.03 4.07 PIGTAILS:(CONT)<br />

...R-I...<br />

368. 527.07 529.10 2.03 PIGTAILS:(CONT)<br />

...C-A...<br />

369. 532.04 536.01 3.13<br />

(over scene end) PIGTAILS:(OS)(CONT)<br />

...T-I-O-N.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 93<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

455. (534+08) MCS<br />

Pigtail FG. Javier <strong>and</strong><br />

Akeelah BG.<br />

PIGTAILS:(CONT)<br />

...O-N, embrocation.<br />

456. (539+10) CHEST SHOT<br />

Judges. DISTRICT<br />

PRONOUNCER L.,<br />

DISTRICT JUDGE R. The<br />

Judge RINGS A BELL.<br />

(DING)<br />

(AUDIENCE RESPONDS)<br />

457. (541+11) MCS<br />

Pigtail looks o/s L.<br />

to <strong>the</strong> audience with<br />

some defeat.<br />

458. (543+13) LS HIGH<br />

ANGLE of <strong>the</strong> DISTRICT<br />

AUDITORIUM. AUDIENCE<br />

IS FULL.<br />

(APPLAUSE)<br />

WE SEE Pigtails walk<br />

o/s BG.<br />

459. (547+01) HEAD SHOT<br />

Akeelah looks o/s to<br />

<strong>the</strong> audience.<br />

(APPLAUSE)<br />

460. (550+12) CHEST SHOT<br />

Javier steps to <strong>the</strong><br />

microphone. He looks<br />

o/s L. to <strong>the</strong><br />

pronouncer.<br />

461. (553+10) CHEST SHOT<br />

Pronouncer L.<br />

PRONOUNCER:(TO JAVIER)<br />

"Rhesus."<br />

370. 536.07 538.08 2.01 PIGTAILS:(CONT)<br />

...embrocation.<br />

371. *553.11 555.03* 1.08 PRONOUNCER:(TO JAVIER)<br />

"Rhesus."


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 94<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

462. (555+04) CHEST SHOT<br />

Javier at <strong>the</strong><br />

microphone FG.<br />

Audience BG.<br />

JAVIER:(TO PRONOUNCER)<br />

Recess?<br />

463. (558+03) HEAD SHOT<br />

Akeelah.<br />

JAVIER:(OS)(CONT)<br />

May I have a<br />

definition, please?<br />

464. (561+00) CHEST SHOT<br />

Judges.<br />

PRONOUNCER:(TO JAVIER)<br />

A brownish-yellow<br />

monkey...<br />

465. (564+10) CHEST SHOT<br />

Javier.<br />

PRONOUNCER:(CONT)<br />

...of India.<br />

JAVIER:(TO PRONOUNCER)<br />

Ah... "Rhesus".<br />

R-H...<br />

466. (571+00) CHEST SHOT<br />

The Mendez FAMILY.<br />

JAVIER:(OS)(CONT)<br />

...E-S-U-S...<br />

467. (573+12) HEAD SHOT<br />

Javier.<br />

JAVIER:(CONT)<br />

..."Rhesus".<br />

372. 555.15 557.15 2.00 JAVIER:(TO PRONOUNCER)<br />

Recess?<br />

373. 558.09 560.15 2.06 JAVIER:(OS)(CONT)<br />

May I have a<br />

definition, please?<br />

374. 561.13 566.03 4.06<br />

(over scene end) PRONOUNCER:(TO JAVIER)<br />

A brownish-yellow<br />

monkey of India.<br />

375. 566.11 569.03 2.08 JAVIER:(TO PRONOUNCER)<br />

Ah... "Rhesus".<br />

376. 570.03 575.05 5.02<br />

(over scene end) JAVIER:(SPELLS)<br />

R-H-E-S-U-S, "Rhesus."


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 95<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

468. (575+09) CHEST SHOT<br />

JUDGES. District<br />

Judge leans to his<br />

microphone.<br />

JUDGE:(TO JAVIER)(OS)<br />

That's correct.<br />

469. (578+15) CHEST SHOT<br />

Javier smiles.<br />

(APPLAUSE)<br />

470. (580+07) CHEST SHOT<br />

Mendez family claps.<br />

(APPLAUSE)<br />

471. (582+04) CHEST SHOT<br />

Javier looks to <strong>the</strong><br />

audience. He APES like<br />

a monkey.<br />

(AUDIENCE RESPONDS)<br />

472. (585+03) FULL SHOT<br />

Audience FG. Stage BG.<br />

Javier moves R. along<br />

<strong>the</strong> stage.<br />

(APPLAUSE)<br />

473. (588+09) CHEST SHOT<br />

Akeelah PAUSES on<br />

stage.<br />

474. (592+08) FULL SHOT<br />

Akeelah's POV of <strong>the</strong><br />

audience.<br />

475. (595+12) HEAD SHOT<br />

Akeelah is frozen in<br />

place.<br />

476. (599+13) CHEST SHOT<br />

Judges.<br />

JUDGE:(TO AKEELAH)(OS)<br />

Number fifty four?<br />

377. 577.00 578.08 1.08 JUDGE:(TO JAVIER)(OS)<br />

That is correct.<br />

378. 599.15 601.07 1.08 JUDGE:(TO AKEELAH)(OS)<br />

Number fifty four?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 96<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

477. (601+15) HEAD SHOT<br />

Akeelah looks o/s L.<br />

to <strong>the</strong> Judge. She<br />

looks back to <strong>the</strong><br />

audience <strong>and</strong> slowly<br />

moves to <strong>the</strong><br />

microphone.<br />

478. (609+00) FULL SHOT<br />

Akeelah's POV of <strong>the</strong><br />

audience. MICROPHONE<br />

FG. LOOMS<br />

479. (612+06) CHEST SHOT<br />

Akeelah walks to FG.<br />

to <strong>the</strong> microphone.<br />

PRONOUNCER:(TO<br />

AKEELAH)<br />

"Eminent."<br />

480. (620+02) HEAD SHOT<br />

FACES IN THE CROWD.<br />

481. (621+10) HEAD SHOT<br />

A girl's FACE IN THE<br />

CROWD.<br />

482. (623+02) HEAD SHOT<br />

A woman IN THE CROWD.<br />

483. (624+12) HEAD SHOT<br />

Akeelah.<br />

JUDGE:(OS)(TO AKEELAH)<br />

Did you hear <strong>the</strong> word?<br />

AKEELAH:(TO JUDGE)(OS)<br />

I'm not sure if your<br />

saying, "imminent" or<br />

"eminent."<br />

484. (635+10) CHEST SHOT<br />

Judges.<br />

JUDGE:(TO AKEELAH)(OS)<br />

Would you like a<br />

definition?<br />

379. 616.05 617.15 1.10 PRONOUNCER:(TO AKEELAH)<br />

"Eminent."<br />

380. 625.03 626.14 1.11 JUDGE:(OS)(TO AKEELAH)<br />

Did you hear <strong>the</strong> word?<br />

381. 628.03 635.03 7.00 AKEELAH:(TO JUDGE)(OS)<br />

I'm not sure if your<br />

saying, "imminent" or<br />

"eminent."<br />

382. 635.11 638.05 2.10 JUDGE:(TO AKEELAH)(OS)<br />

Would you like a<br />

definition?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 97<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

485. (638+08) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO JUDGE)(OS)<br />

That'd bee cool.<br />

(AUDIENCE CHUCKLES)<br />

486. (642+07) FULL SHOT<br />

Audience chuckles.<br />

487. (643+13) HEAD SHOT<br />

Akeelah.<br />

PRONOUNCER:(TO AKEELAH)<br />

"Eminent...<br />

488. (647+05) MS<br />

Akeelah's HANDS. her<br />

fingers work<br />

nervously.<br />

PRONOUNCER:(CONT)<br />

...Rising above...<br />

489. (649+11) HEAD SHOT<br />

Akeelah listens.<br />

PRONOUNCER:(OS)(CONT)<br />

...o<strong>the</strong>r things or<br />

places.<br />

490. (652+08) CHEST SHOT<br />

Judges. Pronouncer<br />

L., reads.<br />

PRONOUNCER:(CONT)<br />

High; lofty...<br />

491. (655+13) CHEST SHOT<br />

OTS Akeelah FG.<br />

Audience BG.<br />

PRONOUNCER:(OS)(CONT)<br />

...Eminent.<br />

Akeelah nods.<br />

383. 638.15 640.11 1.12 AKEELAH:(TO JUDGE)(OS)<br />

That would be<br />

cool.<br />

384. 645.11 652.07 6.12<br />

(over scene end) PRONOUNCER:(TO AKEELAH)<br />

"Eminent" Rising above<br />

o<strong>the</strong>r things or places.<br />

385. 652.15 655.07 2.08 PRONOUNCER:(CONT)<br />

High; lofty...<br />

386. 656.03 657.11 1.08 PRONOUNCER:(OS)(CONT)<br />

...Eminent.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 98<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

492. (659+07) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(OUT LOUD)<br />

E-M-I...<br />

493. (663+12) MS<br />

Akeelah's HAND TAPS<br />

TIME.<br />

AKEELAH:(CONT)<br />

...N-E-N...<br />

494. (666+00) CHEST SHOT<br />

Akeelah at <strong>the</strong><br />

microphone.<br />

AKEELAH:(CONT)<br />

...-T.<br />

495. (667+14) HEAD SHOT<br />

Akeelah looks o/s R.<br />

to <strong>the</strong> judges table.<br />

AKEELAH:(CONT)<br />

"Eminent?"<br />

496. (670+13) CHEST SHOT<br />

Judges.<br />

JUDGE:(TO AKEELAH)(OS)<br />

That's correct.<br />

497. (673+06) HEAD SHOT<br />

Akeelah is relieved.<br />

498. (674+04) CHEST SHOT<br />

Akeelah walks R. along<br />

<strong>the</strong> stage.<br />

(APPLAUSE)<br />

499. (675+15) FULL SHOT<br />

Mr. Welch <strong>and</strong> Kiana in<br />

<strong>the</strong> audience. They<br />

applaud.<br />

387. 660.15 667.03 6.04<br />

(over scene end) AKEELAH:(OUT LOUD)<br />

E-M-I-N-E-N-T.<br />

388. 668.13 670.07 1.10 AKEELAH:(CONT)<br />

"Eminent?"<br />

389. 671.08 673.00 1.08 JUDGE:(TO AKEELAH)(OS)<br />

That is correct.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 99<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

500. (678+07) WAIST SHOT<br />

Akeelah sits R. next<br />

to Javier L. Javier<br />

offers a FIST for<br />

CELEBRATION of her<br />

success. She BUMPS<br />

his FIST with HER OWN.<br />

(MUSIC IN)<br />

CAMERA CRANES UP.<br />

JUDGE:(OS)(OUT LOUD)<br />

That's correct.<br />

LAP DISSOLVE;<br />

501. (691+05) FULL SHOT<br />

WE SEE Dylan Chiu STEP<br />

to <strong>the</strong> microphone BACK<br />

TO CAMERA, audience<br />

BG.<br />

502. (697+15) CHEST SHOT<br />

Chiu family. Mr. Chiu<br />

R. sits sternly<br />

attentive.<br />

503. (700+03) CHEST SHOT<br />

Dylan looks o/s R. to<br />

<strong>the</strong> Pronouncer.<br />

504. (702+00) CHEST SHOT<br />

Pronouncer L.<br />

PRONOUNCER:(TO DYLAN)<br />

Hypertrophic.<br />

505. (703+13) HEAD SHOT<br />

Dylan.<br />

DYLAN:(OUT LOUD)<br />

H-Y-P-E-R...<br />

506. (707+01) HEAD SHOT<br />

Akeelah.<br />

DYLAN:(OS)(CONT)<br />

...T-R-O-P-H-I-C...<br />

390. 690.01 691.15 1.14 JUDGE:(OS)(OUT LOUD)<br />

That is correct.<br />

391. 702.01 703.09 1.08 PRONOUNCER:(TO DYLAN)<br />

Hypertrophic.<br />

392. 705.04 709.02 3.14<br />

(over scene end) DYLAN:(OUT LOUD)<br />

H-Y-P-E-R-T-R-O-P-H-I-C


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 100<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

507. (709+11) HEAD SHOT<br />

Dylan.<br />

DYLAN:(CONT)<br />

Hypertrophic.<br />

508. (711+09) FULL SHOT<br />

Audience BG. WE SEE<br />

Dylan at <strong>the</strong> head of<br />

<strong>the</strong> line of spellers.<br />

JUDGE:(OS)(TO DYLAN)<br />

That's correct.<br />

509. (714+01) HEAD SHOT<br />

Akeelah watches.<br />

510. (715+07) HEAD SHOT<br />

Dylan walks R.<br />

511. (717+10) HEAD SHOT<br />

Akeelah looks o/s L.<br />

to Dylan <strong>the</strong>n o/s R.<br />

to <strong>the</strong> audience.<br />

512. (720+09) CHEST SHOT<br />

Chiu family. Mo<strong>the</strong>r<br />

claps. Mr. Chiu stays<br />

stoic.<br />

513. (723+05) HEAD SHOT<br />

Akeelah looks o/s R.<br />

<strong>the</strong> Chiu Family.<br />

LAP DISSOLVE;<br />

514. (726+04) CHEST SHOT<br />

Javier looks o/s R. to<br />

<strong>the</strong> judge.<br />

JUDGE:(OS)(TO JAVIER)<br />

That's correct.<br />

515. (729+13) M FULL<br />

SHOT Mr. Welch <strong>and</strong><br />

Kiana in <strong>the</strong>ir seats.<br />

Mr. Welch motions for<br />

Kiana <strong>and</strong> her baby to<br />

move with him closer<br />

to <strong>the</strong> stage.<br />

393. *709.11 711.03 1.08 DYLAN:(CONT)<br />

Hypertrophic.<br />

394. *711.09 713.03 1.10 JUDGE:(OS)(TO DYLAN)<br />

That is correct.<br />

395. 726.05 728.02 1.13 JUDGE:(OS)(TO JAVIER)<br />

That is correct.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 101<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

516. (734+10) CHEST SHOT<br />

Akeelah at <strong>the</strong><br />

microphone.<br />

517. (737+00) CHEST SHOT<br />

Welch <strong>and</strong> Kiana sit.<br />

PRONOUNCER:(TO AKEELAH)<br />

Concierge.<br />

AKEELAH:(TO PRONOUNCER)<br />

Is that like a guy...<br />

518. (741+07) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...who st<strong>and</strong>s around<br />

in a hotel?<br />

519. (743+13) FULL SHOT<br />

of <strong>the</strong> audience WE SEE<br />

Larabee ENTER BG.<br />

JUDGE:(OS)(TO AKEELAH)<br />

Speak into <strong>the</strong> mic,<br />

please.<br />

PRONOUNCER:(TO AKEELAH)<br />

And yes, it's a...<br />

520. (748+13) FULL SHOT<br />

Larabee's POV of<br />

Akeelah on stage BG.<br />

PRONOUNCER:(CONT)<br />

...head porter or door<br />

keeper.<br />

521. (752+15) CHEST SHOT<br />

Larabee.<br />

AKEELAH:(OS)(OUT LOUD)<br />

C-O-N-C...<br />

396. 737.11 739.08 1.13 PRONOUNCER:(TO AKEELAH)<br />

Concierge.<br />

397. 740.11 743.03 2.08<br />

(over scene end) AKEELAH:(TO PRONOUNCER)<br />

Is that like a guy who<br />

st<strong>and</strong>s around in a<br />

hotel?<br />

398. 744.05 746.07 2.02 JUDGE:(OS)(TO AKEELAH)<br />

Speak into <strong>the</strong> mic,<br />

please.<br />

399. 747.05 752.12 5.07<br />

(over scene end) PRONOUNCER:(TO AKEELAH)<br />

And yes, it is a head<br />

porter or door keeper.<br />

400. 754.10 761.10 7.00<br />

(over scene end) AKEELAH:(OS)(OUT LOUD)<br />

C-O-N-C-I-E-R-G-E.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 102<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

522. (758+02) FULL SHOT<br />

of Stage.<br />

AKEELAH:(CONT)<br />

...I-E-R...<br />

523. (761+00) HEAD SHOT<br />

Larabee.<br />

AKEELAH:(OS)(CONT)<br />

...G-E.<br />

JUDGE:(OS)(TO AKEELAH)<br />

That's correct.<br />

(APPLAUSE)<br />

524. (765+11) FULL SHOT<br />

Stage. Akeelah walks<br />

R. to her seat <strong>and</strong><br />

sits.<br />

525. (770+04) HEAD SHOT<br />

OTS Javier looks R. to<br />

Akeelah.<br />

JAVIER:(TO AKEELAH)<br />

You're doing great.<br />

526. (773+09) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO JAVIER)<br />

I'm getting lucky. I<br />

could get getting<br />

works like...<br />

(MUSIC OUT)<br />

CONTESTANT:<br />

(OS)(OUT LOUD)<br />

Polydactyly.<br />

(DING)<br />

527. (781+04) HEAD SHOT<br />

Girl CONTESTANT looks<br />

defeated.<br />

401. 762.14 764.06 1.08 JUDGE:(OS)(TO AKEELAH)<br />

That is correct.<br />

402. 771.12 773.07 1.11 JAVIER:(TO AKEELAH)<br />

You are doing great.<br />

403. 774.15 776.12 1.13 AKEELAH:(TO JAVIER)<br />

I'm getting lucky.<br />

404. 777.02 779.02 2.00 AKEELAH:(CONT)<br />

I could get getting<br />

works like...<br />

405. 779.08 781.03* 1.11 CONTESTANT:<br />

(OS)(OUT LOUD)<br />

Polydactyly.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 103<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

528. (782+14) HEAD SHOT<br />

OTS Akeelah gives<br />

Javier a "see what I<br />

mean" look.<br />

LAP DISSOLVE;<br />

529. (785+14) FULL SHOT<br />

Auditorium, AUDIENCE<br />

FG. 11 CONTESTANTS on<br />

stage.<br />

JUDGE:(TO ALL)<br />

We're down to eleven<br />

spellers.<br />

530. (792+06) CHEST SHOT<br />

Pronouncer L., Judge<br />

R.<br />

JUDGE:(CONT)<br />

The top ten, qualify<br />

for <strong>the</strong>...<br />

531. (795+11) HEAD SHOT<br />

Javier L., Akeelah R.<br />

JUDGE:(OS)(CONT)<br />

...Sou<strong>the</strong>rn California<br />

regional finals.<br />

532. (799+02) MCS Judge.<br />

JUDGE:(CONT)<br />

In <strong>the</strong> next round...<br />

(BABY CRIES)<br />

Judge pauses.<br />

533. (802+15) HEAD SHOT<br />

Akeelah looks o/s L.<br />

<strong>the</strong> Judge, <strong>the</strong>n o/s R.<br />

to <strong>the</strong> sound of<br />

Kiana's baby.<br />

406. 788.02 791.14 3.12 JUDGE:(TO ALL)<br />

We are down to eleven<br />

spellers.<br />

407. 792.11 798.08 5.13<br />

(over scene end) JUDGE:(CONT)<br />

The top ten, qualify<br />

for <strong>the</strong> Sou<strong>the</strong>rn<br />

California regional<br />

finals.<br />

408. 799.08 801.01 1.09 JUDGE:(CONT)<br />

In <strong>the</strong> next round...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 104<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

534. (804+12) FULL SHOT<br />

WE SEE Mr. Welch with<br />

Kiana <strong>and</strong> <strong>the</strong> baby in<br />

<strong>the</strong> audience.<br />

(BABY CRIES)<br />

535. (807+06) WAIST SHOT<br />

Chiu family looks o/s<br />

L. to <strong>the</strong> sound.<br />

JUDGE:(CONT)<br />

...if you miss a word<br />

do not leave <strong>the</strong>...<br />

536. (811+05) CHEST SHOT<br />

Judge R.<br />

JUDGE:(CONT)<br />

...stage.<br />

(BABY CRIES)<br />

Pronouncer <strong>and</strong> Judge<br />

looks o/s L. to <strong>the</strong><br />

sound.<br />

537. (813+15) CHEST SHOT<br />

Welch L., Kiana <strong>and</strong><br />

baby R.<br />

(BABY CRIES)<br />

538. (816+07) HEAD SHOT<br />

Akeelah makes eyes <strong>and</strong><br />

cocks her head to<br />

Kiana o/s R.<br />

JUDGE:(OS)(CONT)<br />

As you may have an<br />

opportunity to<br />

compete...<br />

409. 807.13 812.08 4.11<br />

(over scene end) JUDGE:(CONT)<br />

...if you miss a word<br />

do not leave <strong>the</strong> stage.<br />

410. 817.12 823.06 5.10<br />

(over scene end) JUDGE:(OS)(CONT)<br />

As you may have an<br />

opportunity to<br />

compete for any<br />

remaining places.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 105<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

539. (819+15) CHEST SHOT<br />

Welch L., Kiana R.<br />

with baby.<br />

(BABY CRIES)<br />

JUDGE:(OS)(CONT)<br />

...for any remaining<br />

places.<br />

540. (822+05) CHEST SHOT<br />

Judge pauses, looks<br />

o/s L.<br />

541. (824+02) HEAD SHOT<br />

Akeelah looks o/s R.<br />

to Kiana.<br />

AKEELAH:(TO KIANA)(OS)<br />

Kiana, get that baby<br />

outta here.<br />

542. (827+05) FULL SHOT<br />

Welch <strong>and</strong> Kiana with<br />

baby in <strong>the</strong> audience.<br />

Kiana STANDS <strong>and</strong> moves<br />

L.<br />

543. (829+10) HEAD SHOT<br />

Larabee looks o/s to<br />

<strong>the</strong> scene.<br />

(FOOT STEPS)<br />

544. (831+15) FULL SHOT<br />

OTS Akeelah L,. FG. WE<br />

SEE Kiana EXIT through<br />

a SIDE AUDITORIUM DOOR<br />

BG.<br />

(DOOR OPEN/CLOSE)<br />

JUDGE:(OS)(CONT)<br />

So...<br />

545. (834+08) CHEST SHOT<br />

Judge.<br />

546. (836+01) HEAD SHOT<br />

Akeelah looks o/s L.<br />

411. 824.08 827.00 2.08 AKEELAH:(TO KIANA)(OS)<br />

Kiana, get that baby<br />

out of here.<br />

412. 832.05 834.01 1.12<br />

(over scene end) JUDGE:(OS)(CONT)<br />

So...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 106<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

547. INT. - AUDITORIUM - DAY<br />

(839+04) CHEST SHOT<br />

Judge.<br />

JUDGE:(CONT)<br />

...let's begin.<br />

548. (842+05) FULL SHOT<br />

Javier on stage.<br />

JAVIER:(SPELLS)<br />

...L-L-O...<br />

549. (844+13) CHEST SHOT<br />

Javier.<br />

JAVIER:(CONT)<br />

...G-I-Z-E. Syllogize.<br />

550. (849+09) CHEST SHOT<br />

Judge R.<br />

JUDGE:(TO JAVIER)(OS)<br />

That's correct.<br />

551. (851+08) CHEST SHOT<br />

Javier SMILES o/s R.<br />

to his parents. He<br />

does a victory move.<br />

552. (854+06) CHEST SHOT<br />

Mendez family<br />

APPLAUDS.<br />

553. (856+13) FULL SHOT<br />

Javier moves L. TO THE<br />

WINNERS GROUP.<br />

554. (858+11) CHEST SHOT<br />

Javier SITS Next to<br />

Dylan. Javier NUDGES<br />

Dylan who's not<br />

impressed.<br />

555. (863+14) FULL SHOT<br />

WE SEE Akeelah move to<br />

<strong>the</strong> microphone on<br />

stage.<br />

(MUSIC IN)<br />

413. 840.04 842.04 2.00 JUDGE:(CONT)<br />

...let us begin.<br />

414. 842.11 847.12 5.01<br />

(over scene end) JAVIER:(SPELLS)<br />

...L-L-O-G-I-Z-E.<br />

Syllogize.<br />

415. 849.13 851.07 1.10 JUDGE:(TO JAVIER)(OS)<br />

That is correct.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 107<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

556. (866+08) CHEST SHOT<br />

Akeelah looks to <strong>the</strong><br />

judges table BG.<br />

557. (869+00) CHEST SHOT<br />

Pronouncer looks o/s<br />

R. to Akeelah.<br />

PRONOUNCER:(TO AKEELAH)<br />

Synecdoche.<br />

558. (871+05) HEAD SHOT<br />

Akeelah looks o/s R.<br />

She's worried.<br />

559. (873+15) CHEST SHOT<br />

Mr. Welch sees her<br />

reaction. He's<br />

worried.<br />

560. (877+06) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO ALL)<br />

Si-neck-do-kee?<br />

561. (880+08) CHEST SHOT<br />

OTS Akeelah looks to<br />

<strong>the</strong> judges table BG.<br />

PRONOUNCER:(TO AKEELAH)<br />

Synecdoche.<br />

562. (886+04) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO PRONOUNCER)<br />

You wanna tell me what<br />

that means?<br />

PRONOUNCER:(TO AKEELAH)<br />

A figure...<br />

416. 864.06 871.02 6.12 PRONOUNCER:(TO AKEELAH)<br />

Synecdoche.<br />

417. 877.15 880.01 2.02 AKEELAH:(TO ALL)<br />

Si-neck-do-kee?<br />

418. 881.01 883.10 2.09 PRONOUNCER:(TO AKEELAH)<br />

Synecdoche.<br />

419. 887.14 890.11 2.13 AKEELAH:(TO PRONOUNCER)<br />

You want to tell me<br />

what that means?<br />

420. 891.01 896.11 5.10<br />

(over scene end) PRONOUNCER:(TO AKEELAH)<br />

A figure of speech in<br />

which a part is used<br />

for a whole.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 108<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

563. (891+05) HEAD SHOT<br />

Larabee.<br />

PRONOUNCER:(CONT)<br />

...of speech in which<br />

a part...<br />

564. (894+07) CHEST SHOT<br />

Akeelah at <strong>the</strong><br />

microphone. CAMERA<br />

TRACKS L.<br />

PRONOUNCER:(CONT)<br />

...is used for a<br />

whole. An individual<br />

for a class. A<br />

material for a thing.<br />

Or <strong>the</strong> reverse of any<br />

of <strong>the</strong>se.<br />

565. (908+04) HEAD SHOT<br />

Kiana st<strong>and</strong>s outside<br />

<strong>the</strong> side door. She<br />

looks IN o/s L. to<br />

Akeelah.<br />

566. (911+10) HEAD SHOT<br />

Akeelah lowers her<br />

head <strong>and</strong> HITS <strong>the</strong><br />

microphone with her<br />

forehead.<br />

(MIC FEEDBACK)<br />

She REACTS.<br />

567. (917+00) MS<br />

Akeelah's HANDS as she<br />

FIDGETS with her<br />

fingers.<br />

JUDGE:(OS)(TO AKEELAH)<br />

We need you to<br />

spell...<br />

421. 897.09 903.04 5.11 PRONOUNCER:(CONT)<br />

An individual for a<br />

class. A material for<br />

a thing.<br />

422. 903.13 907.04 3.07 PRONOUNCER:(CONT)<br />

Or <strong>the</strong> reverse of any<br />

of <strong>the</strong>se.<br />

423. 919.04 921.15 2.11<br />

(over scene end) JUDGE:(OS)(TO AKEELAH)<br />

We need you to spell<br />

<strong>the</strong> word.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 109<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

568. (920+11) HEAD SHOT<br />

Akeelah.<br />

JUDGE:(CONT)<br />

...<strong>the</strong> word.<br />

AKEELAH:(TO ALL)<br />

S...<br />

569. (931+01) HEAD SHOT<br />

Larabee.<br />

AKEELAH:(OS)(CONT)<br />

-I...<br />

570. (935+03) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

-N...<br />

571. (940+15) HEAD SHOT<br />

Welch.<br />

AKEELAH:(OS)(CONT)<br />

-E...<br />

572. (944+10) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

-C...<br />

573. (949+10) HEAD SHOT<br />

Kiana.<br />

AKEELAH:(OS)(CONT)<br />

-D-O...<br />

574. (953+13) HEAD SHOT<br />

Akeelah concentrates.<br />

575. (957+15) MS<br />

Akeelah's h<strong>and</strong>s. She<br />

fidgets.<br />

424. 925.03 927.02 1.15 AKEELAH:(TO ALL)<br />

S...<br />

425. 931.05 933.10 2.05 AKEELAH:(OS)(CONT)<br />

-I...<br />

426. 937.10 939.15 2.05 AKEELAH:(CONT)<br />

-N...<br />

427. 941.11 943.14 2.03 AKEELAH:(OS)(CONT)<br />

-E...<br />

428. 945.09 947.10 2.01 AKEELAH:(CONT)<br />

-C...<br />

429. 949.10 952.11 3.01 AKEELAH:(OS)(CONT)<br />

-D-O...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 110<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

576. (961+02) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...K-E-Y. Synecdoche?<br />

(DING)<br />

(AUDIENCE REACTS)<br />

PRONOUNCER:(TO AKEELAH)<br />

The correct...<br />

577. (974+01) HEAD SHOT<br />

Kiana feels<br />

disappointed for her<br />

sister.<br />

PRONOUNCER:(OS)(CONT)<br />

...spelling is, S-<br />

578. (976+11) FACE SHOT<br />

Larabee.<br />

PRONOUNCER:(OS)(CONT)<br />

...Y-N-E-C...<br />

579. (979+08) HEAD SHOT<br />

Welch.<br />

PRONOUNCER:(OS)(CONT)<br />

...D-O-C...<br />

580. (982+05) CHEST SHOT<br />

Akeelah.<br />

PRONOUNCER:(OS)(CONT)<br />

...H-E.<br />

Akeelah WALKS R. to<br />

<strong>the</strong> chair <strong>and</strong> sits.<br />

LAP DISSOLVE;<br />

430. 961.06 963.07 2.01 AKEELAH:(CONT)<br />

...K-E-Y.<br />

431. 965.04 967.06 2.02 AKEELAH:(CONT)<br />

Synecdoche?<br />

432. 973.01 976.00 2.15<br />

(over scene end) PRONOUNCER:(TO AKEELAH)<br />

The correct spelling<br />

is...<br />

433. 976.14 983.14 7.00<br />

(over scene end) PRONOUNCER:(OS)(CONT)<br />

...S-Y-N-E-C-D-O-C-H-E.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 111<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

581. (991+00) WAIST SHOT<br />

Akeelah sits, waits on<br />

stage. CAMERA PULLS<br />

BACK.<br />

JUDGE:(OS)<br />

(TO CONTESTANT)<br />

If you spell this<br />

correctly. You'll be<br />

our...<br />

582. (1000+05) FULL SHOT<br />

of stage WE SEE a<br />

SPIKY HAIRED KID at<br />

<strong>the</strong> microphone.<br />

JUDGE:(CONT)<br />

...tenth, <strong>and</strong> last,<br />

finalist.<br />

583. (1004+02) HEAD SHOT<br />

SPIKY HAIR looks o/s<br />

to <strong>the</strong> Pronouncer.<br />

PRONOUNCER:(TO SPIKY)<br />

Carmagnole.<br />

584. (1011+03) FULL SHOT<br />

<strong>the</strong> audience. WE SEE<br />

<strong>the</strong> Spiky Hair Kid's<br />

MOTHER C. She GRINS<br />

<strong>and</strong> gives a THUMBS UP.<br />

SPIKY:(OS)<br />

(TO PRONOUNCER)<br />

Could I get a...<br />

434. 996.05 1003.05 7.00<br />

(over scene end) JUDGE:(OS)<br />

(TO CONTESTANT)<br />

If you spell this<br />

correctly. You will be<br />

our tenth, <strong>and</strong> last,<br />

finalist.<br />

435. 1004.09 1006.09 2.00 PRONOUNCER:(TO SPIKY)<br />

Carmagnole.<br />

436. 1013.11 1016.10 2.15<br />

(over scene end) SPIKY:(OS)<br />

(TO PRONOUNCER)<br />

Could I get a<br />

definition, please?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 112<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

585. (1014+14) HEAD SHOT<br />

Spiky Hair.<br />

SPIKY:(CONT)<br />

...definition, please?<br />

PRONOUNCER:(TO SPIKY)<br />

A lively song...<br />

586. (1018+10) HEAD SHOT<br />

Kiana.<br />

PRONOUNCER:(OS)(CONT)<br />

...<strong>and</strong> street dance.<br />

587. (1021+01) FULL SHOT<br />

OTS Spiky FG. Akeelah<br />

R. BG.<br />

SPIKY HAIR:(TO ALL)<br />

Ummm... C-<br />

588. (1027+02) FULL SHOT<br />

Mo<strong>the</strong>r in audience.<br />

SPIKY HAIR:(TO ALL)<br />

A...<br />

589. (1029+14) HEAD SHOT<br />

Welch.<br />

SPIKY HAIR:(TO ALL)<br />

R...<br />

590. (1033+07) HEAD SHOT<br />

Spiky.<br />

SPIKY HAIR:(TO ALL)<br />

M-A..<br />

Spiky looks o/s L.<br />

591. (1040+11) FULL SHOT<br />

Mo<strong>the</strong>r in crowd looks<br />

R. <strong>and</strong> L. to see if<br />

anyone is observing.<br />

437. 1017.02 1020.14 3.12<br />

(over scene end) PRONOUNCER:(TO SPIKY)<br />

A lively song <strong>and</strong><br />

street dance.<br />

438. 1024.09 1026.14 2.05 SPIKY HAIR:(TO ALL)<br />

C-<br />

439. 1028.03 1029.11 1.08 SPIKY HAIR:(TO ALL)<br />

A...<br />

440. 1030.15 1033.02 2.03 SPIKY HAIR:(TO ALL)<br />

R...<br />

441. 1033.14 1038.07 4.09 SPIKY HAIR:(TO ALL)<br />

M-A..


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 113<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

592. (1044+03) HEAD SHOT<br />

Spiky looks o/s L. to<br />

his mo<strong>the</strong>r.<br />

593. (1046+13) HEAD SHOT<br />

Kiana looks in from<br />

<strong>the</strong> side door. She<br />

looks to where <strong>the</strong><br />

Spiky Hair Kid's<br />

mo<strong>the</strong>r.<br />

594. (1050+07) FULL SHOT<br />

Kiana' POV. WE SEE<br />

<strong>the</strong> Mo<strong>the</strong>r LIFT her<br />

HAND to her mouth.<br />

595. (1052+01) MCS SIDE<br />

ANGLE Mo<strong>the</strong>r MOUTHS<br />

THE LETTER "G".<br />

596. (1053+08) HEAD SHOT<br />

Kiana looks o/s L. to<br />

<strong>the</strong> stage.<br />

597. (1055+02) HEAD SHOT<br />

Spiky.<br />

SPIKY HAIR:(TO ALL)<br />

G-N...<br />

598. (1057+03) HEAD SHOT<br />

Kiana is shocked.<br />

SPIKY HAIR:(TO ALL)<br />

O-L...<br />

599. (1059+06) FULL SHOT<br />

OTS Spiky FG.<br />

SPIKY HAIR:(TO ALL)<br />

-E. Carmagnole.<br />

JUDGE:(OS)(TO SPIKY)<br />

That's...<br />

442. 1055.03 1060.02 4.15<br />

(over scene end) SPIKY HAIR:(TO ALL)<br />

G-N-O-L-E.<br />

443. 1060.02 1062.03 2.01 SPIKY HAIR:(TO ALL)<br />

Carmagnole.<br />

444. 1062.09 1064.01 1.08<br />

(over scene end) JUDGE:(OS)(TO SPIKY)<br />

That is correct.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 114<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

600. (1062+06) HEAD SHOT<br />

Kiana.<br />

JUDGE:(OS)(CONT)<br />

...correct. And that<br />

means...<br />

601. (1065+02) CHEST SHOT<br />

Judge R.<br />

JUDGE:(CONT)<br />

...you are our tenth<br />

<strong>and</strong>...<br />

602. (1067+06) HEAD SHOT<br />

Akeelah is crushed.<br />

JUDGE:(OS)(CONT)<br />

...last finalist for<br />

<strong>the</strong> district bee.<br />

603. (1070+00) HEAD SHOT<br />

Spiky smiles o/s L. to<br />

his mo<strong>the</strong>r.<br />

604. (1072+04) CHEST SHOT<br />

Mo<strong>the</strong>r IS OVERJOYED.<br />

605. (1075+05) HEAD SHOT<br />

Kiana OPENS <strong>the</strong> side<br />

door <strong>and</strong> ENTERS <strong>the</strong><br />

auditorium.<br />

606. (1077+06) HEAD SHOT<br />

Akeelah moves to rise.<br />

KIANA:(OS)(OUT LOUD)<br />

They cheated!<br />

607. (1079+01) FULL SHOT<br />

Kiana with her baby<br />

MOVES L. to <strong>the</strong> front<br />

of <strong>the</strong> audience area.<br />

KIANA:(CONT)<br />

They cheated!<br />

445. 1064.07 1069.07 5.00<br />

(over scene end) JUDGE:(OS)(CONT)<br />

And that means you are<br />

our tenth <strong>and</strong> last<br />

finalist for <strong>the</strong><br />

district bee.<br />

446. 1078.01 1080.03 2.02<br />

(over scene end) KIANA:(OS)(OUT LOUD)<br />

They cheated!


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 115<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

608. (1080+12) FULL SHOT<br />

Audience WITH Spiky<br />

Hair Kid's MOTHER C.<br />

All look o/s L. to<br />

Kiana.<br />

609. (1081+13) HEAD SHOT<br />

Mo<strong>the</strong>r looks o/s L. to<br />

Kiana.<br />

KIANA:(OS)(CONT)<br />

I saw <strong>the</strong>m!<br />

610. (1083+03) CHEST SHOT<br />

Kiana.<br />

KIANA:(CONT)<br />

That boy's mama helped<br />

him out.<br />

611. (1085+11) HEAD SHOT<br />

Larabee looks on.<br />

JUDGE:(OS)(TO KIANA)<br />

But...<br />

612. (1087+13) MCS Welch<br />

looks o/s L. to Kiana.<br />

JAVIER:(OS)(CONT)<br />

Excuse me...<br />

613. (1089+06) CHEST SHOT<br />

Pronouncer L., Judge<br />

R.<br />

447. 1081.07 1085.02 3.11<br />

(over scene end) KIANA:(OS)(CONT)<br />

I saw <strong>the</strong>m! That boy's<br />

mama helped him out.<br />

448. 1086.15 1092.06 5.07<br />

(over scene end) JUDGE:(OS)(TO KIANA)<br />

But, excuse me. Who are<br />

you?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 116<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

614. (1091+00) CHEST SHOT<br />

Kiana.<br />

JUDGE:(OS)(CONT)<br />

Who are you?<br />

KIANA:(TO JUDGE)(OS)<br />

I'm Keelie's...<br />

615. (1093+05) HEAD SHOT<br />

Akeelah.<br />

KIANA:(OS)(CONT)<br />

...sister. I was<br />

st<strong>and</strong>ing...<br />

616. (1094+15) CHEST SHOT<br />

Keelah points TO THE<br />

DOOR BG.<br />

KIANA:(CONT)<br />

...right <strong>the</strong>re back<br />

<strong>the</strong>re. And I saw that<br />

boy's mama give him...<br />

617. (1098+04) FULL SHOT<br />

Mo<strong>the</strong>r in audience.<br />

KIANA:(OS)(CONT)<br />

...<strong>the</strong> letter "G".<br />

618. (1099+10) CHEST SHOT<br />

Kiana expresses <strong>the</strong><br />

letter.<br />

KIANA:(CONT)<br />

She was saying,<br />

"GEEEE".<br />

449. 1092.12 1099.03 6.07<br />

(over scene end) KIANA:(TO JUDGE)(OS)<br />

I'm Keelie's sister. I<br />

was st<strong>and</strong>ing right back<br />

<strong>the</strong>re. I saw that<br />

boy's mama give him <strong>the</strong><br />

letter G.<br />

450. 1100.08 1102.00 1.08 KIANA:(CONT)<br />

She was saying,<br />

"GEEEE".


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 117<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

619. (1102+03) FULL SHOT<br />

Mo<strong>the</strong>r in audience<br />

aghast.<br />

MOTHER:(OUT LOUD)<br />

He knew...<br />

620. (1104+01) HEAD SHOT<br />

Spiky at mic.<br />

MOTHER:(OS)(CONT)<br />

...<strong>the</strong> word! I... I<br />

mean... It's one we<br />

studied. He knew...<br />

621. (1107+15) CHEST SHOT<br />

Judge.<br />

MOTHER:(OS)(CONT)<br />

...it!<br />

JUDGE:(TO MOTHER)<br />

Ma'am. Did you help<br />

your child spell<br />

<strong>the</strong>...<br />

622. (1113+05) HEAD SHOT<br />

Mo<strong>the</strong>r.<br />

PRONOUNCER:(OS)(CONT)<br />

...word?<br />

623. (1116+06) CHEST SHOT<br />

Dylan <strong>and</strong> Javier.<br />

PRONOUNCER:(OS)(CONT)<br />

Ma'am, this is serious<br />

busi...<br />

624. (1118+13) CHEST SHOT<br />

Judge.<br />

JAVIER:(CONT)<br />

...ness.<br />

451. 1103.11 1107.05 3.10<br />

(over scene end) MOTHER:(OUT LOUD)<br />

He knew <strong>the</strong> word! It<br />

was one we studied.<br />

452. 1108.01 1109.09 1.08 MOTHER:(OS)(CONT)<br />

He knew it!<br />

453. 1109.15 1112.11 2.12<br />

(over scene end) JUDGE:(TO MOTHER)<br />

Ma'am. Did you help<br />

your child spell <strong>the</strong><br />

word?<br />

454. 1116.15 1120.07 3.08<br />

(over scene end) PRONOUNCER:(OS)(CONT)<br />

Ma'am, this is serious<br />

business.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 118<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

625. (1120+14) FULL SHOT<br />

Spiky FG. looks o/s R.<br />

to his Mo<strong>the</strong>r.<br />

Akeelah seated BG.<br />

626. (1123+01) CHEST SHOT<br />

Mo<strong>the</strong>r.<br />

627. (1124+15) HEAD SHOT<br />

Akeelah.<br />

628. (1126+09) CHEST SHOT<br />

Mo<strong>the</strong>r looks o/s R. to<br />

<strong>the</strong> Judge.<br />

629. (1127+03) FULL SHOT<br />

Mo<strong>the</strong>r JUMPS UP from<br />

her seat.<br />

MOTHER:(TO JUDGE)(OS)<br />

You're damn right it's<br />

serious! You know,<br />

you are gonna give<br />

<strong>the</strong>se kids ulcers! Do<br />

you know...<br />

630. (1132+15) FULL SHOT<br />

Spiky FG. Akeelah BG.<br />

MOTHER:(OS)(TO JUDGE)<br />

...how long he has<br />

studied for this?<br />

He...<br />

631. (1136+14) WAIST SHOT<br />

Mo<strong>the</strong>r.<br />

MOTHER:(TO JUDGE)(OS)<br />

...knew that word!<br />

SPIKY:(OS)(TO ALL)<br />

No...<br />

455. 1127.12 1129.09 1.13 MOTHER:(TO JUDGE)(OS)<br />

You are damn right it<br />

is serious!<br />

456. 1129.15 1132.11 2.12 MOTHER:(CONT)<br />

You know, you are going<br />

to give <strong>the</strong>se kids<br />

ulcers!<br />

457. 1133.01 1136.03 3.02<br />

(over scene end) MOTHER:(CONT)<br />

Do you know how long he<br />

studied for this?<br />

458. 1136.09 1138.13 2.04<br />

(over scene end) MOTHER:(OS)(TO JUDGE)<br />

He knew that word!<br />

459. 1139.03 1143.00 3.13<br />

(over scene end) SPIKY:(OS)(TO ALL)<br />

No. I didn't.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 119<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

632. (1140+09) HEAD SHOT<br />

Spiky.<br />

SPIKY:(CONT)<br />

...I didn't.<br />

633. (1143+03) HEAD SHOT<br />

Mo<strong>the</strong>r can't believe<br />

it.<br />

634. (1145+03) CHEST SHOT<br />

Kiana head bobs.<br />

635. (1147+04) CHEST SHOT<br />

Judge looks o/s L. to<br />

<strong>the</strong> Mo<strong>the</strong>r, <strong>the</strong>n o/s<br />

R. to Spiky.<br />

PRONOUNCER:(TO SPIKY)<br />

I'm sorry, number...<br />

636. (1150+12) HEAD SHOT<br />

Spiky.<br />

JUDGE:(OS)(CONT)<br />

...number sixty two...<br />

637. (1153+05) CHEST SHOT<br />

Judge.<br />

JUDGE:(CONT)<br />

...you are<br />

disqualified from...<br />

638. (1155+07) HEAD SHOT<br />

Spiky.<br />

JUDGE:(OS)(CONT)<br />

...competition.<br />

Spiky moves o/s L.<br />

460. 1149.00 1156.00 7.00<br />

(over scene end) PRONOUNCER:(TO SPIKY)<br />

I'm sorry number sixty<br />

two, you are<br />

disqualified from<br />

competition.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 120<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

639. (1157+03) HEAD SHOT<br />

Mo<strong>the</strong>r is crushed.<br />

JUDGE:(OS)(CONT)<br />

Which means, number...<br />

640. (1159+09) FULL SHOT<br />

of Stage. Spiky walks<br />

off stage L. Kiana R.<br />

looks on. Akeelah on<br />

stage.<br />

JUDGE:(CONT)<br />

...number fifty<br />

four...<br />

641. (1161+04) CHEST SHOT<br />

Akeelah.<br />

JUDGE:(OS)(CONT)<br />

...if you can spell<br />

one...<br />

642. (1163+02) CHEST SHOT<br />

Judge.<br />

JUDGE:(CONT)<br />

...more word<br />

correctly. You'll...<br />

643. (1165+14) HEAD SHOT<br />

Akeelah.<br />

JUDGE:(OS)(CONT)<br />

...be our tenth <strong>and</strong><br />

last finalist.<br />

644. (1171+14) CHEST SHOT<br />

Mr. Welsh SITS UP.<br />

645. (1173+14) FULL SHOT<br />

Akeelah STANDS.<br />

461. 1157.06 1160.09 3.03<br />

(over scene end) JUDGE:(OS)(CONT)<br />

Which means, number<br />

fifty four...<br />

462. 1161.05 1165.04 3.15<br />

(over scene end) JUDGE:(OS)(CONT)<br />

...if you can spell<br />

one more world<br />

correctly...<br />

463. 1166.06 1170.06 4.00<br />

(over scene end) JUDGE:(CONT)<br />

...you will be our<br />

tenth <strong>and</strong> last<br />

finalist.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 121<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

646. (1179+13) FULL SHOT<br />

of <strong>the</strong> stage Akeelah<br />

MOVES to <strong>the</strong><br />

microphone Center<br />

Stage.<br />

647. (1181+08) CHEST SHOT<br />

Dylan <strong>and</strong> Javier look<br />

o/s R. to Akeelah.<br />

648. (1183+04) CHEST SHOT<br />

Akeelah at <strong>the</strong><br />

microphone. She looks<br />

o/s L. to <strong>the</strong><br />

Pronouncer.<br />

649. (1185+04) CHEST SHOT<br />

Pronouncer L.<br />

PRONOUNCER:(TO<br />

AKEELAH)<br />

Pastiche.<br />

650. (1187+00) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO ALL)<br />

P-A...<br />

651. (1196+05) MS<br />

Akeelah's h<strong>and</strong> taps.<br />

AKEELAH:(CONT)<br />

...S-T-I...<br />

652. (1199+02) HEAD SHOT<br />

Larabee.<br />

AKEELAH:(OS)(CONT)<br />

...C-H-E.<br />

653. (1201+07) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO ALL)<br />

Pastiche.<br />

464. *1185.04 1186.12 1.08<br />

PRONOUNCER:(TO AKEELAH)<br />

Pastiche.<br />

465. 1194.06 1201.06 7.00<br />

(over scene end) AKEELAH:(TO ALL)<br />

P-A-S-T-I-C-H-E.<br />

466. 1202.03 1203.11 1.08 AKEELAH:(TO ALL)<br />

Pastiche.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 122<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

654. (1204+04) CHEST SHOT<br />

Judge R.<br />

JUDGE:(TO AKEELAH)(OS)<br />

That's correct.<br />

655. (1206+14) CHEST SHOT<br />

Akeelah.<br />

(AUDIENCE CHEERS)<br />

JUDGE:(OS)(CONT)<br />

That means you<br />

qualify...<br />

656. (1209+01) CHEST SHOT<br />

Kiana.<br />

KIANA:(OUT LOUD)<br />

Yes.<br />

JUDGE:(OS)(CONT)<br />

...for <strong>the</strong>...<br />

657. (1210+02) CHEST SHOT<br />

Welch is overwhelmed.<br />

JUDGE:(OS)(CONT)<br />

...Sou<strong>the</strong>rn California<br />

regional finals.<br />

(APPLAUSE)<br />

658. (1214+06) CHEST SHOT<br />

Akeelah SMILES.<br />

659. (1216+06) HEAD SHOT<br />

Larabee looks on from<br />

<strong>the</strong> back of <strong>the</strong><br />

auditorium.<br />

467. 1205.01 1206.12 1.11 JUDGE:(TO AKEELAH)(OS)<br />

That is correct.<br />

468. 1207.03 1212.06 5.03<br />

(over scene end) JUDGE:(OS)(CONT)<br />

That means you<br />

qualify for <strong>the</strong><br />

Sou<strong>the</strong>rn California<br />

regional finals.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 123<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

660. EXT. - AUDITORIUM - DAY<br />

(1219+02) MS Akeelah's<br />

h<strong>and</strong> L., Javier R.<br />

gives her a slip of<br />

paper.<br />

JAVIER:(TO AKEELAH)<br />

Here's my number.<br />

CAMERA TILTS UP for<br />

CHEST SHOT.<br />

JAVIER:(CONT)<br />

We have a spelling<br />

club at my school.<br />

Maybe you should come<br />

practice with us some<br />

time.<br />

AKEELAH:(TO JAVIER)<br />

That sounds fun.<br />

JAVIER:(TO AKEELAH)<br />

Yeah, it's cool. Hey,<br />

<strong>the</strong>re's my folks.<br />

I'll catch you later.<br />

AKEELAH:(TO JAVIER)<br />

Okay.<br />

469. 1219.04 1221.04 2.00 JAVIER:(TO AKEELAH)<br />

Here is my number.<br />

(Number: Understood, "telephone number".)<br />

470. 1222.02 1226.08 4.06 JAVIER:(CONT)<br />

We have a spelling club<br />

at my school. Maybe<br />

you should come<br />

practice with us some<br />

time.<br />

471. 1227.00 1228.14 1.14 AKEELAH:(TO JAVIER)<br />

That sounds fun.<br />

472. 1229.05 1233.15 4.10 JAVIER:(TO AKEELAH)<br />

Yeah, it is cool. Hey,<br />

<strong>the</strong>re is my folks. I<br />

will catch you later.<br />

(Cool: Acceptable.)<br />

(Catch you: See you.)<br />

473. 1234.05 1235.13 1.08 AKEELAH:(TO JAVIER)<br />

Okay.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 124<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - AUDITORIUM - CONT)<br />

661. (1235+01) WAIST SHOT<br />

Akeelah FG. Javier<br />

RUNS TO his Parents<br />

BG.<br />

JAVIER:(TO AKEELAH)<br />

Bye.<br />

AKEELAH (TO JAVIER)<br />

Bye.<br />

JAVIER:(TO PARENTS)<br />

Hey check it out, look<br />

at this.<br />

662. (1238+14) CHEST SHOT<br />

Akeelah looks to<br />

Javier <strong>and</strong> his parents<br />

o/s.<br />

663. INT. - WELCH'S VAN - NIGHT<br />

(1243+06) CHEST SHOT<br />

Welch drives. Akeelah<br />

sits L. FG. Kiana <strong>and</strong><br />

baby BG.<br />

WELCH:(TO AKEELAH)<br />

Just think, Akeelah.<br />

All you've got to do<br />

is place at <strong>the</strong> top<br />

three at <strong>the</strong> state<br />

regionals. And you're<br />

going to Washington<br />

D.C.<br />

AKEELAH:(TO WELCH)<br />

Not if I can't spell<br />

Synecdoche.<br />

Kiana C. BG. looks o/s<br />

FG.<br />

KIANA:(TO ALL)<br />

Uh-oh ya'll, look...<br />

474. 1236.03 1238.03 2.00 JAVIER:(TO AKEELAH)<br />

(THEN AKEELAH)<br />

- Bye.<br />

- Bye.<br />

475. 1238.09 1240.05 1.12<br />

(over scene end) JAVIER:(TO PARENTS)<br />

Hey check it out, look<br />

at this.<br />

(Check/out: Look at this.)<br />

476. 1243.11 1250.00 6.05 WELCH:(TO AKEELAH)<br />

Just think, Akeelah.<br />

All you have to do is<br />

place at <strong>the</strong> top three<br />

at <strong>the</strong> state regionals.<br />

477. 1251.12 1254.05 2.09 WELCH:(CONT)<br />

And you are going to<br />

Washington D.C.<br />

478. 1255.03 1257.15 2.12 AKEELAH:(TO WELCH)<br />

Not if I can't spell<br />

Synecdoche.<br />

479. 1260.00 1261.12 1.12 KIANA:(TO ALL)<br />

Oh no, You all. Look...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 125<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - WELCH'S VAN - CONT)<br />

664. (1262+09) FULL SHOT<br />

of a POLICE CAR L.<br />

Terrence <strong>and</strong> W<strong>and</strong>a in<br />

<strong>the</strong> front yard of <strong>the</strong><br />

Anderson home.<br />

WANDA:(TO TERRENCE)<br />

I told you to wear a<br />

shirt <strong>and</strong> tie. As<br />

long as you live in my<br />

house...<br />

665. EXT. - STREET - DAY<br />

(1266+04) FULL SHOT<br />

Mr. Welch's van drives<br />

to FG. as <strong>the</strong> POLICE<br />

CAR Drives AWAY R.<br />

WANDA:(OS)(CONT)<br />

...you're gonna do<br />

what I say.<br />

TERRENCE:(OS)(TO WANDA)<br />

Ma.<br />

WANDA:(CONT)<br />

Now what'd I say?<br />

666. (1269+07) CHEST SHOT<br />

W<strong>and</strong>a L., Terrence R.<br />

WANDA:(CONT)<br />

No drugs, no gang<br />

banging, <strong>and</strong> no three<br />

hundred dollar<br />

watches.<br />

480. *1262.09 1268.00 5.07<br />

(over scene end) WANDA:(TO TERRENCE)<br />

I told you to wear a<br />

shirt <strong>and</strong> tie. As long<br />

as you live in my<br />

house your are going to<br />

do as I say.<br />

481. 1268.06 1269.01 0.11<br />

TERRENCE:(OS)(TO WANDA)<br />

Ma.<br />

482. 1269.07 1275.15 6.08<br />

(over scene end) WANDA:(CONT)<br />

What did I say? No<br />

drugs, no gang banging.<br />

And no three hundred<br />

dollar watches! Take<br />

it off!


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 126<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - STREET - CONT)<br />

667. (1274+05) FULL SHOT<br />

Akeelah walks to FG.<br />

Kiana <strong>and</strong> Welch BG. at<br />

<strong>the</strong> van.<br />

WANDA:(OS)(CONT)<br />

Take it off.<br />

TERRENCE:(OS)(TO WANDA)<br />

What? Derrick-T gave<br />

me this ma.<br />

WANDA:(OS)(TO TERRENCE)<br />

Well I'm gonna give<br />

it right back.<br />

AKEELAH:(TO WANDA)(OS)<br />

Mom?<br />

668. (1280+08) WAIST SHOT<br />

W<strong>and</strong>a L., Terrence R.<br />

WANDA:(TO AKEELAH)(OS)<br />

What? You two get<br />

inside.<br />

W<strong>and</strong>a looks R. to<br />

Terrence <strong>and</strong> points.<br />

WANDA:(TO TERRENCE)<br />

Take it off!<br />

669. (1285+06) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO WANDA)(OS)<br />

But mama, I made it.<br />

670. (1287+00) WAIST SHOT<br />

W<strong>and</strong>a L., Terrence R.<br />

takes off <strong>the</strong> watch.<br />

WANDA:(TO AKEELAH)(OS)<br />

Made what?<br />

483. 1276.05 1278.12 2.07<br />

TERRENCE:(OS)(TO WANDA)<br />

What? Derrick-T gave<br />

me this ma.<br />

484. 1279.02 1280.10 1.08<br />

(over scene end) WANDA:(OS)(TO TERRENCE)<br />

Well I'm going to give<br />

it right back.<br />

485. 1281.00 1283.01 2.01 AKEELAH:(TO WANDA)(OS)<br />

(THEN WANDA)<br />

- Mom?<br />

- What? You two get<br />

inside.<br />

486. 1283.07 1284.15 1.08 WANDA:(TO TERRENCE)<br />

Take it off!<br />

487. *1285.06 1287.01 1.11<br />

AKEELAH:(TO WANDA)(OS)<br />

But mama, I made it.<br />

488. 1288.00 1290.00 2.00 WANDA:(TO AKEELAH)(OS)<br />

Made what?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 127<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - STREET - CONT)<br />

671. (1290+08) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO WANDA)(OS)<br />

Made <strong>the</strong> cut. I'm<br />

going to <strong>the</strong><br />

regional...<br />

672. (1293+09) MCS W<strong>and</strong>a<br />

L., Terrence R.<br />

AKEELAH:(OS)(CONT)<br />

...bee.<br />

WANDA:(TO AKEELAH)(OS)<br />

Yeah. While you doin'<br />

that, I'm gonna be<br />

identifying...<br />

673. (1299+10) CHEST SHOT<br />

Akeelah FG. Welch BG.<br />

OUT OF FOCUS.<br />

WANDA:(OS)(CONT)<br />

...your bro<strong>the</strong>r here<br />

in <strong>the</strong> morgue.<br />

TERRENCE:(OS)(TO WANDA)<br />

No you're not. Ma!<br />

674. (1302+10) CHEST SHOT<br />

Welch at <strong>the</strong> driver's<br />

side of <strong>the</strong> van. He<br />

underst<strong>and</strong>s Akeelah's<br />

feelings at this<br />

moment.<br />

WANDA:(OS)(CONT)<br />

Yes I am, get inside.<br />

Before I really...<br />

489. 1290.11 1294.08 3.13<br />

(over scene end) AKEELAH:(TO WANDA)(OS)<br />

Made <strong>the</strong> cut. I'm<br />

going to <strong>the</strong> regional<br />

bee.<br />

490. 1295.08 1301.15 6.07<br />

(over scene end) WANDA:(TO AKEELAH)(OS)<br />

Yeah. While you doing<br />

that, I'm going to be<br />

identifying your<br />

bro<strong>the</strong>r here in <strong>the</strong><br />

morgue.<br />

491. 1302.05 1304.05 2.00<br />

TERRENCE:(OS)(TO WANDA)<br />

(THEN WANDA)<br />

- No you are not. Ma!<br />

- Yes I am. Get<br />

inside!<br />

492. 1304.11 1307.08 2.13<br />

(over scene end) WANDA:(OS)(CONT)<br />

Before I really<br />

embarrass our behind.<br />

(Behind: Substitution for <strong>the</strong> vulgar "your<br />

ass" meaning, "you.")


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 128<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - STREET - CONT)<br />

675. (1305+10) WAIST SHOT<br />

W<strong>and</strong>a <strong>and</strong> Terrence<br />

walk away to BG.<br />

WANDA:(CONT)<br />

...embarrass your<br />

behind.<br />

676. (1308+05) CHEST SHOT<br />

Welch.<br />

WELCH:(TO AKEELAH)(OS)<br />

Akeelah?<br />

(MUSIC IN)<br />

677. (1310+15) FULL SHOT<br />

W<strong>and</strong>a BG. looks o/s<br />

FG. to Akeelah.<br />

WANDA:(TO AKEELAH)(OS)<br />

Akeelah, get in here.<br />

678. (1313+15) CHEST SHOT<br />

Akeelah FG. looks at<br />

<strong>the</strong> ground. Welch BG.<br />

at <strong>the</strong> van.<br />

AKEELAH:(TO WELCH)<br />

It's okay Mister<br />

Welch. I'll see you<br />

later.<br />

Akeelah moves o/s L.<br />

FG.<br />

679. INT. -AKEELAH'S BEDROOM- NIGHT<br />

(1325+05) CHEST SHOT<br />

Akeelah sits on her<br />

bed. WE HEAR Terrence<br />

<strong>and</strong> W<strong>and</strong>a arguing o/s.<br />

(ARGUMENT)<br />

Akeelah looks o/s R.<br />

680. (1330+00) MS of a<br />

PICTURE of Akeelah's<br />

fa<strong>the</strong>r.<br />

493. 1309.02 1310.10 1.08 WELCH:(TO AKEELAH)(OS)<br />

Akeelah?<br />

494. 1311.02 1313.04 2.02 WANDA:(TO AKEELAH)(OS)<br />

Akeelah, get in here.<br />

495. 1315.13 1321.13 6.00 AKEELAH:(TO WELCH)<br />

It is okay Mister<br />

Welch. I will see you<br />

later.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 129<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S BEDROOM - CONT)<br />

(MUSIC - CONT)<br />

681. (1332+07) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO PICTURE)<br />

Guess what. I'm going<br />

to <strong>the</strong> regional bee.<br />

(ARGUMENT)<br />

Akeelah LISTENS to <strong>the</strong><br />

SOUNDS of her<br />

ENVIRONMENT.<br />

(HELICOPTER)<br />

(DOG'S BARK)<br />

(SIRENS)<br />

Akeelah closes her<br />

eyes, <strong>and</strong> blocks her<br />

ears TRYING TO KEEP<br />

OUT THE NOISE of her<br />

existence. She<br />

remembers something,<br />

<strong>and</strong> reaches into her<br />

pocket.<br />

682. (1373+01) CS of <strong>the</strong><br />

NOTE that Javier have<br />

her. She opens it.<br />

IT'S JAVIER'S PHONE<br />

NUMBER.<br />

:<br />

Javier Mendez<br />

683. (1378+10) CHEST SHOT<br />

Akeelah looks to <strong>the</strong><br />

number on <strong>the</strong> paper.<br />

(MUSIC IN)<br />

496. 1332.12 1335.02 2.06 AKEELAH:(TO PICTURE)<br />

Guess what.<br />

497. 1338.11 1342.03 3.08 AKEELAH:(CONT)<br />

I'm going to <strong>the</strong><br />

regional bee.<br />

498.I 1374.00 1378.04 4.04 :<br />

Javier Mendez


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 130<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

684. INT. - CITY BUS - DAY<br />

(1382+14) MS WE SEE a<br />

MAP. A note READS;<br />

:<br />

WOODLAND HILLS<br />

WE Realize <strong>the</strong> note is<br />

in Akeelah's lap.<br />

685. (1385+09) CHEST SHOT<br />

Akeelah looks out of<br />

<strong>the</strong> bus window L.<br />

686. (1388+12) FULL SHOT<br />

HOUSES roll by.<br />

687. (1390+10) FULL SHOT<br />

Los Angeles SKYLINE.<br />

688. (1392+08) FULL SHOT<br />

HOLLYWOOD FREEWAY.<br />

689. (1394+05) FULL SHOT<br />

COLUMBIA RECORDS<br />

BUILDING.<br />

690. (1396+09) FULL SHOT<br />

Universal City sign.<br />

691. (1398+13) CHEST SHOT<br />

Akeelah looks o/s<br />

BOTTOM.<br />

692. (1400+10) MS of a<br />

BUS ROUTE MAP.<br />

693. (1402+06) CHEST SHOT<br />

Akeelah looks to <strong>the</strong><br />

bus route map in her<br />

lap.<br />

694. (1404+00) MS of <strong>the</strong><br />

Bus Route map.<br />

Akeelah runs her<br />

finger along <strong>the</strong> route<br />

line on <strong>the</strong> map.<br />

499.I 1383.03 1384.11 1.08 :<br />

WOODLAND HILLS


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 131<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - CITY BUS - CONT)<br />

(MUSIC - CONT)<br />

695. (1406+07) CHEST SHOT<br />

Akeelah LOOKS OUT of<br />

<strong>the</strong> window.<br />

696. (1410+04) FULL SHOT<br />

Street in San Fern<strong>and</strong>o<br />

Valley.<br />

697. (1412+03) FULL SHOT<br />

SHOPS WHIZ BY.<br />

698. (1414+03) HEAD SHOT<br />

Akeelah looks out of<br />

<strong>the</strong> window.<br />

699. (1416+14) FULL SHOT<br />

Akeelah's POV. WE SEE<br />

Valley Girls IN A<br />

CONVERTIBLE. They<br />

LISTEN to RAP Music.<br />

700. (1420+02) HEAD SHOT<br />

Akeelah SMILES at <strong>the</strong><br />

scene.<br />

701. (1423+00) FULL SHOT<br />

Akeelah's POV as <strong>the</strong><br />

VALLEY GIRLS in <strong>the</strong><br />

convertible SPEED<br />

AWAY.<br />

702. (1425+02) HEAD SHOT<br />

Akeelah CHUCKLES to<br />

herself.<br />

703. (1428+13) FULL SHOT<br />

UPSCALE HOUSES WHIZ<br />

BY.<br />

704. (1432+14) HEAD SHOT<br />

Akeelah PULLS THE<br />

SIGNAL CORD of <strong>the</strong><br />

bus.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 132<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

705. EXT.-WOODLAND MIDDLE SCHOOL<br />

-DAY<br />

(1437+01) WAIST SHOT<br />

The bus PULLS AWAY R.<br />

to reveal Woodl<strong>and</strong><br />

Middle School BG.<br />

Akeelah FG. BACK TO<br />

CAMERA looks away to<br />

it.<br />

(MUSIC OUT)<br />

(CLASS BELL)<br />

706. (1444+05) CHEST SHOT<br />

CAMERA FOLLOWS Akeelah<br />

as she makes her way<br />

along a hallway.<br />

(CLASS BELL)<br />

Akeelah LOOKS AROUND<br />

<strong>the</strong> grounds, <strong>the</strong>n<br />

LOOKS o/s L.<br />

707. (1463+03) FULL SHOT<br />

WE SEE Dylan sitting<br />

in a Science CLASS<br />

ROOM.<br />

708. (1466+15) HEAD SHOT<br />

OTS Akeelah looks o/s<br />

L. to <strong>the</strong> classroom.<br />

709. INT. - CLASS ROOM - DAY<br />

(1469+12) MCS Dylan<br />

CONCENTRATES on a<br />

Chemistry experiment.<br />

AKEELAH:(OS)(TO DYLAN)<br />

Dylan?<br />

Dylan looks o/s L. to<br />

Akeelah.<br />

500. 1472.12 1474.05 1.09 AKEELAH:(OS)(TO DYLAN)<br />

Dylan?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 133<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - CLASS ROOM - CONT)<br />

710. (1475+14) FULL SHOT<br />

OTS Akeelah st<strong>and</strong>s at<br />

class room doorway.<br />

She steps into <strong>the</strong><br />

room.<br />

AKEELAH:(CONT)<br />

Umm... I'm Akeelah.<br />

711. (1482+15) MCS OTS<br />

Akeelah.<br />

712. (1485+00) MCS Dylan<br />

looks o/s L. to<br />

Akeelah. He waits.<br />

713. (1487+06) MCS OTS<br />

Akeelah nods to<br />

herself.<br />

AKEELAH:(TO DYLAN)<br />

Javier said I could<br />

come <strong>and</strong> join his<br />

study group today.<br />

714. (1493+09) MCS Dylan.<br />

DYLAN:(TO AKEELAH)(OS)<br />

All those rejects do<br />

that. My fa<strong>the</strong>r<br />

coaches me privately.<br />

Who's your coach?<br />

715. (1503+15) MCS OTS<br />

Akeelah.<br />

AKEELAH:(TO DYLAN)<br />

I don't got one.<br />

716. (1507+11) MCS OTS<br />

Dylan.<br />

DYLAN:(TO AKEELAH)(OS)<br />

How many spelling bees<br />

have you won?<br />

501. 1480.11 1482.14 2.03 AKEELAH:(CONT)<br />

I'm Akeelah.<br />

502. 1489.12 1492.14 3.02 AKEELAH:(TO DYLAN)<br />

Javier said I could<br />

come <strong>and</strong> join his study<br />

group today.<br />

503. 1494.02 1497.05 3.03 DYLAN:(TO AKEELAH)(OS)<br />

All those rejects do<br />

that.<br />

504. 1497.12 1500.07 2.11 DYLAN:(CONT)<br />

My fa<strong>the</strong>r coaches me<br />

privately.<br />

505. 1501.14 1503.06 1.08 DYLAN:(CONT)<br />

Who is your coach?<br />

506. 1505.08 1507.07 1.15 AKEELAH:(TO DYLAN)<br />

I don't got one.<br />

507. 1508.05 1509.15 1.10 DYLAN:(TO AKEELAH)(OS)<br />

How many spelling<br />

bees have you won?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 134<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - CLASS ROOM - CONT)<br />

717. (1510+10) MCS OTS<br />

Akeelah.<br />

AKEELAH:(TO DYLAN)<br />

Just <strong>the</strong> one at my<br />

school<br />

718. (1514+06) MCS Dylan.<br />

DYLAN:(TO AKEELAH)<br />

Spell Xanthosis.<br />

719. (1519+15) MCS OTS<br />

Akeelah.<br />

AKEELAH:(TO DYLAN)<br />

Z-A...<br />

DYLAN:(TO AKEELAH)<br />

It starts with an "X".<br />

720. (1527+13) MCS OTS<br />

Dylan.<br />

DYLAN:(TO AKEELAH)(OS)<br />

If that idiot hadn't<br />

been caught<br />

cheating...<br />

721. (1532+06) MCS OTS<br />

Akeelah.<br />

DYLAN:(CONT)<br />

...you wouldn't have<br />

made <strong>the</strong> cut.<br />

722. (1535+15) WAIST SHOT<br />

OTS Dylan at <strong>the</strong> lab<br />

table. Closes his<br />

book, <strong>and</strong> dismisses<br />

Akeelah with a turn of<br />

his head.<br />

723. (1539+01) MCS OTS<br />

Akeelah looks to Dylan<br />

FG. she's a bit stung<br />

by his attitude.<br />

508. 1512.01 1513.13 1.12 AKEELAH:(TO DYLAN)<br />

Just <strong>the</strong> one at my<br />

school<br />

509. 1518.01 1519.09 1.08 DYLAN:(TO AKEELAH)<br />

Spell Xanthosis.<br />

510. 1523.04 1525.13 2.09 AKEELAH:(TO DYLAN)<br />

Z-A...<br />

511. 1526.03 1527.11 1.08 DYLAN:(TO AKEELAH)<br />

It starts with an<br />

"X".<br />

512. 1528.07 1534.10 6.03<br />

(over scene end) DYLAN:(TO AKEELAH)(OS)<br />

If that idiot hadn't<br />

been caught cheating,<br />

you would not have<br />

made <strong>the</strong> cut.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 135<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

724. EXT. - BALL COURT - DAY<br />

(1541+11) WAIST SHOT<br />

Javier tosses a<br />

basketball L.<br />

JAVIER:(OUT LOUD)<br />

Euphoric.<br />

CAMERA PAN L. to<br />

follow <strong>and</strong> reveals<br />

POLLY who catches <strong>the</strong><br />

ball.<br />

POLLY:(TO ALL)<br />

Euphoric...<br />

725. (1545+08) CHEST SHOT<br />

Akeelah st<strong>and</strong>s on <strong>the</strong><br />

opposite side of <strong>the</strong><br />

CIRCLE of STUDENTS.<br />

POLLY:(CONT)<br />

...is an adjective.<br />

726. (1547+04) WAIST SHOT<br />

Polly.<br />

POLLY:(CONT)<br />

Origin, Greek.<br />

Polly TOSSES <strong>the</strong> ball<br />

L.<br />

727. (1548+15) FULL SHOT<br />

<strong>the</strong> ball GOES to ROMAN<br />

L., Akeelah FG. BACK<br />

TO CAMERA. Polly L.<br />

BG., Javier R. BG .<br />

ROMAN:(TO POLLY)<br />

It means like...<br />

513. *1541.11 1543.03 1.08 JAVIER:(OUT LOUD)<br />

Euphoric.<br />

514. 1543.15 1548.11 4.12<br />

(over scene end) POLLY:(TO ALL)<br />

Euphoric is an<br />

adjective. Origin,<br />

Greek.<br />

515. 1550.01 1553.02 3.01<br />

(over scene end) ROMAN:(TO POLLY)<br />

It means like, feeling<br />

great <strong>and</strong> everything


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 136<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - BALL COURT - CONT)<br />

728. (1550+05) WAIST SHOT<br />

Roman.<br />

ROMAN:(TO POLLY)(OS)<br />

...feeling great <strong>and</strong><br />

everything.<br />

Roman TOSSES <strong>the</strong> ball<br />

L. CAMERA PANS L. to<br />

follow.<br />

729. (1553+08) CHEST SHOT<br />

OTS Akeelah CATCHES<br />

<strong>the</strong> ball. Javier FG.<br />

JAVIER:(TO AKEELAH)<br />

Ei<strong>the</strong>r spell <strong>the</strong>...<br />

730. (1555+00) FULL SHOT<br />

group.<br />

JAVIER:(CONT)<br />

...word, or take a<br />

shot.<br />

731. (1557+01) CHEST SHOT<br />

OTS Akeelah looks o/s<br />

to <strong>the</strong> hoop.<br />

JAVIER:(CONT)<br />

If you miss ei<strong>the</strong>r<br />

one...<br />

732. (1559+02) FULL SHOT<br />

LOW ANGLE basket ball<br />

hoop.<br />

JAVIER:(OS)(CONT)<br />

...you get a strike.<br />

Three strikes, you're<br />

out.<br />

516. 1554.03 1557.00 2.13<br />

(over scene end) JAVIER:(TO AKEELAH)<br />

Ei<strong>the</strong>r spell <strong>the</strong> word<br />

or take a shot.<br />

(Take/shot: Understood, "at <strong>the</strong> basket ball<br />

hoop.")<br />

517. 1557.12 1561.03 3.07<br />

(over scene end) JAVIER:(CONT)<br />

If you miss ei<strong>the</strong>r<br />

one you get a strike.<br />

Three strikes <strong>and</strong> you<br />

are out.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 137<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - BALL COURT - CONT)<br />

733. (1561+04) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO JAVIER)<br />

Euphoric...<br />

734. (1566+13) CHEST SHOT<br />

OTS Roman looks to<br />

Akeelah FG. as she<br />

BOUNCES <strong>the</strong><br />

BASKETBALL.<br />

AKEELAH:(CONT)<br />

E-<br />

735. (1568+04) CHEST SHOT<br />

OTS Polly.<br />

AKEELAH:(CONT)<br />

U-<br />

736. (1569+09) WAIST SHOT<br />

Akeelah bounces <strong>the</strong><br />

ball.<br />

AKEELAH:(CONT)<br />

P-H-<br />

737. (1571+05) CHEST SHOT<br />

OTS Javier.<br />

AKEELAH:(CONT)<br />

O-<br />

738. (1573+10) FULL SHOT<br />

The group. Akeelah<br />

FG. BACK TO CAMERA<br />

Bounces <strong>the</strong> ball.<br />

AKEELAH:(CONT)<br />

R-I-<br />

739. (1575+07) CHEST SHOT<br />

OTS Roman BG. looks<br />

on.<br />

AKEELAH:(CONT)<br />

C...<br />

518. 1564.11 1566.03 1.08 AKEELAH:(TO JAVIER)<br />

Euphoric...<br />

519. 1567.11 1572.06 4.11 AKEELAH:(CONT)<br />

E-U-P-H...<br />

520. 1572.12 1576.15 4.03 AKEELAH:(CONT)<br />

...O-R-I-C.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 138<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - BALL COURT - CONT)<br />

740. (1578+05) CHEST SHOT<br />

Polly looks o/s R. to<br />

Javier.<br />

AKEELAH:(CONT)<br />

Euphoric.<br />

741. (1579+11) CHEST SHOT<br />

OTS Javier looks to<br />

Akeelah FG.<br />

AKEELAH:(TO ALL)<br />

Psori...<br />

742. (1580+15) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...asis.<br />

Akeelah throws <strong>the</strong><br />

ball.<br />

743. (1582+05) M FULL<br />

SHOT OTS Javier<br />

catches <strong>the</strong> ball.<br />

JAVIER:(TO AKEELAH)<br />

Are you taking Latin<br />

at your school?<br />

744. (1585+02) CHEST SHOT<br />

OTS Akeelah.<br />

JAVIER:(CONT)<br />

Psoriasis is a noun...<br />

745. (1587+15) CHEST SHOT<br />

OTS Javier throws <strong>the</strong><br />

ball o/s L. to Polly.<br />

JAVIER:(CONT)<br />

...origin Greek.<br />

521. *1578.05 1579.13 1.08<br />

(over scene end) AKEELAH:(CONT)<br />

Euphoric.<br />

522. 1580.02 1582.03 2.01<br />

(over scene end) AKEELAH:(TO ALL)<br />

Psoriasis.<br />

523. 1583.01 1584.15 1.14 JAVIER:(TO AKEELAH)<br />

Are you taking Latin at<br />

your school?<br />

524. 1585.11 1588.14 3.03<br />

(over scene end) JAVIER:(CONT)<br />

Psoriasis is a noun,<br />

origin Greek.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 139<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - BALL COURT - CONT)<br />

746. (1589+07) WAIST SHOT<br />

FAST PAN L. as Polly<br />

catches <strong>the</strong> ball.<br />

AKEELAH:(OS)<br />

(TO JAVIER)(OS)<br />

Are you kidding?<br />

747. (1591+00) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

My school barely has<br />

enough money for...<br />

748. (1593+14) CHEST SHOT<br />

OTS Javier.<br />

AKEELAH:(CONT)<br />

...kickballs.<br />

There's...<br />

749. (1596+00) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...classes.<br />

750. (1597+10) CHEST SHOT<br />

Polly.<br />

POLLY:(TO AKEELAH)<br />

Latin really helps you<br />

under...<br />

751. (1599+07) CHEST SHOT<br />

OTS Akeelah.<br />

POLLY:(OS)(CONT)<br />

...st<strong>and</strong> words.<br />

Psori...<br />

525. 1590.06 1597.06 7.00<br />

(over scene end) AKEELAH:(OS)<br />

(TO JAVIER)(OS)<br />

Are you kidding? My<br />

school barely has<br />

enough money for<br />

kickballs. There are<br />

no Latin classes.<br />

526. 1598.05 1600.15 2.10<br />

(over scene end) POLLY:(TO AKEELAH)<br />

Latin really helps you<br />

under st<strong>and</strong> words.<br />

527. 1601.10 1603.15 2.05<br />

(over scene end) POLLY:(OS)(CONT)<br />

Psoriasis, is like<br />

itchy skin.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 140<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - BALL COURT - CONT)<br />

752. (1601+14) CHEST SHOT<br />

OTS Polly throws <strong>the</strong><br />

ball L. to Roman.<br />

POLLY:(CONT)<br />

...asis is like itchy<br />

skin.<br />

753. (1604+10) CHEST SHOT<br />

OTS Roman catches <strong>the</strong><br />

ball.<br />

JAVIER:(OS)(TO AKEELAH)<br />

Maybe you mom could<br />

drive you up...<br />

754. (1606+01) CHEST SHOT<br />

OTS Javier.<br />

JAVIER:(CONT)<br />

...here so you could<br />

take it with us.<br />

AKEELAH:(TO JAVIER)<br />

I don't know.<br />

755. (1609+03) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

This is all starting<br />

to sound real heavy.<br />

756. (1613+03) CHEST SHOT<br />

OTS Roman.<br />

ROMAN:(TO AKEELAH)<br />

It is heavy. Spelling<br />

bees are serious shit.<br />

528. 1603.05 1607.15 4.10<br />

(over scene end) JAVIER:(OS)(TO AKEELAH)<br />

Maybe you mom could<br />

drive you up here so<br />

you could take it with<br />

us.<br />

529. 1608.05 1613.09 5.04<br />

(over scene end) AKEELAH:(TO JAVIER)<br />

I don't know. This is<br />

all starting to sound<br />

real heavy.<br />

530. 1613.15 1617.02 3.03 ROMAN:(TO AKEELAH)<br />

It is heavy. Spelling<br />

bees are serious shit.<br />

(Shit: Vulgar substitution for "stuff" or<br />

"things".)


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 2 Page 141<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - BALL COURT - CONT)<br />

757. (1617+13) CHEST SHOT<br />

OTS Akeelah.<br />

ROMAN:(OS)(TO ALL)<br />

I think I'll...<br />

758. (1619+12) CHEST SHOT<br />

OTS Roman.<br />

ROMAN:(CONT)<br />

...take a shot.<br />

Roman bounces <strong>the</strong><br />

ball.<br />

759. (1623+08) LS WE SEE<br />

<strong>the</strong> GROUP R <strong>and</strong> <strong>the</strong><br />

HOOP <strong>and</strong> BACKSTOP L.<br />

Roman SHOOTS, <strong>the</strong> BALL<br />

ARCS <strong>and</strong> DROPS SHORT.<br />

(BOUNCE BOUNCE)<br />

ROMAN:(TO ALL)<br />

On second thought,<br />

could I spell <strong>the</strong><br />

word.<br />

531. 1618.14 1621.03 2.05<br />

(over scene end) ROMAN:(OS)(TO ALL)<br />

I think I will take a<br />

shot.<br />

532. 1632.07 1636.00 3.09 ROMAN:(TO ALL)<br />

On second thought,<br />

could I spell <strong>the</strong> word.<br />

END OF REEL #2<br />

LAST FRAME OF REEL 1637 FEET 03 FRAMES


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 142<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(00+00) PICTURE START (00+00) PICTURE START<br />

760. EXT. - MIDDLE SCHOOL - DAY<br />

(12+00) CHEST SHOT<br />

Akeelah L., Javier R.<br />

They walk to FG.,<br />

along a school<br />

walkway. CAMERA PULLS<br />

BACK PRECEDING.<br />

AKEELAH:(TO JAVIER)<br />

At Crenshaw, <strong>the</strong>y<br />

think I'm a freak.<br />

JAVIER:(TO AKEELAH)<br />

Don't worry, <strong>the</strong>y<br />

think we're a freak<br />

here too.<br />

(CAR HORN)<br />

761. (19+14) CHEST SHOT<br />

Javier <strong>and</strong> Akeelah.<br />

JAVIER:(TO AKEELAH)<br />

Hey, <strong>the</strong>re's my mom.<br />

You need a ride?<br />

762. (22+11) CHEST SHOT<br />

Akeelah L., Javier R.<br />

AKEELAH:(TO JAVIER)<br />

Oh, naw. My mom's<br />

gonna pick me up. She<br />

should be here soon.<br />

(CAR HORN)<br />

763. (31+13) CHEST SHOT<br />

Javier L., Akeelah R.<br />

Car BG.<br />

JAVIER:(TO AKEELAH)<br />

Hey, I'm having a<br />

birthday party in a<br />

few weeks. You... you<br />

wanna come?<br />

533. 12.07 15.00 2.09 AKEELAH:(TO JAVIER)<br />

At Crenshaw, <strong>the</strong>y think<br />

I am a freak.<br />

534. 15.08 19.00 3.08 JAVIER:(TO AKEELAH)<br />

Don't worry, <strong>the</strong>y think<br />

we are freaks here too.<br />

535. 20.07 22.03 1.12 JAVIER:(TO AKEELAH)<br />

Hey, <strong>the</strong>re is my mom.<br />

You need a ride?<br />

536. 23.10 28.10 5.00 AKEELAH:(TO JAVIER)<br />

Oh, no. My mom is<br />

going to pick me up.<br />

537. 29.00 31.07 2.07 AKEELAH:(CONT)<br />

She should be here<br />

soon.<br />

538. 33.15 38.14 4.15 JAVIER:(TO AKEELAH)<br />

Hey, I'm having a<br />

birthday party in a few<br />

weeks. Do you want to<br />

come?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 143<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - MIDDLE SCHOOL - CONT)<br />

764. (38+15) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO JAVIER)<br />

Maybe. If I can.<br />

765. (45+11) CHEST SHOT<br />

OTS Javier.<br />

JAVIER:(TO AKEELAH)<br />

It was cool seeing you<br />

again, Akeelah. Bye.<br />

Javier moves AWAY to<br />

BG. to <strong>the</strong> waiting<br />

car.<br />

766. (49+01) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO JAVIER)(OS)<br />

Bye.<br />

767. (53+03) FULL SHOT<br />

OTS Javier gets into<br />

<strong>the</strong> car BG. Akeelah<br />

FG. looks on.<br />

(MUSIC IN)<br />

(DOOR CLOSE)<br />

Javier BG. waves to<br />

Akeelah as <strong>the</strong> car<br />

pulls off.<br />

768. (58+01) HEAD SHOT<br />

Akeelah smiles o/s L.<br />

to Javier <strong>the</strong>n looks<br />

o/s R.<br />

769. (69+08) FULL SHOT<br />

Akeelah WALKS AWAY to<br />

<strong>the</strong> BUS STOP BENCH <strong>and</strong><br />

SITS.<br />

770. INT. - BUS - DAY<br />

(79+15) CHEST SHOT<br />

Akeelah sits in a bus<br />

seat. She's ASLEEP.<br />

539. 40.15 44.11 3.12 AKEELAH:(TO JAVIER)<br />

Maybe. If I can.<br />

540. 46.00 48.15 2.15 JAVIER:(TO AKEELAH)<br />

It was cool seeing you<br />

again, Akeelah. Bye.<br />

541. 49.03 51.04 2.01 AKEELAH:(TO JAVIER)(OS)<br />

Bye.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 144<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

771. INT. - LIVING ROOM - NIGHT<br />

(83+14) MS WE SEE <strong>the</strong><br />

Door to Akeelah's<br />

house OPEN SLOWLY,<br />

Akeelah LOOKS IN <strong>and</strong><br />

ENTERS.<br />

WANDA:(OS)(TO AKEELAH)<br />

Where <strong>the</strong> hell...<br />

772. (100+00) WAIST SHOT<br />

Akeelah CLOSES <strong>the</strong><br />

DOOR <strong>and</strong> LOOKS o/s R.<br />

to <strong>the</strong> sound of<br />

W<strong>and</strong>a's voice.<br />

WANDA:(OS)(CONT)<br />

...have you been?<br />

CAMERA FAST PANS R. to<br />

W<strong>and</strong>a SITTING in a<br />

CHAIR.<br />

773. (103+08) CHEST SHOT<br />

Akeelah looks o/s R.<br />

to W<strong>and</strong>a.<br />

AKEELAH:(TO WANDA)(OS)<br />

Studying.<br />

774. (106+07) FULL SHOT<br />

W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)(OS)<br />

Studying where?<br />

CAMERA FAST PANS L. to<br />

Akeelah for CHEST<br />

SHOT.<br />

AKEELAH:(TO WANDA)(OS)<br />

Woodl<strong>and</strong> Hills.<br />

775. (113+10) CHEST SHOT<br />

W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)(OS)<br />

Woodl<strong>and</strong> Hills? What<br />

'chu doin' <strong>the</strong>re?<br />

542. 99.11 101.11 2.00<br />

(over scene end) WANDA:(OS)(TO AKEELAH)<br />

Where <strong>the</strong> hell have you<br />

been?<br />

543. 104.06 106.06 2.00 AKEELAH:(TO WANDA)(OS)<br />

Studying.<br />

544. 106.13 108.13 2.00 WANDA:(TO AKEELAH)(OS)<br />

Studying where?<br />

545. 111.11 113.03 1.08 AKEELAH:(TO WANDA)(OS)<br />

Woodl<strong>and</strong> Hills.<br />

546. 113.15 117.15 4.00 WANDA:(TO AKEELAH)(OS)<br />

Woodl<strong>and</strong> Hills? What<br />

were you doing <strong>the</strong>re?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 145<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LIVING ROOM - CONT)<br />

776. (118+04) MCS<br />

Akeelah.<br />

AKEELAH:(TO WANDA)(OS)<br />

They got a spelling<br />

club.<br />

WANDA:(OS)(TO AKEELAH)<br />

Did Mister Welch take<br />

you?<br />

777. (124+00) CHEST SHOT<br />

W<strong>and</strong>a.<br />

WANDA:(CONT)<br />

'Cause ain't nobody<br />

called me.<br />

778. (126+10) MCS<br />

Akeelah.<br />

AKEELAH:(TO WANDA)(OS)<br />

I...<br />

779. (131+07) CHEST SHOT<br />

W<strong>and</strong>a waits.<br />

780. (133+06) MCS<br />

Akeelah.<br />

AKEELAH:(TO WANDA)(OS)<br />

I went by myself. I<br />

didn't think <strong>the</strong> bus<br />

ride...<br />

781. (136+13) CHEST SHOT<br />

W<strong>and</strong>a.<br />

AKEELAH:(OS)(CONT)<br />

...would take so long.<br />

782. (138+09) MCS<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

I'm sorry.<br />

547. 119.14 121.12 1.14 AKEELAH:(TO WANDA)(OS)<br />

They have a spelling<br />

club.<br />

548. 122.04 126.03 3.15<br />

(over scene end) WANDA:(OS)(TO AKEELAH)<br />

Did Mister Welch take<br />

you? Because no one<br />

has called me.<br />

549. 133.11 138.08 4.13<br />

(over scene end) AKEELAH:(TO WANDA)(OS)<br />

I went by myself. I<br />

didn't think <strong>the</strong> bus<br />

ride would take so<br />

long.<br />

550. *138.09 140.01 1.08 AKEELAH:(CONT)<br />

I'm sorry.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 146<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LIVING ROOM - CONT)<br />

783. (140+10) CHEST SHOT<br />

W<strong>and</strong>a leans forward.<br />

WANDA:(TO AKEELAH)(OS)<br />

Akeelah Anderson, you<br />

done lost your mind?<br />

You eleven years old.<br />

You don't be takin' a<br />

bus to Woodl<strong>and</strong> Hills<br />

by your...<br />

784. (151+14) MCS<br />

Akeelah.<br />

WANDA:(OS)(CONT)<br />

...self!<br />

AKEELAH:(TO WANDA)(OS)<br />

There's nobody around<br />

to take me.<br />

785. (155+01) CHEST SHOT<br />

W<strong>and</strong>a STANDS.<br />

WANDA:(TO AKEELAH)(OS)<br />

That's 'cause I work.<br />

786. (157+09) MCS<br />

Akeelah.<br />

AKEELAH:(TO WANDA)(OS)<br />

That's what you said<br />

on <strong>the</strong> weekend. All<br />

<strong>the</strong> o<strong>the</strong>r kids had<br />

<strong>the</strong>ir parents at <strong>the</strong><br />

district bee.<br />

551. 141.05 145.04 3.15 WANDA:(TO AKEELAH)(OS)<br />

Akeelah Anderson, you<br />

done lost your mind?<br />

552. 146.04 151.04 5.00 WANDA:(CONT)<br />

You are eleven years<br />

old. You don't be<br />

taking a bus to<br />

Woodl<strong>and</strong> Hills by<br />

yourself!<br />

553. 152.06 154.07 2.01 AKEELAH:(TO WANDA)(OS)<br />

There was nobody around<br />

to take me.<br />

554. 155.05 157.01 1.12 WANDA:(TO AKEELAH)(OS)<br />

That is because I work.<br />

555. 158.00 160.10 2.10 AKEELAH:(TO WANDA)(OS)<br />

That is what you said<br />

on <strong>the</strong> weekend.<br />

556. 161.03 164.13 3.10 AKEELAH:(CONT)<br />

All <strong>the</strong> o<strong>the</strong>r kids had<br />

<strong>the</strong>ir parents at <strong>the</strong><br />

district bee.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 147<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LIVING ROOM - CONT)<br />

787. (164+15) MCS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)(OS)<br />

Well maybe <strong>the</strong> o<strong>the</strong>r<br />

kids have parents who<br />

got more time on <strong>the</strong>ir<br />

h<strong>and</strong>s. Look, I'm not<br />

having ano<strong>the</strong>r...<br />

788. (171+15) MCS<br />

Akeelah.<br />

WANDA:(OS)(CONT)<br />

...child of mine<br />

disappearing at all<br />

hours.<br />

789. (175+10) MCS W<strong>and</strong>a.<br />

WANDA:(CONT)<br />

So if this spelling<br />

thing means sneaking<br />

off to <strong>the</strong> suburbs by<br />

yourself. I'm calling<br />

it all off.<br />

790. (182+03) MCS<br />

Akeelah.<br />

AKEELAH:(TO WANDA)(OS)<br />

We can't call it off.<br />

I going to <strong>the</strong><br />

regional bee.<br />

791. (185+13) MCS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)(OS)<br />

Not if you flunk outta<br />

school, you're not.<br />

557. 165.04 170.05 5.01 WANDA:(TO AKEELAH)(OS)<br />

Well maybe <strong>the</strong> o<strong>the</strong>r<br />

kids have parents who<br />

got more time on <strong>the</strong>ir<br />

h<strong>and</strong>s.<br />

558. 170.11 175.07 4.12<br />

(over scene end) WANDA:(CONT)<br />

I'm not having ano<strong>the</strong>r<br />

child of mind<br />

disappearing at all<br />

hours.<br />

559. 176.02 181.10 5.08 WANDA:(CONT)<br />

So if this spelling<br />

thing means sneaking<br />

off to <strong>the</strong> suburbs by<br />

yourself. I'm calling<br />

it all off.<br />

560. 182.09 185.06 2.13 AKEELAH:(TO WANDA)(OS)<br />

We can't call it off.<br />

I going to <strong>the</strong> regional<br />

bee.<br />

561. 186.04 189.02 2.14 WANDA:(TO AKEELAH)(OS)<br />

Not if you flunk out of<br />

school, you are not.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 148<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LIVING ROOM - CONT)<br />

792. (189+04) CHEST SHOT<br />

W<strong>and</strong>a reaches o/s R.<br />

for a letter.<br />

WANDA:(TO AKEELAH)(OS)<br />

I just got a letter<br />

sayin' you gotta take<br />

summer school to make<br />

up for all <strong>the</strong>se<br />

classes you done<br />

skipped.<br />

AKEELAH:(OS)(TO WANDA)<br />

Mama, I...<br />

793. (197+01) MCS<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...hate Crenshaw. It<br />

is so boring <strong>the</strong>re.<br />

And nobody cares.<br />

794. (203+02) MCS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)(OS)<br />

What, you think <strong>the</strong>y<br />

care about you in<br />

Woodl<strong>and</strong> Hills?<br />

795. (207+11) MCS<br />

Akeelah.<br />

AKEELAH:(TO WANDA)(OS)<br />

At least <strong>the</strong>y got<br />

Latin classes. And<br />

<strong>the</strong> kids don't have to<br />

study in <strong>the</strong>ir<br />

stairwell.<br />

562. 189.09 196.09 7.00 WANDA:(TO AKEELAH)(OS)<br />

I just got a letter<br />

saying you have to take<br />

summer school to make<br />

up for all <strong>the</strong>se<br />

classes you have<br />

skipped.<br />

563. 196.15 202.15 6.00<br />

(over scene end) AKEELAH:(OS)(TO WANDA)<br />

Mama, I hate Crenshaw.<br />

It is so boring <strong>the</strong>re.<br />

And nobody cares.<br />

564. 203.08 207.04 3.12 WANDA:(TO AKEELAH)(OS)<br />

What, you think <strong>the</strong>y<br />

care about you in<br />

Woodl<strong>and</strong> Hills?<br />

565. 208.03 212.15 4.12 AKEELAH:(TO WANDA)(OS)<br />

At least <strong>the</strong>y got Latin<br />

classes. And <strong>the</strong> kids<br />

don't have to study in<br />

<strong>the</strong>ir stairwell.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 149<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LIVING ROOM - CONT)<br />

796. (213+09) CHEST SHOT<br />

W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)(OS)<br />

Well, good for <strong>the</strong>m.<br />

But until you finish<br />

summer school, at<br />

Crenshaw. Ain't gonna<br />

be no more spelling<br />

bees.<br />

797. (221+15) MCS<br />

Akeelah.<br />

AKEELAH:(TO WANDA)(OS)<br />

But mama, I gotta get<br />

ready for <strong>the</strong> state<br />

bee during <strong>the</strong> summer.<br />

798. (227+07) MCS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)(OS)<br />

Well, you've just<br />

gonna have to do that<br />

next year, now.<br />

Aren't you?<br />

799. (231+10) MCS<br />

Akeelah.<br />

AKEELAH:(TO WANDA)(OS)<br />

But that's not fair!<br />

800. (233+07) CHEST SHOT<br />

W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)(OS)<br />

Not only is it fair,<br />

it's final!<br />

801. (238+08) MCS<br />

Akeelah holds back<br />

tears.<br />

566. 213.11 215.07 1.12 WANDA:(TO AKEELAH)(OS)<br />

Well, good for <strong>the</strong>m.<br />

567. 215.13 221.07 5.10 WANDA:(CONT)<br />

But until you finish<br />

summer school, at<br />

Crenshaw. There will<br />

be no more spelling<br />

bees.<br />

568. 222.07 227.04 4.13 AKEELAH:(TO WANDA)(OS)<br />

But mama, I have to get<br />

ready for <strong>the</strong> state bee<br />

during <strong>the</strong> summer.<br />

569. 228.07 231.03 2.12 WANDA:(TO AKEELAH)(OS)<br />

Well, you will just<br />

have to do that next<br />

year, now. Aren't you?<br />

570. *231.10 233.02 1.08 AKEELAH:(TO WANDA)(OS)<br />

But that's not fair!<br />

571. 233.13 237.09 3.12 WANDA:(TO AKEELAH)(OS)<br />

Not only is it fair, it<br />

is final!


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 150<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

802. INT. -AKEELAH'S ROOM- NIGHT<br />

(240+02) FULL SHOT<br />

Akeelah ENTERS her<br />

room <strong>and</strong> SLAMS <strong>the</strong><br />

door. CAMERA PANS R.<br />

to follow as she SLAMS<br />

DOWN in front of her<br />

computer.<br />

(MUSIC IN)<br />

803. (248+02) MCS HIGH<br />

ANGLE Akeelah LOOKS to<br />

<strong>the</strong> PICTURE FRAME R.<br />

FG.<br />

804. (252+11) CS of <strong>the</strong><br />

PICTURE of Akeelah's<br />

FATHER.<br />

805. (254+14) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO PICTURE)<br />

You'd let me do it.<br />

She slumps, <strong>the</strong>n looks<br />

back to <strong>the</strong> picture.<br />

806. (276+14) CS WE READ<br />

:<br />

Parental Consent Form<br />

807. (281+02) HEAD SHOT<br />

Akeelah looks o/s<br />

BOTTOM to <strong>the</strong> form.<br />

808. (283+15) MS of <strong>the</strong><br />

consent form. WE SEE<br />

Akeelah's HAND HOLDS A<br />

PEN.<br />

809. (286+04) HEAD SHOT<br />

Akeelah looks o/s<br />

BOTTOM to <strong>the</strong> form.<br />

572. 255.15 258.02 2.03 AKEELAH:(TO PICTURE)<br />

You would let me do it.<br />

573.I 277.03 280.11 3.08 :<br />

Parental Consent Form


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 151<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S ROOM - CONT)<br />

(MUSIC - CONT)<br />

810. (289+00) CS WE SEE<br />

Akeelah SIGN HER<br />

FATHER'S NAME to <strong>the</strong><br />

consent form.<br />

811. EXT. - LARABEE'S HOUSE - DAY<br />

(293+00) CS WE SEE<br />

Akeelah's FINGER PUSH<br />

a door bell BUTTON.<br />

(DOOR BELL)<br />

812. (296+03) CHEST SHOT<br />

OTS Larabee opens <strong>the</strong><br />

front door, looks to<br />

Akeelah FG.<br />

813. (298+14) CHEST SHOT<br />

OTS Akeelah looks to<br />

Larabee FG.<br />

AKEELAH:(TO LARABEE)<br />

1979, "maculature." —<br />

A-C-U-L-A-T-U-R-E.<br />

Origin is latin.<br />

1990, "Fibranne."<br />

F-I-B-R-A- N-N-E...<br />

814. (312+08) CHEST SHOT<br />

OTS Larabee.<br />

AKEELAH:(CONT)<br />

...French. 1996,<br />

"Vivisepulture."<br />

V-I-V-I-S-E...<br />

815. (319+01) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...P-U-L-U-R-E.<br />

Latin.<br />

574. 300.14 307.14 7.00 AKEELAH:(TO LARABEE)<br />

1979, "maculature." —<br />

A-C-U-L-A-T-U-R-E.<br />

Origin is latin.<br />

575. 308.04 314.03 5.15<br />

(over scene end) AKEELAH:(CONT)<br />

1990, "Fibranne."<br />

F-I-B-R-A- N-N-E.<br />

French.<br />

576. 314.09 321.02 6.09<br />

(over scene end) AKEELAH:(CONT)<br />

1996, "Vivisepulture."<br />

V-I-V-I-S-E-P-U-L-T-U-<br />

R-E.<br />

577. 322.12 324.09 1.13 AKEELAH:(CONT)<br />

Latin.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 152<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

816. (325+01) CHEST SHOT<br />

OTS Larabee.<br />

AKEELAH:(CONT)<br />

I learned all <strong>the</strong><br />

winning words...<br />

817. (327+14) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...since 1925. Just<br />

like you said I<br />

should.<br />

818. (333+02) CHEST SHOT<br />

OTS Larabee.<br />

AKEELAH:(CONT)<br />

Sorry for being so...<br />

819. (336+02) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...insolent last time.<br />

That's not going to<br />

happen no more...<br />

820. (340+10) CHEST SHOT<br />

OTS Larabee raises his<br />

eyebrows at her poor<br />

diction.<br />

AKEELAH:(CONT)<br />

Any more.<br />

821. (344+04) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

I promise.<br />

578. 326.08 332.07 5.15<br />

(over scene end) AKEELAH:(CONT)<br />

I learned all <strong>the</strong><br />

winning words since<br />

1925. Just like you<br />

said I should.<br />

579. 334.15 338.03 3.04<br />

(over scene end) AKEELAH:(CONT)<br />

Sorry for being so<br />

insolent last time.<br />

580. 338.15 340.09 1.10 AKEELAH:(CONT)<br />

That is not going to<br />

happen no more...<br />

581. 341.11 343.14 2.03 AKEELAH:(CONT)<br />

Any more.<br />

582. 345.02 346.13 1.11 AKEELAH:(CONT)<br />

I promise.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 153<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

822. (347+11) CHEST SHOT<br />

OTS Larabee.<br />

AKEELAH:(CONT)<br />

So, I was wondering if<br />

you might<br />

reconsider...<br />

823. (351+11) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...coaching me for <strong>the</strong><br />

state bee. 'Cause I<br />

need a coach.<br />

824. (360+14) CHEST SHOT<br />

OTS Larabee.<br />

825. (363+02) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...Bad.<br />

826. (365+15) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Badly. You need a<br />

coach badly.<br />

Larabee turns.<br />

LARABEE:(CONT)<br />

Come in.<br />

827. (375+06) CHEST SHOT<br />

Akeelah opens <strong>the</strong><br />

screen door <strong>and</strong><br />

ENTERS.<br />

828. INT. - LARABEE'S HOUSE - DAY<br />

(381+05) FULL SHOT<br />

Larabee BG. sits at<br />

his desk. CAMERA<br />

FOLLOWS Akeelah FG.<br />

LARABEE:(TO AKEELAH)<br />

Come in, come in.<br />

583. 349.07 354.06 4.15<br />

(over scene end) AKEELAH:(CONT)<br />

So, I was wondering if<br />

you might reconsider<br />

coaching me for <strong>the</strong><br />

state bee.<br />

584. 358.07 360.05 1.14 AKEELAH:(CONT)<br />

Because I need a coach.<br />

585. 363.13 365.09 1.12 AKEELAH:(CONT)<br />

...Bad.<br />

586. 367.09 371.11 4.02 LARABEE:(TO AKEELAH)<br />

Badly. You need a<br />

coach badly.<br />

587. 373.12 375.04 1.08 LARABEE:(CONT)<br />

Come in.<br />

588. 383.00 385.00 2.00 LARABEE:(TO AKEELAH)<br />

Come in, come in.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 154<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOUSE - CONT)<br />

829. (388+04) CHEST SHOT<br />

Akeelah walks into<br />

Larabee's study CAMERA<br />

PRECEDES.<br />

830. (392+03) MS Picture<br />

of Larabee's wife.<br />

831. (394+08) CHEST SHOT<br />

Akeelah looks o/s L.<br />

to <strong>the</strong> picture. She<br />

walks L. CAMERA PANS<br />

L. to follow.<br />

AKEELAH:(TO LARABEE)<br />

That's a very pretty<br />

lady. Is she your<br />

wife?<br />

832. (401+02) CHEST SHOT<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Listen, you got very<br />

lucky at <strong>the</strong> district<br />

bee.<br />

833. (406+06) CHEST SHOT<br />

Akeelah.<br />

LARABEE:(OS)(CONT)<br />

The competition at<br />

state level is much<br />

stronger.<br />

834. (410+08) FULL SHOT<br />

Larabee seated L.,<br />

Akeelah R.<br />

LARABEE:(CONT)<br />

So, if you <strong>and</strong> I were<br />

to prepare for that.<br />

589. 395.11 400.10 4.15 AKEELAH:(TO LARABEE)<br />

That is a very pretty<br />

lady. Is she your<br />

wife?<br />

590. 402.03 406.03 4.00 LARABEE:(TO AKEELAH)<br />

Listen, you got very<br />

lucky at <strong>the</strong> district<br />

bee.<br />

591. 406.09 410.00 3.07 LARABEE:(OS)(CONT)<br />

The competition at<br />

state level is much<br />

stronger.<br />

592. 411.01 416.08 5.07 LARABEE:(CONT)<br />

So, if you <strong>and</strong> I were<br />

to prepare for that.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 155<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOUSE - CONT)<br />

835. (416+13) CHEST SHOT<br />

Larabee.<br />

LARABEE:(CONT)<br />

We'd have to do it on<br />

my schedule. So...<br />

836. (420+02) CHEST SHOT<br />

Akeelah.<br />

LARABEE:(OS)(CONT)<br />

...we'd have to work<br />

three hours each<br />

morning. Starting at<br />

nine. Can you h<strong>and</strong>le<br />

that?<br />

AKEELAH:(TO LARABEE)<br />

Well...<br />

837. (427+08) FULL SHOT<br />

Akeelah R. move L. <strong>and</strong><br />

stops in front of<br />

Larabee's desk.<br />

AKEELAH:(CONT)<br />

...I do have summer<br />

school. But Mister<br />

Welch...<br />

838. (431+09) MCS<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...said working with<br />

you could take <strong>the</strong><br />

place of it.<br />

593. 417.12 419.07 1.11 LARABEE:(CONT)<br />

We would have to do it<br />

on my schedule.<br />

594. 420.10 425.05 4.11<br />

(over scene end) LARABEE:(CONT)<br />

So we would have to<br />

work three hours each<br />

morning. Starting at<br />

nine.<br />

595. 425.11 427.03 1.08 LARABEE:(OS)(CONT)<br />

Can you h<strong>and</strong>le that?<br />

596. 427.09 430.11 3.02<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

Well, I do have summer<br />

school.<br />

597. 431.01 434.13 3.12<br />

(over scene end) AKEELAH:(CONT)<br />

But Mister Welch said<br />

that working with you<br />

would take <strong>the</strong> place of<br />

it.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 156<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOUSE - CONT)<br />

839. (434+00) CHEST SHOT<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Isn't that for<br />

students that don't<br />

perform<br />

satisfactorily...<br />

840. (440+08) WAIST SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

...during <strong>the</strong> year?<br />

Akeelah picks up a<br />

carved item from<br />

Larabee's desk <strong>and</strong><br />

fidgets with it.<br />

AKEELAH:(TO LARABEE)<br />

Well...<br />

841. (444+14) CS of <strong>the</strong><br />

carved item in<br />

Akeelah's h<strong>and</strong>.<br />

AKEELAH:(CONT)<br />

...sometimes it's for<br />

kids who want to<br />

get...<br />

842. (447+08) WAIST SHOT<br />

OTS Larabee BG.<br />

Akeelah with carved<br />

item FG. BACK TO<br />

CAMERA.<br />

AKEELAH:(CONT)<br />

...ahead...<br />

843. (449+08) WAIST SHOT<br />

OTS Akeelah fiddles<br />

with a carved elephant<br />

as she talks.<br />

AKEELAH:(CONT)<br />

...for next year.<br />

LARABEE:(TO AKEELAH)<br />

Yes...<br />

598. 435.08 442.00 6.08<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Is <strong>the</strong> not for students<br />

that don't perform<br />

satisfactorily during<br />

<strong>the</strong> year?<br />

599. 442.05 449.05 7.00 AKEELAH:(TO LARABEE)<br />

Well, sometimes it is<br />

for kids who want to<br />

get ahead


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 157<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOUSE - CONT)<br />

844. (451+09) WAIST SHOT<br />

OTS Larabee points to<br />

<strong>the</strong> carved elephant in<br />

Akeelah's h<strong>and</strong>.<br />

LARABEE:(CONT)<br />

...please put that<br />

down.<br />

845. (454+10) WAIST SHOT<br />

OTS Akeelah places <strong>the</strong><br />

carved elephant back<br />

on Larabee's desk.<br />

LARABEE:(CONT)<br />

Just... yeah.<br />

846. (457+06) CHEST SHOT<br />

OTS Larabee.<br />

847. (460+14) CHEST SHOT<br />

Akeelah.<br />

848. (462+12) CHEST SHOT<br />

OTS Larabee arranges<br />

things on his desk as<br />

he talks.<br />

LARABEE:(TO AKEELAH)<br />

Have you ahh... Have<br />

you got any goals?<br />

849. (468+05) MCS<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Huh?<br />

LARABEE:(TO AKEELAH)<br />

Goals. What would you<br />

like to be when you<br />

grow up?<br />

850. (474+01) CHEST SHOT<br />

Larabee.<br />

LARABEE:(CONT)<br />

A doctor? A lawyer?<br />

A st<strong>and</strong> up comic?<br />

600. *451.09 453.10 2.01 LARABEE:(CONT)<br />

Yes, please put that<br />

down.<br />

601. 454.11 457.00 2.05 LARABEE:(CONT)<br />

Just... yeah.<br />

602. 463.13 468.00 4.03 LARABEE:(TO AKEELAH)<br />

Have you got any goals?<br />

603. 469.01 470.11 1.10 AKEELAH:(TO LARABEE)<br />

Huh?<br />

604. 471.11 473.15 2.04 LARABEE:(TO AKEELAH)<br />

Goals. What would you<br />

like to be when you<br />

grow up?<br />

605. 474.05 478.05 4.00 LARABEE:(CONT)<br />

A doctor? A lawyer? A<br />

st<strong>and</strong> up comic?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 158<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOUSE - CONT)<br />

851. (478+12) WAIST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

I don't know. The<br />

only thing I'm good at<br />

is spelling.<br />

852. (485+07) CHEST SHOT<br />

Larabee looks o/s L.<br />

<strong>the</strong>n back o/s R. to<br />

Akeelah. He points<br />

o/s L.<br />

LARABEE:(TO AKEELAH)<br />

Go over <strong>the</strong>re <strong>and</strong> read<br />

<strong>the</strong> quotation that's<br />

on <strong>the</strong> wall.<br />

853. (498+15) MCS<br />

Akeelah moves o/s R.<br />

854. (501+05) MCS<br />

Akeelah moves INTO<br />

SHOT from o/s R. <strong>and</strong><br />

looks o/s L. to a<br />

framed quote on <strong>the</strong><br />

wall. Larabee BG.<br />

855. (504+05) MS of <strong>the</strong><br />

framed quote on <strong>the</strong><br />

wall.<br />

LARABEE:(OS)(CONT)<br />

Read it aloud, please.<br />

606. 480.05 484.11 4.06 AKEELAH:(TO LARABEE)<br />

I don't know. The only<br />

thing I'm good at is<br />

spelling.<br />

607. 492.00 498.06 6.06 LARABEE:(TO AKEELAH)<br />

Go over <strong>the</strong>re <strong>and</strong> read<br />

<strong>the</strong> quotation that is<br />

on <strong>the</strong> wall.<br />

608. 504.10 506.06 1.12 LARABEE:(OS)(CONT)<br />

Read it aloud, please.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 159<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

856. (506+15) HEAD SHOT<br />

Akeelah.<br />

(MUSIC IN)<br />

AKEELAH:(READS)<br />

"Our deepest fear is<br />

not that we are<br />

inadequate. Our<br />

deepest fear is that<br />

we are powerful beyond<br />

measure. We ask<br />

ourselves, who am I to<br />

be brilliant,<br />

gorgeous, talented,<br />

<strong>and</strong> fabulous?<br />

Actually, who are you<br />

not to be?<br />

857. (542+08) MCS<br />

Larabee.<br />

AKEELAH:(OS)(CONT)<br />

We were born to make<br />

manifest <strong>the</strong> glory of<br />

God that is within us.<br />

858. (551+08) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

And as we let our own<br />

light shine, we<br />

unconsciously give<br />

o<strong>the</strong>r people...<br />

609. 509.13 515.04 5.07 AKEELAH:(READS)<br />

"Our deepest fear is<br />

not that we are<br />

inadequate.<br />

610. 516.03 522.06 6.03 AKEELAH:(CONT)<br />

Our deepest fear is<br />

that we are powerful<br />

beyond measure.<br />

611. 523.10 527.11 4.01 AKEELAH:(CONT)<br />

We ask ourselves, who<br />

am I...<br />

612. 528.01 534.11 6.10 AKEELAH:(CONT)<br />

...to be brilliant,<br />

gorgeous, talented, <strong>and</strong><br />

fabulous?<br />

613. 536.07 541.07 5.00 AKEELAH:(CONT)<br />

Actually, who are you<br />

not to be?<br />

614. 544.00 550.05 6.05 AKEELAH:(OS)(CONT)<br />

We were born to make<br />

manifest <strong>the</strong> glory of<br />

God that is within us.<br />

615. *551.08 554.03 2.11 AKEELAH:(CONT)<br />

And as we let our own<br />

light shine...<br />

616. 555.01 560.03 5.02<br />

(over scene end) AKEELAH:(CONT)<br />

...we unconsciously<br />

give o<strong>the</strong>r people<br />

permission to do <strong>the</strong><br />

same."


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 160<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

859. (555+00) CS<br />

Quotation.<br />

AKEELAH:(CONT)<br />

...permission to do<br />

<strong>the</strong> same."<br />

860. (563+01) MCS<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Does that mean<br />

anything to you?<br />

861. (568+04) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

I don't know.<br />

862. (571+14) MCS<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

It's written in plain<br />

English. What does it<br />

mean?<br />

863. (579+07) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

That I'm not supposed<br />

to be afraid.<br />

864. (585+00) MCS<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Afraid of what?<br />

865. (588+09) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Afraid of...<br />

617. 565.06 567.11 2.05 LARABEE:(TO AKEELAH)<br />

Does that mean anything<br />

to you?<br />

618. 569.14 571.06 1.08 AKEELAH:(TO LARABEE)<br />

I don't know.<br />

619. 572.05 578.13 6.08 LARABEE:(TO AKEELAH)<br />

It is written in plain<br />

English. What does it<br />

mean?<br />

620. 582.07 584.08 2.01 AKEELAH:(TO LARABEE)<br />

That I'm not supposed<br />

to be afraid.<br />

621. 584.15 586.11 1.12 LARABEE:(TO AKEELAH)<br />

Afraid of what?<br />

622. 590.15 592.14 1.15 AKEELAH:(TO LARABEE)<br />

Afraid of...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 161<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

866. (593+04) MCS<br />

Akeelah turns to face<br />

Larabee o/s R.<br />

AKEELAH:(CONT)<br />

...me.<br />

867. (600+01) MCS<br />

Larabee.<br />

868. (602+10) MCS<br />

Akeelah moves to FG.<br />

CAMERA PANS R. to<br />

follow.<br />

869. (609+01) MCS<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

This national spelling<br />

bee is a tough nut.<br />

I've seen it chew kids<br />

up <strong>and</strong> spit <strong>the</strong>m out.<br />

So if...<br />

870. (620+04) MCS<br />

Akeelah.<br />

LARABEE:(CONT)<br />

...you want to get<br />

<strong>the</strong>re. You can't be a<br />

shrinking violet. You<br />

have to st<strong>and</strong>...<br />

623. 597.00 599.02 2.02 AKEELAH:(CONT)<br />

...me.<br />

624. 613.00 620.00 7.00 LARABEE:(TO AKEELAH)<br />

This national spelling<br />

bee is a tough nut.<br />

I've seen it chew kids<br />

up <strong>and</strong> spit <strong>the</strong>m out.<br />

625. 620.06 624.08 4.02<br />

(over scene end) LARABEE:(CONT)<br />

So if you want to get<br />

<strong>the</strong>re, you can't be a<br />

shrinking violet.<br />

(Shrinking violet: Allegory, "Bashful".)<br />

626. 624.14 628.04 3.06<br />

(over scene end) LARABEE:(CONT)<br />

You have to st<strong>and</strong> up<br />

<strong>and</strong> show <strong>the</strong>m what you<br />

can do.<br />

627. 628.11 630.03 1.08 LARABEE:(CONT)<br />

All right?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 162<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

871. (625+04) MCS<br />

Larabee.<br />

LARABEE:(CONT)<br />

...up <strong>and</strong> show <strong>the</strong>m<br />

what you can do. All<br />

right?<br />

872. (630+06) MCS<br />

Akeelah nods.<br />

873. (633+15) MCS<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

And I'll brook no<br />

nonsense. You show up<br />

on time...<br />

874. (639+09) HEAD SHOT<br />

Akeelah.<br />

LARABEE:(OS)(CONT)<br />

...with no attitude.<br />

Or it's over.<br />

875. (644+01) MCS<br />

Larabee.<br />

LARABEE:(CONT)<br />

Agreed?<br />

876. (647+04) WAIST SHOT<br />

OTS Akeelah offers a<br />

h<strong>and</strong> shake for<br />

agreement.<br />

AKEELAH:(TO LARABEE)<br />

Agreed.<br />

877. (652+07) MCS<br />

Larabee looks to her<br />

outstretched h<strong>and</strong> o/s<br />

L.<br />

628. 634.13 641.13 7.00<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

And I'll brook no<br />

nonsense. You show up<br />

on time, with no<br />

attitude.<br />

629. 642.01 643.09 1.08 LARABEE:(OS)(CONT)<br />

Or it is over.<br />

(It: The coaching effort.)<br />

630. 645.02 646.14 1.12 LARABEE:(CONT)<br />

Agreed?<br />

631. 650.04 652.00 1.12 AKEELAH:(TO LARABEE)<br />

Agreed.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 163<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

878. (655+12) WAIST SHOT<br />

OTS Larabee clasps<br />

h<strong>and</strong>s with Akeelah.<br />

They shake in<br />

agreement.<br />

(MUSIC OUT)<br />

879. (658+06) HEAD SHOT<br />

Akeelah smiles.<br />

880. INT. - WANDA'S CAR - DAY<br />

(660+14) FULL SHOT WE<br />

SEE Upscale homes FLOW<br />

BY. WE HEAR Georgia<br />

<strong>and</strong> Kiana singing.<br />

(MUSIC IN)<br />

(GIRLS SING)<br />

GIRLS:(SING)<br />

And baby you should...<br />

881. (662+12) CHEST SHOT<br />

Georgia, Kiana <strong>and</strong><br />

Akeelah in car.<br />

GIRLS:(SING)<br />

...know that you ain't<br />

gotta go it solo.<br />

Akeelah interrupts.<br />

AKEELAH:(TO ALL)<br />

Stop...stop...<br />

632. 661.08 663.15 2.07<br />

(over scene end) GIRLS:(SING)<br />

And baby you should<br />

know...<br />

633. 664.05 668.15 4.10<br />

(over scene end) GIRLS:(SING)<br />

...that you ain't<br />

gotta go it solo.<br />

(Gotta: Lyrical from song, "got to".)


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 164<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - WANDA'S CAR - CONT)<br />

(MUSIC - CONT)<br />

882. (667+15) FULL SHOT<br />

WE SEE Javier's HOUSE<br />

<strong>and</strong> BIRTHDAY PARTY<br />

Sign.<br />

AKEELAH:(CONT)<br />

Here it is. Stop...<br />

stop.<br />

(MUSIC OUT)<br />

KIANA:(OS)(TO AKEELAH)<br />

Girl, mama'd...<br />

883. (672+02) MCS OTS<br />

Kiana BG, Akeelah FG.<br />

KIANA:(CONT)<br />

...trip if she knew we<br />

borrowed <strong>the</strong> care <strong>the</strong><br />

this.<br />

AKEELAH:(TO KIANA)<br />

That's why mama...<br />

884. (677+07) HEAD SHOT<br />

Georgia looks o/s to<br />

<strong>the</strong> party.<br />

AKEELAH:(OS)(CONT)<br />

...ain't gonna know.<br />

885. (680+12) FULL SHOT<br />

teen aged Party goers.<br />

AKEELAH:(OS)<br />

(TO GEORGIA)<br />

Come on, Georgia.<br />

634. 668.15 671.06 2.07 AKEELAH:(CONT)<br />

Here it is. Stop...<br />

stop.<br />

635. 671.12 674.15 3.03<br />

(over scene end) KIANA:(OS)(TO AKEELAH)<br />

Girl, mama would trip<br />

if she knew we borrowed<br />

<strong>the</strong> car for this.<br />

(Trip: Derived from "trip out", meaning to<br />

be excessively angry.)<br />

636. 675.15 679.00 3.01<br />

(over scene end) AKEELAH:(TO KIANA)<br />

That is why mama isn't<br />

going to know.<br />

637. 681.07 683.04 1.13 AKEELAH:(OS)<br />

(TO GEORGIA)<br />

Come on, Georgia.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 165<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - WANDA'S CAR - CONT)<br />

886. (683+13) MCS<br />

Georgia.<br />

GEORGIA:<br />

(TO AKEELAH)(OS)<br />

Umm...<br />

887. (688+02) WAIST SHOT<br />

Akeelah looks o/s R.<br />

to Kiana.<br />

888. (690+02) MCS<br />

Georgia.<br />

GEORGIA:(CONT)<br />

I'm gonna go to <strong>the</strong><br />

mall with Kiana.<br />

889. (695+14) WAIST SHOT<br />

Akeelah.<br />

AKEELAH:<br />

(TO GEORGIA)(OS)<br />

But I thought you<br />

wanted to go to this<br />

party.<br />

890. (699+07) MCS<br />

Georgia looks o/s to<br />

<strong>the</strong> party.<br />

891. (701+09) WAIST SHOT<br />

Teen aged party<br />

members talk.<br />

JAVIER:(OS)<br />

(TO AKEELAH)(OS)<br />

Hey, Akeelah.<br />

892. (704+01) WAIST SHOT<br />

Akeelah FG. WE SEE<br />

Javier BG. walking to<br />

her.<br />

893. (706+03) MCS<br />

Georgia looks o/s L.<br />

to Javier.<br />

638. 692.07 695.08 3.01 GEORGIA:(CONT)<br />

I'm going to go to <strong>the</strong><br />

mall with Kiana.<br />

(Mall: Shopping Mall.)<br />

639. 696.03 699.01 2.14 AKEELAH:<br />

(TO GEORGIA)(OS)<br />

But I thought you<br />

wanted to go to this<br />

party.<br />

640. 701.11 703.03 1.08 JAVIER:(OS)<br />

(TO AKEELAH)(OS)<br />

Hey, Akeelah.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 166<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - WANDA'S CAR - CONT)<br />

894. (709+00) WAIST SHOT<br />

Akeelah looks to<br />

Georgia o/s R.<br />

AKEELAH:<br />

(TO GEORGIA)(OS)<br />

Are you sure?<br />

895. (713+06) MCS<br />

Georgia.<br />

GEORGIA:<br />

(TO AKEELAH)(OS)<br />

Yeah.<br />

JAVIER:(OS)(TO AKEELAH)<br />

Come on...<br />

896. (717+13) WAIST SHOT<br />

Akeelah L,. FG. Javier<br />

R. BG.<br />

JAVIER:(CONT)<br />

...let's go.<br />

Akeelah WALKS AWAY to<br />

Javier BG. with a<br />

final glance o/s R. to<br />

Georgia.<br />

897. (724+12) HEAD SHOT<br />

W<strong>and</strong>a looks o/s L. to<br />

<strong>the</strong> departing Javier<br />

<strong>and</strong> Akeelah. She sits<br />

back in <strong>the</strong> car seat.<br />

(ENGINE START)<br />

(MUSIC IN)<br />

(MUSIC OUT)<br />

898. EXT. - PARTY - DAY<br />

(732+11) FULL SHOT<br />

kids play party games.<br />

899. (733+15) M FULL<br />

SHOT SWING at a party<br />

pinata.<br />

(THUD)<br />

641. 711.03 713.00 1.13 AKEELAH:<br />

(TO GEORGIA)(OS)<br />

Are you sure?<br />

642. 713.15 715.08 1.09 GEORGIA:<br />

(TO AKEELAH)(OS)<br />

Yeah.<br />

643. 717.02 718.15 1.13<br />

(over scene end) JAVIER:(OS)(TO AKEELAH)<br />

Come on, let us go.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 167<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - PARTY - CONT)<br />

900. (735+03) FULL SHOT<br />

Kickball game.<br />

901. (736+03) FULL SHOT<br />

WE SEE Dylan Chiu RUN<br />

L. CAMERA PANS L. to<br />

follow.<br />

AKEELAH:(OS)(TO JAVIER)<br />

Why'd you invite him?<br />

902. (739+12) LS Dylan<br />

<strong>and</strong> a group PLAY<br />

KICKBALL. CAMERA<br />

PULLS BACK to reveal<br />

Javier L., Akeelah R.<br />

BACKS TO CAMERA.<br />

JAVIER:(TO AKEELAH)<br />

My dad's friends with<br />

his dad. I'm<br />

surprised he showed<br />

up.<br />

903. (745+02) HEAD SHOT<br />

OTS Javier.<br />

JAVIER:(TO AKEELAH)<br />

Hey, you wanna see my<br />

house?<br />

904. (747+10) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO JAVIER)<br />

Yeah.<br />

JAVIER:(TO AKEELAH)<br />

Let's go.<br />

They STAND.<br />

644. 737.12 739.06 1.10 AKEELAH:(OS)(TO JAVIER)<br />

Why did you invite him?<br />

645. 739.15 744.06 4.07 JAVIER:(TO AKEELAH)<br />

My dad is friends with<br />

his dad. I'm surprised<br />

he showed up.<br />

646. 745.06 747.06 2.00 JAVIER:(TO AKEELAH)<br />

Hey, do you want to see<br />

my house?<br />

647. 747.11 749.15 2.04 AKEELAH:(TO JAVIER)<br />

(THEN JAVIER)<br />

- Yeah.<br />

- Let us go.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 168<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

905. INT. - DAD'S OFFICE - DAY<br />

(751+00) FULL SHOT<br />

CAMERA FOLLOWS Akeelah<br />

<strong>and</strong> Javier into <strong>the</strong><br />

Mister Mendez's<br />

office.<br />

JAVIER:(TO AKEELAH)<br />

This is my fa<strong>the</strong>r's<br />

office. He's a<br />

journalist. And he's<br />

written like a bunch<br />

of books.<br />

Akeelah <strong>and</strong> Javier<br />

look around.<br />

906. (760+07) HEAD SHOT<br />

OTS Akeelah BG. Javier<br />

FG.<br />

907. (762+04) MS of a<br />

PICTURE of Javier <strong>and</strong><br />

Mr. Mendez.<br />

JAVIER:(OS)(CONT)<br />

What's your fa<strong>the</strong>r do?<br />

908. (764+10) HEAD SHOT<br />

OTS Javier R. looks to<br />

Akeelah FG.<br />

AKEELAH:(TO JAVIER)<br />

My...<br />

909. (766+13) HEAD SHOT<br />

OTS Akeelah moves R.<br />

AKEELAH:(CONT)<br />

...daddy he used...<br />

910. (771+05) HEAD SHOT<br />

Javier WALKS R.<br />

AKEELAH:(OS)(CONT)<br />

...to work for <strong>the</strong><br />

city parks.<br />

648. 751.09 754.10 3.01 JAVIER:(TO AKEELAH)<br />

This is my fa<strong>the</strong>r's<br />

office.<br />

649. 755.05 759.07 4.02 JAVIER:(CONT)<br />

He is a journalist.<br />

And he has written like<br />

a bunch of books.<br />

650. 762.11 764.03 1.08 JAVIER:(OS)(CONT)<br />

What does your fa<strong>the</strong>r<br />

do?<br />

651. 766.06 768.04 1.14<br />

(over scene end) AKEELAH:(TO JAVIER)<br />

My daddy...<br />

652. 770.06 773.01 2.11<br />

(over scene end) AKEELAH:(CONT)<br />

...he used to work for<br />

<strong>the</strong> city parks.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 169<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - DAD'S OFFICE - CONT)<br />

911. (773+15) HEAD SHOT<br />

OTS Akeelah BG. Javier<br />

FG. both look o/s<br />

through a window to<br />

<strong>the</strong> party o/s BELOW.<br />

AKEELAH:(TO JAVIER)<br />

Man, you got a lot of<br />

friends. I never had<br />

a birthday party this<br />

big.<br />

912. (784+04) HEAD SHOT<br />

OTS Javier.<br />

JAVIER:(TO AKEELAH)<br />

I'd think you have<br />

lots of friends.<br />

913. (787+02) HEAD SHOT<br />

OTS Akeelah smiles <strong>and</strong><br />

looks back out of <strong>the</strong><br />

window.<br />

914. (790+09) HEAD SHOT<br />

OTS Javier SNEAKS A<br />

KISS to Akeelah's<br />

cheek.<br />

915. (793+00) HEAD SHOT<br />

OTS Akeelah looks to<br />

Javier FG.<br />

AKEELAH:(TO JAVIER)<br />

Why'd you do that?<br />

916. (798+09) HEAD SHOT<br />

OTS Javier.<br />

JAVIER:(TO AKEELAH)<br />

I had an impulse. Are<br />

you going to sue me<br />

for sexual harassment?<br />

917. (806+11) HEAD SHOT<br />

OTS Akeelah grins.<br />

They both break into<br />

GIGGLES.<br />

(GIGGLES)<br />

653. 776.13 783.04 6.07 AKEELAH:(TO JAVIER)<br />

Man, you got a lot of<br />

friends. I never had a<br />

birthday party this<br />

big.<br />

654. 784.10 786.09 1.15 JAVIER:(TO AKEELAH)<br />

I would think you have<br />

lots of friends.<br />

655. 796.03 798.03 2.00 AKEELAH:(TO JAVIER)<br />

Why did you do that?<br />

656. 798.11 800.10 1.15 JAVIER:(TO AKEELAH)<br />

I had an impulse.<br />

657. 802.10 806.03 3.09 JAVIER:(CONT)<br />

Are you going to sue me<br />

for sexual harassment?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 170<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - DAD'S OFFICE - CONT)<br />

918. (811+08) M FULL<br />

SHOT Javier <strong>and</strong><br />

Akeelah st<strong>and</strong> beside<br />

<strong>the</strong> study/office<br />

window <strong>and</strong> laugh.<br />

919. (814+13) HEAD SHOT<br />

OTS Akeelah R. Javier<br />

L.<br />

(THEY LAUGH)<br />

JAVIER:(TO AKEELAH)<br />

That was a trip.<br />

920. (816+12) FULL SHOT<br />

HIGH ANGLE WE SEE<br />

Dylan BELOW setting<br />

Scrabble Games along<br />

two tables.<br />

921. (818+14) HEAD SHOT<br />

OTS Akeelah looks to<br />

<strong>the</strong> scene below.<br />

AKEELAH:(TO JAVIER)<br />

What are <strong>the</strong>y doing<br />

down <strong>the</strong>re?<br />

922. (821+09) FULL SHOT<br />

HIGH ANGLE Dylan <strong>and</strong><br />

his Scrabble games<br />

below.<br />

JAVIER:(TO AKEELAH)<br />

Oh no. Dylan brought<br />

his Scrabble games.<br />

923. (825+14) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO JAVIER)<br />

Scrabble?<br />

(MUSIC IN)<br />

658. 814.14 816.06 1.08 JAVIER:(TO AKEELAH)<br />

That was a trip.<br />

(Trip: Here used as "unique occurrence".)<br />

659. 819.05 820.15 1.10 AKEELAH:(TO JAVIER)<br />

What are <strong>the</strong>y doing<br />

down <strong>the</strong>re?<br />

660. 821.09 825.05 3.12 JAVIER:(TO AKEELAH)<br />

Oh no. Dylan brought<br />

his Scrabble games.<br />

661. 826.03 827.15 1.12 AKEELAH:(TO JAVIER)<br />

Scrabble?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 171<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

924. EXT. - PARTY - DAY<br />

(828+07) MS Polly's<br />

HANDS as she PICKS<br />

LETTERS for her round.<br />

DYLAN:(OS)(TO ALL) I<br />

get thirty...<br />

925. (830+01) MS HIGH<br />

ANGLE Polly's HANDS as<br />

she ARRANGES her<br />

LETTERS.<br />

DYLAN:(OS)(CONT)<br />

...seconds for each...<br />

926. (831+09) MS Line of<br />

kids each at <strong>the</strong>ir own<br />

Scrabble Board.<br />

DYLAN:(OS)(CONT)<br />

...board. We need...<br />

927. (833+10) WAIST SHOT<br />

Dylan looks around to<br />

<strong>the</strong> kids at <strong>the</strong> party.<br />

DYLAN:(CONT)<br />

...one more. Who<br />

wants to play?<br />

AKEELAH:(OS)(TO DYLAN)<br />

I will.<br />

928. (838+00) FULL SHOT<br />

Dylan <strong>and</strong> <strong>the</strong> Scrabble<br />

tables BG. Akeelah<br />

TORSO ONLY FG. WE SEE<br />

Dylan TURN <strong>and</strong> face<br />

FG.<br />

929. (840+08) HEAD SHOT<br />

Dylan looks o/s R. to<br />

Akeelah.<br />

662. 829.15 832.13 2.14<br />

(over scene end) DYLAN:(OS)(TO ALL)<br />

I get thirty seconds<br />

for each board.<br />

663. 833.03 836.14 3.11<br />

(over scene end) DYLAN:(OS)(CONT)<br />

We need one more. Who<br />

wants to play?<br />

664. 837.04 839.00 1.12<br />

(over scene end) AKEELAH:(OS)(TO DYLAN)<br />

I will.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 172<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - PARTY - CONT)<br />

(MUSIC - CONT)<br />

930. (843+00) HEAD SHOT<br />

Akeelah looks o/s L.<br />

to Dylan.<br />

931. (845+01) HEAD SHOT<br />

Dylan looks o/s R. to<br />

Akeelah. He shakes his<br />

head slightly with a<br />

smug smile.<br />

932. (846+15) HEAD SHOT<br />

Akeelah is ready for<br />

<strong>the</strong> challenge.<br />

JAVIER:(CONT)(TO ALL)<br />

And...<br />

933. (848+12) MS of<br />

Roman's SCRABBLE<br />

BOARD. Javier<br />

officiates <strong>the</strong> game<br />

from o/s.<br />

JAVIER:(CONT)<br />

...right out of <strong>the</strong><br />

gate...<br />

934. (850+00) CS <strong>the</strong><br />

WORD "birch" on <strong>the</strong><br />

BOARD.<br />

JAVIER:(CONT)<br />

...Roman scores thirty<br />

two...<br />

935. (851+07) CHEST SHOT<br />

OTS Roman looks to<br />

Dylan FG.<br />

JAVIER:(CONT)<br />

...points with<br />

"birch"...<br />

665. 848.00 853.07 5.07<br />

(over scene end) JAVIER:(CONT)(TO ALL)<br />

And right out of <strong>the</strong><br />

gate Roman scores<br />

thirty two points with<br />

"birch"...<br />

666. 853.13 856.08 2.11<br />

(over scene end) JAVIER:(CONT)<br />

...on <strong>the</strong> double word<br />

score.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 173<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - PARTY - CONT)<br />

(MUSIC - CONT)<br />

936. (853+02) CHEST SHOT<br />

OTS Dylan L., Javier<br />

R.<br />

JAVIER:(CONT)<br />

...on <strong>the</strong>...<br />

937. (854+04) HEAD SHOT<br />

Dylan concentrates on<br />

Roman's board.<br />

JAVIER:(CONT)<br />

...double word score.<br />

938. (856+00) MS HIGH<br />

ANGLE Dylan PLACES<br />

LETTERS on Roman's<br />

board.<br />

JAVIER:(CONT)<br />

Dylan counters with an<br />

immediate use...<br />

939. (858+08) CHEST SHOT<br />

Roman looks to <strong>the</strong><br />

board. Dylan STOPS<br />

<strong>the</strong> TIMER L.<br />

JAVIER:(CONT)<br />

...of "Z" for thirty<br />

nine...<br />

CAMERA TRACKS L.<br />

940. (861+00) HEAD SHOT<br />

Javier moves R. to <strong>the</strong><br />

next player.<br />

JAVIER:(CONT)<br />

...big ones.<br />

941. (862+07) CHEST SHOT<br />

OTS Dylan <strong>and</strong> Javier<br />

look to Polly's board<br />

R.<br />

667. 856.14 862.03 5.05<br />

(over scene end) JAVIER:(CONT)<br />

Dylan counters with an<br />

immediate use of "Z"<br />

for thirty nine big<br />

ones!<br />

(Ones: Points.)


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 174<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - PARTY - CONT)<br />

(MUSIC - CONT)<br />

942. (863+13) MS Polly's<br />

BOARD. WE SEE "acorn"<br />

spelled with her<br />

letters.<br />

JAVIER:(CONT)<br />

Polly tests <strong>the</strong> water<br />

with...<br />

943. (865+09) CHEST SHOT<br />

OTS Polly STOPS HER<br />

TIMER, <strong>and</strong> SPINS her<br />

board.<br />

JAVIER:(CONT)<br />

..."acorn."<br />

944. (867+10) CHEST SHOT<br />

OTS Dylan <strong>and</strong> Javier.<br />

945. (869+04) MS Polly's<br />

BOARD. Dylan places<br />

letters.<br />

JAVIER:(CONT)<br />

And Dylan answers with<br />

a...<br />

946. (871+14) HEAD SHOT<br />

Dylan.<br />

JAVIER:(CONT)<br />

...body blow,<br />

"beacon," for twenty.<br />

947. (874+05) CHEST SHOT<br />

Dylan moves R. to<br />

Akeelah's position.<br />

(PLUNGER)<br />

Akeelah SLAPS her<br />

timer to STOP.<br />

668. 864.06 866.14 2.08<br />

(over scene end) JAVIER:(CONT)<br />

Polly tests <strong>the</strong> water<br />

with, "acorn".<br />

669. 869.11 873.12 4.01<br />

(over scene end) JAVIER:(CONT)<br />

And Dylan answers with<br />

a body blow, "beacon"<br />

for twenty.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 175<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - PARTY - CONT)<br />

(MUSIC - CONT)<br />

948. (875+14) MCS<br />

Akeelah FOLDS HER<br />

FINGERS with<br />

confidence as she<br />

looks o/s L. to Dylan.<br />

JAVIER:(CONT)<br />

Holly-canolie...<br />

949. (878+05) HEAD SHOT<br />

Dylan looks o/s R. to<br />

Akeelah with some<br />

disbelief on his face.<br />

THEN BACK o/s BOTTOM<br />

to <strong>the</strong> board.<br />

950. (880+07) MS<br />

Akeelah's BOARD. FAST<br />

ZOOM IN... WE SEE,<br />

"placebo" on<br />

Akeelah's board.<br />

951. (883+03) HEAD SHOT<br />

Dylan.<br />

JAVIER:(CONT)<br />

Right off <strong>the</strong> bat...<br />

952. (885+07) HEAD SHOT<br />

Akeelah looks o/s L.<br />

to Dylan.<br />

JAVIER:(CONT)<br />

...Akeelah's uses all<br />

her letters...<br />

670. 876.15 879.02 2.03<br />

(over scene end) JAVIER:(CONT)<br />

Holly-canolie!<br />

671. 883.10 888.00 4.06<br />

(over scene end) JAVIER:(CONT)<br />

Right off <strong>the</strong> bat<br />

Akeelah uses all her<br />

letters...<br />

672. 888.12 895.12 7.00 JAVIER:(CONT)<br />

...getting fifty extra<br />

points for a whopping<br />

eighty two!


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 176<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - PARTY - CONT)<br />

(MUSIC - CONT)<br />

953. (888+03) HEAD SHOT<br />

Javier.<br />

JAVIER:(CONT)<br />

...getting fifty extra<br />

points...<br />

954. (891+02) HEAD SHOT<br />

Dylan.<br />

JAVIER:(CONT)<br />

...for a whopping<br />

eighty...<br />

955. (894+00) CHEST SHOT<br />

OTS Dylan L,. Javier<br />

R.<br />

JAVIER:(CONT)<br />

...two! What will<br />

Dylan do?<br />

956. (900+06) HEAD SHOT<br />

Javier looks o/s L. to<br />

Dylan.<br />

JAVIER:(CONT)<br />

He's fighting <strong>the</strong><br />

clock.<br />

957. (902+14) CHEST SHOT<br />

Akeelah looks at her<br />

board <strong>and</strong> waits.<br />

JAVIER:(CONT)<br />

You could cut <strong>the</strong><br />

tension with...<br />

958. (905+15) CHEST SHOT<br />

OTS Dylan <strong>and</strong> Javier.<br />

JAVIER:(CONT)<br />

...a butter knife.<br />

DYLAN:(TO JAVIER)<br />

Shut up.<br />

673. 897.10 899.11 2.01 JAVIER:(CONT)<br />

What will Dylan do?<br />

674. 900.11 902.05 1.10 JAVIER:(CONT)<br />

He is fighting <strong>the</strong><br />

clock.<br />

675. 904.00 908.00 4.00<br />

(over scene end) JAVIER:(CONT)<br />

You could cut <strong>the</strong><br />

tension with a butter<br />

knife.<br />

676. 908.06 910.08 2.02 DYLAN:(TO JAVIER)<br />

Shut up.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 177<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - PARTY - CONT)<br />

(MUSIC - CONT)<br />

959. (911+10) HEAD SHOT<br />

Dylan looks o/s BOTTOM<br />

to his letters.<br />

960. (913+08) MS Dylan<br />

rearranges his<br />

letters.<br />

961. (915+09) MS Dylan's<br />

HANDS FG. Akeelah BG.<br />

watches. Dylan PLACES<br />

<strong>the</strong> letters on<br />

Akeelah's board.<br />

962. (918+11) MS Dylan's<br />

HANDS PLACE LETTERS.<br />

963. (920+10) HEAD SHOT<br />

Akeelah watches<br />

Dylan's efforts.<br />

964. (922+12) HEAD SHOT<br />

Javier looks o/s L.,<br />

to <strong>the</strong> Scrabble board.<br />

JAVIER:(CONT)<br />

Shazam! Dylan gets<br />

his own...<br />

965. (925+13) MS Dylan<br />

USES ALL HIS LETTERS.<br />

JAVIER:(CONT)<br />

...bingo board!<br />

Seventy...<br />

966. (928+08) HEAD SHOT<br />

Akeelah looks up o/s<br />

L. to Dylan.<br />

JAVIER:(CONT)<br />

...six points!<br />

677. 923.07 927.08 4.01 JAVIER:(CONT)<br />

Shazam! Dylan gets his<br />

own bingo board!<br />

678. 927.14 930.06 2.08<br />

(over scene end) JAVIER:(CONT)<br />

Seventy six points!


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 178<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

967. EXT. - PARTY - DAY<br />

(930+07) HEAD SHOT<br />

Dylan looks o/s R. to<br />

Akeelah, <strong>the</strong>n looks<br />

o/s to <strong>the</strong> stop clock.<br />

968. (931+09) CHEST SHOT<br />

Akeelah looks L. to<br />

Dylan as he STOPS his<br />

timer.<br />

969. (933+13) HEAD SHOT<br />

Javier looks o/s R. to<br />

Akeelah <strong>the</strong>n turns to<br />

follow Dylan to <strong>the</strong><br />

next play.<br />

970. (936+07) MCS<br />

Akeelah sits at her<br />

board. Looking o/s L.<br />

to Javier <strong>and</strong> Dylan.<br />

She REACHES into her<br />

bag for <strong>the</strong> next<br />

series of letters.<br />

971. (940+04) WAIST SHOT<br />

Kiana <strong>and</strong> Georgia<br />

ENTER <strong>the</strong> back yard.<br />

JAVIER:(CONT)<br />

It's come down to<br />

this.<br />

(MUSIC OUT)<br />

972. (944+02) FULL SHOT<br />

HIGH ANGLE WE all <strong>the</strong><br />

party goers GATHERED<br />

around <strong>the</strong> SCRABBLE<br />

TABLES. CAMERA PULLS<br />

BACK, CRANES DOWN.<br />

JAVIER:(CONT)<br />

After having crushed<br />

all five opponents<br />

Dylan has only Akeelah<br />

to beat. But she's<br />

ahead by twenty one<br />

<strong>and</strong> has only a few<br />

letters left.<br />

679. 941.13 943.15 2.02 JAVIER:(CONT)<br />

It has come down to<br />

this.<br />

680. 944.10 949.15 5.05 JAVIER:(CONT)<br />

After having crushed<br />

all five opponents<br />

Dylan has only Akeelah<br />

to beat.<br />

681. 950.10 955.05 4.11 JAVIER:(CONT)<br />

But she is ahead by<br />

twenty one <strong>and</strong> has only<br />

a few letters left.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 179<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - PARTY - CONT)<br />

973. (955+13) WAIST SHOT<br />

LOW ANGLE Javier L.,<br />

Georgia <strong>and</strong> Kiana BG.<br />

Akeelah at her<br />

Scrabble board FG.<br />

JAVIER:(CONT)<br />

Is this an upset in<br />

<strong>the</strong> making?<br />

974. (959+02) MCS<br />

Georgia L,. Kiana R.<br />

GEORGIA:(TO ALL)<br />

What kind of birthday<br />

party is this?<br />

975. (962+08) HEAD SHOT<br />

Akeelah <strong>and</strong> Polly<br />

looks to <strong>the</strong> sound of<br />

Georgia's voice BG.<br />

(GIGGLES)<br />

976. (964+01) MCS<br />

Georgia L., Kiana R.<br />

NUDGES her.<br />

977. (966+07) HEAD SHOT<br />

Akeelah looks back to<br />

<strong>the</strong> game.<br />

978. (969+04) HEAD SHOT<br />

Dylan concentrates on<br />

his letters.<br />

979. (970+05) MS Dylan's<br />

HANDS as he PLACES<br />

LETTERS on <strong>the</strong> board.<br />

980. (973+06) HEAD SHOT<br />

Akeelah looks o/s to<br />

Dylan's move.<br />

981. (974+12) HEAD SHOT<br />

Dylan STOPS his TIMER.<br />

682. 956.05 958.10 2.05 JAVIER:(CONT)<br />

Is this an upset in <strong>the</strong><br />

making?<br />

683. 960.02 961.14 1.12 GEORGIA:(TO ALL)<br />

What kind of birthday<br />

party is this?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 180<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - PARTY - CONT)<br />

982. (976+01) MCS Javier<br />

looks o/s R. to <strong>the</strong><br />

game board.<br />

JAVIER:(CONT)<br />

Yowza! Using <strong>the</strong><br />

triple word...<br />

983. (978+09) MCS Dylan<br />

looks o/s R. from <strong>the</strong><br />

game.<br />

(MUSIC IN)<br />

JAVIER:(CONT)<br />

...score, Dylan<br />

charges ahead by six.<br />

CAMERA TRACKS L. to<br />

reveal Mr. Chiu<br />

st<strong>and</strong>ing, watching his<br />

son.<br />

984. (983+02) HEAD SHOT<br />

Dylan turns back to<br />

<strong>the</strong> game.<br />

985. (988+03) HEAD SHOT<br />

Akeelah looks to her<br />

letters.<br />

986. (990+07) CS Akeelah<br />

ARRANGES her LETTERS.<br />

987. (992+12) HEAD SHOT<br />

Dylan looks o/s L. to<br />

Akeelah.<br />

DYLAN:(TO AKEELAH)(OS)<br />

Just go.<br />

988. (995+12) HEAD SHOT<br />

Akeelah looks o/s R.<br />

to Dylan.<br />

989. (1000+03) WAIST SHOT<br />

Javier L., Georgia <strong>and</strong><br />

Kiana BG. Akeelah R.<br />

plays her letters.<br />

684. 976.07 982.01 5.10<br />

(over scene end) JAVIER:(CONT)<br />

Yowza! Using <strong>the</strong><br />

triple word score,<br />

Dylan charges ahead by<br />

six<br />

685. 993.04 995.05 2.01 DYLAN:(TO AKEELAH)(OS)<br />

Just go.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 181<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - PARTY - CONT)<br />

(MUSIC - CONT)<br />

990. (1006+02) MS of<br />

Akeelah's play.<br />

991. (1008+10) WAIST SHOT<br />

Javier, Georgia, Kiana<br />

BG. Akeelah FG. STOPS<br />

her TIMER.<br />

992. (1009+06) MCS Dylan<br />

FG. Mr. Chiu BG.<br />

JAVIER:(CONT)<br />

Hoo-Ya!<br />

993. (1011+13) MCS<br />

Javier.<br />

JAVIER:(CONT)<br />

Akeelah's in <strong>the</strong> lead<br />

by twelve points. And<br />

has only...<br />

994. (1014+06) MCS<br />

Georgia L., Kiana R.<br />

JAVIER:(CONT)<br />

...one letter left.<br />

995. (1016+11) CHEST SHOT<br />

Mr. Chiu looks<br />

worried.<br />

JAVIER:(CONT)<br />

But this could be<br />

Dylan's final play.<br />

996. (1019+00) MCS Dylan<br />

FG. Mr. Chiu BG.<br />

997. (1023+01) CS Dylan<br />

MOVES HIS LETTERS.<br />

998. (1025+12) HEAD SHOT<br />

Akeelah looks o/s R.<br />

to Dylan <strong>and</strong> waits.<br />

686. 1009.12 1011.04 1.08 JAVIER:(CONT)<br />

Hoo-Ya!<br />

687. 1012.06 1016.06 4.00<br />

(over scene end) JAVIER:(CONT)<br />

Akeelah is in <strong>the</strong> lead<br />

by twelve points. And<br />

has only one letter<br />

left.<br />

688. 1016.15 1018.09 1.10 JAVIER:(CONT)<br />

But this could be<br />

Dylan's final play.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 182<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - PARTY - CONT)<br />

(MUSIC - CONT)<br />

999. (1028+02) MCS Dylan<br />

smiles.<br />

DYLAN:(TO AKEELAH)<br />

Arrivederci,<br />

swee<strong>the</strong>art.<br />

1000.(1033+11) HEAD SHOT<br />

Akeelah looks o/s R.<br />

to Dylan <strong>the</strong>n to <strong>the</strong><br />

board.<br />

1001.(1037+03) CS Dylan's<br />

HANDS as he PLAYS HIS<br />

REMAINING LETTERS.<br />

JAVIER:(CONT)<br />

Twelve points ties <strong>the</strong><br />

game.<br />

1002.(1041+03) MCS<br />

Javier.<br />

JAVIER:(CONT)<br />

But Dylan gets<br />

Akeelah's last two<br />

points.<br />

1003.(1045+07) HEAD SHOT<br />

Akeelah looks o/s R.<br />

to Dylan.<br />

JAVIER:(CONT)<br />

He wins. A<br />

heartbreaker.<br />

(KIDS REACT)<br />

1004.(1050+06) HEAD SHOT<br />

Dylan looks o/s L. to<br />

Akeelah as he STANDS.<br />

1005.(1052+15) MCS<br />

Javier.<br />

JAVIER:(TO AKEELAH)<br />

Wow, Akeelah.<br />

689. 1029.15 1033.04 3.05 DYLAN:(TO AKEELAH)<br />

Arrivederci,<br />

swee<strong>the</strong>art.<br />

690. 1038.11 1040.14 2.03 JAVIER:(CONT)<br />

Twelve points ties <strong>the</strong><br />

game.<br />

691. 1041.11 1044.14 3.03 JAVIER:(CONT)<br />

But Dylan gets<br />

Akeelah's last two<br />

points.<br />

692. 1046.01 1050.02 4.01 JAVIER:(CONT)<br />

He wins. A<br />

heartbreaker.<br />

693. 1053.13 1058.15 5.02<br />

(over scene end) JAVIER:(TO AKEELAH)<br />

Wow, Akeelah. No one<br />

ever gets that close to<br />

beating Dylan.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 183<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - PARTY - CONT)<br />

(MUSIC - CONT)<br />

1006.(1055+13) HEAD SHOT<br />

Akeelah.<br />

JAVIER:(OS)(CONT) No<br />

one ever gets that<br />

close to beating<br />

Dylan.<br />

AKEELAH:(TO<br />

JAVIER)(OS)<br />

But I didn't beat him.<br />

1007.(1061+08) WAIST SHOT<br />

Mr. Chiu <strong>and</strong> Dylan<br />

walk o/s L.<br />

(MUSIC OUT)<br />

GEORGIA:<br />

(OS)(TO AKEELAH)<br />

Girl...<br />

1008.(1064+05) WAIST SHOT<br />

Javier, Georgia <strong>and</strong><br />

Kiana BG. Akeelah FG.<br />

GEORGIA:(CONT)<br />

...you passed up <strong>the</strong><br />

mall to play Scrabble?<br />

1009.(1068+07) HEAD SHOT<br />

Akeelah turns to exit<br />

<strong>the</strong> table.<br />

1010.(1070+10) MCS<br />

Georgia <strong>and</strong> Kiana<br />

watch Akeelah o/s.<br />

694. 1059.00 1060.15 1.15<br />

AKEELAH:(TO JAVIER)(OS)<br />

But I didn't beat him.<br />

695. 1064.02 1068.00 3.14<br />

(over scene end) GEORGIA:<br />

(OS)(TO AKEELAH)<br />

Girl, you passed up <strong>the</strong><br />

mall to play Scrabble?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 184<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1011.INT. - MENDEZ HOUSE - DAY<br />

(1072+06) WAIST SHOT<br />

Akeelah ENTERS <strong>the</strong><br />

house <strong>and</strong> moves R.<br />

DYLAN:(OS)(TO CHIU)<br />

She just got lucky.<br />

Akeelah STOPS <strong>and</strong><br />

turns to <strong>the</strong> sound of<br />

Chiu <strong>and</strong> Dylan o/s L.<br />

SHE LOOKS around a<br />

corner.<br />

CHIU:(TO DYLAN)<br />

If you can barely beat<br />

a little black girl at<br />

a silly board game.<br />

How do...<br />

1012.(1083+07) FULL SHOT<br />

Dylan L. st<strong>and</strong>ing<br />

stiff <strong>and</strong> straight.<br />

Mr Chiu looks to him.<br />

CHIU:(CONT)<br />

...expect to win <strong>the</strong><br />

national bee?<br />

1013.(1086+04) HEAD SHOT<br />

Akeelah looks o/s L.<br />

to Chiu <strong>and</strong> Dylan.<br />

1014.(1089+05) WAIST SHOT<br />

Dylan L, Chiu CLAPS<br />

LOUDLY.<br />

(HAND CLAP)<br />

CHIU:(TO DYLAN)<br />

Listen!<br />

696. 1073.01 1075.03 2.02 DYLAN:(OS)(TO CHIU)<br />

She just got lucky.<br />

697. 1076.12 1082.04 5.08 CHIU:(TO DYLAN)<br />

If you can barely beat<br />

a little black girl at<br />

a silly board game...<br />

698. 1082.10 1085.08 2.14<br />

(over scene end) CHIU:(CONT)<br />

...how do expect to win<br />

<strong>the</strong> national bee?<br />

699. 1089.14 1091.06 1.08<br />

(over scene end) CHIU:(TO DYLAN)<br />

Listen!


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 185<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - MENDEZ HOUSE - CONT)<br />

1015.(1090+07) HEAD SHOT<br />

Akeelah JUMPS reacting<br />

to <strong>the</strong> noise.<br />

CHIU:(TO DYLAN)<br />

We're not coming...<br />

1016.(1093+04) WAIST SHOT<br />

Dylan L., Chiu R.<br />

CHIU:(CONT)<br />

...in second again<br />

this year.<br />

1017.(1096+12) HEAD SHOT<br />

Akeelah.<br />

CHIU:(OS)(TO DYLAN)<br />

We're gonna win.<br />

1018.(1101+01) WAIST SHOT<br />

Dylan L., Chiu R.<br />

CHIU:(TO DYLAN)<br />

Let's go.<br />

They move R.<br />

1019.(1107+13) HEAD SHOT<br />

Akeelah considers what<br />

she has seen.<br />

AKEELAH:(VO)<br />

He began to have a dim<br />

feeling.<br />

700. 1092.07 1095.12 3.05<br />

(over scene end) CHIU:(TO DYLAN)<br />

We are not coming in<br />

second again this year.<br />

701. 1097.03 1098.11 1.08 CHIU:(OS)(TO DYLAN)<br />

We are going to win.<br />

702. 1101.12 1103.10 1.14 CHIU:(TO DYLAN)<br />

Let us go.<br />

703. 1110.00 1112.06 2.06 AKEELAH:(VO)<br />

He began to have a dim<br />

feeling.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 186<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1020.INT. - LARABEE'S HOME - DAY<br />

(1113+00) WAIST SHOT<br />

OTS Akeelah HOLDS A<br />

BIG BOOK from which<br />

she reads. CAMERA<br />

CRANES UP.<br />

AKEELAH:(CONT)<br />

That to attain his<br />

place in <strong>the</strong> world, he<br />

must be himself, <strong>and</strong><br />

not ano<strong>the</strong>r.<br />

Akeelah lowers <strong>the</strong><br />

book.<br />

AKEELAH:(CONT)<br />

Doctor Larabee, this<br />

book is...<br />

1021.(1124+03) MCS<br />

Larabee.<br />

AKEELAH:(OS)(CONT)<br />

...too heavy.<br />

LARABEE:(TO AKEELAH)<br />

Good, it'll develop<br />

your arm muscles.<br />

1022.(1129+03) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

I thought we were<br />

developing my<br />

vocabulary.<br />

LARABEE:(TO AKEELAH)<br />

We are.<br />

704. 1113.06 1119.12 6.06 AKEELAH:(CONT)<br />

That to attain his<br />

place in <strong>the</strong> world, he<br />

must be himself, <strong>and</strong><br />

not ano<strong>the</strong>r.<br />

705. 1121.03 1125.04 4.01<br />

(over scene end) AKEELAH:(CONT)<br />

Doctor Larabee, this<br />

book is too heavy.<br />

706. 1125.10 1129.00 3.06 LARABEE:(TO AKEELAH)<br />

Good, it will develop<br />

your arm muscles.<br />

707. 1129.08 1132.08 3.00 AKEELAH:(TO LARABEE)<br />

I thought we were<br />

developing my<br />

vocabulary.<br />

708. 1132.14 1135.07 2.09<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

We are. Please<br />

continue reading.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 187<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1023.(1133+09) CHEST SHOT<br />

OTS Larabee at his<br />

desk.<br />

LARABEE:(CONT) Please<br />

continue reading.<br />

AKEELAH:(TO LARABEE)<br />

But I already know...<br />

1024.(1136+07) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...most of <strong>the</strong> words<br />

in this speech.<br />

LARABEE:(TO AKEELAH)<br />

It's not a speech.<br />

It's an essay...<br />

1025.(1142+02) MCS<br />

Larabee.<br />

LARABEE:(CONT)<br />

By W.E.B. Dubois. The<br />

first black man to<br />

receive a P.H.D. from<br />

Harvard University.<br />

1026.(1149+13) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Maybe we should be<br />

studying more big<br />

words.<br />

1027.(1153+01) MCS<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Spell, "cabalistic."<br />

709. 1135.13 1139.03 3.06<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

But I already know most<br />

of <strong>the</strong> words in this<br />

speech.<br />

710. 1139.09 1141.11 2.02 LARABEE:(TO AKEELAH)<br />

It is not a speech. It<br />

is an essay...<br />

711. 1142.11 1149.06 6.11 LARABEE:(CONT)<br />

...by W.E.B. Dubois.<br />

The first black man to<br />

receive a P.H.D. from<br />

Harvard University.<br />

712. *1149.13 1152.15 3.02 AKEELAH:(TO LARABEE)<br />

Maybe we should be<br />

studying more big<br />

words.<br />

713. 1153.11 1155.11 2.00 LARABEE:(TO AKEELAH)<br />

Spell, "cabalistic."


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 188<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1028.(1155+14) CHEST SHOT<br />

OTS Akeelah begins to<br />

spell, <strong>and</strong> PATS with<br />

her h<strong>and</strong> o/s BOTTOM.<br />

AKEELAH:(TO LARABEE)<br />

C-A...<br />

1029.(1157+11) CS<br />

Akeelah's HAND TAPS.<br />

AKEELAH:(CONT)<br />

...B-A-L...<br />

1030.(1158+14) MCS<br />

Larabee looks o/s L.<br />

to Akeelah, <strong>the</strong>n to<br />

her h<strong>and</strong>.<br />

AKEELAH:(CONT)<br />

...I-S-T...<br />

1031.(1160+12) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...I-C. Cabalistic.<br />

1032.(1162+13) WAIST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

And when did you learn<br />

that one?<br />

1033.(1165+07) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

About two minutes ago<br />

in this book. But in<br />

<strong>the</strong> time it took to<br />

learn that one word...<br />

714. 1156.03 1161.13 5.10<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

C-A-B-A-L-I-S-T-I-C<br />

715. 1162.03 1163.11 1.08<br />

(over scene end) AKEELAH:(CONT)<br />

Cabalistic.<br />

716. 1164.01 1165.09 1.08<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

And when did you learn<br />

that one?<br />

717. 1166.10 1169.03 2.09 AKEELAH:(TO LARABEE)<br />

About two minutes ago<br />

in this book.<br />

718. 1169.09 1175.15 6.06<br />

(over scene end) AKEELAH:(CONT)<br />

But in <strong>the</strong> time it took<br />

to learn that one<br />

word Dylan probably<br />

learned twenty.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 189<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1034.(1173+04) FULL SHOT<br />

Akeelah L., Larabee R.<br />

AKEELAH:(CONT)<br />

...Dylan probably<br />

learned twenty.<br />

LARABEE:(TO AKEELAH)<br />

And those twenty words<br />

won't mean anything to<br />

him. He's just a<br />

little robot<br />

memorizing...<br />

1035.(1184+10) CHEST SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

...lists of words.<br />

The people we're<br />

studying, Dubois, Dr.<br />

King...<br />

1036.(1189+12) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

...JFK -- <strong>the</strong>se people<br />

used words to<br />

change...<br />

1037.(1194+03) CHEST SHOT<br />

OTS Akeelah.<br />

LARABEE & AKEELAH:<br />

(IN UNISON)<br />

...<strong>the</strong> world.<br />

LARABEE:(CONT)<br />

And <strong>the</strong>y...<br />

719. 1176.05 1180.04 3.15 LARABEE:(TO AKEELAH)<br />

And those twenty words<br />

won't mean anything to<br />

him.<br />

720. 1180.14 1186.00 5.02<br />

(over scene end) LARABEE:(CONT)<br />

He is just a little<br />

robot memorizing lists<br />

of words.<br />

721. 1186.07 1191.03 4.12<br />

(over scene end) LARABEE:(CONT)<br />

The people we are<br />

studying, Dubois, Dr.<br />

King, JFK...<br />

722. 1191.09 1196.06 4.13<br />

(over scene end) LARABEE:(CONT)<br />

...<strong>the</strong>se people used<br />

words to change <strong>the</strong><br />

world.<br />

723. 1197.03 1203.03 6.00<br />

(over scene end) LARABEE:(CONT)<br />

And <strong>the</strong>y didn't acquire<br />

<strong>the</strong>ir vocabulary by<br />

wrote memorization.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 190<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1038.(1197+04) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

...didn't acquire<br />

<strong>the</strong>ir vocabulary...<br />

1039.(1200+12) CHEST SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT) ..by<br />

wrote memorization.<br />

AKEELAH:(TO LARABEE)<br />

Okay, but when I'm at<br />

<strong>the</strong> bee. And <strong>the</strong>y<br />

tell me to spell some<br />

little fish from<br />

Australia, or some<br />

weird bacteria on <strong>the</strong><br />

moon.<br />

1040.(1219+06) MCS OTS<br />

Larabee.<br />

AKEELAH:(CONT)<br />

We're gonna wish we<br />

done a little bit<br />

more...<br />

1041.(1222+12) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...wrote-morizing.<br />

And not so much...<br />

1042.(1226+01) CHEST SHOT<br />

OTS Larabee.<br />

AKEELAH:(CONT)<br />

...essay reading.<br />

724. 1205.07 1210.06 4.15 AKEELAH:(TO LARABEE)<br />

Okay, but when I'm at<br />

<strong>the</strong> bee.<br />

725. 1210.12 1216.08 5.12 AKEELAH:(CONT)<br />

And <strong>the</strong>y tell me to<br />

spell some little fish<br />

from Australia...<br />

726. 1216.14 1218.14 2.00 AKEELAH:(CONT)<br />

...or some weird<br />

bacteria on <strong>the</strong> moon.<br />

727. 1219.09 1224.14 5.05<br />

(over scene end) AKEELAH:(CONT)<br />

We are going to wish we<br />

done a little bit more<br />

wrote-morizing...<br />

728. 1225.04 1227.09 2.05<br />

(over scene end) AKEELAH:(CONT)<br />

And not so much essay<br />

reading.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 191<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1043.(1228+08) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

If you don't mind me<br />

saying.<br />

1044.(1232+12) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Bacteria don't exist<br />

on <strong>the</strong> moon.<br />

1045.(1240+07) CHEST SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

Let me ask you<br />

something.<br />

1046.(1244+03) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

Where do you think big<br />

words come from?<br />

1047.(1247+13) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

People with big<br />

brains?<br />

1048.(1250+07) CHEST SHOT<br />

OTS Larabee chortles<br />

<strong>and</strong> turns L.<br />

1049.(1251+13) CHEST SHOT<br />

OTS Akeelah looks to<br />

Larabee move o/s R. as<br />

he STANDS.<br />

729. 1229.09 1232.06 2.13 AKEELAH:(CONT)<br />

If you don't mind me<br />

saying.<br />

730. 1236.08 1239.15 3.07 LARABEE:(TO AKEELAH)<br />

Bacteria don't exist<br />

on <strong>the</strong> moon.<br />

731. 1241.09 1243.09 2.00 LARABEE:(CONT)<br />

Let me ask you<br />

something.<br />

732. 1244.10 1247.11 3.01 LARABEE:(CONT)<br />

Where do you think big<br />

words come from?<br />

733. 1248.07 1249.15 1.08 AKEELAH:(TO LARABEE)<br />

People with big brains?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 192<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1050.(1252+12) FULL SHOT<br />

Akeelah L., Larabee<br />

CROSSES BG. CAMERA<br />

PANS L. to follow as<br />

he MOVES TO A DISPLAY<br />

EASEL.<br />

LARABEE:(TO AKEELAH)<br />

All right.<br />

Larabee THROWS BACK a<br />

COVER SHEET on <strong>the</strong><br />

Easel.<br />

1051.(1257+02) CHEST SHOT<br />

OTS Akeelah looks to<br />

<strong>the</strong> easel FG.<br />

1052.(1258+09) FULL SHOT<br />

Larabee L., POINTS TO<br />

A WORD written on <strong>the</strong><br />

top of a LONG LIST of<br />

words.<br />

LARABEE:(TO AKEELAH)<br />

What do you see?<br />

1053.(1260+12) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

A bunch of big words I<br />

don't know.<br />

1054.(1263+11) CHEST SHOT<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Ah. Look...<br />

1055.(1264+12) MS Larabee<br />

covers part of <strong>the</strong><br />

first word with a<br />

ruler.<br />

LARABEE:(CONT)<br />

...again.<br />

1056.(1266+14) CHEST SHOT<br />

OTS Akeelah does not<br />

underst<strong>and</strong>.<br />

734. 1254.15 1257.00 2.01 LARABEE:(TO AKEELAH)<br />

All right.<br />

735. 1258.10 1260.02 1.08 LARABEE:(TO AKEELAH)<br />

What do you see?<br />

736. 1261.07 1263.02 1.11 AKEELAH:(TO LARABEE)<br />

A bunch of big words I<br />

don't know.<br />

737. 1264.06 1266.04 1.14<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Ah. Look again.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 193<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1057.(1269+13) WAIST SHOT<br />

Larabee continues to<br />

cover part of <strong>the</strong> word<br />

<strong>and</strong> looks o/s R., to<br />

Akeelah.<br />

LARABEE:(CONT)<br />

What kind of power do<br />

we get from <strong>the</strong> sun?<br />

1058.(1272+14) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Solar.<br />

1059.(1274+05) CHEST SHOT<br />

Larabee points.<br />

LARABEE:(TO AKEELAH)<br />

So, what does...<br />

1060.(1275+15) CS "SOL"<br />

on <strong>the</strong> easel board.<br />

LARABEE:(CONT)<br />

"Sol" mean?<br />

1061.(1277+14) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Sun.<br />

LARABEE:(TO AKEELAH)<br />

What does...<br />

1062.(1280+04) WAIST SHOT<br />

Larabee points to <strong>the</strong><br />

remainder of <strong>the</strong> word.<br />

LARABEE:(CONT)<br />

..."terraneous," sound<br />

like?<br />

738. 1270.00 1272.06 2.06 LARABEE:(CONT)<br />

What kind of power do<br />

we get from <strong>the</strong> sun?<br />

739. *1272.14 1274.06 1.08<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

Solar.<br />

740. 1274.12 1277.08 2.12<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

So, what does "Sol"<br />

mean?<br />

741. 1278.01 1279.09 1.08 AKEELAH:(TO LARABEE)<br />

Sun.<br />

742. 1279.15 1282.03 2.04<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

What does "terraneous"<br />

sound like?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 194<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1063.(1282+12) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Terrain.<br />

1064.(1284+03) FULL SHOT<br />

Larabee with easel L.,<br />

Akeelah R.<br />

LARABEE:(TO AKEELAH)<br />

Meaning, "<strong>the</strong> earth."<br />

1065.(1285+14) MS <strong>the</strong><br />

word on <strong>the</strong> easel<br />

board. Larabee<br />

points.<br />

LARABEE:(TO AKEELAH)<br />

"Soliterraneous"<br />

means...<br />

1066.(1288+01) CHEST SHOT<br />

Larabee points to <strong>the</strong><br />

portions of <strong>the</strong> word<br />

as he speaks.<br />

LARABEE:(CONT)<br />

...<strong>the</strong> sun <strong>and</strong> <strong>the</strong><br />

earth...<br />

1067.(1291+13) HEAD SHOT<br />

Akeelah.<br />

LARABEE:(OS)(CONT)<br />

...working toge<strong>the</strong>r.<br />

So where...<br />

1068.(1294+15) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

...do big words come<br />

from?<br />

743. 1282.13 1284.05 1.08<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

Terrain.<br />

744. 1284.11 1286.03 1.08<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Meaning, "<strong>the</strong> earth."<br />

745. 1286.09 1291.11 5.02 LARABEE:(TO AKEELAH)<br />

"Soliterraneous"<br />

means <strong>the</strong> sun <strong>and</strong> <strong>the</strong><br />

earth...<br />

746. 1292.05 1293.15 1.10 LARABEE:(CONT)<br />

...working toge<strong>the</strong>r.<br />

747. 1294.05 1295.13 1.08<br />

(over scene end) LARABEE:(OS)(CONT)<br />

So where do big words<br />

come from?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 195<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1069.(1296+14) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Little words.<br />

LARABEE:(TO AKEELAH)<br />

And how many little<br />

words do you know?<br />

AKEELAH:(TO LARABEE)<br />

Tons.<br />

1070.(1302+07) FULL SHOT<br />

Larabee L., Akeelah R.<br />

Larabee moves R. to a<br />

book case.<br />

LARABEE:(TO AKEELAH)<br />

Yes! And <strong>the</strong>re are<br />

tons more for you...<br />

1071.(1307+00) MS OTS<br />

Larabee BG. lifts<br />

BOOKS <strong>and</strong> PLACES <strong>the</strong>m<br />

on his DESK R.<br />

LARABEE:(CONT)<br />

...to learn. There<br />

are...<br />

1072.(1308+08) CHEST SHOT<br />

OTS Larabee places<br />

books R.<br />

LARABEE:(CONT)<br />

...Greek ones...<br />

1073.(1310+02) FULL SHOT<br />

Akeelah L., Larabee R.<br />

MOVES BOOKS to HIS<br />

DESK.<br />

LARABEE:(CONT)<br />

...<strong>the</strong>re are Latin<br />

ones.<br />

748. 1297.04 1298.12 1.08 AKEELAH:(TO LARABEE)<br />

Little words.<br />

749. 1299.03 1301.05 2.02 LARABEE:(TO AKEELAH)<br />

And how many little<br />

words do you know?<br />

750. 1301.11 1303.03 1.08<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

Tons.<br />

751. 1303.09 1307.15 4.06<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Yes! And <strong>the</strong>re are tons<br />

more for you to learn.<br />

752. 1308.05 1309.13 1.08<br />

(over scene end) LARABEE:(CONT)<br />

There are Greek ones.<br />

753. 1310.11 1314.07 3.12 LARABEE:(CONT)<br />

...<strong>the</strong>re are Latin<br />

ones.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 196<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1074.(1314+11) CHEST SHOT<br />

Akeelah looks to <strong>the</strong><br />

books.<br />

LARABEE:(CONT)<br />

French ones.<br />

1075.(1317+03) FULL SHOT<br />

Akeelah L., Larabee R.<br />

AKEELAH:(TO LARABEE)<br />

And if you learn <strong>the</strong>m<br />

all...<br />

1076.(1321+14) CHEST SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

...you can spell any<br />

word.<br />

1077.(1324+00) HEAD SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

No matter how big.<br />

1078.(1328+09) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Maybe we should get<br />

back to <strong>the</strong> essay<br />

reading.<br />

1079.(1334+12) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Well, what's <strong>the</strong><br />

matter? I thought you<br />

wanted win <strong>the</strong><br />

national spelling bee.<br />

754. 1315.03 1316.11 1.08 LARABEE:(CONT)<br />

French ones.<br />

755. 1318.06 1323.12 5.06<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

And if you learn <strong>the</strong>m<br />

all you can spell any<br />

word.<br />

756. 1324.00 1326.03 2.03 LARABEE:(CONT)<br />

No matter how big.<br />

757. 1331.03 1334.09 3.06 AKEELAH:(TO LARABEE)<br />

Maybe we should get<br />

back to <strong>the</strong> essay<br />

reading.<br />

758. 1336.02 1342.11 6.09 LARABEE:(TO AKEELAH)<br />

Well, what is <strong>the</strong><br />

matter? I thought you<br />

wanted win <strong>the</strong> national<br />

spelling bee.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 197<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1080.(1343+04) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Maybe just getting<br />

<strong>the</strong>re this time is<br />

good enough.<br />

1081.(1348+00) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Oh, don't give me<br />

that.<br />

Larabee walks L.<br />

CAMERA PANS L. to<br />

follow.<br />

1082.(1352+06) FULL SHOT<br />

Larabee at <strong>the</strong> easel<br />

L., Akeelah R.<br />

LARABEE:(CONT)<br />

You want to win it so<br />

badly, it keeps you up<br />

at night. Ever since<br />

you found out <strong>the</strong>re is<br />

such a thing...<br />

1083.(1362+10) CHEST SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

...as <strong>the</strong> national<br />

spelling bee, you've<br />

seen yourself holding<br />

up that trophy. But<br />

if...<br />

759. 1344.13 1347.07 2.10 AKEELAH:(TO LARABEE)<br />

Maybe just getting<br />

<strong>the</strong>re this time is good<br />

enough.<br />

760. 1348.06 1350.03 1.13 LARABEE:(TO AKEELAH)<br />

Oh, don't give me that.<br />

761. 1353.05 1358.13 5.08 LARABEE:(CONT)<br />

You want to win it so<br />

badly, it keeps you up<br />

at night.<br />

762. 1359.09 1365.07 5.14<br />

(over scene end) LARABEE:(CONT)<br />

Ever since you found<br />

out <strong>the</strong>re is such a<br />

thing as <strong>the</strong> national<br />

spelling bee...<br />

763. 1365.13 1368.01 2.04 LARABEE:(CONT)<br />

...you have seen<br />

yourself holding up<br />

that trophy.<br />

764. 1368.07 1371.11 3.04<br />

(over scene end) LARABEE:(CONT)<br />

But if you can't say<br />

it, you can't win it.<br />

So say it.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 198<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1084.(1368+11) FULL SHOT<br />

OTS Larabee L. Akeelah<br />

R.<br />

LARABEE:(CONT)<br />

...you can't say it,<br />

you can't win it. So,<br />

say it.<br />

1085.(1372+04) HEAD SHOT<br />

Akeelah rolls her eyes<br />

<strong>the</strong>n speaks.<br />

AKEELAH:(TO LARABEE)<br />

I want to win.<br />

1086.(1374+13) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Say it louder, please.<br />

1087.(1376+07) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

I want to win.<br />

1088.(1378+06) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

You want to win what?<br />

1089.(1379+08) HEAD SHOT<br />

Akeelah shouts.<br />

AKEELAH:(TO LARABEE)<br />

I want to win <strong>the</strong><br />

national spelling bee.<br />

1090.(1383+12) CHEST SHOT<br />

OTS Larabee.<br />

AKEELAH:(TO LARABEE)<br />

Good.<br />

765. 1373.03 1374.11 1.08 AKEELAH:(TO LARABEE)<br />

I want to win.<br />

766. 1374.13 1376.05 1.08<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Say it louder, please.<br />

767. 1376.15 1378.07 1.08<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

I want to win.<br />

768. 1378.12 1380.04 1.08 LARABEE:(TO AKEELAH)<br />

You want to win what?<br />

769. 1380.10 1383.03 2.09 AKEELAH:(TO LARABEE)<br />

I want to win <strong>the</strong><br />

national spelling bee.<br />

770. 1384.06 1388.00 3.10<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

Good.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 199<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1091.(1385+13) HEAD SHOT<br />

Akeelah.<br />

LARABEE:(OS)(CONT)<br />

Good.<br />

1092.(1388+15) WAIST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

You'll win using my<br />

methods. By first<br />

underst<strong>and</strong>ing <strong>the</strong><br />

power of language.<br />

Then by<br />

de-constructing it.<br />

Breaking it down...<br />

1093.(1402+07) HEAD SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

...to its origins, to<br />

its roots. You'll<br />

consume it.<br />

1094.(1407+03) HEAD SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

You will own it. And<br />

<strong>the</strong>n you know what<br />

you'll be?<br />

AKEELAH:(TO LARABEE)<br />

Um-hmm.<br />

1095.(1414+01) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Tired.<br />

771. 1389.06 1391.09 2.03 LARABEE:(TO AKEELAH)<br />

You will win using my<br />

methods.<br />

772. 1393.02 1399.07 6.05 LARABEE:(CONT)<br />

By first underst<strong>and</strong>ing<br />

<strong>the</strong> power of language.<br />

Then by de-constructing<br />

it.<br />

773. 1400.12 1405.08 4.12 LARABEE:(CONT)<br />

Breaking it down to its<br />

origins, its roots.<br />

774. 1405.14 1408.11 2.13<br />

(over scene end) LARABEE:(CONT)<br />

You will consume it.<br />

You will own it.<br />

775. 1410.09 1412.14 2.05 LARABEE:(CONT)<br />

And <strong>the</strong>n you know what<br />

you will be?<br />

776. 1413.03 1416.04 3.01<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

Yes. Tired.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 200<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1096.(1416+05) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

You'll be a champion.<br />

1097.(1419+11) HEAD SHOT<br />

OTS Akeelah smiles.<br />

1098.(1422+10) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Are you ready?<br />

1099.(1424+01) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

I'm ready.<br />

1100.(1425+12) CHEST SHOT<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

All right, let's go.<br />

1101.MONTAGE<br />

(1427+09) MS Pointer<br />

SLAPS Easel sheet.<br />

(PAPER SLAP)<br />

(MUSIC IN)<br />

1102.(1428+09) WAIST SHOT<br />

CAMERA CIRCLES Larabee<br />

<strong>and</strong> Akeelah as <strong>the</strong>y<br />

study. Larabee<br />

switches from book to<br />

book.<br />

LAP DISSOLVE;<br />

777. 1417.05 1419.00 1.11 LARABEE:(TO AKEELAH)<br />

You will be a champion.<br />

778. *1422.10 1424.02 1.08<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Are you ready?<br />

779. 1424.08 1426.00 1.08<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

I'm ready.<br />

780. 1426.03 1427.11 1.08<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

All right, let us<br />

begin.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 201<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MONTAGE - CONT)<br />

(MUSIC - CONT)<br />

1103.(1438+03) M FULL<br />

SHOT CAMERA CIRCLES as<br />

Akeelah reads words<br />

from <strong>the</strong> easel list R.<br />

LAP DISSOLVE;<br />

1104.(1449+10) M FULL<br />

SHOT Akeelah connects<br />

word fragments on <strong>the</strong><br />

easel paper. CAMERA<br />

CIRCLES L. Then R. to<br />

Larabee.<br />

LAP DISSOLVE;<br />

1105.(1460+11) CHEST SHOT<br />

Larabee reads words<br />

INTO a RECORDER.<br />

CAMERA CIRCLES L.<br />

LAP DISSOLVE;<br />

1106.(1467+09) CHEST SHOT<br />

Akeelah LISTENS to <strong>the</strong><br />

RECORDING <strong>and</strong> TYPES<br />

WORDS into her<br />

computer. CAMERA<br />

CIRCLES L.<br />

LAP DISSOLVE;<br />

1107.(1473+00) MCS<br />

Larabee reads words.<br />

CAMERA CIRCLES L.<br />

LAP DISSOLVE;<br />

1108.(1477+11) CHEST SHOT<br />

Akeelah types at <strong>the</strong><br />

computer.<br />

LAP DISSOLVE;


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 202<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MONTAGE - CONT)<br />

(MUSIC - CONT)<br />

1109.(1482+12) FULL SHOT<br />

Akeelah <strong>and</strong> Larabee<br />

sits in his garden.<br />

Akeelah reads. CAMERA<br />

CIRCLES L.<br />

LAP DISSOLVE;<br />

1110.INT. - AKEELAH'S HOUSE - DAY<br />

(1504+10) WAIST SHOT<br />

Akeelah ENTERS<br />

kitchen. SHE READS<br />

Study words from a<br />

Latin book as she<br />

moves to FG. CAMERA<br />

PANS L. to follow.<br />

(COUGH)<br />

Akeelah STOPS <strong>and</strong><br />

looks o/s R to <strong>the</strong><br />

sound.<br />

1111.(1517+12) FULL SHOT<br />

WE SEE W<strong>and</strong>a SITTING<br />

in an easy chair BG.<br />

Smoking a cigarette.<br />

1112.(1520+01) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO WANDA)<br />

Why you home so early?<br />

1113.(1523+03) FULL SHOT<br />

W<strong>and</strong>a BG.<br />

WANDA:(TO AKEELAH)<br />

I just wasn't feeling<br />

well.<br />

1114.(1526+10) CHEST SHOT<br />

W<strong>and</strong>a looks o/s L. to<br />

<strong>the</strong> book in Akeelah's<br />

h<strong>and</strong>.<br />

WANDA:(TO AKEELAH)<br />

What 'chu got <strong>the</strong>re?<br />

781. 1521.03 1523.03 2.00 AKEELAH:(TO WANDA)<br />

Why you home so early?<br />

782. 1524.07 1526.09 2.02 WANDA:(TO AKEELAH)<br />

I just wasn't feeling<br />

well.<br />

783. 1529.12 1531.05 1.09 WANDA:(TO AKEELAH)<br />

What have you got<br />

<strong>the</strong>re?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 203<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AKEELAH'S HOUSE - CONT)<br />

1115.(1531+14) FULL SHOT<br />

Akeelah places <strong>the</strong><br />

Latin book face down<br />

on a table R.<br />

AKEELAH:(TO WANDA)<br />

Homework.<br />

1116.(1535+08) CHEST SHOT<br />

W<strong>and</strong>a sighs.<br />

1117.(1539+06) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO WANDA)<br />

You know <strong>the</strong> regional<br />

bee's coming up soon.<br />

And I was wondering if<br />

you might want to...<br />

WANDA:(TO AKEELAH)<br />

Is that going to...<br />

1118.(1448+04) CHEST SHOT<br />

W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)<br />

...happen in Beverly<br />

Hills too?<br />

1119.(1550+02) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO WANDA)<br />

I don't know.<br />

1120.(1552+10) CHEST SHOT<br />

W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)<br />

I told you, you pass<br />

summer school...<br />

784. 1533.00 1534.11 1.11 AKEELAH:(TO WANDA)<br />

Homework.<br />

785. 1540.07 1544.12 4.05 AKEELAH:(TO WANDA)<br />

You know <strong>the</strong> regional<br />

bee is coming up soon.<br />

786. 1545.02 1547.09 2.07 AKEELAH:(CONT)<br />

And I was wondering if<br />

you might want to...<br />

787. 1547.15 1549.07 1.08<br />

(over scene end) WANDA:(TO AKEELAH)<br />

Is that going to happen<br />

in Beverly Hills too?<br />

788. 1550.12 1552.04 1.08 AKEELAH:(TO WANDA)<br />

I don't know.<br />

789. 1553.09 1559.03 5.10<br />

(over scene end) WANDA:(TO AKEELAH)<br />

I told you, you pass<br />

summer school, <strong>the</strong>n you<br />

can start worrying<br />

about spelling bees.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 204<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AKEELAH'S HOUSE - CONT)<br />

1121.(1556+04) CHEST SHOT<br />

Akeelah.<br />

WANDA:(OS)(CONT)<br />

...<strong>the</strong>n you can start<br />

worryin' about<br />

spelling bee.<br />

AKEELAH:(TO WANDA)(OS)<br />

But if you would<br />

just...<br />

WANDA:(OS)(TO AKEELAH)<br />

Akeelah...<br />

1122.(1560+10) HEAD SHOT<br />

W<strong>and</strong>a.<br />

WANDA:(CONT)<br />

...baby, I'm just not<br />

in <strong>the</strong> mood. All<br />

right?<br />

1123.(1567+12) CHEST SHOT<br />

Akeelah turns.<br />

1124.(1572+02) FULL SHOT<br />

Akeelah walks o/s L.<br />

with her book. CAMERA<br />

TILTS DOWN for OTS MS<br />

of a PHOTO ALBUM in<br />

W<strong>and</strong>a's lap. WE SEE<br />

Pictures of W<strong>and</strong>a <strong>and</strong><br />

Akeelah's fa<strong>the</strong>r.<br />

1125.(1581+01) HEAD SHOT<br />

W<strong>and</strong>a looks o/s R.<br />

with sad eyes.<br />

790. 1559.09 1561.01 1.08<br />

(over scene end) AKEELAH:(TO WANDA)(OS)<br />

But if you would<br />

just...<br />

791. 1561.07 1566.07 5.00<br />

(over scene end) WANDA:(OS)(TO AKEELAH)<br />

Akeelah baby, I am just<br />

not in <strong>the</strong> mood. All<br />

right?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 205<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1126.EXT. - LARABEE'S HOUSE - DAY<br />

(1585+14) CHEST SHOT<br />

OTS Akeelah looks to<br />

Larabee FG.<br />

AKEELAH:(TO LARABEE)<br />

So how come you don't<br />

teach anymore?<br />

LARABEE:(TO AKEELAH)<br />

I told you I do teach.<br />

I administer classes<br />

online.<br />

1127.(1597+08) CHEST SHOT<br />

OTS Larabee st<strong>and</strong>s.<br />

LARABEE:(TO AKEELAH)<br />

Let's keep going.<br />

1128.(1599+10) FULL SHOT<br />

Larabee st<strong>and</strong>s L.<br />

Akeelah R.<br />

LARABEE:(CONT)<br />

"Effervescent."<br />

AKEELAH:(TO LARABEE)<br />

E-F-F...<br />

1129.(1606+04) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...E-R...<br />

1130.(1609+08) MS Akeelah<br />

TAPS HER HAND on her<br />

leg.<br />

AKEELAH:(CONT)<br />

...V-E...<br />

1131.(1611+09) MCS<br />

Larabee looks down to<br />

Akeelah's h<strong>and</strong>.<br />

(DOG BARKS)<br />

792. 1586.06 1587.14 1.08 AKEELAH:(TO LARABEE)<br />

So how come you don't<br />

teach anymore?<br />

793. 1590.02 1597.02 7.00 LARABEE:(TO AKEELAH)<br />

I told you I do teach.<br />

I administer classes<br />

online.<br />

794. 1598.09 1600.10 2.01<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Let us keep going.<br />

795. 1601.08 1603.01 1.09 LARABEE:(CONT)<br />

"Effervescent."<br />

796. 1604.05 1606.01 1.12 AKEELAH:(TO LARABEE)<br />

E-F-F...<br />

797. 1607.15 1609.07 1.08 AKEELAH:(CONT)<br />

...E-R...<br />

798. 1610.01 1611.09 1.08 AKEELAH:(CONT)<br />

...V-E...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 206<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

1132.(1614+08) MS<br />

Akeelah's HAND shakes<br />

as she thinks of <strong>the</strong><br />

next letter.<br />

(DOG BARKS)<br />

1133.(1616+11) WAIST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...S-E-N-T.<br />

Effervescent.<br />

1134.(1619+11) FULL SHOT<br />

Larabee L., Akeelah R.<br />

LARABEE:(TO AKEELAH)<br />

Come on, come on. You<br />

know this word.<br />

(DOG BARKS)<br />

AKEELAH:(TO LARABEE)<br />

That dog's distracting<br />

me.<br />

LARABEE:(TO AKEELAH)<br />

You're gonna have much<br />

bigger distractions<br />

when you get to <strong>the</strong><br />

national bee in D.C.<br />

1135.(1630+11) CHEST SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

Now, what is that<br />

you're doing with your<br />

h<strong>and</strong>? Hmm?<br />

799. 1616.15 1619.03 2.04 AKEELAH:(CONT)<br />

...S-E-N-T.<br />

Effervescent.<br />

800. 1619.14 1622.06 2.08 LARABEE:(TO AKEELAH)<br />

Come on, come on. You<br />

know this word.<br />

801. 1622.12 1624.04 1.08 AKEELAH:(TO LARABEE)<br />

That dog is distracting<br />

me.<br />

802. 1624.11 1630.03 5.08 LARABEE:(TO AKEELAH)<br />

You are going to have<br />

much bigger<br />

distractions when you<br />

get to <strong>the</strong> national bee<br />

in D.C.<br />

803. 1631.05 1633.09 2.04 LARABEE:(CONT)<br />

Now, what is that you<br />

are doing with your<br />

h<strong>and</strong>?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 207<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

1136.(1634+09) FULL SHOT<br />

Larabee L., Akeelah R.<br />

AKEELAH:(TO LARABEE)<br />

What?<br />

Larabee STANDS moves<br />

to waste can BG.<br />

LARABEE:(TO AKEELAH)<br />

With your h<strong>and</strong>, your<br />

h<strong>and</strong>? You... you...<br />

you...<br />

Larabee TAPS on <strong>the</strong><br />

waste can.<br />

(LARABEE TAPS)<br />

LARABEE:(TO AKEELAH)<br />

You tap...<br />

1137.(1644+00) M FULL<br />

SHOT Akeelah R. .<br />

LARABEE:(CONT)<br />

...like that. What is<br />

that?<br />

AKEELAH:(TO LARABEE)<br />

I don't know.<br />

1138.(1647+02) WAIST SHOT<br />

OTS Larabee looks to<br />

<strong>the</strong> waste can lid.<br />

The TAPS.<br />

(LARABEE TAPS)<br />

804. 1634.11 1636.03 1.08 AKEELAH:(TO LARABEE)<br />

What?<br />

805. 1637.09 1640.00 2.07 LARABEE:(TO AKEELAH)<br />

With your h<strong>and</strong>, your<br />

h<strong>and</strong>?<br />

806. 1641.00 1642.08 1.08 LARABEE:(CONT)<br />

You...<br />

807. 1642.15 1645.10 2.11<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

You tap, like that.<br />

What is that?<br />

808. 1646.00 1647.08 1.08<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

I don't know.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 208<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1139.INT. - GARAGE - DAY<br />

(1653+03) CHEST SHOT<br />

Larabee removes a<br />

STORAGE BOX from a<br />

shelf <strong>and</strong> PUTS IT<br />

BETWEEN Akeelah L,.<br />

<strong>and</strong> himself on a work<br />

bench. CAMERA PULLS<br />

BACK. Larabee opens<br />

<strong>the</strong> box.<br />

(AKEELAH COUGHS)<br />

AKEELAH:(TO LARABEE)<br />

So why you got all<br />

<strong>the</strong>se toys for?<br />

LARABEE:(TO AKEELAH)<br />

They belonged to my<br />

niece.<br />

AKEELAH:(TO JAVIER)<br />

Oh. So, you got any<br />

kids of your own?<br />

LARABEE:(TO AKEELAH)<br />

You ask a lot of<br />

questions, don't you?<br />

AKEELAH:(TO LARABEE)<br />

I'm naturally<br />

inquisitive.<br />

Larabee takes a jump<br />

rope from <strong>the</strong> box.<br />

LARABEE:(TO AKEELAH)<br />

Yes, which is also<br />

sometimes confused<br />

with being naturally<br />

obnoxious.<br />

Larabee h<strong>and</strong>s <strong>the</strong> jump<br />

rope to Akeelah. Then<br />

turns <strong>and</strong> walks R.<br />

LARABEE:(CONT)<br />

Here. Let me see<br />

you...<br />

809. 1662.13 1665.07 2.10 AKEELAH:(TO LARABEE)<br />

So why you got all<br />

<strong>the</strong>se toys for?<br />

810. 1667.06 1670.03 2.13 LARABEE:(TO AKEELAH)<br />

They belonged to my<br />

niece.<br />

811. 1671.02 1675.01 3.15 AKEELAH:(TO JAVIER)<br />

Oh. So, you got any<br />

kids of your own?<br />

812. 1675.07 1678.03 2.12 LARABEE:(TO AKEELAH)<br />

You ask a lot of<br />

questions, don't you?<br />

813. 1679.04 1681.07 2.03 AKEELAH:(TO LARABEE)<br />

I'm naturally<br />

inquisitive.<br />

814. 1681.13 1688.11 6.14 LARABEE:(TO AKEELAH)<br />

Yes, which is also<br />

sometimes confused with<br />

being naturally<br />

obnoxious.<br />

815. 1689.01 1692.11 3.10<br />

(over scene end) LARABEE:(CONT)<br />

Here. Let me see you<br />

jump rope.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 209<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1140.EXT. - LARABEE'S HOUSE - DAY<br />

(1691+03) CHEST SHOT<br />

Larabee enters<br />

followed by Akeelah.<br />

LARABEE:(CONT)<br />

...jump rope.<br />

1141.(1683+04) CHEST SHOT<br />

Akeelah walks to FG.<br />

AKEELAH:(TO LARABEE)<br />

Just jump?<br />

1142.(1695+07) FULL SHOT<br />

Akeelah L., Larabee R.<br />

LARABEE:(TO AKEELAH)<br />

Yes, just jump.<br />

1143.(1697+10) FULL SHOT<br />

OTS Akeelah starts to<br />

jump rope.<br />

1144.(1701+13) CHEST SHOT<br />

Larabee watches.<br />

(MUSIC IN)<br />

1145.(1704+07) FULL SHOT<br />

OTS Akeelah jumps<br />

rope.<br />

1146.(1706+00) CHEST SHOT<br />

Larabee watches.<br />

1147.(1709+09) FULL SHOT<br />

OTS Akeelah stops,<br />

looks to Larabee FG.<br />

AKEELAH:(TO LARABEE)<br />

Is <strong>the</strong>re a point to<br />

this?<br />

1148.(1711+15) CHEST SHOT<br />

OTS Larabee thinks to<br />

himself, nods, <strong>the</strong>n<br />

walks L.<br />

LARABEE:(TO AKEELAH)<br />

Yes <strong>the</strong>re is, keep<br />

going.<br />

816. 1693.11 1695.03 1.08 AKEELAH:(TO LARABEE)<br />

Just jump?<br />

817. 1695.10 1697.02 1.08 LARABEE:(TO AKEELAH)<br />

Yes, just jump.<br />

818. 1710.07 1711.15 1.08 AKEELAH:(TO LARABEE)<br />

Is <strong>the</strong>re a point to<br />

this?<br />

819. 1720.03 1722.04 2.01 LARABEE:(TO AKEELAH)<br />

Yes <strong>the</strong>re is, keep<br />

going.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 210<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

1149.(1723+15) FULL SHOT<br />

OTS Larabee PICKS UP A<br />

WATERING CAN <strong>and</strong> a<br />

HAND SHOVEL. Akeelah<br />

begins again to jump<br />

rope.<br />

(SKIP/JUMP)<br />

Larabee BEATS THE<br />

WATERING CAN with <strong>the</strong><br />

HAND SHOVEL.<br />

(BANG/BANG/BANG)<br />

1150.(1729+02) FULL SHOT<br />

OTS Akeelah BG. jumps<br />

rope. Larabee FG.<br />

BEATS THE CAN. She<br />

stops.<br />

1151.(1731+07) HEAD SHOT<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

I said, keep going.<br />

Concentrate...<br />

1152.(1736+08) HEAD SHOT<br />

Akeelah.<br />

LARABEE:(OS)(CONT)<br />

...stay focused. Spell<br />

effervescent. Don't<br />

think about anything<br />

else. Come on.<br />

820. 1731.08 1737.11 6.03<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

I said, keep going.<br />

Concentrate, stay<br />

focused.<br />

821. 1738.01 1742.03 4.02 LARABEE:(OS)(CONT)<br />

Spell effervescent.<br />

Don't think about<br />

anything else. Come<br />

on.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 211<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

1153.(1742+07) FULL SHOT<br />

Akeelah L., Jumps<br />

Rope. Larabee R. BEATS<br />

<strong>the</strong> CAN.<br />

LARABEE:(CONT)<br />

Go.<br />

CAMERA WALKS R., PANS<br />

L. to follow Larabee<br />

as he tries to<br />

distract Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

E-F-F-E-R...<br />

LARABEE:(TO AKEELAH)<br />

Good.<br />

AKEELAH:(CONT)<br />

...V-E-S-C-E-N...<br />

1154.(1757+01) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...T. Effervescent.<br />

Akeelah stops jumping<br />

rope.<br />

(MUSIC OUT)<br />

LARABEE:(TO AKEELAH)<br />

You see that?<br />

That's...<br />

1155.(1761+10) WAIST SHOT<br />

Larabee L., Akeelah R.<br />

LARABEE:(TO AKEELAH)<br />

...your trick. That's<br />

your mnemonic device.<br />

822. 1743.00 1744.08 1.08 LARABEE:(CONT)<br />

Go.<br />

823. 1744.13 1747.13 3.00 AKEELAH:(TO LARABEE)<br />

E-F-F-E-R...<br />

824. 1749.15 1751.07 1.08 LARABEE:(TO AKEELAH)<br />

Good.<br />

825. 1751.13 1756.15 5.02 AKEELAH:(CONT)<br />

...V-E-S-C-E-N-T.<br />

826. 1758.03 1759.15 1.12 AKEELAH:(CONT)<br />

Effervescent.<br />

827. 1760.02 1762.10 2.08<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

You see that? That is<br />

your trick.<br />

828. 1763.10 1765.07 1.13 LARABEE:(TO AKEELAH)<br />

That is your mnemonic<br />

device.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 212<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

1156.(1765+14) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Jumping rope?<br />

LARABEE:(TO AKEELAH)<br />

Keeping time.<br />

1157.(1768+06) WAIST SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT) Keeping<br />

time.<br />

Larabee CROSSES to R.<br />

BG. CAMERA TRACKS L.<br />

to follow.<br />

LARABEE:(CONT)<br />

You see, kids at <strong>the</strong><br />

bee, <strong>the</strong>y do all kinds<br />

of things. They sway<br />

back <strong>and</strong> forth. They<br />

turn around in<br />

circles. Anything <strong>the</strong>y<br />

have to do to stay<br />

focused.<br />

Larabee CROSSES to L.<br />

BG. CAMERA FOLLOWS.<br />

LARABEE:(CONT)<br />

You keep time. And I<br />

bet you, if you learn<br />

<strong>the</strong> words while you<br />

kept time.<br />

Larabee paces R.<br />

CAMERA FOLLOWS.<br />

LARABEE:(CONT)<br />

You would remember<br />

<strong>the</strong>m even better.<br />

829. 1765.15 1767.11 1.12 AKEELAH:(TO LARABEE)<br />

Jumping rope?<br />

830. 1768.01 1769.11 1.10<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Keeping time.<br />

831. 1770.03 1774.04 4.01 LARABEE:(CONT)<br />

You see, kids at <strong>the</strong><br />

bee, <strong>the</strong>y do all kinds<br />

of things.<br />

832. 1774.10 1780.11 6.01 LARABEE:(CONT)<br />

They sway back <strong>and</strong><br />

forth. They turn<br />

around in circles.<br />

833. 1781.04 1785.07 4.03 LARABEE:(CONT)<br />

Anything <strong>the</strong>y have to<br />

do to stay focused.<br />

834. 1786.00 1793.00 7.00 LARABEE:(CONT)<br />

You keep time. And I<br />

bet you, if you learn<br />

<strong>the</strong> words while you<br />

kept time.<br />

835. 1794.08 1798.11 4.03 LARABEE:(CONT)<br />

You would remember <strong>the</strong>m<br />

even better.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 3 Page 213<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

1158.EXT. - MONTAGE - DAY<br />

(1799+03) CHEST SHOT<br />

Akeelah JUMPS AND<br />

SPELLS.<br />

(MUSIC IN)<br />

Larabee PACES BG. as<br />

he CALLS OUT WORDS.<br />

CAMERA PULLS BACK.<br />

1159.(1816+07) FULL SHOT<br />

Larabee calls words<br />

<strong>and</strong> SWINGS a ROPE<br />

attached to a fence.<br />

HE CALLS OUT WORDS...<br />

Akeelah SPELLS AND<br />

JUMPS. CAMERA TRACKS<br />

R.<br />

1160.(1819+13) FULL SHOT<br />

Larabee's POV.<br />

Akeelah JUMPS ROPE <strong>and</strong><br />

SPELLS.<br />

1161.(1822+13) WAIST SHOT<br />

Akeelah's POV. CAMERA<br />

JUMPS ROPE. Akeelah<br />

o/s SPELLS.<br />

1162.(1825+11) FULL SHOT<br />

Akeelah JUMPS <strong>and</strong><br />

SPELLS.<br />

1163.(1826+13) CHEST SHOT<br />

Akeelah SPELLS <strong>and</strong><br />

JUMPS Rope as she<br />

walks along a<br />

SIDEWALK. Larabee<br />

FOLLOWS <strong>and</strong> CALLS OUT<br />

WORDS. CAMERA PULLS<br />

BACK PRECEDING.<br />

1164.(1838+05) FULL SHOT<br />

DUSK. WE SEE Akeelah<br />

JUMPING ROPE L,.<br />

Larabee seated R. BOTH<br />

SILHOUETTED against A<br />

SUNSET BG. Akeelah<br />

JUMPS <strong>and</strong> SPELLS.<br />

FADE TO BLACK;<br />

(MUSIC OUT)<br />

END OF REEL #3<br />

LAST FRAME OF REEL 1850 FEET 15 FRAMES


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 214<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(00+00) PICTURE START (00+00) PICTURE START<br />

1165.EXT. - USC - DAY<br />

(12+00) FULL SHOT LOW<br />

ANGLE of <strong>the</strong> USC<br />

AUDITORIUM where <strong>the</strong><br />

REGIONAL SPELLING BEE<br />

is to be held. WE SEE<br />

Larabee, Akeelah <strong>and</strong><br />

Welch WALK INTO SHOT<br />

from o/s FG.<br />

WELCH:(TO AKEELAH)<br />

It's too bad your<br />

mo<strong>the</strong>r had to work<br />

today, Akeelah. Did<br />

she get <strong>the</strong> see <strong>the</strong><br />

new dress?<br />

(18+00) TITLE<br />

FADES IN Sou<strong>the</strong>rn<br />

California Regional<br />

Spelling <strong>Bee</strong><br />

AKEELAH:(TO WELCH)<br />

Ah... yeah, she<br />

thought it was cool.<br />

Oh, <strong>the</strong>re goes Javier.<br />

TITLE FADES OUT<br />

JUDGE:(VO)<br />

This is a very<br />

exciting day for us<br />

here...<br />

1166.INT. - AUDITORIUM - DAY<br />

(27+05) FULL SHOT<br />

Judge on stage.<br />

JUDGE:(CONT)<br />

...because our top<br />

three spellers will<br />

representing Sou<strong>the</strong>rn<br />

California...<br />

836. 12.10 15.14 3.04 WELCH:(TO AKEELAH)<br />

It is too bad your<br />

mo<strong>the</strong>r had to work<br />

today, Akeelah.<br />

837. 7.04 18.14 1.10 WANDA:(CONT)<br />

Did she get <strong>the</strong> see <strong>the</strong><br />

new dress?<br />

MT#4 ( 18.00) ( 25.00)<br />

(TITLE FADES IN, FADES<br />

OUT<br />

Sou<strong>the</strong>rn California Regional Spelling <strong>Bee</strong> )<br />

838. 19.04 23.14 4.10 AKEELAH:(TO WELCH)<br />

Ah... yeah, she thought<br />

it was cool. Oh, <strong>the</strong>re<br />

goes Javier.<br />

839. 24.04 26.09 2.05 JUDGE:(VO)<br />

This is a very exciting<br />

day for us here...<br />

840. 27.12 32.12 5.00 JUDGE:(CONT)<br />

...because our top<br />

three spellers will<br />

representing Sou<strong>the</strong>rn<br />

California...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 215<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

1167.(33+05) FULL SHOT<br />

Auditorium stage <strong>and</strong><br />

audience.<br />

JUDGE:(CONT)<br />

...at <strong>the</strong> National<br />

Spelling <strong>Bee</strong> in<br />

Washington DC.<br />

(APPLAUSE)<br />

1168.(42+00) HEAD SHOT<br />

OF SPELLERS on stage.<br />

CAMERA TRACKS L. <strong>and</strong><br />

STOPS on Akeelah FG.<br />

Javier BG.<br />

JUDGE:(OS)(CONT)<br />

So what do you say,<br />

let's spell.<br />

1169.(48+11) MCS Welch<br />

BG. Larabee FG. both<br />

sitting in <strong>the</strong><br />

audience.<br />

WELCH:(TO LARABEE)<br />

Well Josh. You think<br />

she's got a shot at<br />

it?<br />

LARABEE:(TO WELCH)<br />

We'll see.<br />

841. 33.15 40.02 6.03 JUDGE:(CONT)<br />

...at <strong>the</strong> National<br />

Spelling <strong>Bee</strong> in<br />

Washington DC.<br />

842. 44.11 48.09 3.14 JUDGE:(OS)(CONT)<br />

So what do you say, let<br />

us spell.<br />

843. 49.15 53.01 3.02 WELCH:(TO LARABEE)<br />

Well Josh. You think<br />

she has a shot at it?<br />

844. 53.09 55.09 2.00 LARABEE:(TO WELCH)<br />

We will see.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 216<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

1170.(57+08) CHEST SHOT<br />

Akeelah BACK TO<br />

CAMERA. Judges <strong>and</strong><br />

audience BG.<br />

(MUSIC IN)<br />

PRONOUNCER:(TO AKEELAH)<br />

Alfresco.<br />

CAMERA CIRCLES<br />

Akeelah.<br />

AKEELAH:(TO ALL)<br />

A-L-F-R-E-S-C-O.<br />

Alfresco.<br />

JUDGE:(TO AKEELAH)<br />

That's correct.<br />

(APPLAUSE)<br />

1171.(70+13) HEAD SHOT<br />

Speller.<br />

SPELLER:(TO ALL)<br />

Loquacious.<br />

1172.(72+11) WAIST SHOT<br />

Judges.<br />

(DING)<br />

1173.(74+08) HEAD SHOT<br />

Girl speller.<br />

GIRL:(TO ALL)<br />

Espadrille.<br />

(DING)<br />

1174.(77+05) HEAD SHOT<br />

Round face boy.<br />

BOY:(TO ALL)<br />

Jambalaya.<br />

(DING)<br />

845. 57.08 59.10 2.02 PRONOUNCER:(TO AKEELAH)<br />

Alfresco.<br />

846. 60.00 65.01 5.01 AKEELAH:(TO ALL)<br />

A-L-F-R-E-S-C-O.<br />

Alfresco.<br />

847. 65.10 68.00 2.06 JUDGE:(TO AKEELAH)<br />

That is correct.<br />

848. 70.15 72.07 1.08 SPELLER:(TO ALL)<br />

Loquacious.<br />

849. 74.13 76.07 1.10 GIRL:(TO ALL)<br />

Espadrille.<br />

850. 77.06 78.15 1.09 BOY:(TO ALL)<br />

Jambalaya.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 217<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

1175.(82+11) FULL SHOT<br />

HIGH ANGLE Polly at<br />

<strong>the</strong> microphone BELOW.<br />

POLLY:(TO ALL)<br />

Would you repeat <strong>the</strong><br />

word, please?<br />

1176.(85+09) FULL SHOT<br />

Polly L, at <strong>the</strong><br />

microphone. Judges R.<br />

PRONOUNCER:(TO POLLY)<br />

Malloseismic.<br />

1177.(88+08) HEAD SHOT<br />

Polly.<br />

POLLY:(TO ALL)<br />

M-A...<br />

1178.(94+06) HEAD SHOT<br />

Akeelah FG. Javier BG.<br />

POLLY:(OS)(CONT)<br />

...L-O...<br />

1179.(99+07) CHEST SHOT<br />

Welch <strong>and</strong> Larabee.<br />

POLLY:(OS)(CONT)<br />

...S-E...<br />

1180.(103+04) HEAD SHOT<br />

Polly.<br />

POLLY:(CONT)<br />

...I-S-M-I-C.<br />

1181.(106+08) FULL SHOT<br />

Polly at <strong>the</strong><br />

microphone BELOW.<br />

(DING)<br />

851. 83.06 84.15 1.09 POLLY:(TO ALL)<br />

Would you repeat <strong>the</strong><br />

word, please?<br />

852. 85.12 87.11 1.15 PRONOUNCER:(TO POLLY)<br />

Malloseismic.<br />

853. 90.06 93.14 3.08 POLLY:(TO ALL)<br />

M-A...<br />

854. 95.11 98.11 3.00 POLLY:(OS)(CONT)<br />

...L-O...<br />

855. 99.14 102.06 2.08 POLLY:(OS)(CONT)<br />

...S-E...<br />

856. 104.07 105.15 1.08 POLLY:(CONT)<br />

...I-S-M-I-C.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 218<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

1182.(109+07) HEAD SHOT<br />

Polly.<br />

PRONOUNCER:(TO POLLY)<br />

Malloseismic is,<br />

M-A...<br />

1183.(113+11) CHEST SHOT<br />

PRONOUNCER.<br />

PRONOUNCER:(CONT)<br />

...L-L...<br />

1184.(115+11) WAIST SHOT<br />

OTS Polly at <strong>the</strong><br />

microphone nearly in<br />

tears.<br />

PRONOUNCER:(CONT)<br />

...O-S-E-I-S-M-I-C.<br />

Polly RUNS R. CAMERA<br />

PANS R. to follow.<br />

1185.(121+13) HEAD SHOT<br />

Akeelah FG. Javier BG.<br />

Both watch <strong>the</strong>ir<br />

friend run o/s.<br />

(APPLAUSE)<br />

1186.(123+05) WAIST SHOT<br />

Polly RUNS R. <strong>and</strong><br />

EMBRACES her Mo<strong>the</strong>r AS<br />

SHE CRIES.<br />

1187.(125+04) HEAD SHOT<br />

Akeelah FG. Javier BG.<br />

The exchange glances.<br />

(MUSIC OUT)<br />

857. 109.13 115.06 5.09 PRONOUNCER:(TO POLLY)<br />

Malloseismic is,<br />

M-A-L-L..<br />

858. 116.05 121.06 5.01 PRONOUNCER:(CONT)<br />

...O-S-E-I-S-M-I-C.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 219<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

1188.(130+04) FULL SHOT<br />

BACK OF THE<br />

Auditorium. WE SEE <strong>the</strong><br />

DOOR OPEN. AND WE SEE<br />

W<strong>and</strong>a IN SILHOUETTE.<br />

BOY SPELLER:(OS)<br />

(TO ALL)<br />

D-O-U-B-L-U-R-E.<br />

1189.(137+05) FULL SHOT<br />

Boy Speller L., Judges<br />

R.<br />

JUDGE:(TO BOY)<br />

That's correct.<br />

(APPLAUSE)<br />

1190.(141+02) FULL SHOT<br />

WE SEE W<strong>and</strong>a STALK R.<br />

along <strong>the</strong> back of <strong>the</strong><br />

auditorium. CAMERA<br />

PANS R. to follow.<br />

1191.(144+10) HEAD SHOT<br />

Akeelah walks to <strong>the</strong><br />

microphone.<br />

1192.(148+03) CHEST SHOT<br />

Judges.<br />

PRONOUNCER:(TO AKEELAH)<br />

Psalmody.<br />

1193.(149+15) CHEST SHOT<br />

W<strong>and</strong>a walks to FG.<br />

long an Aisle.<br />

AKEELAH:(OS)<br />

(TO PRONOUNCER)(OS)<br />

Definition please?<br />

859. 131.05 136.11 5.06 BOY SPELLER:(OS)<br />

(TO ALL)<br />

D-O-U-B-L-U-R-E.<br />

860. 137.10 139.11 2.01 JUDGE:(TO BOY)<br />

That is correct.<br />

861. 148.04 149.12 1.08 PRONOUNCER:(TO AKEELAH)<br />

Psalmody.<br />

862. 150.12 152.11 1.15 AKEELAH:(OS)<br />

(TO PRONOUNCER)(OS)<br />

Definition please?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 220<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

1194.(154+10) MCS Welch<br />

FG. Larabee BG.<br />

PRONOUNCER:<br />

(OS)(TO AKEELAH)(OS)<br />

Psalmody means, "The<br />

practice or art...<br />

WELCH:(TO WANDA)(OS)<br />

Mrs. Anderson.<br />

1195.(158+11) CHEST SHOT<br />

W<strong>and</strong>a looks o/s R. to<br />

Welch.<br />

1196.(160+03) MCS Welch<br />

motions for W<strong>and</strong>a to<br />

join <strong>the</strong>m.<br />

PRONOUNCER:(OS)(CONT)<br />

...of singing in<br />

psalms.<br />

1197.(161+12) CHEST SHOT<br />

W<strong>and</strong>a looks o/s R. to<br />

Welch.<br />

WANDA:(TO WELCH)(OS)<br />

I want my daughter off<br />

that stage right now.<br />

1198.(166+04) MCS Welch<br />

not expecting this is<br />

stunned.<br />

1199.(167+13) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO ALL)<br />

P-S-A...<br />

WANDA:(OS)<br />

(TO WELCH)(OS)<br />

I don't care what<br />

she...<br />

Akeelah looks o/s R.<br />

to <strong>the</strong> sound of her<br />

mo<strong>the</strong>r's voice.<br />

863. 154.12 159.09 4.13 PRONOUNCER:<br />

(OS)(TO AKEELAH)(OS)<br />

Psalmody means, "The<br />

practice or art...<br />

864. 159.15 161.07 1.08 WELCH:(TO WANDA)(OS)<br />

Mrs. Anderson.<br />

865. 161.13 163.05 1.08 PRONOUNCER:(OS)(CONT)<br />

...of singing in<br />

psalms.<br />

866. 163.11 165.13 2.02 WANDA:(TO WELCH)(OS)<br />

I want my daughter off<br />

that stage right now.<br />

867. 168.04 170.14 2.10 AKEELAH:(TO ALL)<br />

P-S-A...<br />

868. 171.03 172.11 1.08 WANDA:(OS)<br />

(TO WELCH)(OS)<br />

I don't care.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 221<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

1200.(173+03) FULL SHOT<br />

OF THE AUDIENCE.<br />

Judges FG. WE SEE<br />

W<strong>and</strong>a <strong>and</strong> Welch BG.<br />

WANDA:(CONT)<br />

...I want her off that<br />

stage. I...<br />

1201.(176+04) HEAD SHOT<br />

Akeelah looks back to<br />

<strong>the</strong> microphone <strong>and</strong><br />

goes on with her<br />

spelling.<br />

AKEELAH:(CONT)<br />

...L-M-O...<br />

WANDA:(OS)(CONT)<br />

And I didn't give her<br />

permission.<br />

WELCH:(OS)(TO WANDA)<br />

Mrs. Anderson...<br />

1202.(183+13) M FULL<br />

SHOT W<strong>and</strong>a <strong>and</strong> Welch.<br />

WANDA:(TO WELCH)<br />

I told her she was<br />

expressly not to...<br />

1203.(186+14) HEAD SHOT<br />

Akeelah looks o/s R.<br />

to her mo<strong>the</strong>r.<br />

WANDA:(OS)(CONT)<br />

...not to be here.<br />

And you don't...<br />

1204.(188+12) CHEST SHOT<br />

Judges. Some look o/s<br />

R. to <strong>the</strong> commotion.<br />

WANDA:(OS)(CONT)<br />

...take my child<br />

anywhere without...<br />

869. 173.05 175.09 2.04 WANDA:(CONT)<br />

I want her off that<br />

stage.<br />

870. 178.10 181.02 2.08 AKEELAH:(CONT)<br />

...L-M-O...<br />

871. 181.08 183.04 1.12 WANDA:(OS)(CONT)<br />

And I didn't give her<br />

permission.<br />

872. 184.06 188.03 3.13<br />

(over scene end) WANDA:(TO WELCH)<br />

I told her she was<br />

expressly not to be<br />

here.<br />

873. 189.04 192.13 3.09<br />

(over scene end) WANDA:(OS)(CONT)<br />

And you don't take my<br />

child anywhere without<br />

my permission.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 222<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

1205.(191+05) HEAD SHOT<br />

Akeelah.<br />

WANDA:(OS)(CONT)<br />

...my permission!<br />

AKEELAH:(CONT)<br />

...Um... D-Y.<br />

1206.(195+03) CHEST SHOT<br />

Judges look back to<br />

Akeelah o/s L.<br />

1207.(196+10) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

Psalmody.<br />

JUDGE:(OS)(TO AKEELAH)<br />

That's...<br />

1208.(199+09) FULL SHOT<br />

Akeelah walks to FG.<br />

Judges <strong>and</strong> audience<br />

BG.<br />

JUDGE:(TO AKEELAH)<br />

...correct.<br />

Akeelah SITS FG.<br />

(APPLAUSE)<br />

1209.(204+04) HEAD SHOT<br />

Akeelah sits, looks<br />

down.<br />

JUDGE:(OS)(CONT)<br />

All right, next<br />

please.<br />

WE HEAR Foot steps.<br />

WELCH:(OS)<br />

(TO JUDGE)(OS)<br />

Excuse me...<br />

874. 192.14 194.15 2.01 AKEELAH:(CONT)<br />

...Um... D-Y.<br />

875. 196.12 198.04 1.08<br />

(over scene end) AKEELAH:(CONT)<br />

Psalmody.<br />

876. 199.10 201.05 1.11<br />

(over scene end) JUDGE:(OS)(TO AKEELAH)<br />

That is correct.<br />

877. 204.14 206.11 1.13 JUDGE:(OS)(CONT)<br />

All right, next please.<br />

878. 208.03 210.02 1.15 WELCH:(OS)<br />

(TO JUDGE)(OS)<br />

Excuse me. I'm sorry.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 223<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

1210.(208+14) FULL SHOT<br />

OTS Judges <strong>and</strong> Mr.<br />

Welch.<br />

WELCH:(CONT)<br />

...I'm sorry. Uh...<br />

The mo<strong>the</strong>r...<br />

1211.(211+02) CHEST SHOT<br />

Welch looks o/s R. to<br />

<strong>the</strong> Judges.<br />

WELCH:(CONT)<br />

...of one of <strong>the</strong><br />

spellers needs to<br />

speak with her. It's<br />

ra<strong>the</strong>r urgent.<br />

1212.(216+14) CHEST SHOT<br />

Pronouncer <strong>and</strong> Judge.<br />

JUDGE:(TO WELCH)(OS)<br />

Um... okay. But...<br />

1213.(219+15) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...she must be back on<br />

<strong>the</strong> stage before her<br />

next turn. Or she'll<br />

be disqualified.<br />

1214.(226+11) CHEST SHOT<br />

Welch looks o/s L. to<br />

Akeelah.<br />

WELCH:(TO JUDGE)(OS)<br />

She'll be back.<br />

Welch motions for<br />

Akeelah to join him.<br />

1215.(230+08) HEAD SHOT<br />

Akeelah looks<br />

sheepish.<br />

879. 210.08 216.13 6.05<br />

(over scene end) WELCH:(CONT)<br />

The mo<strong>the</strong>r of one of<br />

<strong>the</strong> spellers needs to<br />

speak with her. It's<br />

ra<strong>the</strong>r urgent.<br />

880. 217.03 224.03 7.00<br />

(over scene end) JUDGE:(TO WELCH)(OS)<br />

Okay. But she has to<br />

be back on stage before<br />

her next turn...<br />

881. 224.09 226.10 2.01 AKEELAH:(CONT)<br />

...or she will be<br />

disqualified.<br />

882. 227.07 228.15 1.08 WELCH:(TO JUDGE)(OS)<br />

She will be back.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 224<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

1216.(233+02) CHEST SHOT<br />

Welch motions again.<br />

1217.(235+08) MCS Dylan<br />

looks o/s L. to<br />

Akeelah <strong>and</strong> shakes his<br />

head.<br />

1218.(238+08) HEAD SHOT<br />

Akeelah looks to <strong>the</strong><br />

floor, <strong>the</strong>n st<strong>and</strong>s.<br />

1219.(241+00) FULL SHOT<br />

Welch, judges <strong>and</strong><br />

audience BG. Akeelah<br />

STANDS <strong>and</strong> moves o/s<br />

R.<br />

1220.(243+06) MCS Javier<br />

watches <strong>the</strong> events<br />

unfold.<br />

1221.(245+01) CHEST SHOT<br />

Welch BG. looks to<br />

Akeelah FG. as she<br />

walks from <strong>the</strong> stage.<br />

1222.(246+11) MCS Dylan<br />

SMILES to himself as<br />

she watches her leave.<br />

1223.(249+07) FULL SHOT<br />

Dylan R. at <strong>the</strong><br />

microphone. Akeelah<br />

joins Welch. Judges<br />

<strong>and</strong> Audience BG.<br />

Welch helps Akeelah as<br />

she JUMPS down from<br />

<strong>the</strong> stage.<br />

1224.(251+04) MCS Javier<br />

watches Akeelah o/s<br />

walk away into <strong>the</strong><br />

audience.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 225<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1225.EXT. - AUDITORIUM - DAY<br />

(252+13) M FULL SHOT<br />

W<strong>and</strong>a WALKS Akeelah<br />

from <strong>the</strong> auditorium<br />

outside. Welch<br />

FOLLOWS.<br />

WELCH:(TO WANDA)<br />

I swear we thought you<br />

were on board with<br />

this Mrs. Anderson.<br />

WE SEE Larabee step<br />

from <strong>the</strong> auditorium<br />

BG.<br />

WANDA:(TO AKEELAH)<br />

You wanna tell me what<br />

<strong>the</strong> heck is going on<br />

here.<br />

1226.(261+00) CHEST SHOT<br />

Larabee.<br />

WANDA:(OS)(CONT)<br />

Because I never signed<br />

a consent form.<br />

1227.(264+07) WAIST SHOT<br />

W<strong>and</strong>a L. FG. Akeelah<br />

R. FG., Welch <strong>and</strong><br />

Larabee BG.<br />

AKEELAH:(TO WANDA)<br />

I signed daddy's name.<br />

1228.(268+03) CHEST SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)<br />

You did what?<br />

1229.(270+11) CHEST SHOT<br />

OTS Akeelah.<br />

1230.(272+09) CHEST SHOT<br />

Welch looks away.<br />

883. 253.10 257.10 4.00 WELCH:(TO WANDA)<br />

I swear we thought you<br />

were on board with this<br />

Mrs. Anderson.<br />

884. 258.00 260.07 2.07 WANDA:(TO AKEELAH)<br />

Do you want to tell me<br />

what <strong>the</strong> heck is going<br />

on here.<br />

885. 261.04 263.12 2.08 WANDA:(OS)(CONT)<br />

Because I never signed<br />

a consent form.<br />

886. 266.07 267.15 1.08 AKEELAH:(TO WANDA)<br />

I signed daddy's name.<br />

887. 268.07 270.05 1.14 WANDA:(TO AKEELAH)<br />

You did what?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 226<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - AUDITORIUM - CONT)<br />

1231.(275+04) CHEST SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)<br />

How do you think I<br />

felt? When Javier's<br />

mo<strong>the</strong>r calls me to see<br />

if I need a ride to<br />

USC. I don't know who<br />

she is...<br />

1232.(285+13) CHEST SHOT<br />

OTS Akeelah.<br />

WANDA:(CONT)<br />

...or what she's<br />

talking about.<br />

AKEELAH:(TO WANDA)<br />

Sorry mama. I just<br />

wanted to do <strong>the</strong> bee.<br />

1233.(292+11) CHEST SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)<br />

By lying? By going<br />

behind my back for <strong>the</strong><br />

last six months?<br />

1234.(298+03) CHEST SHOT<br />

Larabee looks o/s R.<br />

as he considers what<br />

he's hearing.<br />

WANDA:(OS)(CONT)<br />

You might as well say<br />

good bye to your<br />

little friends,<br />

Akeelah. Because...<br />

888. 276.07 278.05 1.14 WANDA:(TO AKEELAH)<br />

How do you think I<br />

felt?<br />

889. 279.02 284.11 5.09 WANDA:(CONT)<br />

When Javier's mo<strong>the</strong>r<br />

calls me to see if I<br />

need a ride to USC.<br />

890. 284.13 287.14 3.01<br />

(over scene end) WANDA:(CONT)<br />

I don't know who she is<br />

or what she is talking<br />

about.<br />

891. 288.06 292.03 3.13 AKEELAH:(TO WANDA)<br />

Sorry mama. I just<br />

wanted to do <strong>the</strong> bee.<br />

892. 293.03 297.14 4.11 WANDA:(TO AKEELAH)<br />

By lying? By going<br />

behind my back for <strong>the</strong><br />

last six months?<br />

893. 299.01 301.12 2.11 WANDA:(OS)(CONT)<br />

You might as well say<br />

good bye to your little<br />

friends, Akeelah.<br />

894. 302.02 304.14 2.12<br />

(over scene end) WANDA:(CONT)<br />

Because this is your<br />

last spelling bee.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 227<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - AUDITORIUM - CONT)<br />

1235.(302+04) WAIST SHOT<br />

W<strong>and</strong>a L., FG. Akeelah<br />

R. FG., Welch <strong>and</strong><br />

Larabee BG.<br />

WANDA:(CONT)<br />

...this is your last<br />

spelling bee.<br />

WELCH:(TO WANDA)<br />

I beg you...<br />

1236.(306+02) CHEST SHOT<br />

Larabee.<br />

WELCH:(CONT)<br />

...Mrs. Anderson, to<br />

reconsider this.<br />

1237.(309+01) WAIST SHOT<br />

W<strong>and</strong>a <strong>and</strong> Welch L.,<br />

FG. Akeelah R. FG.<br />

Larabee BG. walks to<br />

FG.<br />

WELCH:(TO WELCH)<br />

She deserves this<br />

opportunity.<br />

LARABEE:(TO WELCH)<br />

Bob, Mrs. Anderson is<br />

right. Akeelah does<br />

not deserve...<br />

1238.(318+03) HEAD SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

...to go to <strong>the</strong> bee<br />

this year.<br />

895. 305.05 308.15 3.10<br />

(over scene end) WELCH:(TO WANDA)<br />

I beg you, Mrs.<br />

Anderson, to reconsider<br />

this.<br />

896. 309.05 312.00 2.11 WELCH:(TO WELCH)<br />

She deserves this<br />

opportunity.<br />

897. 312.06 315.08 3.02 LARABEE:(TO WELCH)<br />

Bob, Mrs. Anderson is<br />

right.<br />

898. 317.00 320.00 3.00<br />

(over scene end) LARABEE:(CONT)<br />

Akeelah does not<br />

deserve to go to <strong>the</strong><br />

bee this year.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 228<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - AUDITORIUM - CONT)<br />

1239.(320+09) HEAD SHOT<br />

Welch looks o/s R. to<br />

Larabee.<br />

WELCH:(TO LARABEE)(OS)<br />

What?<br />

(DING)<br />

1240.INT. - AUDITORIUM - DAY<br />

(322+08) WAIST SHOT A<br />

STUDENT BG. walks o/s<br />

R. Judges FG. BACKS TO<br />

CAMERA. WE SEE Javier<br />

BG.<br />

(APPLAUSE)<br />

1241.(324+00) HEAD SHOT<br />

Judge.<br />

JUDGE:(OUT LOUD)<br />

Next speller please.<br />

1242.(327+06) CHEST SHOT<br />

Javier st<strong>and</strong>s on<br />

stage. He looks o/s R.<br />

to where Akeelah <strong>and</strong><br />

W<strong>and</strong>a left <strong>the</strong><br />

auditorium.<br />

(APPLAUSE DIES)<br />

1243.(329+06) FULL SHOT<br />

of <strong>the</strong> EXIT DOORS at<br />

<strong>the</strong> BACK of <strong>the</strong><br />

auditorium.<br />

JUDGE:(OS)(OUT LOUD)<br />

Come on up to <strong>the</strong><br />

mic...<br />

1244.(331+08) CHEST SHOT<br />

Javier.<br />

JUDGE:(OS)(CONT)<br />

...please.<br />

Javier moves SLOWLY.<br />

899. 320.13 322.05 1.08 WELCH:(TO LARABEE)(OS)<br />

What?<br />

900. 324.04 326.04 2.00 JUDGE:(OUT LOUD)<br />

Next speller please.<br />

901. 330.00 333.00 3.00<br />

(over scene end) JUDGE:(OS)(OUT LOUD)<br />

Come on up to <strong>the</strong><br />

mic, please.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 229<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

1245.(336+05) WAIST SHOT<br />

OTS Javier WALKS<br />

SLOWLY to <strong>the</strong><br />

microphone.<br />

1246.(338+13) CHEST SHOT<br />

Judges LOOK o/s L., to<br />

Javier.<br />

1247.(340+04) FULL SHOT<br />

SIDE ANGLE Javier<br />

WALKS SLOWLY L,.<br />

Judges R.<br />

JUDGE:(TO JAVIER)<br />

A little faster. Come<br />

on.<br />

1248.(347+03) CHEST SHOT<br />

Javier walks slowly R.<br />

1249.(349+11) FULL SHOT<br />

EXIT DOOR at <strong>the</strong> rear<br />

of <strong>the</strong> auditorium.<br />

LARABEE:(VO)-(OS)<br />

(TO WANDA)(OS)<br />

I apologize...<br />

1250.EXT. - AUDITORIUM - DAY<br />

(351+13) CHEST SHOT<br />

OTS Larabee BG. looks<br />

to W<strong>and</strong>a L. FG.<br />

LARABEE:(CONT)<br />

...Mrs. Anderson, if<br />

we've contributed to<br />

any anguish you may be<br />

feeling.<br />

1251.(357+04) CHEST SHOT<br />

W<strong>and</strong>a L. Welch R.<br />

WANDA:(TO LARABEE)(OS)<br />

And who are you,<br />

exactly?<br />

902. 340.05 344.15 4.10 JUDGE:(TO JAVIER)<br />

A little faster. Come<br />

on.<br />

903. 351.01 356.11 5.10<br />

(over scene end) LARABEE:(VO)-(OS)<br />

(TO WANDA)(OS)<br />

I apologize, Mrs.<br />

Anderson, if we have<br />

contributed to any<br />

anguish you may be<br />

feeling.<br />

904. 358.09 360.03 1.10 WANDA:(TO LARABEE)(OS)<br />

And who are you,<br />

exactly?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 230<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - AUDITORIUM - CONT)<br />

1252.(360+13) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO WANDA)<br />

My name is Joshua<br />

Larabee, Ma'am.<br />

1253.(364+03) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

LARABEE:(CONT)<br />

And I've been... well<br />

I've been helping<br />

Akeelah...<br />

1254.(368+05) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

...prepare herself for<br />

<strong>the</strong> spelling bee.<br />

1255.(371+08) HEAD SHOT<br />

OTS Akeelah.<br />

WELCH:(OS)(TO WANDA)<br />

Akeelah's getting<br />

extra...<br />

1256.(374+04) CHEST SHOT<br />

OTS Welch.<br />

WELCH:(CONT)<br />

...school credit for<br />

working with Doctor...<br />

905. 361.03 363.12 2.09 LARABEE:(TO WANDA)<br />

My name is Joshua<br />

Larabee, Ma'am.<br />

906. 364.07 371.00 6.09<br />

(over scene end) LARABEE:(CONT)<br />

And I have been helping<br />

Akeelah prepare herself<br />

for <strong>the</strong> spelling bee.<br />

907. 373.00 378.04 5.04<br />

(over scene end) WELCH:(OS)(TO WANDA)<br />

Akeelah is getting<br />

extra school credit for<br />

working with Doctor<br />

Larabee.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 231<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - AUDITORIUM - CONT)<br />

1257.(377+00) WAIST SHOT<br />

W<strong>and</strong>a L., Welch <strong>and</strong><br />

Larabee C, Akeelah R.<br />

WELCH:(CONT)<br />

...Larabee. We<br />

designed an entire<br />

program specifically<br />

for her.<br />

W<strong>and</strong>a looks R. to<br />

Akeelah.<br />

WANDA:(TO AKEELAH)<br />

Why'd you tell me<br />

about this?<br />

1258.(387+07) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO WANDA)<br />

Mama, I hated going<br />

behind your back. But<br />

every time I brought<br />

up <strong>the</strong> bee, you didn't<br />

want to hear it.<br />

1259.(396+13) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

1260.(398+14) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

I didn't know what to<br />

do.<br />

1261.(402+04) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

JAVIER:(VO)<br />

Can I get <strong>the</strong>...<br />

908. 378.12 383.15 5.03 WELCH:(CONT)<br />

We designed an entire<br />

program specifically<br />

for her.<br />

909. 385.08 387.00 1.08 WANDA:(TO AKEELAH)<br />

Why didn't you tell me<br />

about this?<br />

910. 388.11 391.02 2.07 AKEELAH:(TO WANDA)<br />

Mama, I hated going<br />

behind your back.<br />

911. 391.07 396.12 5.05 AKEELAH:(CONT)<br />

But every time I<br />

brought up <strong>the</strong> bee, you<br />

didn't want to hear it.<br />

912. 399.06 401.07 2.01 AKEELAH:(CONT)<br />

I didn't know what to<br />

do.<br />

913. 404.15 406.11 1.12<br />

(over scene end) JAVIER:(VO)<br />

Can I get <strong>the</strong><br />

pronunciation again?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 232<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1262.INT. - AUDITORIUM - DAY<br />

(405+06) MCS Javier.<br />

JAVIER:(CONT)<br />

...pronunciation<br />

again?<br />

1263.(407+07) HEAD SHOT<br />

Judge.<br />

JUDGE:(TO JAVIER)(OS)<br />

He's given it to<br />

you...<br />

1264.(409+15) WAIST SHOT<br />

OTS Javier BG. Judges<br />

FG.<br />

JUDGE:(CONT)<br />

...five times. You<br />

need to spell <strong>the</strong><br />

word.<br />

JAVIER:(TO JUDGE)(OS)<br />

Could you use it in a<br />

sentence?<br />

JUDGE:(OS)(TO JAVIER)<br />

He's already...<br />

1265.(418+12) HEAD SHOT<br />

Judge.<br />

JUDGE:(CONT)<br />

...used it in a<br />

sentence.<br />

1266.(422+02) MCS<br />

Javier.<br />

JAVIER:(TO JUDGE)<br />

I mean, a different<br />

sentence than you used<br />

before.<br />

914. 407.12 414.00 6.04<br />

(over scene end) JUDGE:(TO JAVIER)(OS)<br />

He has given it to you<br />

five times. You need to<br />

spell <strong>the</strong> word.<br />

915. 415.08 418.01 2.09 JAVIER:(TO JUDGE)(OS)<br />

Could you use it in a<br />

sentence?<br />

916. 418.13 421.13 3.00<br />

(over scene end) JUDGE:(OS)(TO JAVIER)<br />

He has already used it<br />

in a sentence.<br />

917. 422.13 426.02 3.05 JAVIER:(TO JUDGE)<br />

I mean, a different<br />

sentence than you used<br />

before.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 233<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

1267.(426+07) CHEST SHOT<br />

Judges table.<br />

JUDGE:(TO JAVIER)(OS)<br />

You only get one<br />

sentence.<br />

JUDGE#2:(TO PRONOUNCER)<br />

What's up with this<br />

kid?<br />

1268.(432+06) MCS Javier<br />

looks from <strong>the</strong> Judge<br />

o/s to <strong>the</strong> Exit Door<br />

o/s.<br />

1269.EXT. - AUDITORIUM - DAY<br />

(434+11) HEAD SHOT OTS<br />

Akeelah.<br />

1270.(437+02) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)<br />

Well you must want<br />

this thing pretty bad.<br />

Because you...<br />

1271.(441+08) HEAD SHOT<br />

OTS Akeelah.<br />

WANDA:(CONT)<br />

...ain't never lied to<br />

me before in your<br />

life.<br />

1272.(445+14) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)<br />

So maybe you can tell<br />

me what a good<br />

punishment would be<br />

for what you did.<br />

1273.(452+00) HEAD SHOT<br />

OTS Akeelah looks<br />

down.<br />

918. 426.07 429.13 3.06 JUDGE:(TO JAVIER)(OS)<br />

You only get one<br />

sentence.<br />

919. 430.04 431.12 1.08 JUDGE#2:(TO PRONOUNCER)<br />

What is up with this<br />

kid?<br />

920. 439.03 444.09 5.06<br />

(over scene end) WANDA:(TO AKEELAH)<br />

Well you must want this<br />

thing pretty bad.<br />

Because you never lied<br />

to me before in your<br />

live.<br />

921. 446.11 451.07 4.12 WANDA:(TO AKEELAH)<br />

So maybe you can tell<br />

me what a good<br />

punishment would be for<br />

what you did.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 234<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - AUDITORIUM - CONT)<br />

1274.(456+03) HEAD SHOT<br />

OTS W<strong>and</strong>a gives an<br />

"I'm waiting," look.<br />

1275.(458+02) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO WANDA)<br />

I guess I gotta miss<br />

<strong>the</strong> bee.<br />

1276.(462+00) CHEST SHOT<br />

OTS W<strong>and</strong>a L., Welch<br />

BG.<br />

WANDA:(TO AKEELAH)<br />

Well, that don't just<br />

punish you.<br />

1277.(464+05) WAIST SHOT<br />

W<strong>and</strong>a L, Welch <strong>and</strong><br />

Larabee C. BG.,<br />

Akeelah R.<br />

WANDA:(CONT)<br />

Mister Welch <strong>and</strong><br />

Doctor Larabee done<br />

put a lot of time into<br />

this too.<br />

1278.(469+05) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(CONT)<br />

So you think of<br />

something else.<br />

1279.(471+15) HEAD SHOT<br />

OTS Akeelah looks o/s<br />

L. to Larabee.<br />

1280.(474+09) MCS<br />

Larabee returns <strong>the</strong><br />

look. And he too waits<br />

for an answer.<br />

922. 459.07 461.15 2.08 AKEELAH:(TO WANDA)<br />

I guess I have got to<br />

miss <strong>the</strong> bee.<br />

923. 462.11 468.14 6.03<br />

(over scene end) WANDA:(TO AKEELAH)<br />

Well, that don't just<br />

punish you. Mr. Welch<br />

<strong>and</strong> Doctor Larabee put<br />

a lot of time in this<br />

too.<br />

924. 469.13 471.10 1.13 WANDA:(CONT)<br />

So you think of<br />

something else.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 235<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - AUDITORIUM - CONT)<br />

1281.(476+11) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO WANDA)<br />

Maybe double chores<br />

for <strong>the</strong> month.<br />

1282.(482+07) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)<br />

For <strong>the</strong> next three<br />

months.<br />

1283.(486+11) HEAD SHOT<br />

OTS Akeelah.<br />

1284.(489+01) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO WELCH)(OS)<br />

She still got time to<br />

get back up on that<br />

stage?<br />

1285.(493+02) MCS Welch<br />

sees a ray of hope.<br />

WELCH:(TO WANDA)(OS)<br />

Ah... If we move very<br />

quickly...<br />

1286.(497+14) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WELCH:(OS)(CONT)<br />

...yes.<br />

WANDA:(TO AKEELAH)<br />

Well, I guess you<br />

better get a move on.<br />

Hmm?<br />

1287.(504+06) HEAD SHOT<br />

OTS Akeelah looks to<br />

her mo<strong>the</strong>r's eyes.<br />

Then slowly moves o/s<br />

L.<br />

925. 480.03 481.12 1.09 AKEELAH:(TO WANDA)<br />

Maybe double chores for<br />

<strong>the</strong> month.<br />

926. 483.00 485.11 2.11 WANDA:(TO AKEELAH)<br />

For <strong>the</strong> next three<br />

months.<br />

927. 489.07 492.13 3.06 WANDA:(TO WELCH)(OS)<br />

She still got time to<br />

get back up on that<br />

stage?<br />

928. 496.02 499.03 3.01<br />

(over scene end) WELCH:(TO WANDA)(OS)<br />

If we move very<br />

quickly, yes.<br />

929. 500.02 502.08 2.06 WANDA:(TO AKEELAH)<br />

Well, I guess you had<br />

better get a move on.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 236<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - AUDITORIUM - CONT)<br />

1288.(508+04) WAIST SHOT<br />

Akeelah joins Welch<br />

BG.<br />

WELCH:(TO AKEELAH)<br />

We haven't much time.<br />

Come on.<br />

Akeelah <strong>and</strong> Welch head<br />

for <strong>the</strong> auditorium<br />

door BG. Akeelah<br />

STOPS <strong>the</strong>n moves BACK<br />

TO WANDA. They<br />

EMBRACE.<br />

AKEELAH:(TO WANDA)<br />

Thank you mama.<br />

W<strong>and</strong>a pats her with<br />

assurance.<br />

WANDA:(TO AKEELAH)<br />

All right.<br />

Akeelah RUNS to join<br />

Welch BG. The EXIT<br />

into <strong>the</strong> auditorium.<br />

W<strong>and</strong>a <strong>and</strong> Larabee look<br />

to each o<strong>the</strong>r.<br />

1289.(531+13) CHEST SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO LARABEE)<br />

Doctor Larabee, is it?<br />

1290.(534+07) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO WANDA)<br />

Yes.<br />

1291.(536+14) CHEST SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO LARABEE)<br />

So you actually think<br />

Akeelah...<br />

930. 510.00 513.14 3.14 WELCH:(TO AKEELAH)<br />

We haven't much time.<br />

Come on.<br />

931. 520.03 521.11 1.08 AKEELAH:(TO WANDA)<br />

Thank you mama.<br />

932. 524.03 526.01 1.14 WANDA:(TO AKEELAH)<br />

All right.<br />

933. 532.03 534.04 2.01 WANDA:(TO LARABEE)<br />

Doctor Larabee, is it?<br />

934. 534.15 536.07 1.08 LARABEE:(TO WANDA)<br />

Yes.<br />

935. 538.05 543.08 5.03<br />

(over scene end) WANDA:(TO LARABEE)<br />

So you actually think<br />

Akeelah has a chance to<br />

win <strong>the</strong> national<br />

spelling bee?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 237<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - AUDITORIUM - CONT)<br />

1292.(540+11) CHEST SHOT<br />

OTS Larabee.<br />

WANDA:(CONT)<br />

...has a chance to win<br />

<strong>the</strong> national spelling<br />

bee?<br />

LARABEE:(TO WANDA)<br />

Yes. Yes I think...<br />

1293.(549+06) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

LARABEE:(CONT)<br />

...she does.<br />

1294.INT. - AUDITORIUM - DAY<br />

(555+02) MCS Javier at<br />

<strong>the</strong> microphone.<br />

JAVIER:(TO JUDGE)<br />

Well, could you use it<br />

in a song?<br />

1295.(559+15) HEAD SHOT<br />

Judge.<br />

JUDGE:(TO JAVIER)(OS)<br />

What?<br />

1296.(562+04) MCS<br />

Javier looks to <strong>the</strong><br />

rear of <strong>the</strong> auditorium<br />

o/s.<br />

1297.(563+10) FULL SHOT<br />

<strong>the</strong> REAR of <strong>the</strong><br />

Auditorium, EXIT DOOR<br />

OPENS. Akeelah <strong>and</strong><br />

Welch ENTER.<br />

JAVIER:(CONT)<br />

Never...<br />

936. 545.06 550.04 4.14<br />

(over scene end) LARABEE:(TO WANDA)<br />

Yes, I think she does.<br />

937. 555.11 559.07 3.12 JAVIER:(TO JUDGE)<br />

Well, could you use it<br />

in a song?<br />

938. 560.04 561.12 1.08 JUDGE:(TO JAVIER)(OS)<br />

What?<br />

939. 566.03 568.15 2.12<br />

(over scene end) JAVIER:(CONT)<br />

Never mind.<br />

Ratatouille...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 238<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

1298.(566+11) WAIST SHOT<br />

OTS Judges FG. Javier<br />

BG. at <strong>the</strong> microphone.<br />

JAVIER:(CONT)<br />

...mind.<br />

"Ratatouille."<br />

R-A-T-A-T-O-U...<br />

1299.(570+15) HEAD SHOT<br />

Judge.<br />

...I-L-L...<br />

1300.(572+03) MCS<br />

Javier.<br />

JAVIER:(CONT)<br />

...E. Ratatouille.<br />

1301.(573+14) HEAD SHOT<br />

Judge.<br />

JUDGE:(TO JAVIER)(OS)<br />

Ah... That's correct.<br />

1302.(577+00) CHEST SHOT<br />

Judges.<br />

JUDGE:(CONT)<br />

Where's number seventy<br />

three, please?<br />

1303.(579+13) M FULL<br />

SHOT Akeelah <strong>and</strong> Welch<br />

make <strong>the</strong>ir way to FG.<br />

JUDGE:(OS)(CONT)<br />

Number seventy three?<br />

WELCH:(TO JUDGE)(OS)<br />

She's here. She's<br />

here.<br />

Mister Welch HELPS<br />

Akeelah BACK ONTO THE<br />

STAGE.<br />

940. 569.05 573.08 4.03<br />

(over scene end) JAVIER:(CONT)<br />

R-A-T-A-T-O-U-I-L-L-E<br />

"Ratatouille".<br />

941. 575.00 576.08 1.08 JUDGE:(TO JAVIER)(OS)<br />

That is correct.<br />

942. 577.04 579.05 2.01 JUDGE:(CONT)<br />

Where is number seventy<br />

three, please?<br />

943. 580.05 582.01 1.12 JUDGE:(OS)(CONT)<br />

Number seventy three?<br />

944. 582.07 583.15 1.08 WELCH:(TO JUDGE)(OS)<br />

She is here.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 239<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

1304.(587+07) WAIST SHOT<br />

W<strong>and</strong>a at <strong>the</strong> back of<br />

<strong>the</strong> auditorium look to<br />

Akeelah o/s L. She<br />

walks R. FOLLOWED BY<br />

Larabee.<br />

1305.(591+01) MCS Javier<br />

L., Akeelah R.<br />

AKEELAH:(TO JAVIER)<br />

Thank you.<br />

JAVIER:(TO AKEELAH)<br />

I was about to start<br />

tap dancing.<br />

1306.(594+09) FULL SHOT<br />

Akeelah takes her<br />

place at <strong>the</strong><br />

microphone. Judges R.<br />

1307.(597+01) CHEST SHOT<br />

W<strong>and</strong>a L., Larabee R.<br />

<strong>the</strong>y look o/s L. to<br />

Akeelah.<br />

PRONOUNCER:(OS)<br />

(TO AKEELAH)(OS)<br />

Okay. "Pluviosity."<br />

1308.(602+03) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO PRONOUNCER)<br />

Can I get a<br />

definition, please.<br />

1309.(605+04) CHEST SHOT<br />

W<strong>and</strong>a L., Larabee R.<br />

PRONOUNCER:(OS)<br />

(TO AKEELAH)(OS)<br />

Pluviosity means, "A<br />

state characterized by<br />

much rain."<br />

945. 591.11 593.03 1.08 AKEELAH:(TO JAVIER)<br />

Thank you.<br />

946. 593.09 595.01 1.08<br />

(over scene end) JAVIER:(TO AKEELAH)<br />

I was about to start<br />

tap dancing.<br />

947. 597.04 601.08 4.04 PRONOUNCER:(OS)<br />

(TO AKEELAH)(OS)<br />

Okay. "Pluviosity."<br />

948. 603.02 605.01 1.15 AKEELAH:(TO PRONOUNCER)<br />

Can I get a definition,<br />

please.<br />

949. 605.14 612.00 6.02 PRONOUNCER:(OS)<br />

(TO AKEELAH)(OS)<br />

Pluviosity means, "A<br />

state characterized by<br />

much rain."


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 240<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

1310.(612+04) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:<br />

(TO PRONOUNCER)(OS)<br />

Okay.<br />

1311.(614+14) HEAD SHOT<br />

W<strong>and</strong>a sits in <strong>the</strong><br />

audience.<br />

(MUSIC IN)<br />

1312.(620+03) HEAD SHOT<br />

Akeelah looks o/s R.,<br />

to W<strong>and</strong>a <strong>and</strong> SMILES.<br />

AKEELAH:(TO ALL)<br />

Pluviosity. P-L-U...<br />

1313.(629+11) MCS W<strong>and</strong>a.<br />

AKEELAH:(OS)(CONT)<br />

...V-I-O-S...<br />

1314.(632+15) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...-I-T-Y.<br />

Pluviosity.<br />

1315.(636+10) HEAD SHOT<br />

Judge.<br />

JUDGE:(TO AKEELAH)(OS)<br />

That's correct.<br />

(APPLAUSE)<br />

1316.(639+00) HEAD SHOT<br />

Akeelah SMILES.<br />

(APPLAUSE)<br />

950. 624.02 626.02 2.00 AKEELAH:(TO ALL)<br />

Pluviosity.<br />

951. 627.04 634.04 7.00<br />

(over scene end) AKEELAH:(CONT)<br />

P-L-U-V-I-O-S-I-T-Y<br />

952. 634.11 636.03 1.08 AKEELAH:(CONT)<br />

Pluviosity.<br />

953. 636.15 638.08 1.09 JUDGE:(TO AKEELAH)(OS)<br />

That is correct.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 241<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - AUDITORIUM - CONT)<br />

(MUSIC - CONT)<br />

1317.(641+03) MCS W<strong>and</strong>a<br />

looks around at <strong>the</strong><br />

audience as <strong>the</strong>y<br />

applaud her daughter.<br />

She begins to clap<br />

also.<br />

1318.(651+12) CHEST SHOT<br />

CAMERA PANS R. as<br />

Dylan, Javier <strong>and</strong><br />

Akeelah ALL HOLD<br />

RIBBONS. Each has<br />

placed as <strong>the</strong> top<br />

three winners for <strong>the</strong><br />

Regional Spelling <strong>Bee</strong>.<br />

1319.EXT. - CRENSHAW SCHOOL - DAY<br />

(659+07) MS NEWSPRINT<br />

PICTURE, CAMERA PULLS<br />

OUT. WE SEE it is a<br />

poster ON A WALL.<br />

Akeelah, Mrs. Cross<br />

<strong>and</strong> Mr. Welch st<strong>and</strong> on<br />

a platform outside of<br />

<strong>the</strong> school.<br />

WELCH:(OUT LOUD)<br />

I'd like to thank you<br />

all for coming out<br />

today. To honor our<br />

own Akeelah Anderson.<br />

(CHEERS)<br />

1320.(678+06) LS of <strong>the</strong><br />

school. POSTER BG.<br />

STUDENTS FG.<br />

(CHEERS)<br />

1321.(681+02) MS Tough<br />

girls <strong>and</strong> Chuckie.<br />

Rolls <strong>the</strong>ir eyes.<br />

954. 667.03 671.15 4.12 WELCH:(OUT LOUD)<br />

I would like to thank<br />

you all for coming out<br />

today.<br />

955. 672.12 677.10 4.14 WANDA:(CONT)<br />

To honor our own<br />

Akeelah Anderson.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 242<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - CRENSHAW SCHOOL - CONT)<br />

(MUSIC - CONT)<br />

1322.(684+00) CHEST SHOT<br />

Akeelah MOVES to FG.<br />

to <strong>the</strong> microphone.<br />

(MUSIC OUT)<br />

AKEELAH:(TO ALL)<br />

Umm... Thanks.<br />

1323.(693+10) LS of <strong>the</strong><br />

Pep rally. Silence.<br />

1324.(696+08) WAIST SHOT<br />

LOW ANGLE Akeelah at<br />

<strong>the</strong> microphone.<br />

AKEELAH:(CONT)<br />

A lot.<br />

(CHEERS/APPLAUSE)<br />

1325.(701+00) MCS<br />

Georgia smiles <strong>and</strong><br />

claps.<br />

LAP DISSOLVE;<br />

956. 691.11 693.03 1.08 AKEELAH:(TO ALL)<br />

Thanks.<br />

957. 697.02 698.15 1.13 AKEELAH:(CONT)<br />

A lot.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 243<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - CRENSHAW SCHOOL - CONT)<br />

1326.(704+15) M FULL<br />

SHOT CAMERA FOLLOWS<br />

Georgia as she WALKS<br />

to join Akeelah BG.<br />

who is signing<br />

autographs.<br />

GEORGIA:(TO AKEELAH)<br />

Girl, you're like a<br />

movie star now.<br />

AKEELAH:(TO GEORGIA)<br />

I know, it's pretty<br />

crazy.<br />

GEORGIA:(TO AKEELAH)<br />

Hey, my mama said she<br />

wants to take us out<br />

to celebrate tonight.<br />

CAMERA TRACKS L. for<br />

OTS.<br />

AKEELAH:(TO GEORGIA)<br />

Javier's parents are<br />

taking me out. But<br />

you know maybe we<br />

can...<br />

Mr. Welch ENTERS R,<br />

WELCH:(TO AKEELAH)<br />

Excuse me, I'm sorry.<br />

There's a reporter<br />

here. And she wants<br />

to talk to you.<br />

AKEELAH:(TO WELCH)<br />

I don't want to talk<br />

to no reporter.<br />

WELCH:(TO AKEELAH)<br />

Are you kidding? This<br />

is exactly <strong>the</strong> sort of<br />

good publicity<br />

Crenshaw needs.<br />

Welch looks to <strong>the</strong><br />

entourage.<br />

958. 707.02 709.15 2.13 GEORGIA:(TO AKEELAH)<br />

Girl, you are like a<br />

movie star now.<br />

959. 710.07 713.02 2.11 AKEELAH:(TO GEORGIA)<br />

I know, it is pretty<br />

crazy.<br />

960. 713.08 716.15 3.07 GEORGIA:(TO AKEELAH)<br />

Hey, my mama said she<br />

wants to take us out to<br />

celebrate tonight.<br />

961. 719.15 722.09 2.10 AKEELAH:(TO GEORGIA)<br />

Javier's parents are<br />

taking me out.<br />

962. 723.07 725.07 2.00 AKEELAH:(CONT)<br />

But you know maybe we<br />

can...<br />

963. 725.15 730.03 4.04 WELCH:(TO AKEELAH)<br />

Excuse me, I'm sorry.<br />

There is a reporter<br />

here. And she wants to<br />

talk to you.<br />

964. 730.09 732.04 1.11 AKEELAH:(TO WELCH)<br />

I don't want to talk to<br />

no reporter.<br />

965. 732.11 738.13 6.02 WELCH:(TO AKEELAH)<br />

Are you kidding? This<br />

is exactly <strong>the</strong> sort of<br />

good publicity Crenshaw<br />

needs.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 244<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - CRENSHAW SCHOOL - CONT)<br />

WELCH:(TO ALL)<br />

Excuse us. Sorry.<br />

Welch shepherds<br />

Akeelah o/s R. CAMERA<br />

WALKS R. <strong>and</strong> PANS L.<br />

to a DEJECTED Georgia.<br />

REPORTER:(VO)<br />

Hi, this is Lauren<br />

Sanchez reporting from<br />

South Los Angeles.<br />

I'm here...<br />

1327.(749+09) WAIST SHOT<br />

Akeelah L., Reporter<br />

R.<br />

REPORTER:(CONT)<br />

...with eleven year<br />

old Akeelah Anderson.<br />

She's a...<br />

1328.INT. - LARABEE'S HOUSE - DAY<br />

(753+05) ECS EYES ONLY<br />

of Larabee as she<br />

looks o/s R. to a<br />

television set.<br />

(MUSIC IN)<br />

REPORTER:(FROM TV)<br />

...seventh grader from<br />

Crenshaw middle<br />

school. Who's<br />

heading...<br />

1329.(757+11) MS<br />

Television set.<br />

REPORTER:(CONT)<br />

...to <strong>the</strong> National<br />

Spelling <strong>Bee</strong>. How<br />

does it...<br />

966. 739.13 742.07 2.10 WELCH:(TO ALL)<br />

Excuse us. Sorry.<br />

967. 745.15 749.02 3.03 REPORTER:(VO)<br />

Hi, this is Lauren<br />

Sanchez reporting from<br />

South Los Angeles.<br />

968. 749.15 752.11 2.12<br />

(over scene end) REPORTER:(CONT)<br />

I'm here with eleven<br />

year old Akeelah<br />

Anderson.<br />

969. 754.00 759.14 5.14<br />

(over scene end) REPORTER:(CONT)<br />

She is seventh grader<br />

from Crenshaw Middle<br />

School who is headed to<br />

<strong>the</strong> national spelling<br />

bee.<br />

970. 760.04 764.02 3.14<br />

(over scene end) REPORTER:(CONT)<br />

How does it feel, now<br />

that you are going to<br />

Washington DC?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 245<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

1330.(760+03) MCS<br />

Larabee looks o/s R.<br />

to <strong>the</strong> television set.<br />

REPORTER:(CONT)<br />

...feel now that<br />

you're going to be<br />

going to Washington<br />

DC?<br />

AKEELAH:(FROM TV)<br />

It's pretty cool.<br />

REPORTER:(FROM TV)<br />

Are you excited?<br />

Larabee looks o/s<br />

BOTTOM.<br />

1331.(767+01) MS HIGH<br />

ANGLE of a PICTURE of<br />

Larabee WITH HIS<br />

DAUGHTER.<br />

REPORTER:(FROM TV)<br />

All right, let's check<br />

out <strong>the</strong> word that<br />

Akeelah spelled<br />

here...<br />

1332.(770+05) ECS EYES<br />

ONLY Larabee.<br />

REPORTER:(CONT)<br />

...at <strong>the</strong> Sou<strong>the</strong>rn<br />

California finals,<br />

that got her...<br />

1333.(773+05) CS Picture<br />

of Larabee <strong>and</strong><br />

daughter.<br />

REPORTER:(CONT)<br />

...to <strong>the</strong> national<br />

bee.<br />

971. 764.12 766.03 1.07 AKEELAH:(FROM TV)<br />

It is pretty cool.<br />

972. 766.09 768.01 1.08<br />

(over scene end) REPORTER:(FROM TV)<br />

Are you excited?<br />

973. 768.07 775.03 6.12<br />

(over scene end) REPORTER:(FROM TV)<br />

All right, let us check<br />

out <strong>the</strong> word that<br />

Akeelah spelled here at<br />

<strong>the</strong> Sou<strong>the</strong>rn California<br />

finals that got her to<br />

<strong>the</strong> national spelling<br />

bee.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 246<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

1334.(777+12) CHEST SHOT<br />

Larabee look to <strong>the</strong><br />

picture o/s BOTTOM<br />

with sadness in his<br />

eyes.<br />

(LARABEE SIGHS)<br />

He rests his head in<br />

his h<strong>and</strong>.<br />

1335.(787+12) FULL SHOT<br />

HIGH ANGLE Larabee<br />

PUTS THE PICTURE in A<br />

DRAWER. He SITS BACK.<br />

LARABEE:(VO)<br />

Spell,<br />

"affenpinscher."<br />

974. 796.15 798.14 1.15 LARABEE:(VO)<br />

Spell, "affenpinscher."<br />

(INTENTIONALLY BLANK)


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 247<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1336.INT. - LARABEE'S HOME - DAY<br />

(799+06) HEAD SHOT<br />

Akeelah looks o/s R.<br />

to Larabee.<br />

AKEELAH:(TO LARABEE)<br />

Affen – what?<br />

1337.(801+10) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

"Grallatorial."<br />

1338.(804+00) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

G-R-A-L-A-T...<br />

LARABEE:(TO AKEELAH)<br />

Wrong.<br />

1339.(809+12) WAIST SHOT<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

"Jacquard."<br />

1340.(811+09) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Doctor Larabee?<br />

LARABEE:(TO AKEELAH)<br />

Spell <strong>the</strong>...<br />

1341.(814+03) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

...word. "Jacquard."<br />

1342.(816+01) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

J-A...<br />

975. 799.09 801.06 1.13 AKEELAH:(TO LARABEE)<br />

Affen – what?<br />

976. 801.15 803.11 1.12 LARABEE:(TO AKEELAH)<br />

"Grallatorial."<br />

977. 805.07 808.15 3.08 AKEELAH:(TO LARABEE)<br />

G-R-A-L-A-T...<br />

978. 809.05 811.07 2.02<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Wrong. "Jacquard."<br />

979. 812.05 813.15 1.10 AKEELAH:(TO LARABEE)<br />

Doctor Larabee?<br />

980. 814.05 815.13 1.08<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Spell <strong>the</strong> word,<br />

"Jacquard."<br />

981. 818.12 821.15 3.03<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

J-A-Q-U-A...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 248<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1343.(820+06) CHEST SHOT<br />

OTS Larabee.<br />

AKEELAH:(CONT)<br />

...Q-U-A...<br />

LARABEE:(TO AKEELAH)<br />

What about <strong>the</strong> "C"?<br />

1344.(823+14) CHEST SHOT<br />

Akeelah.<br />

LARABEE:(OS)(CONT)<br />

These are all words<br />

that were...<br />

1345.(826+05) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

...missed in last<br />

year's national<br />

spelling bee.<br />

1346.(830+02) FULL SHOT<br />

Akeelah L., Larabee R.<br />

LARABEE:(CONT)<br />

And you can't spell<br />

one of <strong>the</strong>m.<br />

AKEELAH:(TO LARABEE)<br />

Maybe 'cause we<br />

haven't studied <strong>the</strong>m<br />

yet.<br />

LARABEE:(TO AKEELAH)<br />

Why did you cancel<br />

yesterday? Hmm? Were<br />

you doing ano<strong>the</strong>r...<br />

982. 822.05 823.13* 1.08 LARABEE:(TO AKEELAH)<br />

What about <strong>the</strong> "C"?<br />

983. 824.15 830.00 5.01<br />

(over scene end) LARABEE:(OS)(CONT)<br />

These are all words<br />

that were missed in<br />

last year's national<br />

spelling bee.<br />

984. 830.12 832.04 1.08 LARABEE:(CONT)<br />

And you can't spell one<br />

of <strong>the</strong>m.<br />

985. 832.03 835.03 3.00 AKEELAH:(TO LARABEE)<br />

Maybe because we<br />

haven't studied <strong>the</strong>m<br />

yet.<br />

986. 835.09 840.14 5.05<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Why did you cancel<br />

yesterday? Hmm? Were<br />

you doing ano<strong>the</strong>r<br />

interview?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 249<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1347.(839+08) CHEST SHOT<br />

Larabee.<br />

LARABEE:(CONT)<br />

...interview.<br />

Flaunting yourself in<br />

front of <strong>the</strong><br />

television cameras?<br />

1348.(844+01) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

No. I was at <strong>the</strong><br />

mall.<br />

1349.(846+09) CHEST SHOT<br />

OTS Larabee grows wide<br />

eyed.<br />

AKEELAH:(CONT)<br />

Look...<br />

1350.(849+03) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...I wasn't dissing<br />

you. I was Christmas<br />

shopping.<br />

1351.(853+09) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Dissing? I thought we<br />

didn't use words like<br />

that. I thought we<br />

only used words from<br />

<strong>the</strong> dictionary in<br />

here.<br />

1352.(862+05) CHEST SHOT<br />

Akeelah TURNS to A<br />

LARGE DICTIONARY BG.<br />

<strong>and</strong> thumbs pages.<br />

987. 841.04 843.03 1.15 LARABEE:(CONT)<br />

Flaunting yourself in<br />

front of <strong>the</strong> television<br />

cameras?<br />

988. *844.01 846.03 2.02 AKEELAH:(TO LARABEE)<br />

No. I was at <strong>the</strong> mall.<br />

989. 848.10 853.01 4.07<br />

(over scene end) AKEELAH:(CONT)<br />

Look, I wasn't dissing<br />

you. I was Christmas<br />

shopping.<br />

990. 853.15 856.14 2.15 LARABEE:(TO AKEELAH)<br />

Dissing? I thought we<br />

didn't use words like<br />

that.<br />

991. 857.04 861.11 4.07 LARABEE:(CONT)<br />

I thought we only used<br />

words from <strong>the</strong><br />

dictionary in here.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 250<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1353.(867+06) CHEST SHOT<br />

Akeelah FG. looks<br />

through pages.<br />

Larabee BG.<br />

1354.(869+07) CHEST SHOT<br />

Akeelah BACK TO CAMERA<br />

at <strong>the</strong> dictionary.<br />

1355.(870+14) CHEST SHOT<br />

OTS Larabee BG.<br />

crosses his arms.<br />

Akeelah FG. at <strong>the</strong><br />

dictionary.<br />

1356.(874+03) M FULL<br />

SHOT Akeelah at <strong>the</strong><br />

dictionary FG. Larabee<br />

BG.<br />

AKEELAH:(READS)<br />

"Dis." Dissed, Dis...<br />

1357.(877+07) MCS<br />

Larabee.<br />

AKEELAH:(OS)(CONT)<br />

...eased. To treat<br />

with disrespect or<br />

contempt. To find<br />

fault with.<br />

1358.(882+13) WAIST SHOT<br />

Akeelah turns <strong>and</strong><br />

looks o/s R. to<br />

Larabee.<br />

AKEELAH:(TO LARABEE)<br />

New words get added to<br />

<strong>the</strong> dictionary...<br />

1359.(886+07) CHEST SHOT<br />

OTS Larabee.<br />

AKEELAH:(CONT)<br />

...every year.<br />

1360.(889+05) CHEST SHOT<br />

Akeelah crosses her<br />

arms also.<br />

992. 875.03 878.09 3.06<br />

(over scene end) AKEELAH:(READS)<br />

"Dis." Dissed,<br />

Diseased.<br />

993. 879.01 882.07 3.06 AKEELAH:(OS)(CONT)<br />

To treat with<br />

disrespect or contempt.<br />

To find fault with.<br />

994. 883.13 887.10 3.13<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

New words get added to<br />

<strong>the</strong> dictionary every<br />

year.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 251<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1361.(892+07) CHEST SHOT<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Look...<br />

1362.(899+10) HEAD SHOT<br />

Akeelah.<br />

LARABEE:(OS)(CONT)<br />

...I didn't get to <strong>the</strong><br />

national bee until I<br />

was...<br />

1363.(904+04) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

...fourteen years old.<br />

I had no help. I had<br />

no training. I had<br />

nothing. By <strong>the</strong> time<br />

I got to <strong>the</strong> third<br />

round I was out.<br />

1364.(916+03) HEAD SHOT<br />

Akeelah.<br />

LARABEE:(OS)(CONT)<br />

You have an<br />

opportunity...<br />

1365.(921+10) MCS<br />

Larabee.<br />

LARABEE:(CONT)<br />

...to win this thing.<br />

1366.(924+14) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

But all we've done for<br />

eight months is study<br />

words.<br />

995. 898.07 905.07 7.00<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Look, I didn't get to<br />

<strong>the</strong> national bee until<br />

I was fourteen years<br />

old.<br />

996. 906.06 911.08 5.02 LARABEE:(CONT)<br />

I had no help. I had<br />

no training. I had<br />

nothing.<br />

997. 912.12 916.00 3.04 LARABEE:(CONT)<br />

By <strong>the</strong> time I got to<br />

<strong>the</strong> third round I was<br />

out.<br />

998. 917.07 924.00 6.09<br />

(over scene end) LARABEE:(OS)(CONT)<br />

You have an opportunity<br />

to win this thing.<br />

999. 928.11 935.00 6.05 AKEELAH:(TO LARABEE)<br />

But all we have done<br />

for eight months is<br />

study words.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 252<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1367.(935+15) CHEST SHOT<br />

OTS Larabee.<br />

AKEELAH:(CONT)<br />

Why can't we take a<br />

break? Go to a<br />

movie...<br />

1368.(940+09) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...to a basket ball<br />

game. Why can't we<br />

have fun?<br />

1369.(943+11) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

I told you Denise, you<br />

can have fun after <strong>the</strong><br />

bee.<br />

Larabee TURNS AWAY<br />

with books.<br />

1370.(949+11) HEAD SHOT<br />

Akeelah looks o/s R.<br />

to Larabee.<br />

AKEELAH:(TO LARABEE)<br />

Who... who's Denise?<br />

1371.(955+05) CHEST SHOT<br />

OTS Larabee BACK TO<br />

CAMERA.<br />

LARABEE:(TO AKEELAH)<br />

What?<br />

AKEELAH:(TO LARABEE)<br />

Denise...<br />

1000. 936.05 942.08 6.03<br />

(over scene end) AKEELAH:(CONT)<br />

Why can't we take a<br />

break? Go to a movie or<br />

a basketball game?<br />

1001. 942.14 944.15 2.01 AKEELAH:(CONT)<br />

Why can't we have fun?<br />

1002. 945.08 948.05 2.13 LARABEE:(TO AKEELAH)<br />

I told you Denise, you<br />

can have fun after <strong>the</strong><br />

bee.<br />

1003. 952.15 955.01 2.02 AKEELAH:(TO LARABEE)<br />

Who is Denise?<br />

1004. 956.00 957.08 1.08 LARABEE:(TO AKEELAH)<br />

What?<br />

1005. 959.03 961.15 2.12<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

Denise. You called<br />

Denise who is that?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 253<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1372.(959+13) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...you called me<br />

Denise. Who's that?<br />

1373.(962+01) CHEST SHOT<br />

OTS Larabee.<br />

(MUSIC IN)<br />

1374.(964+02) HEAD SHOT<br />

Larabee struggles with<br />

his strong feelings.<br />

1375.(966+14) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Doctor Larabee, are<br />

you okay?<br />

1376.(970+12) HEAD SHOT<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Yes. Yes, I'm fine.<br />

1377.(982+00) HEAD SHOT<br />

Akeelah.<br />

1378.(984+10) HEAD SHOT<br />

Larabee.<br />

1379.(986+15) FULL SHOT<br />

Akeelah L, at <strong>the</strong> edge<br />

of <strong>the</strong> desk. Larabee<br />

R. lifts SEVERAL BOXES<br />

from a credenza R.<br />

<strong>and</strong> places <strong>the</strong>m on his<br />

desk.<br />

LARABEE:(TO AKEELAH)<br />

Listen, I spent all<br />

last week...<br />

1006. 968.00 970.05 2.05 AKEELAH:(TO LARABEE)<br />

Doctor Larabee, are you<br />

okay?<br />

1007. 975.00 981.03 6.03 LARABEE:(TO AKEELAH)<br />

Yes. Yes, I'm fine.<br />

1008. 987.06 993.04 5.14<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Listen, I spent all<br />

last week making <strong>the</strong>se<br />

for you.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 254<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

(MUSIC - CONT)<br />

1380.(991+09) MS <strong>the</strong><br />

boxes.<br />

LARABEE:(CONT)<br />

...making <strong>the</strong>se for<br />

you.<br />

1381.(994+11) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

What are <strong>the</strong>y?<br />

LARABEE:(TO AKEELAH)<br />

They are flash cards.<br />

Five thous<strong>and</strong>...<br />

1382.(998+05) MCS OTS<br />

Larabee.<br />

LARABEE:(CONT)<br />

...new words. The<br />

types that you will<br />

run into at <strong>the</strong><br />

finals.<br />

1383.(1003+12) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Five thous<strong>and</strong>? But<br />

we've only got a few<br />

months left. What,<br />

you gonna coach me<br />

twenty four - seven?<br />

1384.(1010+11) MCS OTS<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Ah... no. You're<br />

going to umm... learn<br />

<strong>the</strong>se on your own.<br />

1009. 995.03 996.11 1.08 AKEELAH:(TO LARABEE)<br />

What are <strong>the</strong>y?<br />

1010. 997.01 1003.07 6.06<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

They are flash cards.<br />

Five thous<strong>and</strong> new<br />

words. The types that<br />

you will run into at<br />

<strong>the</strong> finals.<br />

1011. 1004.01 1010.03 6.02 AKEELAH:(TO LARABEE)<br />

Five thous<strong>and</strong>? But we<br />

only have a few months<br />

left. Are you going to<br />

coach me twenty four,<br />

seven?<br />

(Twenty four, seven: Contrived meaning,<br />

"Twenty four hours a day, seven days a<br />

week.)<br />

1012. 1011.07 1016.12 5.05 LARABEE:(TO AKEELAH)<br />

No. You are going to<br />

learn <strong>the</strong>se on your<br />

own.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 255<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

(MUSIC - CONT)<br />

1385.(1017+01) HEAD SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

There's nothing<br />

left...<br />

1386.(1020+02) MCS OTS<br />

Larabee.<br />

LARABEE:(CONT)<br />

...for me to teach<br />

you.<br />

1387.(1023+09) CHEST SHOT<br />

OTS Akeelah gasps.<br />

AKEELAH:(TO LARABEE)<br />

What?<br />

1388.(1027+12) MCS OTS<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

You... you've got it<br />

all, Akeelah. You've<br />

got word construction<br />

down. Etymology.<br />

1389.(1038+12) HEAD SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

Memorization<br />

techniques. What you<br />

need to do now is<br />

just...<br />

1013. 1018.08 1021.09 3.01<br />

(over scene end) LARABEE:(CONT)<br />

There is nothing left<br />

for me to teach you.<br />

1014. 1026.00 1027.08 1.08 AKEELAH:(TO LARABEE)<br />

What?<br />

1015. 1031.15 1034.03 2.04 LARABEE:(TO AKEELAH)<br />

You have got it all,<br />

Akeelah.<br />

1016. 1034.09 1040.09 6.00 LARABEE:(CONT)<br />

You have word<br />

construction down.<br />

Etymology. Memorization<br />

techniques.<br />

(Down: Mastered.)<br />

1017. 1041.15 1048.15 7.00<br />

(over scene end) LARABEE:(CONT)<br />

What you need to do now<br />

is just focus on <strong>the</strong><br />

words.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 256<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

(MUSIC - CONT)<br />

1390.(1045+01) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

...focus on <strong>the</strong> words.<br />

(AKEELAH GASPS)<br />

1391.(1049+08) HEAD SHOT<br />

Akeelah holds back<br />

tears <strong>and</strong> sobs.<br />

AKEELAH:(TO LARABEE)<br />

I can't learn five<br />

thous<strong>and</strong> new...<br />

1392.(1053+14) MCS OTS<br />

Larabee.<br />

AKEELAH:(CONT)<br />

..words all by myself.<br />

LARABEE:(TO AKEELAH)<br />

Yes you can. You've<br />

got a brain like a<br />

sponge. You just sit<br />

down <strong>and</strong> you study<br />

<strong>the</strong>m.<br />

1393.(1062+11) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Doctor Larabee, I<br />

swear, I promise...<br />

1394.(1065+07) CHEST SHOT<br />

OTS Larabee moves R.<br />

CAMERA PANS R. to<br />

follow.<br />

AKEELAH:(CONT)<br />

...I won't miss<br />

anymore sessions. And<br />

I'll do what ever you<br />

say.<br />

1018. 1050.13 1055.15 5.02<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

I can't learn five<br />

thous<strong>and</strong> new words all<br />

by myself.<br />

1019. 1056.05 1061.13 5.08 LARABEE:(TO AKEELAH)<br />

Yes you can. You have<br />

a brain like a sponge.<br />

You just sit down <strong>and</strong><br />

you study <strong>the</strong>m.<br />

1020. 1063.03 1068.00 4.13<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

Doctor Larabee, I<br />

swear, I promise I<br />

won't miss anymore<br />

sessions.<br />

1021. 1068.09 1070.11 2.02 AKEELAH:(CONT)<br />

And I will do what ever<br />

you say.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 257<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

(MUSIC - CONT)<br />

1395.(1071+03) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

You can't stop<br />

coaching me now.<br />

1396.(1074+06) CHEST SHOT<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

I told Mister Welch<br />

I'd get you through<br />

<strong>the</strong> regionals. And<br />

I've done that. Now,<br />

I don't have anything<br />

else I can teach you.<br />

1397.(1083+12) HEAD SHOT<br />

Akeelah.<br />

LARABEE:(OS)(CONT)<br />

You need to just take<br />

those words <strong>and</strong><br />

study...<br />

1398.(1087+11) CHEST SHOT<br />

Larabee.<br />

LARABEE:(CONT)<br />

...<strong>the</strong>m <strong>and</strong> you'll be<br />

all right.<br />

1399.(1091+01) HEAD SHOT<br />

Akeelah looks down to<br />

her jacket pocket.<br />

CAMERA TILTS DOWN to<br />

reveal her REMOVING<br />

SOMETHING from her<br />

pocket.<br />

1400.(1102+06) CHEST SHOT<br />

Akeelah moves her h<strong>and</strong><br />

o/s to Larabee's desk.<br />

1022. 1071.04 1073.15 2.11 AKEELAH:(CONT)<br />

You can't stop coaching<br />

me now.<br />

1023. 1075.13 1080.00 4.03 LARABEE:(TO AKEELAH)<br />

I told Mister Welch I<br />

would get you through<br />

<strong>the</strong> regionals. And I<br />

have done that.<br />

1024. 1080.06 1083.08 3.02 LARABEE:(CONT)<br />

Now, I don't have<br />

anything else I can<br />

teach you.<br />

1025. 1084.06 1089.09 5.03<br />

(over scene end) LARABEE:(OS)(CONT)<br />

You need to just take<br />

those words <strong>and</strong><br />

study <strong>the</strong>m <strong>and</strong> you will<br />

be all right.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 258<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

(MUSIC - CONT)<br />

1401.(1104+15) MS WE SEE<br />

a SMALL WRAPPED GIFT<br />

as Akeelah places it<br />

on Larabee's desk.<br />

AKEELAH:(TO LARABEE)<br />

This is why...<br />

1402.(1109+05) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...I was at <strong>the</strong> mall.<br />

1403.(1113+07) HEAD SHOT<br />

Larabee.<br />

1404.(1116+03) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Merry Christmas.<br />

1405.(1122+04) FULL SHOT<br />

Akeelah lifts <strong>the</strong><br />

boxes from Larabee's<br />

desk.<br />

1406.(1127+14) WAIST SHOT<br />

Larabee BG. Akeelah<br />

CROSSES o/s R. with<br />

<strong>the</strong> boxes.<br />

(FOOT STEPS)<br />

1407.(1131+06) HEAD SHOT<br />

Larabee looks o/s L.<br />

to his desk.<br />

(DOOR CLOSE)<br />

(MUSIC OUT)<br />

1026. 1107.11 1111.03 3.08<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

This is why I was at<br />

<strong>the</strong> mall.<br />

1027. 1116.08 1118.11 2.03 AKEELAH:(TO LARABEE)<br />

Merry Christmas.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 259<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

1408.INT. -AKEELAH'S BEDROOM- NIGHT<br />

(1139+09) MS WE SEE a<br />

FLASH CARD in<br />

Akeelah's h<strong>and</strong> as she<br />

removes it from one of<br />

her boxes. A SPELLING<br />

BEE WORD is PRINTED on<br />

<strong>the</strong> card.<br />

(MUSIC IN)<br />

1409.(1144+02) CHEST SHOT<br />

Akeelah looks to <strong>the</strong><br />

card in her h<strong>and</strong>.<br />

(RING TONE)<br />

GEORGIA:(FROM PHONE)<br />

Hello?<br />

AKEELAH:(VO)<br />

Hey girl.<br />

1410.(1151+13) M FULL<br />

SHOT Akeelah seated on<br />

her bed BG. Flash Card<br />

boxes FG.<br />

AKEELAH:(CONT)<br />

What 'chu doin'?<br />

CAMERA TRACKS L.<br />

GEORGIA:(FROM PHONE)<br />

Watching TV.<br />

AKEELAH:(TO PHONE)<br />

You wanna go skating<br />

this weekend?<br />

GEORGIA:(FROM PHONE)<br />

Why don't you go with<br />

your friends from<br />

Woodl<strong>and</strong> Hills?<br />

AKEELAH:(TO PHONE)<br />

What? Girl what's<br />

wrong with you?<br />

1028. 1148.13 1150.05 1.08 GEORGIA:(FROM PHONE)<br />

Hello?<br />

1029. 1150.11 1152.03 1.08 AKEELAH:(VO)<br />

Hey girl.<br />

1030. 1152.06 1154.03 1.13 AKEELAH:(CONT)<br />

What are you doing?<br />

1031. 1155.04 1157.04 2.00 GEORGIA:(FROM PHONE)<br />

Watching TV.<br />

1032. 1159.00 1162.01 3.01 AKEELAH:(TO PHONE)<br />

You want to go skating<br />

this weekend?<br />

1033. 1163.01 1166.10 3.09 GEORGIA:(FROM PHONE)<br />

Why don't you go with<br />

your friends from<br />

Woodl<strong>and</strong> Hills?<br />

1034. 1168.02 1172.11 4.09 AKEELAH:(TO PHONE)<br />

What? Girl what is<br />

wrong with you?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 260<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S BEDROOM - CONT)<br />

(MUSIC - CONT)<br />

GEORGIA:(FROM PHONE)<br />

Nothing. I got<br />

homework to do. I'll<br />

see you later.<br />

(DIAL TONE)<br />

1411.(1182+00) HEAD SHOT<br />

Akeelah BUTTONS OFF<br />

<strong>the</strong> phone.<br />

KIANA:(OS)(OUT LOUD)<br />

Keelie, Keelie, come<br />

on out here. Girl,<br />

you on TV.<br />

1412.INT. - LIVING ROOM - NIGHT<br />

(1198+14) M FULL SHOT<br />

W<strong>and</strong>a <strong>and</strong> Kiana L., on<br />

a couch FG. Akeelah R.<br />

walks to FG.<br />

KIANA:(TO AKEELAH)<br />

Hurry, hurry. Look,<br />

look...<br />

REPORTER:(FROM TV)<br />

Akeelah Anderson has<br />

captivated her...<br />

1413.(1203+13) MS OTS<br />

Television.<br />

REPORTER:(CONT)<br />

...community. All of<br />

Los Angeles is talking<br />

about her.<br />

(MUSIC IN)<br />

WOMAN:(FROM TV)<br />

Well, if she wins this<br />

spelling bee...<br />

1035. 1173.01 1179.15 6.14 GEORGIA:(FROM PHONE)<br />

Nothing. I got<br />

homework to do. I'll<br />

see you later.<br />

1036. 1192.15 1198.01 5.02 KIANA:(OS)(OUT LOUD)<br />

Keelie, Keelie, come on<br />

out here. Girl, you<br />

are on TV.<br />

1037. 1199.02 1201.15 2.13 KIANA:(TO AKEELAH)<br />

Hurry, hurry. Look,<br />

look...<br />

1038. 1202.05 1207.11 5.06<br />

(over scene end) REPORTER:(FROM TV)<br />

Akeelah Anderson has<br />

captivated her<br />

community. All of Los<br />

Angeles is talking<br />

about her.<br />

1039. 1208.14 1213.11 4.13<br />

(over scene end) WOMAN:(FROM TV)<br />

Well, if she wins this<br />

spelling bee it will be<br />

like everyone in <strong>the</strong><br />

neighborhood wins.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 261<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LIVING ROOM - CONT)<br />

(MUSIC - CONT)<br />

1414.(1211+06) CHEST SHOT<br />

Akeelah.<br />

WOMAN:(OS)(CONT)<br />

...it's gonna be like<br />

everybody in <strong>the</strong><br />

neighborhood wins.<br />

STEVE:(FROM TV)<br />

I think it'll...<br />

1415.(1215+07) MS<br />

Television.<br />

STEVE:(CONT)<br />

...be real positive...<br />

1416.(1217+11) CHEST SHOT<br />

Akeelah watches,<br />

becomes anxious.<br />

STEVE:(FROM TV)<br />

...You know, good for<br />

<strong>the</strong> community.<br />

LITTLE GIRL:(FROM TV)<br />

I'm already...<br />

1417.(1222+12) MS TV<br />

Little Girl.<br />

LITTLE GIRL:(CONT)<br />

...studying for next<br />

year's <strong>Bee</strong>.<br />

1040. 1214.07 1221.07 7.00<br />

(over scene end) STEVE:(FROM TV)<br />

I think it will be real<br />

positive, you know?<br />

Good for <strong>the</strong> community.<br />

1041. 1221.13 1224.12 2.15<br />

(over scene end) LITTLE GIRL:(FROM TV)<br />

I'm already studying<br />

for next year's bee.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 262<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LIVING ROOM - CONT)<br />

1418.(1225+07) CHEST SHOT<br />

Akeelah nearly breaks<br />

into full out crying.<br />

She turns AND RUNS to<br />

BG. CAMERA PANS L. to<br />

W<strong>and</strong>a <strong>and</strong> Kiana.<br />

(MUSIC OUT)<br />

WANDA:(TO KIANA)<br />

What is <strong>the</strong> matter<br />

with...?<br />

1419.INT. -AKEELAH'S BEDROOM- NIGHT<br />

(1234+00) CHEST SHOT<br />

Akeelah sits on her<br />

bedroom FG. W<strong>and</strong>a<br />

ENTERS BG. looks to<br />

Akeelah.<br />

WANDA:(TO AKEELAH)<br />

Akeelah, what's wrong?<br />

1420.(1236+15) MCS<br />

Akeelah.<br />

AKEELAH:(TO WANDA)<br />

I don't want to do <strong>the</strong><br />

bee no more.<br />

1421.(1240+06) WAIST SHOT<br />

OTS W<strong>and</strong>a sits R.<br />

WANDA:(TO AKEELAH)<br />

You don't want to do<br />

<strong>the</strong> bee?<br />

1422.(1242+10) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(CONT)<br />

Why not?<br />

1423.(1244+11) HEAD SHOT<br />

OTS Akeelah.<br />

(AKEELAH SNIFFS)<br />

AKEELAH:(TO WANDA)<br />

Doctor Larabee don't<br />

want to coach me no<br />

more.<br />

1042. 1231.15 1233.07 1.08 WANDA:(TO KIANA)<br />

What is <strong>the</strong> matter<br />

with...?<br />

1043. 1234.11 1236.10 1.15 WANDA:(TO AKEELAH)<br />

Akeelah, what is wrong?<br />

1044. 1237.13 1240.03 2.06 AKEELAH:(TO WANDA)<br />

I don't want to do <strong>the</strong><br />

bee no more.<br />

1045. 1240.09 1242.01 1.08 WANDA:(TO AKEELAH)<br />

You don't want to do<br />

<strong>the</strong> bee?<br />

1046. 1242.14 1244.06 1.08 WANDA:(CONT)<br />

Why not?<br />

1047. 1245.05 1247.14 2.09 AKEELAH:(TO WANDA)<br />

Doctor Larabee don't<br />

want to coach me no<br />

more.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 263<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S BEDROOM - CONT)<br />

1424.(1248+05) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

AKEELAH:(CONT)<br />

Georgia don't want to<br />

hang out with me.<br />

1425.(1252+04) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

And all <strong>the</strong>se people<br />

are expecting me to<br />

win.<br />

1426.(1257+12) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

AKEELAH:(CONT)<br />

And it's just to<br />

hard...<br />

1427.(1260+09) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

..mama. I want it all<br />

to stop.<br />

1428.(1264+06) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)<br />

Baby you worked so...<br />

AKEELAH:(TO WANDA)<br />

Please. Please.<br />

WANDA:(TO AKEELAH)<br />

All right. All right.<br />

W<strong>and</strong>a EMBRACES<br />

Akeelah.<br />

1429.INT. - LARABEE'S HOME - DAY<br />

(1277+09) CHEST SHOT<br />

Larabee looks o/s L.<br />

1048. 1249.06 1251.09 2.03 AKEELAH:(CONT)<br />

Georgia don't want to<br />

hang out with me.<br />

(Hang out: Visit with.)<br />

1049. 1252.10 1257.08 4.14 AKEELAH:(CONT)<br />

And all <strong>the</strong>se people<br />

are expecting me to<br />

win.<br />

1050. 1258.01 1263.11 5.10<br />

(over scene end) AKEELAH:(CONT)<br />

And it is just to hard,<br />

mama. I want it all to<br />

stop.<br />

1051. 1265.00 1266.04 1.04 WANDA:(TO AKEELAH)<br />

Baby you worked so...<br />

1052. 1266.10 1268.09 1.15 AKEELAH:(TO WANDA)<br />

Please. Please.<br />

1053. 1269.08 1271.15 2.07 WANDA:(TO AKEELAH)<br />

All right.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 264<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1430.(1282+08) CHEST SHOT<br />

W<strong>and</strong>a looks o/s R. to<br />

Larabee.<br />

LARABEE:(OS)(TO WANDA)<br />

I certainly didn't<br />

mean to...<br />

1431.(1287+13) FULL SHOT<br />

W<strong>and</strong>a seated on a<br />

couch L., with a cup<br />

of tee. Larabee in a<br />

chair R.<br />

LARABEE:(CONT)<br />

...upset her. I...<br />

Well I honestly<br />

thought I was doing<br />

<strong>the</strong> best thing for<br />

her.<br />

1432.(1301+03) CHEST SHOT<br />

OTS Larabee.<br />

1433.(1304+02) CHEST SHOT<br />

OTS W<strong>and</strong>a looks to her<br />

cup of tea.<br />

1434.(1311+07) FULL SHOT<br />

W<strong>and</strong>a L., sets her cup<br />

of tea on a coffee<br />

table C. Looks to<br />

Larabee.<br />

WANDA:(TO LARABEE)<br />

You know Doctor<br />

Larabee, my child is<br />

only eleven years old.<br />

And she has been<br />

through so much<br />

already.<br />

1435.(1330+10) CHEST SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(CONT)<br />

Her fa<strong>the</strong>r was killed<br />

when she was six.<br />

1054. 1285.13 1289.09 3.12<br />

(over scene end) LARABEE:(OS)(TO WANDA)<br />

I certainly didn't mean<br />

to upset her.<br />

1055. 1292.15 1299.15 7.00 LARABEE:(CONT)<br />

I honestly thought I<br />

was doing <strong>the</strong> best<br />

thing for her.<br />

1056. 1317.03 1324.03 7.00 WANDA:(TO LARABEE)<br />

You know Doctor<br />

Larabee, my child is<br />

only eleven years old.<br />

1057. 1325.07 1329.05 3.14 WANDA:(CONT)<br />

And she has been<br />

through so much<br />

already.<br />

1058. 1331.02 1333.03 2.01 WANDA:(CONT)<br />

Her fa<strong>the</strong>r was killed<br />

when she was six.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 265<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1436.(1333+11) CHEST SHOT<br />

OTS Larabee.<br />

WANDA:(CONT)<br />

Somebody shot him on<br />

his way home from<br />

work.<br />

1437.(1338+14) CHEST SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(CONT)<br />

Do you have any idea<br />

what it's like for a<br />

girl to lose her<br />

fa<strong>the</strong>r that way?<br />

1438.(1344+04) MCS<br />

Larabee.<br />

LARABEE:(TO WANDA)(OS)<br />

I can imagine.<br />

1439.(1354+05) CHEST SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO LARABEE)<br />

Then why do you want<br />

to cause this child<br />

anymore grief?<br />

LARABEE:(TO WANDA)<br />

That's an...<br />

1440.(1359+13) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO WANDA)<br />

...unfair accusation.<br />

Mrs. Anderson..<br />

1059. 1334.02 1337.14 3.12 WANDA:(CONT)<br />

Somebody shot him on<br />

his way home from work.<br />

1060. 1339.07 1344.02 4.11 WANDA:(CONT)<br />

Do you have any idea<br />

what it is like for a<br />

girl to lose her fa<strong>the</strong>r<br />

that way?<br />

1061. 1350.14 1352.15 2.01 LARABEE:(TO WANDA)(OS)<br />

I can imagine.<br />

1062. 1354.07 1359.11 5.04 WANDA:(TO LARABEE)<br />

Then why do you want to<br />

cause this child<br />

anymore grief?<br />

1063. 1360.01 1363.07 3.06<br />

(over scene end) LARABEE:(TO WANDA)<br />

That is an unfair<br />

accusation, Mrs.<br />

Anderson.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 266<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - LARABEE'S HOME - CONT)<br />

1441.(1363+09) CHEST SHOT<br />

OTS W<strong>and</strong>a.<br />

LARABEE:(CONT)<br />

...as I've told you<br />

I'm... I'm just<br />

not...<br />

1442.(1368+13) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

...in a place where I<br />

can be of any more<br />

help to Akeelah right<br />

now.<br />

1443.(1375+12) CHEST SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO LARABEE)<br />

But she needs you.<br />

She does.<br />

1444.(1380+05) MCS<br />

Larabee looks o/s L.<br />

to W<strong>and</strong>a.<br />

LARABEE:(TO WANDA)(OS)<br />

I beg to differ, Mrs.<br />

Anderson. It's not me<br />

that Akeelah needs.<br />

1445.(1385+08) MCS W<strong>and</strong>a<br />

looks o/s R. to<br />

Larabee as she takes<br />

this thought in.<br />

1064. 1364.08 1370.03 5.11<br />

(over scene end) LARABEE:(CONT)<br />

As I have told you I'm<br />

just not in a place...<br />

1065. 1370.09 1375.05 4.12 LARABEE:(CONT)<br />

...where I can be of<br />

anymore help right now<br />

to Akeelah.<br />

1066. 1376.09 1379.13 3.04 WANDA:(TO LARABEE)<br />

But she needs you. She<br />

does.<br />

1067. 1380.13 1384.14 4.01 LARABEE:(TO WANDA)(OS)<br />

I beg to differ, Mrs.<br />

Anderson. It is not me<br />

that Akeelah needs.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 267<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1446.INT. -AKEELAH'S HOUSE- NIGHT<br />

(1389+01) CHEST SHOT<br />

W<strong>and</strong>a walks INTO THE<br />

FAMILY LIVING ROOM.<br />

WE HEAR a VIDEO<br />

PLAYING of a YOUNGER<br />

AKEELAH speaking of<br />

her time with her<br />

fa<strong>the</strong>r.<br />

YOUNG AKEELAH:<br />

(FROM VIDEO)(OS)<br />

I remember when he use<br />

to take us out to <strong>the</strong><br />

ball games.<br />

1447.(1395+11) FULL SHOT<br />

Akeelah sits in <strong>the</strong><br />

family's living room.<br />

She watches <strong>the</strong> video.<br />

YOUNGER AKEELAH:(CONT)<br />

Take us to <strong>the</strong> movies.<br />

1448.(1398+12) CHEST SHOT<br />

W<strong>and</strong>a.<br />

YOUNGER AKEELAH:<br />

(OS)(CONT)<br />

We'd have popcorn<br />

fights.<br />

1449.(1408+13) M FULL<br />

SHOT Akeelah L,. sits<br />

on a couch. W<strong>and</strong>a R.<br />

CLICKS of <strong>the</strong><br />

Television with a<br />

remote.<br />

WANDA:(TO AKEELAH)<br />

I want to tell you<br />

something.<br />

W<strong>and</strong>a turns to<br />

Akeelah.<br />

WANDA:(CONT)<br />

You know why I didn't<br />

want you to do <strong>the</strong> bee<br />

at first?<br />

1068. 1391.09 1395.02 3.09 YOUNG AKEELAH:<br />

(FROM VIDEO)(OS)<br />

I remember when he use<br />

to take us out to <strong>the</strong><br />

ball games.<br />

1069. 1395.05 1398.01 2.12 YOUNGER AKEELAH:(CONT)<br />

Take us to <strong>the</strong> movies.<br />

1070. 1399.03 1401.02 1.15 YOUNGER AKEELAH:<br />

(OS)(CONT)<br />

We would have popcorn<br />

fights.<br />

1071. 1409.13 1411.07 1.10 WANDA:(TO AKEELAH)<br />

I want to tell you<br />

something.<br />

1072. 1418.09 1421.05 2.12 WANDA:(CONT)<br />

You know why I didn't<br />

want you to do <strong>the</strong> bee<br />

at first?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 268<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S HOUSE - CONT)<br />

1450.(1421+14) HEAD SHOT<br />

OTS W<strong>and</strong>a R. looks to<br />

Akeelah L. shakes her<br />

head "no".<br />

WANDA:(CONT)<br />

'Cause I saw that<br />

video of yours. And I<br />

saw one winner, <strong>and</strong><br />

two hundred losers.<br />

And I didn't want you<br />

to be...<br />

1451.(1434+08) HEAD SHOT<br />

OTS Akeelah.<br />

WANDA:(CONT)<br />

...one of those<br />

losers.<br />

1452.(1438+08) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(CONT)<br />

Did you know your mama<br />

went to college right<br />

after high school?<br />

1453.(1447+09) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO WANDA)<br />

No.<br />

1454.(1450+06) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)<br />

I had a scholarship, I<br />

was gonna be a doctor.<br />

1455.(1459+02) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO WANDA)<br />

What happened?<br />

1073. 1424.15 1431.15 7.00 WANDA:(CONT)<br />

Because I saw that<br />

video of yours. And I<br />

saw one winner, <strong>and</strong> two<br />

hundred losers.<br />

1074. 1432.15 1436.08 3.09<br />

(over scene end) WANDA:(CONT)<br />

And I didn't want you<br />

to be one of those<br />

losers.<br />

1075. 1440.01 1447.01 7.00 WANDA:(CONT)<br />

Did you know your mama<br />

went to college right<br />

after high school?<br />

1076. 1448.05 1449.15 1.10 AKEELAH:(TO WANDA)<br />

No.<br />

1077. 1451.03 1456.12 5.09 WANDA:(TO AKEELAH)<br />

I had a scholarship, I<br />

was going to be a<br />

doctor.<br />

1078. 1459.06 1461.15 2.09 AKEELAH:(TO WANDA)<br />

What happened?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 269<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S HOUSE - CONT)<br />

1456.(1462+15) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)<br />

I just felt so out of<br />

place at that school.<br />

I convinced myself<br />

that I was gonna fail.<br />

So before that could<br />

happen, I dropped out.<br />

1457.(1487+01) HEAD SHOT<br />

OTS Akeelah.<br />

WANDA:(CONT)<br />

I don't want you to...<br />

1458.(1491+13) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(CONT)<br />

...do <strong>the</strong> same thing<br />

with this bee.<br />

1459.(1494+12) HEAD SHOT<br />

OTS Akeelah.<br />

1460.(1498+03) HEAD SHOT<br />

OTS W<strong>and</strong>a looks from<br />

Akeelah o/s R. to<br />

<strong>the</strong>ir coffee table.<br />

1461.(1503+03) FULL SHOT<br />

Akeelah L., W<strong>and</strong>a R.<br />

reaches for Akeelah's<br />

flash card box.<br />

1462.(1508+01) HEAD SHOT<br />

OTS W<strong>and</strong>a looks to<br />

Akeelah.<br />

1463.(1511+06) FULL SHOT<br />

W<strong>and</strong>a R. takes a flash<br />

card from <strong>the</strong> box.<br />

1079. 1466.15 1472.03 5.04 WANDA:(TO AKEELAH)<br />

I just felt so out of<br />

place at that school.<br />

1080. 1473.15 1480.03 6.04 WANDA:(CONT)<br />

I convinced myself that<br />

I was going to fail.<br />

1081. 1483.09 1486.11 3.02 WANDA:(CONT)<br />

So before that could<br />

happen, I dropped out.<br />

1082. 1490.00 1494.07 4.07<br />

(over scene end) WANDA:(CONT)<br />

I don't want you to do<br />

<strong>the</strong> same thing with<br />

this bee.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 270<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S HOUSE - CONT)<br />

1464.(1513+05) HEAD SHOT<br />

OTS W<strong>and</strong>a looks to <strong>the</strong><br />

card o/s BOTTOM.<br />

WANDA:(TO AKEELAH)<br />

"Gabbro." A group of<br />

dark heavy rocks. Can<br />

you spell it for me?<br />

AKEELAH:(TO WANDA)<br />

G-A...<br />

1465.(1534+07) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...B-R-O. Gabbro?<br />

1466.(1540+02) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)<br />

Actually it's got two<br />

b's.<br />

1467.(1544+05) HEAD SHOT<br />

OTS Akeelah laughs.<br />

W<strong>and</strong>a laughs.<br />

1468.(1548+06) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO AKEELAH)<br />

You know, Akeelah.<br />

You ain't short on<br />

people who want to<br />

help you.<br />

(MUSIC IN)<br />

WANDA:(CONT)<br />

I'll bet if you just<br />

look around you got<br />

fifty thous<strong>and</strong><br />

coaches. Starting with<br />

me.<br />

1083. 1514.11 1521.11 7.00 WANDA:(TO AKEELAH)<br />

"Gabbro." A group of<br />

dark heavy rocks.<br />

1084. 1525.01 1527.15 2.14 WANDA:(CONT)<br />

Can you spell it for<br />

me?<br />

1085. 1531.00 1533.12 2.12 AKEELAH:(TO WANDA)<br />

G-A...<br />

1086. 1535.03 1540.01 4.14 AKEELAH:(CONT)<br />

...B-R-O. Gabbro?<br />

1087. 1541.02 1543.15 2.13 WANDA:(TO AKEELAH)<br />

Actually it has two<br />

b's.<br />

1088. 1549.07 1555.03 5.12 WANDA:(TO AKEELAH)<br />

You know, Akeelah. You<br />

ain't short on people<br />

who want to help you.<br />

(Short on: "Short of" More as , There is no<br />

shortage of people.)<br />

1089. 1556.08 1562.07 5.15 WANDA:(CONT)<br />

I'll bet if you just<br />

look around you got<br />

fifty thous<strong>and</strong> coaches.<br />

1090. 1564.02 1566.01 1.15 WANDA:(CONT)<br />

Starting with me.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 4 Page 271<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. -AKEELAH'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

1469.(1570+13) HEAD SHOT<br />

OTS Akeelah smiles.<br />

AKEELAH:(TO WANDA)<br />

Mama, you think that<br />

maybe you might go<br />

back to...<br />

1470.(1580+02) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

AKEELAH:(CONT)<br />

...college?<br />

W<strong>and</strong>a smiles.<br />

WANDA:(TO AKEELAH)<br />

I just might.<br />

1471.(1590+04) HEAD SHOT<br />

OTS Akeelah SMILES.<br />

1472.(1593+05) HEAD SHOT<br />

OTS W<strong>and</strong>a EMBRACES<br />

Akeelah L.<br />

AKEELAH:(TO WANDA)<br />

I love you.<br />

WANDA:(TO AKEELAH)<br />

I love you, too. I<br />

love you, too.<br />

1091. 1572.12 1579.12 7.00<br />

(over scene end) AKEELAH:(TO WANDA)<br />

Mama, you think that<br />

maybe you might go back<br />

to college?<br />

1092. 1586.14 1589.11 2.13 WANDA:(TO AKEELAH)<br />

I just might.<br />

1093. 1594.15 1596.07 1.08 AKEELAH:(TO WANDA)<br />

I love you.<br />

1094. 1596.13 1600.03 3.06 WANDA:(TO AKEELAH)<br />

I love you, too.<br />

END OF REEL #4<br />

LAST FRAME OF REEL 1600 FEET 07 FRAMES


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 272<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(00+00) PICTURE START (00+00) PICTURE START<br />

1473.EXT. - SIDEWALK - DAY<br />

(12+00) CHEST SHOT<br />

CAMERA FOLLOWS<br />

Akeelah as she WALKS<br />

AWAY along a<br />

neighborhood sidewalk.<br />

AKEELAH:(TO HERSELF)<br />

Craqueluar. C-R...<br />

1474.(14+10) WAIST SHOT<br />

Akeelah looks to <strong>the</strong><br />

flash card in her<br />

h<strong>and</strong>.<br />

AKEELAH:(CONT)<br />

...A-Q-U-E-L-U...<br />

Her bro<strong>the</strong>r TERRENCE<br />

steps out from behind<br />

a tree BG.<br />

TERRENCE:(TO AKEELAH)<br />

Hey, yo.<br />

1475.(19+02) CHEST SHOT<br />

OTS Akeelah looks to<br />

Terrence FG. BACK TO<br />

CAMERA.<br />

TERRENCE:(CONT)<br />

So, why ya'll punkin'<br />

out on this spellin'<br />

bee. Huh? What?<br />

1476.(23+00) CHEST SHOT<br />

OTS Terrence.<br />

TERRENCE:(CONT)<br />

You afraid of all<br />

those suburban kids<br />

now?<br />

1095. 12.06 18.04 5.14<br />

(over scene end) AKEELAH:(TO HERSELF)<br />

Craqueluar.<br />

C-R-A-Q-U-E-L-U<br />

1096. 18.10 20.02 1.08<br />

(over scene end) TERRENCE:(TO AKEELAH)<br />

Hey, yo.<br />

1097. 20.08 22.11 2.03 TERRENCE:(CONT)<br />

So, why are you punking<br />

out on this spelling<br />

bee.<br />

(Punking out: Slang meaning, "quitting" or<br />

"to act as a punk", "poor quality,<br />

worthless".)<br />

1098. 23.01 25.14 2.13 TERRENCE:(CONT)<br />

What? Are you afraid of<br />

all those suburban kids<br />

now?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 273<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - SIDEWALK - CONT)<br />

1477.(26+06) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO TERRENCE)<br />

No.<br />

1478.(28+07) CHEST SHOT<br />

OTS Terrence. GRABS<br />

<strong>the</strong> flash card from<br />

Akeelah's h<strong>and</strong>.<br />

AKEELAH:(TO TERRENCE)<br />

Hey!<br />

Terrence walks to FG.<br />

for OTS Akeelah.<br />

TERRENCE:(TO AKEELAH)<br />

So how you spell all<br />

<strong>the</strong>se words, anyway?<br />

AKEELAH:(TO TERRENCE)<br />

I study 'em.<br />

Akeelah tries to grab<br />

<strong>the</strong> card. Terrence<br />

pulls it away.<br />

1479.(38+10) WAIST SHOT<br />

OTS Terrence.<br />

TERRENCE:(TO AKEELAH)<br />

Whatever.<br />

Terrence looks o/s L.<br />

(MUSIC IN)<br />

TERRENCE:(TO AKEELAH)<br />

Well, <strong>the</strong>re go my...<br />

1099. * 26.06 28.03 1.13 AKEELAH:(TO TERRENCE)<br />

No.<br />

1100. 30.13 32.05 1.08 AKEELAH:(TO TERRENCE)<br />

Hey!<br />

1101. 33.06 35.12 2.06 TERRENCE:(TO AKEELAH)<br />

So how you spell all<br />

<strong>the</strong>se words, anyway?<br />

1102. 36.02 38.07 2.05 AKEELAH:(TO TERRENCE)<br />

I study <strong>the</strong>m.<br />

1103. 38.14 40.11 1.13 TERRENCE:(TO AKEELAH)<br />

Whatever.<br />

1104. 41.12 43.11 1.15<br />

(over scene end) TERRENCE:(TO AKEELAH)<br />

Well, <strong>the</strong>re go my ride.<br />

(Go: Here used as, "comes".)


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 274<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - SIDEWALK - CONT)<br />

(MUSIC - CONT)<br />

1480.(42+06) FULL SHOT<br />

WE SEE Derrick-T's new<br />

truck move to FG.<br />

along <strong>the</strong> neighborhood<br />

street.<br />

TERRENCE:(CONT)<br />

...ride.<br />

WE SEE Derrick-T <strong>and</strong><br />

his DRIVER inside <strong>the</strong><br />

truck. CAMERA PANS R.<br />

to INCLUDE Terrence<br />

<strong>and</strong> Akeelah for OTS.<br />

TERRENCE:(TO DERRICK-T)<br />

Hey what up,<br />

Derrick-T?<br />

DERRICK-T:(TO<br />

TERRENCE)<br />

What up, Terrence?<br />

1481.(48+12) MCS<br />

Derrick-T looks o/s R.<br />

to Akeelah.<br />

DERRICK-T:(TO TERRENCE)<br />

Who 'dat?<br />

1482.(51+08) CHEST SHOT<br />

OTS Akeelah R.<br />

Terrence L. FG.<br />

TERRENCE:(TO DERRICK-T)<br />

That ain't nobody.<br />

Just my little sister.<br />

1483.(56+01) MCS<br />

Derrick-T.<br />

DERRICK-T:(TO TERRENCE)<br />

What up, 'lil thing?<br />

<strong>Bee</strong>n seein' you on TV.<br />

1105. 45.13 47.14 2.01 TERRENCE:(TO DERRICK-T)<br />

Hey what up, Derrick-T?<br />

(What Up: Slang, "what is happening", "what<br />

is <strong>the</strong> situation?")<br />

1106. 48.04 50.15 2.11<br />

(over scene end) DERRICK-T:(TO TERRENCE)<br />

What up, Terrence?<br />

Who is that?<br />

1107. 53.04 55.09 2.05 TERRENCE:(TO DERRICK-T)<br />

That ain't nobody.<br />

Just my little sister.<br />

1108. 56.06 61.01 4.11 DERRICK-T:(TO TERRENCE)<br />

What up, little thing?<br />

<strong>Bee</strong>n seeing you on TV.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 275<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - SIDEWALK - CONT)<br />

(MUSIC - CONT)<br />

1484.(61+08) CHEST SHOT<br />

OTS Akeelah.<br />

DERRICK-T:(OS)(CONT)<br />

Tryin' win some big<br />

contest. Huh?<br />

1485.(65+04) HEAD SHOT<br />

OTS Terrence.<br />

TERRENCE:(TO AKEELAH)<br />

Answer <strong>the</strong> man.<br />

1486.(67+14) CHEST SHOT<br />

OTS Akeelah.<br />

DERRICK-T:(OS)<br />

(TO AKEELAH)<br />

You know, I won<br />

somethin' once.<br />

1487.(71+13) MCS<br />

Derrick-T<br />

DERRICK-T:(CONT)<br />

Fifth grade. Wrote a<br />

poem.<br />

1488.(76+12) HEAD SHOT<br />

Akeelah.<br />

DERRICK-T:(OS)(CONT)<br />

Even got myself a blue<br />

ribbon...<br />

1489.(80+06) MCS<br />

Derrick-T.<br />

DERRICK-T:(CONT)<br />

...too.<br />

(TERRENCE LAUGHS)<br />

1109. 61.14 64.14 3.00 DERRICK-T:(OS)(CONT)<br />

Trying win some big<br />

contest. Huh?<br />

1110. 66.00 67.08 1.08 TERRENCE:(TO AKEELAH)<br />

Answer <strong>the</strong> man.<br />

1111. 69.11 71.03 1.08 DERRICK-T:(OS)<br />

(TO AKEELAH)<br />

You know, I won<br />

something once.<br />

1112. 72.10 76.06 3.12 DERRICK-T:(CONT)<br />

Fifth grade. Wrote a<br />

poem.<br />

1113. 77.15 81.05 3.06<br />

(over scene end) DERRICK-T:(OS)(CONT)<br />

Even got myself a blue<br />

ribbon, too.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 276<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - SIDEWALK - CONT)<br />

(MUSIC - CONT)<br />

1490.(83+01) CHEST SHOT<br />

Terrence L. FG. looks<br />

o/s L. to Derrick-T.<br />

TERRENCE:(TO DERRICK-T)<br />

Yeah, that's good.<br />

You wrote yourself<br />

a...<br />

1491.(85+05) MCS<br />

Derrick-T.<br />

TERRENCE:(OS)(CONT)<br />

...poem.<br />

DERRICK-T:(TO TERRENCE)<br />

Shut up, dog! What<br />

you think Rap...<br />

1492.(89+09) CHEST SHOT<br />

Terrence L., FG.<br />

Akeelah R. BG.<br />

DERRICK-T:(OS)(CONT)<br />

...is?<br />

1493.(92+05) MCS<br />

Derrick-T looks to<br />

Terrence's h<strong>and</strong> o/s.<br />

DERRICK-T:(CONT)<br />

What's that in your<br />

h<strong>and</strong>?<br />

1494.(94+11) WAIST SHOT<br />

OTS Terrence C., looks<br />

to Derrick-T BG.<br />

TERRENCE:(TO DERRICK-T)<br />

Ain't nothin'. Just<br />

some stupid word.<br />

DERRICK-T:(TO TERRENCE)<br />

Oh, you helpin' her?<br />

1114. 83.03 86.05 3.02<br />

(over scene end) TERRENCE:(TO DERRICK-T)<br />

Yeah, that is good.<br />

You wrote yourself a<br />

poem.<br />

1115. 86.11 90.07 3.12<br />

(over scene end) DERRICK-T:(TO TERRENCE)<br />

Shut up, dog! What you<br />

think Rap is?<br />

(Dog: Salutation.)<br />

1116. 92.12 94.05 1.09 DERRICK-T:(CONT)<br />

What is that in your<br />

h<strong>and</strong>?<br />

1117. 95.00 98.03 3.03 TERRENCE:(TO DERRICK-T)<br />

Ain't nothing. Just<br />

some stupid word.<br />

1118. 98.09 100.01 1.08<br />

(over scene end) DERRICK-T:(TO TERRENCE)<br />

Oh, you helping her?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 277<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - SIDEWALK - CONT)<br />

(MUSIC - CONT)<br />

1495.(100+02) CHEST SHOT<br />

Terrence L., FG.<br />

Akeelah R. BG.<br />

TERRENCE:(TO DERRICK-T)<br />

Naw, man. I'm<br />

chillin' wit 'chu.<br />

Right?<br />

1496.(103+14) MCS<br />

Derrick-T looks o/s R.<br />

to Akeelah.<br />

1497.(105+15) HEAD SHOT<br />

Akeelah looks o/s L.<br />

to Derrick-T.<br />

1498.(108+13) MCS<br />

Derrick-T.<br />

DERRICK-T:(TO TERRENCE)<br />

Naw man. Stay here<br />

<strong>and</strong>...<br />

1499.(119+01) CHEST SHOT<br />

Terrence L., Akeelah<br />

R.<br />

DERRICK-T:(OS)(CONT)<br />

...help your sis.<br />

TERRENCE:(TO DERRICK-T)<br />

Why?<br />

1119. 100.11 103.13 3.02 TERRENCE:(TO DERRICK-T)<br />

No, man. I'm chilling<br />

with you. Right?<br />

(Chilling: Slang, "to visit with".)<br />

1120. 112.13 113.15 1.02 DERRICK-T:(TO TERRENCE)<br />

No man.<br />

1121. 118.02 120.12 2.10<br />

(over scene end) DERRICK-T:(CONT)<br />

Stay here <strong>and</strong> help your<br />

sister.<br />

1122. 120.15 122.07 1.08<br />

(over scene end) TERRENCE:(TO DERRICK-T)<br />

Why?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 278<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - SIDEWALK - CONT)<br />

(MUSIC - CONT)<br />

1500.(121+13) MCS<br />

Derrick-T FG. Driver<br />

BG.<br />

DERRICK-T:(TO TERRENCE)<br />

'Cause I say so.<br />

Derrick-T puts on sun<br />

glasses.<br />

DERRICK-T:(TO DRIVER)<br />

Let's break out, man.<br />

1501.(127+14) HEAD SHOT<br />

Akeelah looks o/s L.<br />

to Derrick-T.<br />

1502.(130+02) FULL SHOT<br />

OTS Akeelah <strong>and</strong><br />

Terrence FG.<br />

Derrick-T's car pulls<br />

R. CAMERA PANS R.<br />

1503.(132+00) HEAD SHOT<br />

Akeelah looks o/s L.<br />

to Derrick-T.<br />

AKEELAH:(TO DERRICK-T)<br />

Derrick-T!<br />

1504.(133+06) FULL SHOT<br />

OTS Derrick-T's driver<br />

stops <strong>the</strong> truck BG.<br />

DERRICK-T:(TO AKEELAH)<br />

S'up?<br />

1505.(136+13) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO DERRICK-T)<br />

I wanna read your<br />

poem.<br />

1123. 122.15 124.14 1.15 DERRICK-T:(TO TERRENCE)<br />

Because I say so.<br />

1124. 125.15 127.07 1.08 DERRICK-T:(TO DRIVER)<br />

Let us break out, man.<br />

(Break out: Leave, depart.)<br />

1125. 132.05 133.13 1.08<br />

(over scene end) AKEELAH:(TO DERRICK-T)<br />

Derrick-T!<br />

1126. 134.13 136.05 1.08 DERRICK-T:(TO AKEELAH)<br />

Yes?<br />

1127. 138.09 140.05 1.12 AKEELAH:(TO DERRICK-T)<br />

I want to read your<br />

poem.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 279<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - SIDEWALK - CONT)<br />

(MUSIC - CONT)<br />

1506.(140+14) HEAD SHOT<br />

Derrick-T looks o/s R.<br />

to Akeelah.<br />

DERRICK-T:(TO AKEELAH)<br />

After you win <strong>the</strong><br />

contest.<br />

Derrick-T sits back in<br />

<strong>the</strong> passenger seat.<br />

DERRICK-T:(TO DRIVER)<br />

Let's go man.<br />

1507.(148+14) FULL SHOT<br />

OTS WE SEE Derrick-T's<br />

truck pull R.<br />

1508.(151+02) HEAD SHOT<br />

OTS Akeelah looks to<br />

Terrence FG.<br />

1509.(153+07) CHEST SHOT<br />

OTS Terrence looks to<br />

Akeelah FG. BACK TO<br />

CAMERA.<br />

(MUSIC OUT)<br />

1510.(155+11) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO TERRENCE)<br />

You ain't gotta help<br />

me if you don't wanna.<br />

1511.(159+08) CHEST SHOT<br />

OTS Terrence looks to<br />

<strong>the</strong> card in his h<strong>and</strong>.<br />

1512.(163+14) HEAD SHOT<br />

OTS Akeelah.<br />

TERRENCE:(TO AKEELAH)<br />

En-<br />

1128. 142.08 145.10 3.02 DERRICK-T:(TO AKEELAH)<br />

After you win <strong>the</strong><br />

contest.<br />

1129. 147.00 148.08 1.08 DERRICK-T:(TO DRIVER)<br />

Let us go man.<br />

1130. 156.05 159.02 2.13 AKEELAH:(TO TERRENCE)<br />

You don't have to help<br />

me if you don't want<br />

to.<br />

1131. 165.15 167.15 2.00<br />

(over scene end) TERRENCE:(TO AKEELAH)<br />

En-fran-chis-ment


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 280<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - SIDEWALK - CONT)<br />

1513.(166+04) CHEST SHOT<br />

OTS Terrence.<br />

TERRENCE:(CONT)<br />

...fran-chis-ment?<br />

1514.(168+04) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO TERRENCE)<br />

You mean,<br />

"enfranchisement?"<br />

1515.(172+04) HEAD SHOT<br />

OTS Terrence.<br />

TERRENCE:(TO AKEELAH)<br />

Hey, whateva'. Can<br />

you spell it?<br />

1516.(175+15) HEAD SHOT<br />

OTS Akeelah thinks to<br />

herself.<br />

AKEELAH:(TO HERSELF)<br />

Fifty thous<strong>and</strong><br />

coaches.<br />

(MUSIC IN)<br />

1517.(189+01) WAIST SHOT<br />

OTS Terrence <strong>and</strong><br />

Akeelah TURN <strong>and</strong> WALK<br />

AWAY along <strong>the</strong><br />

sidewalk. Akeelah<br />

SPELLS.<br />

AKEELAH:(TO DERRICK-T)<br />

E-N-F-R...<br />

LAP DISSOLVE;<br />

1518.MONTAGE<br />

(194+11) M FULL SHOT<br />

Mrs. Cross works with<br />

Akeelah in a<br />

classroom.<br />

LAP DISSOLVE;<br />

1132. 169.08 172.02 2.10 AKEELAH:(TO TERRENCE)<br />

You mean,<br />

"enfranchisement?"<br />

1133. 172.08 175.08 3.00 TERRENCE:(TO AKEELAH)<br />

Hey, whatever. Can you<br />

spell it?<br />

1134. 182.15 185.14 2.15 AKEELAH:(TO HERSELF)<br />

Fifty thous<strong>and</strong> coaches.<br />

1135. 191.10 194.09 2.15 AKEELAH:(TO DERRICK-T)<br />

E-N-F-R...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 281<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MONTAGE - CONT)<br />

(MUSIC - CONT)<br />

1519.(203+04) FULL SHOT<br />

Akeelah jumps rope<br />

while a postman reads<br />

words to her from her<br />

flash card box.<br />

LAP DISSOLVE;<br />

1520.(210+10) FULL SHOT<br />

Akeelah stacks apples<br />

while A KOREAN GROCER<br />

reads words to her.<br />

LAP DISSOLVE;<br />

1521.(219+02) M FULL<br />

SHOT Steve <strong>and</strong> Akeelah<br />

sit at a counter in a<br />

coffee shop.<br />

STEVE:(TO AKEELAH)<br />

Ap-teery-goat-ti.<br />

AKEELAH:(TO STEVE)<br />

What?<br />

Steve shows <strong>the</strong> card<br />

to Akeelah.<br />

STEVE:(TO AKEELAH)<br />

That right <strong>the</strong>re.<br />

AKEELAH:(TO STEVE)<br />

"Apterygote." Maybe<br />

you shouldn't show me<br />

<strong>the</strong> card.<br />

STEVE:(TO AKEELAH)<br />

Oh.. oh. Yeah, sorry.<br />

LAP DISSOLVE;<br />

1136. 217.02 219.12 2.10 STEVE:(TO AKEELAH)<br />

Ap-teery-goat-ti.<br />

1137. 220.02 221.10 1.08 AKEELAH:(TO STEVE)<br />

What?<br />

1138. 222.00 223.08 1.08 STEVE:(TO AKEELAH)<br />

That right <strong>the</strong>re.<br />

1139. 223.14 227.15 4.01 AKEELAH:(TO STEVE)<br />

"Apterygote." Maybe<br />

you shouldn't show me<br />

<strong>the</strong> card.<br />

1140. 228.05 230.01 1.12 STEVE:(TO AKEELAH)<br />

Oh.. oh. Yeah, sorry.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 282<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MONTAGE - CONT)<br />

(MUSIC - CONT)<br />

1522.(231+11) FULL SHOT<br />

Akeelah sits on a car<br />

hood. She SPELLS as<br />

Derrick-T <strong>and</strong> <strong>the</strong> boys<br />

of <strong>the</strong> hood work with<br />

her to spell words<br />

from her flash cards.<br />

LAP DISSOLVE;<br />

1523.(244+11) FULL SHOT<br />

IN A PLAY YARD. WE<br />

SEE a CIRCLE of<br />

children each CALLING<br />

WORDS from a flash<br />

card. Akeelah JUMPS<br />

ROPE in <strong>the</strong> center of<br />

<strong>the</strong> circle.<br />

LAP DISSOLVE;<br />

1524.(253+10) FULL SHOT<br />

<strong>the</strong> front of <strong>the</strong><br />

ANDERSON HOUSE W<strong>and</strong>a,<br />

Kiana, Terrence all<br />

work with Akeelah.<br />

CAMERA PULLS BACK.<br />

LAP DISSOLVE;


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 283<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

1525.EXT. - SIDEWALK - DAY<br />

(271+10) FULL SHOT<br />

Akeelah SKIPS ROPE<br />

along a neighborhood<br />

sidewalk. She<br />

practices. WE SEE a<br />

CAR BG. drive by.<br />

DIVER:(TO AKEELAH)<br />

You go Akeelah baby!<br />

Make us proud!<br />

Akeelah stops jumping<br />

<strong>and</strong> waves to <strong>the</strong><br />

driver.<br />

(MUSIC OUT)<br />

Akeelah walks to FG.<br />

<strong>and</strong> WINDS THE ROPE<br />

around <strong>the</strong> h<strong>and</strong>les.<br />

SHE LOOKS to <strong>the</strong><br />

HANDLES.<br />

(MUSIC IN)<br />

1526.(291+08) CS of <strong>the</strong><br />

ENDS OF THE HANDLES.<br />

WE SEE a "D" <strong>and</strong> an<br />

"L" written on <strong>the</strong><br />

ends. BUT THEY ARE<br />

UPSIDE DOWN.<br />

1527.(294+12) CHEST SHOT<br />

Akeelah looks to <strong>the</strong><br />

h<strong>and</strong>les.<br />

1528.(297+06) CS Akeelah<br />

ROTATES <strong>the</strong> HANDLES.<br />

WE SEE <strong>the</strong> LETTERS now<br />

RIGHT READING.<br />

1529.(301+06) HEAD SHOT<br />

OTS Akeelah<br />

underst<strong>and</strong>s <strong>the</strong><br />

Letters mean "Denise<br />

Larabee."<br />

1141. 272.07 276.07 4.00 DIVER:(TO AKEELAH)<br />

You go Akeelah baby!<br />

Make us proud!


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 284<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

1530.EXT. - LARABEE'S HOUSE - DAY<br />

(310+12) M FULL SHOT<br />

Larabee works in <strong>the</strong><br />

garden at <strong>the</strong> rear of<br />

his house. Akeelah<br />

ENTERS L. FG. <strong>and</strong><br />

PLACES THE BOXES on<br />

Larabee's gardening<br />

table. Larabee looks<br />

to Akeelah <strong>and</strong> <strong>the</strong><br />

boxes.<br />

AKEELAH:(TO LARABEE)<br />

Five thous<strong>and</strong>. I<br />

learned <strong>the</strong>m all.<br />

1531.(319+10) WAIST SHOT<br />

OTS Akeelah looks to<br />

Larabee R.<br />

AKEELAH:(CONT)<br />

But I had a little<br />

help.<br />

1532.(323+04) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

You should be very<br />

well prepared <strong>the</strong>n.<br />

1533.(329+06) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

You know, Doctor<br />

Larabee.<br />

1142. 315.08 319.01 3.09 AKEELAH:(TO LARABEE)<br />

Five thous<strong>and</strong>. I<br />

learned <strong>the</strong>m all.<br />

1143. 320.09 323.01 2.08 AKEELAH:(CONT)<br />

But I had a little<br />

help.<br />

1144. 324.07 327.11 3.04 LARABEE:(TO AKEELAH)<br />

You should be very well<br />

prepared <strong>the</strong>n.<br />

1145. 332.02 334.14 2.12 AKEELAH:(TO LARABEE)<br />

You know, Doctor<br />

Larabee.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 285<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

1534.(335+04) WAIST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

When I was a little<br />

girl, my daddy died.<br />

I used to cry all <strong>the</strong><br />

time. But <strong>the</strong>n, I<br />

found something that<br />

helped.<br />

LARABEE:(TO AKEELAH)<br />

What was that?<br />

1535.(370+05) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

I spelled.<br />

1536.(372+15) MCS<br />

Larabee FG. Akeelah<br />

BG.<br />

AKEELAH:(CONT)<br />

Over <strong>and</strong> over again.<br />

And I'd feel better.<br />

1537.(377+12) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

Maybe when you're<br />

thinking of her...<br />

1538.(387+06) MCS<br />

Larabee.<br />

AKEELAH:(CONT)<br />

...you can try<br />

spelling.<br />

1146. 336.01 343.01 7.00 AKEELAH:(CONT)<br />

When I was a little<br />

girl, my daddy died.<br />

1147. 350.11 354.00 3.05 AKEELAH:(CONT)<br />

I used to cry all <strong>the</strong><br />

time.<br />

1148. 358.06 365.06 7.00 AKEELAH:(CONT)<br />

But <strong>the</strong>n, I found<br />

something that helped.<br />

1149. 367.08 369.02 1.10 LARABEE:(TO AKEELAH)<br />

What was that?<br />

1150. 370.09 372.06 1.13 AKEELAH:(TO LARABEE)<br />

I spelled.<br />

1151. 373.03 377.01 3.14 AKEELAH:(CONT)<br />

Over <strong>and</strong> over again.<br />

And I would feel<br />

better.<br />

1152. 383.14 390.14 7.00<br />

(over scene end) AKEELAH:(CONT)<br />

Maybe when you are<br />

thinking of her you can<br />

try spelling.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 286<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

1539.(393+05) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

It might help.<br />

1540.(399+06) WAIST SHOT<br />

OTS Akeelah takes <strong>the</strong><br />

jump rope from her<br />

front pocket <strong>and</strong><br />

places it on top of<br />

her flash card boxes.<br />

1541.(406+08) CS of <strong>the</strong><br />

jump rope on top of<br />

<strong>the</strong> flash card boxes.<br />

Akeelah removes her<br />

h<strong>and</strong> from <strong>the</strong> rope.<br />

CAMERA TILTS UP for<br />

MCS of Larabee.<br />

1542.(414+06) FULL SHOT<br />

Akeelah walks AWAY BG.<br />

as Larabee places his<br />

h<strong>and</strong> on <strong>the</strong> jump rope.<br />

1543.(418+06) HEAD SHOT<br />

Larabee looks o/s L.<br />

to Akeelah.<br />

LARABEE:(TO AKEELAH)<br />

Akeelah.<br />

1544.(421+04) FULL SHOT<br />

OTS Akeelah BG. stops,<br />

turns.<br />

1545.(426+03) HEAD SHOT<br />

OTS Larabee looks o/s<br />

L. to Akeelah.<br />

LARABEE:(TO AKEELAH)<br />

Who told you?<br />

1546.(429+04) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

You did.<br />

1153. 393.09 395.03 1.10 AKEELAH:(CONT)<br />

It might help.<br />

1154. 419.07 420.15 1.08 LARABEE:(TO AKEELAH)<br />

Akeelah.<br />

1155. 427.03 428.12 1.09 LARABEE:(TO AKEELAH)<br />

Who told you?<br />

1156. 429.14 431.07 1.09 AKEELAH:(TO LARABEE)<br />

You did.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 287<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

1547.(432+02) HEAD SHOT<br />

Larabee looks o/s L.<br />

to Akeelah,.<br />

AKEELAH:(OS)(CONT)<br />

You called...<br />

1548.(433+14) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...me by her name,<br />

Denise.<br />

1549.(436+13) HEAD SHOT<br />

Larabee looks away.<br />

1550.(439+13) HEAD SHOT<br />

Akeelah.<br />

1551.(442+03) HEAD SHOT<br />

Larabee STANDS.<br />

1552.(447+04) CHEST SHOT<br />

Akeelah walks to FG.<br />

AKEELAH:(TO LARABEE)<br />

That's her jump rope<br />

isn't it?<br />

1553.(451+08) WAIST SHOT<br />

Larabee with <strong>the</strong> Jump<br />

Rope.<br />

LARABEE:(TO AKEELAH)<br />

Yes.<br />

1554.(455+08) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Was she your little<br />

girl?<br />

1157. 433.06 436.06 3.00<br />

(over scene end) AKEELAH:(OS)(CONT)<br />

You called me by her<br />

name, Denise.<br />

1158. 447.04 450.07 3.03 AKEELAH:(TO LARABEE)<br />

That is her jump rope<br />

isn't it?<br />

1159. 451.15 453.13 1.14 LARABEE:(TO AKEELAH)<br />

Yes.<br />

1160. 459.09 461.10 2.01 AKEELAH:(TO LARABEE)<br />

Was she your little<br />

girl?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 288<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

1555.(462+05) WAIST SHOT<br />

Larabee looks to <strong>the</strong><br />

jump rope in his<br />

h<strong>and</strong>s, <strong>the</strong>n L., to<br />

Akeelah as she ENTERS<br />

<strong>the</strong> shot.<br />

LARABEE:(TO AKEELAH)<br />

Yes.<br />

Larabee sits. Akeelah<br />

joins him on <strong>the</strong> small<br />

bench.<br />

AKEELAH:(TO LARABEE)<br />

What happened to her?<br />

CAMERA TRACKS R.<br />

LARABEE:(TO AKEELAH)<br />

She got very sick.<br />

1556.(498+07) HEAD SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

She was only a couple<br />

of years younger than<br />

you when she passed.<br />

1557.(507+06) HEAD SHOT<br />

OTS Akeelah looks to<br />

Larabee R.<br />

AKEELAH:(TO LARABEE)<br />

Where's her mama?<br />

1558.(518+10) HEAD SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

She moved to ano<strong>the</strong>r<br />

city. And ah...<br />

1161. 468.15 470.12 1.13 LARABEE:(TO AKEELAH)<br />

Yes.<br />

1162. 475.00 477.13 2.13 AKEELAH:(TO LARABEE)<br />

What happened to her?<br />

1163. 492.13 495.07 2.10 LARABEE:(TO AKEELAH)<br />

She got very sick.<br />

1164. 498.11 505.00 6.05 LARABEE:(CONT)<br />

She was only a couple<br />

of years younger than<br />

you when she passed.<br />

1165. 515.06 516.15 1.09 AKEELAH:(TO LARABEE)<br />

Where is her mama?<br />

1166. 520.03 523.00 2.13 LARABEE:(TO AKEELAH)<br />

She moved to ano<strong>the</strong>r<br />

city. And ah...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 289<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

1559.(524+06) WAIST SHOT<br />

Akeelah seated L,.<br />

Larabee R.<br />

LARABEE:(CONT)<br />

...after it happened,<br />

my wife, Patricia <strong>and</strong><br />

I... found that...<br />

slowly... became very<br />

difficult to be...<br />

Larabee looks to<br />

Akeelah as he<br />

struggles with his own<br />

feelings. He motions<br />

to <strong>the</strong> garden he has<br />

been working on.<br />

LARABEE:(CONT)<br />

Anyway, this is...<br />

This is Patricia's<br />

garden.<br />

1560.(576+13) HEAD SHOT<br />

OTS Akeelah. Larabee<br />

FG. looks o/s L.<br />

LARABEE:(CONT)<br />

See, I need...<br />

1167. 526.15 529.00 2.01 LARABEE:(CONT)<br />

...after it happened...<br />

1168. 531.09 537.00 5.07 LARABEE:(CONT)<br />

...my wife, Patricia<br />

<strong>and</strong> I...<br />

1169. 540.01 547.01 7.00 LARABEE:(CONT)<br />

...found that...<br />

slowly...<br />

1170. 549.11 554.05 4.10 LARABEE:(CONT)<br />

...It became very<br />

difficult to be...<br />

(Note: To complete <strong>the</strong> line, understood,<br />

"married" or "man <strong>and</strong> wife.")<br />

1171. 569.05 576.05 7.00 LARABEE:(CONT)<br />

Anyway, this is<br />

Patricia's garden.<br />

1172. 581.10 587.05 5.11<br />

(over scene end) LARABEE:(CONT)<br />

You see I need a lot of<br />

order in my life.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 290<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

1561.(583+12) CHEST SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

I need a lot of order<br />

in my life. That's<br />

why I don't teach in<br />

<strong>the</strong> class rooms<br />

anymore. It's just too<br />

unpredictable.<br />

1562.(598+02) HEAD SHOT<br />

OTS Akeelah looks to<br />

Larabee R.<br />

LARABEE:(CONT)<br />

Like you...<br />

1563.(602+12) HEAD SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

This whole spelling<br />

bee business now has<br />

become a little too<br />

unpredictable as well.<br />

1564.(612+15) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Doctor Larabee, I... I<br />

can't go to DC...<br />

1173. 589.14 592.04 2.06 LARABEE:(CONT)<br />

That is why I don't<br />

teach in <strong>the</strong> class<br />

rooms anymore.<br />

1174. 594.15 597.07 2.08 LARABEE:(CONT)<br />

It is just too<br />

unpredictable.<br />

1175. 599.07 602.00 2.09 LARABEE:(CONT)<br />

Like you...<br />

1176. 603.04 606.10 3.06 LARABEE:(CONT)<br />

This whole spelling bee<br />

business now has<br />

become...<br />

1177. 608.10 612.02 3.08 LARABEE:(CONT)<br />

...a little too<br />

unpredictable as well.<br />

1178. 620.08 622.15 2.07 AKEELAH:(TO LARABEE)<br />

Doctor Larabee,<br />

1179. 627.13 631.02 3.05<br />

(over scene end) AKEELAH:(CONT)<br />

I can't go to DC<br />

without you.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 291<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

1565.(629+14) HEAD SHOT<br />

OTS Larabee.<br />

AKEELAH:(CONT)<br />

...without you.<br />

LARABEE:(TO AKEELAH)<br />

Yes you can, Akeelah.<br />

You can do anything<br />

you want.<br />

1566.(635+04) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

I can't beat Dylan.<br />

LARABEE:(TO AKEELAH)<br />

Don't say that.<br />

AKEELAH:(TO LARABEE)<br />

It's true. It doesn't<br />

matter how many words<br />

I learn, he'll always<br />

know more.<br />

1180. 631.08 635.00 3.08 LARABEE:(TO AKEELAH)<br />

Yes you can, Akeelah.<br />

You can do anything you<br />

want.<br />

1181. 635.13 637.05 1.08 AKEELAH:(TO LARABEE)<br />

I can't beat Dylan.<br />

1182. 637.11 639.05 1.10 LARABEE:(TO AKEELAH)<br />

Don't say that.<br />

1183. 639.11 641.03 1.08 AKEELAH:(TO LARABEE)<br />

It is true.<br />

1184. 641.09 646.12 5.03 AKEELAH:(CONT)<br />

It doesn't matter how<br />

many words I learn, he<br />

will always know more.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 292<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

1567.(647+02) HEAD SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Let me tell you about<br />

Dylan. There's only<br />

one person who can<br />

push him to spell as<br />

well as he possibly<br />

can. It's not his<br />

dad. It's not <strong>the</strong><br />

spelling bee people.<br />

It's not even himself.<br />

1568.(672+07) HEAD SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

That person is you.<br />

1569.(678+01) HEAD SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

So, when you <strong>and</strong> I...<br />

1570.(684+10) HEAD SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

...get to DC...<br />

1185. 648.03 650.14 2.11 LARABEE:(TO AKEELAH)<br />

Let me tell you about<br />

Dylan.<br />

1186. 653.12 657.10 3.14 LARABEE:(CONT)<br />

There is only one<br />

person who can push<br />

him...<br />

1187. 658.08 662.15 4.07 LARABEE:(CONT)<br />

...to spell as well as<br />

he possibly can.<br />

1188. 663.13 668.13 5.00 LARABEE:(CONT)<br />

It is not his dad. It<br />

is not <strong>the</strong> spelling bee<br />

people.<br />

1189. 669.11 672.03 2.08 LARABEE:(CONT)<br />

It is not even himself.<br />

1190. 672.15 675.13 2.14 LARABEE:(CONT)<br />

That person is you.<br />

1191. 678.04 684.00 5.12 LARABEE:(CONT)<br />

So, when you <strong>and</strong> I...<br />

1192. 685.15 688.03 2.04 LARABEE:(CONT)<br />

...get to DC...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 293<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - LARABEE'S HOUSE - CONT)<br />

(MUSIC - CONT)<br />

1571.(689+12) HEAD SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

...let's make sure we<br />

give him a run for his<br />

money. Okay?<br />

1572.(697+11) HEAD SHOT<br />

OTS Akeelah SMILES.<br />

They EMBRACE.<br />

1573.(704+06) HEAD SHOT<br />

OTS Larabee embraces<br />

Akeelah <strong>and</strong> sighs.<br />

1574.EXT. - GEORGIA'S HOUSE - DAY<br />

(718+02) MS Akeelah's<br />

FEET as she walks,<br />

CAMERA FOLLOWS.<br />

(MUSIC OUT)<br />

1575.(721+07) MS Akeelah<br />

BACK TO CAMERA KNOCKS<br />

on Georgia's FRONT<br />

DOOR.<br />

(KNOCK/KNOCK)<br />

1576.(722+07) HEAD SHOT<br />

OTS Akeelah looks to<br />

Georgia FG. BACK TO<br />

CAMERA as <strong>the</strong> door<br />

opens.<br />

(MUSIC OUT)<br />

1577.(724+07) CHEST SHOT<br />

OTS Georgia looks to<br />

Akeelah FG. BACK TO<br />

CAMERA.<br />

1193. 690.03 694.07 4.04 LARABEE:(CONT)<br />

...let us make sure we<br />

give him a run for his<br />

money.<br />

1194. 695.07 697.02 1.11 LARABEE:(CONT)<br />

Okay?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 294<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - GEORGIA'S HOUSE - CONT)<br />

1578.(726+13) HEAD SHOT<br />

OTS Akeelah SMILES.<br />

AKEELAH:(TO GEORGIA)<br />

Hey.<br />

1579.(730+06) CHEST SHOT<br />

OTS Georgia sulks.<br />

GEORGIA:(TO AKEELAH)<br />

Hi.<br />

1580.(734+05) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO GEORGIA)<br />

I'm off to DC<br />

tomorrow.<br />

1581.(738+05) CHEST SHOT<br />

OTS Georgia.<br />

GEORGIA:(TO AKEELAH)<br />

Yeah. Well, have fun.<br />

1582.(742+01) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO GEORGIA)<br />

I'm sorry I've been so<br />

busy.<br />

1583.(744+12) CHEST SHOT<br />

OTS Georgia.<br />

AKEELAH:(CONT)<br />

It's just this whole<br />

spelling thing's been<br />

real intense. But you<br />

know...<br />

1195. 727.15 729.07 1.08 AKEELAH:(TO GEORGIA)<br />

Hey.<br />

1196. 731.15 734.01 2.02 GEORGIA:(TO AKEELAH)<br />

Hi.<br />

1197. 735.07 737.15 2.08 AKEELAH:(TO GEORGIA)<br />

I'm off to DC tomorrow.<br />

1198. 739.06 741.08 2.02 GEORGIA:(TO AKEELAH)<br />

Yeah. Well, have fun.<br />

1199. 742.08 744.11 2.03 AKEELAH:(TO GEORGIA)<br />

I'm sorry I've been so<br />

busy.<br />

1200. 745.03 748.15 3.12 AKEELAH:(CONT)<br />

It is just this whole<br />

spelling thing has been<br />

real intense.<br />

1201. 750.11 752.06 1.11<br />

(over scene end) AKEELAH:(CONT)<br />

But you know what?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 295<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - GEORGIA'S HOUSE - CONT)<br />

1584.(751+07) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...what? I'd give<br />

it...<br />

1585.(756+09) CHEST SHOT<br />

OTS Georgia.<br />

AKEELAH:(CONT)<br />

...all up if it meant<br />

you <strong>and</strong> me could hang<br />

again.<br />

GEORGIA:(TO AKEELAH)<br />

That's stupid.<br />

1586.(762+12) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO GEORGIA)<br />

Why's it stupid?<br />

1587.(764+11) CHEST SHOT<br />

OTS Georgia.<br />

GEORGIA:(TO AKEELAH)<br />

'Cause people want to<br />

see you do good. I<br />

wanna see you do good.<br />

1202. 756.01 760.02 4.01<br />

(over scene end) AKEELAH:(CONT)<br />

I would give it all up<br />

if it meant that you<br />

<strong>and</strong> I could hang<br />

again.<br />

(Hang: "Be friends".)<br />

1203. 760.12 762.04 1.08 GEORGIA:(TO AKEELAH)<br />

That is stupid.<br />

1204. *762.12 764.04 1.08 AKEELAH:(TO GEORGIA)<br />

Why is it stupid?<br />

1205. 764.12 768.01 3.05 GEORGIA:(TO AKEELAH)<br />

Because people want to<br />

see you do good.<br />

1206. 771.10 774.05 2.11 GEORGIA:(CONT)<br />

I want to see you do<br />

good.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 296<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - GEORGIA'S HOUSE - CONT)<br />

1588.(776+01) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO GEORGIA)<br />

You know what?<br />

Georgia, you're my<br />

best friend. And you<br />

always tell me I can<br />

do things. Even when I<br />

think I can't.<br />

1589.(789+04) CHEST SHOT<br />

OTS Georgia.<br />

AKEELAH:(CONT)<br />

But, I gotta tell<br />

you...<br />

1590.(793+03) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...something. If you<br />

want to be a flight<br />

attendant, you first<br />

gotta ride...<br />

1591.(799+05) CHEST SHOT<br />

OTS Georgia.<br />

AKEELAH:(CONT)<br />

...on a plane.<br />

GEORGIA:(TO AKEELAH)<br />

I will someday.<br />

1592.(803+07) HEAD SHOT<br />

OTS Akeelah SHOWS A<br />

TICKET to Georgia.<br />

AKEELAH:(TO GEORGIA)<br />

How about tomorrow?<br />

1207. 778.06 780.05 1.15 AKEELAH:(TO GEORGIA)<br />

You know what?<br />

1208. 780.12 783.06 2.10 AKEELAH:(CONT)<br />

Georgia, you are my<br />

best friend.<br />

1209. 784.00 789.01 5.01 AKEELAH:(CONT)<br />

And you always tell me<br />

I can do things. Even<br />

when I think I can't.<br />

1210. 790.11 794.01 3.06<br />

(over scene end) AKEELAH:(CONT)<br />

But, I have to tell you<br />

something.<br />

1211. 795.13 799.05 3.08<br />

(over scene end) AKEELAH:(CONT)<br />

If you want to be a<br />

flight attendant, you<br />

first have to ride on a<br />

plane.<br />

1212. 800.05 802.10 2.05 GEORGIA:(TO AKEELAH)<br />

I will someday.<br />

1213. 804.11 807.01 2.06 AKEELAH:(TO GEORGIA)<br />

How about tomorrow?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 297<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - GEORGIA'S HOUSE - CONT)<br />

1593.(807+07) CHEST SHOT<br />

OTS Georgia is<br />

TRANSFIXED by <strong>the</strong><br />

ticket, <strong>the</strong>n looks to<br />

Akeelah.<br />

1594.(809+09) HEAD SHOT<br />

OTS Akeelah with <strong>the</strong><br />

ticket, GRINS.<br />

1595.(810+15) CHEST SHOT<br />

OTS Georgia JUMPS FOR<br />

JOY.<br />

(GEORGIA SQUEALS)<br />

They EMBRACE.<br />

(MUSIC IN)<br />

1596.EXT. - AIRPORT - DAY<br />

(813+07) LS EXTREME<br />

LOW ANGLE of <strong>the</strong> sky.<br />

WE SEE a JET LINER fly<br />

OVERHEAD <strong>and</strong> o/s L.<br />

1597.INT. - JET - DAY<br />

(816+08) CHEST SHOT<br />

Georgia MOVES R. along<br />

<strong>the</strong> center aisle of<br />

<strong>the</strong> plane. CAMERA<br />

PANS R. to follow.<br />

GEORGIA:(TO AKEELAH)<br />

I got to talk to <strong>the</strong><br />

Captain.<br />

Georgia SITS FG. next<br />

to Akeelah. WE SEE<br />

Javier BG. He appears<br />

unwell.<br />

GEORGIA:(CONT)<br />

Oh, forget flight<br />

attendant. I'm gonna<br />

be <strong>the</strong> pilot.<br />

(JAVIER GROANS)<br />

GEORGIA:(TO AKEELAH)<br />

What's wrong with him?<br />

1214. 817.11 819.11 2.00 GEORGIA:(TO AKEELAH)<br />

I got to talk to <strong>the</strong><br />

Captain.<br />

1215. 820.01 824.08 4.07 GEORGIA:(CONT)<br />

Oh, forget flight<br />

attendant. I'm going<br />

to be <strong>the</strong> pilot.<br />

1216. 827.11 829.03 1.08 GEORGIA:(TO AKEELAH)<br />

What is wrong with him?<br />

(Him: Javier.)


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 298<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - JET - CONT)<br />

(MUSIC - CONT)<br />

1598.(829+05) CHEST SHOT<br />

Akeelah FG. Georgia<br />

BG.<br />

AKEELAH:(TO GEORGIA)<br />

He has an aversion to<br />

heights.<br />

Javier SITS UP INTO<br />

SHOW from o/s BOTTOM.<br />

JAVIER:(TO BOTH)<br />

It's an aversion to<br />

plummeting.<br />

1599.(835+10) CHEST SHOT<br />

OTS Javier BG. Akeelah<br />

FG.<br />

JAVIER:(CONT)<br />

I may puke.<br />

1600.(838+02) CHEST SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO JAVIER)<br />

My bro<strong>the</strong>r's in <strong>the</strong><br />

Air Force. And he<br />

says that fear is all<br />

in your head.<br />

1601.(845+04) CHEST SHOT<br />

OTS Javier. Akeelah<br />

MOVES CLOSER to place<br />

a PIN on Javier.<br />

AKEELAH:(TO JAVIER)<br />

Here, he gave me this<br />

for good luck.<br />

1602.(849+08) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

Don't worry, I won't<br />

impale you.<br />

1217. 829.11 832.03 2.08 AKEELAH:(TO GEORGIA)<br />

He has an aversion to<br />

heights.<br />

1218. 832.09 835.03 2.10 JAVIER:(TO BOTH)<br />

It is an aversion to<br />

plummeting.<br />

1219. 835.11 837.11 2.00 JAVIER:(CONT)<br />

I may puke.<br />

1220. 838.08 840.11 2.03 AKEELAH:(TO JAVIER)<br />

My bro<strong>the</strong>r is in <strong>the</strong><br />

Air Force.<br />

1221. 841.01 845.03 4.02 AKEELAH:(CONT)<br />

And he says that fear<br />

is all in your head.<br />

1222. 845.11 849.03 3.08 AKEELAH:(TO JAVIER)<br />

Here, he gave me this<br />

for good luck.<br />

1223. 849.08 853.07 3.15 AKEELAH:(CONT)<br />

Don't worry, I won't<br />

impale you.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 299<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - JET - CONT)<br />

(MUSIC - CONT)<br />

1603.(854+01) CS of a<br />

AIR FORCE FLIGHT WING<br />

pin on Javier's<br />

sweater.<br />

AKEELAH:(OS)(CONT)<br />

You know, I never<br />

really...<br />

1604.(156+10) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...thanked you for<br />

helping me at <strong>the</strong><br />

state bee.<br />

JAVIER:(TO AKEELAH)<br />

No biggie.<br />

1605.(861+15) CHEST SHOT<br />

OTS Javier.<br />

AKEELAH:(TO JAVIER)<br />

Actually it was<br />

very...<br />

1606.(864+14) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(CONT)<br />

...chivalrous.<br />

Akeelah LEANS FORWARD<br />

<strong>and</strong> KISSES Javier on<br />

<strong>the</strong> cheek.<br />

1224. 855.03 859.13 4.10<br />

(over scene end) AKEELAH:(OS)(CONT)<br />

You know, I never<br />

really thanked you for<br />

helping me at <strong>the</strong> state<br />

bee.<br />

1225. 860.03 861.14 1.11 JAVIER:(TO AKEELAH)<br />

No biggie.<br />

(Biggie: Contrived word, "large" or "great<br />

effort".)<br />

1226. 862.09 866.07 3.14<br />

(over scene end) AKEELAH:(TO JAVIER)<br />

Actually it was very<br />

chivalrous.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 300<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - JET - CONT)<br />

(MUSIC - CONT)<br />

1607.(872+13) CHEST SHOT<br />

OTS Javier.<br />

JAVIER:(TO AKEELAH)<br />

Wow. I'm not thinking<br />

about <strong>the</strong> plane at<br />

all...<br />

1608.(877+09) HEAD SHOT<br />

OTS Akeelah.<br />

JAVIER:(CONT) ...now.<br />

AKEELAH:(TO JAVIER)<br />

Well, in that case.<br />

She leans FORWARD<br />

again.<br />

1609.(882+12) CHEST SHOT<br />

OTS Javier. Akeelah<br />

CONTINUES to lean. BUT<br />

OPENS THE SHADE on<br />

Javier's window.<br />

<br />

(AKEELAH GIGGLES)<br />

1610.EXT. - AERIAL - DAY<br />

(886+00) ELS AERIAL of<br />

<strong>the</strong> UNITES STATES<br />

CAPITAL COMPLEX below.<br />

CAMERA FLIES L.<br />

1227. 873.05 878.07 5.02<br />

(over scene end) JAVIER:(TO AKEELAH)<br />

Wow. I'm not thinking<br />

about <strong>the</strong> plane at<br />

all now.<br />

1228. 879.01 880.13 1.12 AKEELAH:(TO JAVIER)<br />

Well, in that case.<br />

(INTENTIONALLY BLANK)


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 301<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1611.MONTAGE<br />

(888+13) LS of<br />

WASHINGTON MONUMENT<br />

SEEN FROM Car CAMERA<br />

TRUCKS L.<br />

1612.(891+07) HEAD SHOT<br />

OTS Akeelah in a<br />

limousine looks o/s L.<br />

to <strong>the</strong> monument.<br />

1613.(893+04) FULL SHOT<br />

The Lincoln National<br />

Monument BUILDING in<br />

DC.<br />

1614.(895+00) LS Capital<br />

Building.<br />

1615.(896+12) HEAD SHOT<br />

OTS Akeelah in <strong>the</strong><br />

limousine SMILES.<br />

1616.(898+09) FULL SHOT<br />

WHITE HOUSE <strong>and</strong> LAWN.<br />

CAMERA TRUCKS L.<br />

1617.(901+10) FULL SHOT<br />

Presidential Seal in<br />

<strong>the</strong> Office of <strong>the</strong><br />

President. CAMERA<br />

PULLS BACK, TILTS UP<br />

as <strong>the</strong> SPELLERS ENTER<br />

<strong>the</strong> oval office on a<br />

tour.<br />

1618.(910+10) WAIST SHOT<br />

Akeelah L. Javier R.<br />

<strong>the</strong>y look around <strong>the</strong><br />

oval office.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 302<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MONTAGE - CONT)<br />

(MUSIC - CONT)<br />

1619.(917+11) CHEST SHOT<br />

Akeelah <strong>and</strong> Larabee<br />

enter <strong>the</strong> FREDERICK<br />

DOUGLASS NATIONAL<br />

HISTORIC SITE. CAMERA<br />

PANS R. to follow as<br />

<strong>the</strong>y view <strong>the</strong> display.<br />

Larabee explains <strong>the</strong><br />

display to Akeelah.<br />

A WALL PANEL READS<br />

:<br />

FREDERICK DOUGLAS 1818<br />

1895<br />

1620.INT. - HOTEL ROOM - NIGHT<br />

(943+03) MS Javier<br />

OPENS A SODA.<br />

(POP TAB)<br />

The soda SPEWS o/s R.<br />

(GIRLS SQUEAL)<br />

1621.(943+10) WAIST SHOT<br />

OTS <strong>the</strong> soda SPEWS R.<br />

At Georgia <strong>and</strong><br />

Akeelah. They DUCK.<br />

1622.(946+00) WAIST SHOT<br />

Javier holds <strong>the</strong><br />

SPEWING SODA <strong>and</strong> looks<br />

o/s R., to <strong>the</strong> girls.<br />

(JAVIER LAUGHS)<br />

1623.(947+06) WAIST SHOT<br />

Girls laugh.<br />

(ALL LAUGH)<br />

AKEELAH:(TO JAVIER)<br />

I told you not to<br />

shake it.<br />

1229.I936.00 942.00 6.00 :<br />

FREDERICK DOUGLAS 1818-1895<br />

1230. 947.14 951.07 3.09<br />

(over scene end) AKEELAH:(TO JAVIER)<br />

(THEN JAVIER)<br />

- I told you not to<br />

shake it.<br />

- I'm sorry.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 303<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - HOTEL ROOM - CONT)<br />

1624.(949+13) CHEST SHOT<br />

Javier holds <strong>the</strong> soft<br />

drink in his h<strong>and</strong>.<br />

JAVIER:(TO AKEELAH)(OS)<br />

I'm sorry.<br />

WE SEE W<strong>and</strong>a look into<br />

<strong>the</strong> room BG.<br />

WANDA:(TO AKEELAH)(OS)<br />

Akeelah, I thought you<br />

guys were supposed to<br />

be studying.<br />

1625.(954+10) CHEST SHOT<br />

OTS Akeelah L.,<br />

Georgia R.<br />

AKEELAH:(TO WANDA)(OS)<br />

We are.<br />

WANDA:(OS)(TO AKEELAH)<br />

It sounds like...<br />

1626.(957+02) WAIST SHOT<br />

OTS W<strong>and</strong>a BG.<br />

WANDA:(CONT)<br />

...like a party in<br />

here. Come on now,<br />

you got a big day...<br />

1627.(960+08) CHEST SHOT<br />

OTS Akeelah <strong>and</strong><br />

Georgia.<br />

WANDA:(OS)(CONT)<br />

...tomorrow. Ya'll<br />

better call it a<br />

night.<br />

AKEELAH:(TO WANDA)(OS)<br />

Half an hour more.<br />

WANDA:(OS)(TO AKEELAH)<br />

Fifteen...<br />

1231. 951.13 954.01 2.04 WANDA:(TO AKEELAH)(OS)<br />

Akeelah, I thought you<br />

guys were supposed to<br />

be studying.<br />

1232. 955.01 956.09 1.08 AKEELAH:(TO WANDA)(OS)<br />

We are.<br />

1233. 956.15 958.15 2.00<br />

(over scene end) WANDA:(OS)(TO AKEELAH)<br />

It sounds like a party<br />

in here.<br />

1234. 959.05 962.08 3.03<br />

(over scene end) WANDA:(CONT)<br />

Come on now, you got a<br />

big day tomorrow. You<br />

all had better call it<br />

a night.<br />

1235. 963.01 963.11 0.10 AKEELAH:(TO WANDA)(OS)<br />

Half an hour more.<br />

1236. 964.01 965.10 1.09<br />

(over scene end) WANDA:(OS)(TO AKEELAH)<br />

Fifteen minutes.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 304<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - HOTEL ROOM - CONT)<br />

1628.(964+05) WAIST SHOT<br />

OTS W<strong>and</strong>a at <strong>the</strong> door.<br />

WANDA:(CONT)<br />

...minutes.<br />

1629.(966+01) CHEST SHOT<br />

OTS Akeelah <strong>and</strong><br />

Georgia. Akeelah<br />

looks L. to Javier.<br />

AKEELAH:(TO JAVIER)<br />

What do you think<br />

Dylan's doing now?<br />

JAVIER:(TO AKEELAH)<br />

Trying...<br />

1630.(971+04) CHEST SHOT<br />

Javier.<br />

JAVIER:(CONT)<br />

...to learn ancient<br />

Greek.<br />

1631.(974+02) CHEST SHOT<br />

OTS Akeelah <strong>and</strong><br />

Georgia.<br />

AKEELAH:(TO JAVIER)<br />

Maybe we should invite<br />

him over.<br />

1632.(976+12) CHEST SHOT<br />

Javier.<br />

JAVIER:(TO AKEELAH)(OS)<br />

That turd-juggler?<br />

Forget it.<br />

1237. 968.03 970.12 2.09 AKEELAH:(TO JAVIER)<br />

What do you think Dylan<br />

is doing now?<br />

1238. 971.02 973.07 2.05<br />

(over scene end) JAVIER:(TO AKEELAH)<br />

Trying to learn<br />

ancient Greek.<br />

1239. 974.09 976.11 2.02 AKEELAH:(TO JAVIER)<br />

Maybe we should invite<br />

him over.<br />

1240. 977.06 979.02 1.12 JAVIER:(TO AKEELAH)(OS)<br />

That turd-juggler?<br />

Forget it.<br />

(Turd-juggler: Semi Vulgar denigration.<br />

Similar to, "one who works with sewage".)


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 305<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - HOTEL ROOM - CONT)<br />

1633.(979+04) CHEST SHOT<br />

OTS Akeelah <strong>and</strong><br />

Georgia. Akeelah take<br />

a drink from <strong>the</strong> night<br />

st<strong>and</strong> BG.<br />

AKEELAH:(TO BOTH)<br />

I'll be back.<br />

1634.EXT. - DYLAN'S ROOM - NIGHT<br />

(982+11) MS OTS<br />

Akeelah FG. BACK TO<br />

CAMERA KNOCKS on<br />

Dylan's room door.<br />

(KNOCK/KNOCK)<br />

(DOOR OPENS)<br />

Mr. Chiu looks out.<br />

1635.(987+13) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO CHIU)<br />

Is Dylan here?<br />

1636.(989+11) HEAD SHOT<br />

OTS Chiu looks to<br />

Akeelah surprised to<br />

see her.<br />

1637.(990+15) HEAD SHOT<br />

OTS Akeelah looks into<br />

<strong>the</strong> room o/s L.<br />

1638.(992+03) CHEST SHOT<br />

WE SEE Dylan at <strong>the</strong><br />

room's table. He<br />

LOOKS TO Akeelah o/s<br />

FG.<br />

1639.(994+10) HEAD SHOT<br />

OTS Chiu.<br />

CHIU:(TO AKEELAH)<br />

He's busy.<br />

1241. 980.10 982.03 1.09 AKEELAH:(TO BOTH)<br />

I'll be back.<br />

1242. 987.11 989.03 1.08 AKEELAH:(TO CHIU)<br />

Is Dylan here?<br />

1243. 994.10 996.06 1.12 CHIU:(TO AKEELAH)<br />

He is busy.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 306<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - DYLAN'S ROOM - CONT)<br />

1640.(997+01) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO CHIU)<br />

Well, ummm... me <strong>and</strong><br />

some of <strong>the</strong> o<strong>the</strong>r kids<br />

are hanging out in my<br />

room. Drinking soda<br />

pop <strong>and</strong> watching<br />

movies.<br />

1641.(1008+04) CHEST SHOT<br />

Dylan looks o/s L. to<br />

Akeelah as if that<br />

sounds like a good<br />

idea.<br />

AKEELAH:(OS)(CONT)<br />

We thought maybe he'd<br />

like to come over.<br />

1642.(1012+01) HEAD SHOT<br />

OTS Chiu.<br />

CHIU:(TO AKEELAH)<br />

I'm sorry, but<br />

tomorrow is <strong>the</strong><br />

spelling bee.<br />

1643.(1016+04) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO CHIU)<br />

Well, you know<br />

sometimes it's okay to<br />

take a little rest<br />

right before...<br />

1644.(1021+09) CHEST SHOT<br />

OTS Dylan.<br />

AKEELAH:(OS)(CONT)<br />

...<strong>the</strong> big event. You<br />

know?<br />

1244. 998.11 1005.01 6.06 AKEELAH:(TO CHIU)<br />

Well, me <strong>and</strong> some of<br />

<strong>the</strong> o<strong>the</strong>r kids are<br />

hanging out in my room.<br />

1245. 1005.12 1008.02 2.06 AKEELAH:(CONT)<br />

Drinking soda pop <strong>and</strong><br />

watching movies.<br />

1246. 1008.15 1011.15 3.00 AKEELAH:(OS)(CONT)<br />

We thought maybe he<br />

would like to come<br />

over.<br />

1247. 1012.08 1015.15 3.07 CHIU:(TO AKEELAH)<br />

I'm sorry, but tomorrow<br />

is <strong>the</strong> spelling bee.<br />

1248. 1016.14 1023.10 6.12<br />

(over scene end) AKEELAH:(TO CHIU)<br />

Well, you know<br />

sometimes it is okay to<br />

take a little rest<br />

right before <strong>the</strong> big<br />

event. You know?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 307<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - DYLAN'S ROOM - CONT)<br />

1645.(1024+05) HEAD SHOT<br />

OTS Chiu -- blinks.<br />

CHIU:(TO AKEELAH)<br />

Well, perhaps that is<br />

your strategy. But<br />

not ours.<br />

Chiu moves to CLOSE<br />

<strong>the</strong> door.<br />

1646.(1031+04) HEAD SHOT<br />

OTS Akeelah outside<br />

<strong>the</strong> half closed door.<br />

AKEELAH:(TO CHIU)<br />

Wait, wait.<br />

Chiu opens <strong>the</strong> door<br />

again. Akeelah offers<br />

<strong>the</strong> soda she took from<br />

<strong>the</strong> night st<strong>and</strong>.<br />

AKEELAH:(CONT)<br />

This is for Dylan.<br />

1647.(1038+06) HEAD SHOT<br />

OTS Chiu looks to <strong>the</strong><br />

soda in her h<strong>and</strong>.<br />

1648.(1042+01) HEAD SHOT<br />

OTS Akeelah. Chiu<br />

TAKES <strong>the</strong> SODA from<br />

her h<strong>and</strong>. He shakes<br />

his head.<br />

CHIU:(TO AKEELAH)<br />

Okay.<br />

1649.(1048+03) CHEST SHOT<br />

Dylan looks o/s L. to<br />

Akeelah as Chiu closes<br />

<strong>the</strong> door.<br />

1650.(1049+06) HEAD SHOT<br />

OTS Akeelah looks o/s<br />

R., to Dylan as <strong>the</strong><br />

door closes FG.<br />

1249. 1025.03 1029.02 3.15 CHIU:(TO AKEELAH)<br />

Well, perhaps that is<br />

your strategy. But not<br />

ours.<br />

1250. 1031.11 1033.11 2.00 AKEELAH:(TO CHIU)<br />

Wait.<br />

1251. 1035.11 1037.09 1.14 AKEELAH:(CONT)<br />

This is for Dylan.<br />

1252. 1046.04 1047.12 1.08 CHIU:(TO AKEELAH)<br />

Okay.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 308<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(EXT. - DYLAN'S ROOM - CONT)<br />

1651.(1050+03) MS OTS <strong>the</strong><br />

DOOR CLOSES in her<br />

face.<br />

(DOOR CLOSE)<br />

CUT TO BLACK;<br />

1652.BLACK FRAME<br />

(1051+04)<br />

LARABEE:(VO)<br />

"Our deepest fear is<br />

not that we<br />

inadequate.<br />

FADE IN;<br />

(MUSIC IN)<br />

1653.MONTAGE<br />

(1056+05) FULL SHOT<br />

SLOW MOTION. WE<br />

FOLLOW Akeelah as she<br />

walks along a hallway.<br />

CAMERAS FLASH as<br />

PHOTOGRAPHERS TAKE<br />

PICTURES.<br />

LARABEE:(VO)(CONT)<br />

Our deepest fear is<br />

that we are powerful<br />

beyond measure. We<br />

ask ourselves who am I<br />

to be brilliant,<br />

gorgeous, talented,<br />

<strong>and</strong> fabulous?<br />

Actually, who are you<br />

not to be?"<br />

1654.(1093+09) MS Video<br />

Cameras are made<br />

ready.<br />

1655.(1095+05) CS a<br />

LIGHTING BOARD SLIDER<br />

is MOVED R.<br />

1253. 1052.12 1058.00 5.04 LARABEE:(VO)<br />

"Our deepest fear is<br />

not that we inadequate.<br />

1254. 1059.14 1066.11 6.13 LARABEE:(VO)(CONT)<br />

Our deepest fear is<br />

that we are powerful<br />

beyond measure.<br />

1255. 1068.11 1075.05 6.10 LARABEE:(CONT)<br />

We ask ourselves who am<br />

I to be brilliant...<br />

1256. 1075.13 1081.00 5.03 LARABEE:(CONT)<br />

...gorgeous, talented,<br />

<strong>and</strong> fabulous?<br />

1257. 1083.00 1089.14 6.14 LARABEE:(CONT)<br />

Actually, who are you<br />

not to be?"


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 309<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MONTAGE - CONT)<br />

(MUSIC - CONT)<br />

1656.(1096+11) FULL SHOT<br />

Ellipsoid LAMPS LIGHT<br />

UP!<br />

1657.(1097+12) FULL SHOT<br />

a BANK of LIGHTS FLIP<br />

ON.<br />

1658.(1098+13) MS CAMERA<br />

PANS R. Along LAPTOP<br />

COMPUTERS.<br />

1659.(1101+03) MS Judges<br />

make ready.<br />

1660.(1104+07) MS A BOOM<br />

CAMERA CRANES UP.<br />

1661.(1107+00) FULL SHOT<br />

Audience <strong>and</strong><br />

contestants walk INTO<br />

<strong>the</strong> AUDITORIUM. WE<br />

SEE Akeelah MOVE C.<br />

CAMERA PANS R. to<br />

follow.<br />

(1114+09) TITLE<br />

FADES IN<br />

:<br />

SCRIPPS NATIONAL<br />

SPELLING BEE<br />

CAMERA CRANES UP to<br />

show <strong>the</strong> GRAND HYATT<br />

INDEPENDENCE BALLROOM,<br />

stretched out below<br />

us.<br />

TITLE FADES OUT<br />

CAMERA PANS R. <strong>and</strong> WE<br />

SEE <strong>the</strong> SPELLERS ON<br />

STAGE R. BG.<br />

MT#5 (1114.09) (1121.14)<br />

(TITLE FADES IN, FADES<br />

OUT<br />

SCRIPPS NATIONAL SPELLING BEE )


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 310<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

1662.INT.- BALLROOM - DAY<br />

(1133+12) CHEST SHOT<br />

Larabee sits in <strong>the</strong><br />

audience. CAMERA PANS<br />

L. to reveal Mr.<br />

Welch, Georgia, W<strong>and</strong>a,<br />

<strong>and</strong> Devon.<br />

1663.(1148+13) FULL SHOT<br />

Spellers file onto <strong>the</strong><br />

stage.<br />

1664.(1156+12) MCS<br />

Akeelah looks o/s R.<br />

1665.(1159+13) CHEST SHOT<br />

Dylan looks o/s L. to<br />

Akeelah <strong>the</strong> back o/s<br />

R.<br />

1666.(1164+06) CHEST SHOT<br />

Mr. <strong>and</strong> Mrs. Chiu in<br />

<strong>the</strong> audience.<br />

1667.(1166+14) HEAD SHOT<br />

Chiu looks o/s R. to<br />

Dylan on stage.<br />

(MUSIC OUT)<br />

1668.INT. - BOOTH - DAY<br />

(1170+06) HEAD SHOT<br />

OTS Ted SAUNDERS a<br />

commentator looks R.<br />

to KATIE<br />

Kerwin-McCrimmen FG.<br />

SAUNDERS:(ANNOUNCES)<br />

I'm Ted Saunders here<br />

with Katie...<br />

1258. 1170.12 1174.08 3.12<br />

(over scene end) SAUNDERS:(ANNOUNCES)<br />

I'm Ted Saunders here<br />

with Katie<br />

Kerwin-McCrimmen.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 311<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BOOTH - CONT)<br />

1669.(1172+15) CHEST SHOT<br />

Saunders L., Katie R.<br />

SAUNDERS:(CONT)<br />

...Kerwin-McCrimmen.<br />

Broadcasting live from<br />

<strong>the</strong> main ballroom...<br />

1670.INT. -AKEELAH'S HOME- DAY<br />

(1177+10) MS<br />

Television in<br />

Akeelah's house.<br />

CAMERA PULLS BACK- AND<br />

WE SEE - <strong>the</strong> televised<br />

Spelling <strong>Bee</strong> on <strong>the</strong><br />

screen.<br />

SAUNDERS:(FROM TV)<br />

...of <strong>the</strong> Gr<strong>and</strong> Hyatt,<br />

Washington.<br />

1671.(1181+01) M FULL<br />

SHOT Kiana <strong>and</strong><br />

Terrence watch <strong>the</strong><br />

broadcast.<br />

SAUNDERS:(FROM TV)<br />

Now Katie, as a former<br />

spelling bee champ<br />

yourself. Who do you<br />

think...<br />

1672.INT. - DINER - DAY<br />

(1185+12) FULL SHOT<br />

LOW ANGLE <strong>the</strong><br />

broadcast is running<br />

on a television in <strong>the</strong><br />

local Diner/ Coffee<br />

Shop. CAMERA TRACKS L.<br />

to reveal <strong>the</strong><br />

neighborhood denizens<br />

watching.<br />

SAUNDERS:(FROM TV)<br />

...we should be<br />

looking for to do well<br />

in this year's<br />

competition?<br />

1259. 1175.01 1180.15 5.14<br />

(over scene end) SAUNDERS:(CONT)<br />

Broadcasting live from<br />

<strong>the</strong> main ballroom of<br />

<strong>the</strong> Gr<strong>and</strong> Hyatt,<br />

Washington.<br />

1260. 1181.07 1185.00 3.09 SAUNDERS:(FROM TV)<br />

Now Katie, as a former<br />

spelling bee champ<br />

yourself.<br />

1261. 1185.10 1189.08 3.14<br />

(over scene end) SAUNDERS:(CONT)<br />

Who do you think we<br />

should be looking for<br />

to do well in this<br />

year's competition?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 312<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - DINER - CONT)<br />

1673.(1190+05) FULL SHOT<br />

HIGH ANGLE of <strong>the</strong><br />

people in <strong>the</strong> coffee<br />

shop. All look to <strong>the</strong><br />

TV L. FG.<br />

KATIE:(FROM TV)<br />

Several of <strong>the</strong> kids<br />

placed very high in<br />

last year's bee.<br />

Especially...<br />

1674.INT. - APARTMENT - DAY<br />

(1195+06) MS of a WIDE<br />

SCREEN TV in<br />

Derrick-T'S Apartment.<br />

KATIE:(CONT)<br />

...Dylan Chiu. He's<br />

come second...<br />

1675.(1198+00) FULL SHOT<br />

Derrick-T R. <strong>and</strong><br />

friends L. <strong>and</strong> BG.<br />

They sit on a couch<br />

<strong>and</strong> chair watching <strong>the</strong><br />

broadcast.<br />

KATIE:(FROM TV)<br />

...two years in a row.<br />

DERRICK-T:(OUT LOUD)<br />

Kick his butt,<br />

Akeelah. B-U-T-T,<br />

Butt!<br />

KATIE:(FROM TV)<br />

But <strong>the</strong> speller...<br />

1262. 1189.14 1194.09 4.11 KATIE:(FROM TV)<br />

Several of <strong>the</strong> kids<br />

placed very high in<br />

last year's bee.<br />

1263. 1194.15 1201.00 6.01<br />

(over scene end) KATIE:(CONT)<br />

Especially Dylan Chiu,<br />

he has come in second<br />

two years in a row.<br />

1264. 1201.15 1206.02 4.03 DERRICK-T:(OUT LOUD)<br />

Kick his butt, Akeelah.<br />

B-U-T-T, Butt!<br />

1265. 1206.08 1212.15 6.07<br />

(over scene end) KATIE:(FROM TV)<br />

But <strong>the</strong> speller I<br />

really have my eye on<br />

is little Akeelah<br />

Anderson from Los<br />

Angeles.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 313<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1676.INT. - GYMNASIUM - DAY<br />

(1207+02) FULL SHOT of<br />

STUDENTS in <strong>the</strong><br />

Crenshaw Middle School<br />

Gymnasium. All watch<br />

<strong>the</strong> broadcast. CAMERA<br />

TRACKS L.<br />

KATIE:(FROM TV)<br />

...I've really got my<br />

eye on is little<br />

Akeelah Anderson<br />

from...<br />

(STUDENTS CHEER)<br />

1677.(1211+14) FULL SHOT<br />

HIGH ANGLE everyone<br />

cheers BELOW.<br />

KATIE:(CONT)<br />

...Los Angeles.<br />

1678.(1213+09) FULL SHOT<br />

BIG SCREEN BG.<br />

Students FG. CHEER.<br />

KATIE:(FROM TV)<br />

She's become a bit of<br />

a media...<br />

1679.INT. - AKEELAH'S HOME - DAY<br />

(1216+06) FULL SHOT<br />

Kiana <strong>and</strong> Terrence<br />

CHEER.<br />

TERRENCE:(OUT LOUD)<br />

Yeah, that's my<br />

sister!<br />

KATIE:(FROM TV)<br />

She's only eleven<br />

years old...<br />

1266. 1214.03 1217.03 3.00<br />

(over scene end) KATIE:(FROM TV)<br />

She has become a bit of<br />

a media darling.<br />

1267. 1217.09 1219.01 1.08<br />

(over scene end) TERRENCE:(OUT LOUD)<br />

Yeah, that is my<br />

sister!<br />

1268. 1219.07 1222.04 2.13<br />

(over scene end) KATIE:(FROM TV)<br />

She is only eleven<br />

years old. And it is<br />

her first try at <strong>the</strong><br />

spelling bee circuit.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 314<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1680.INT. - DINER - DAY<br />

(1219+05) WAIST SHOT<br />

Korean Grocer <strong>and</strong><br />

Steve CHEER.<br />

KATIE:(FROM TV)<br />

...<strong>and</strong> it's her first<br />

try at <strong>the</strong> spelling<br />

bee circuit.<br />

1681.INT. - BALLROOM - DAY<br />

(1222+12) HEAD SHOT<br />

Javier looks o/s R.<br />

(MUSIC IN)<br />

CAMERA PANS R. to<br />

Akeelah who looks o/s<br />

L., to Javier. Akeelah<br />

looks o/s R. to <strong>the</strong><br />

audience.<br />

1682.MONTAGE<br />

(1245+11) FULL SHOT of<br />

<strong>the</strong> audience <strong>and</strong><br />

judges. CAMERA PANS R.<br />

LAP DISSOLVE;<br />

1683.(1249+10) MS ROW OF<br />

STAGE LIGHTS SHINE.<br />

CAMERA PANS L.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 315<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MONTAGE - CONT)<br />

(MUSIC - CONT)<br />

1684.(1251+12) ECS of<br />

Akeelah EYES ONLY as<br />

she looks o/s R. She<br />

CLOSES HER EYES.<br />

FADE TO BLACK;<br />

FADE IN TO;<br />

ECS Akeelah's EYES as<br />

she looks o/s L.,<br />

CAMERA PULLS BACK <strong>and</strong><br />

CIRCLES her. WE SEE<br />

that she STANDS at <strong>the</strong><br />

microphone. WE SEE<br />

<strong>the</strong> FILLED BALLROOM<br />

BG. CAMERA CONTINUES<br />

R. CROSSING BEHIND HER<br />

to show <strong>the</strong> JUDGES FG.<br />

<strong>the</strong>n CONTINUES to show<br />

<strong>the</strong> SPELLING<br />

CONTESTANTS BG. The<br />

CAMERA RETURNS to <strong>the</strong><br />

spot where it started<br />

for MCS Akeelah at <strong>the</strong><br />

microphone.<br />

1685.(1313+06) FULL SHOT<br />

<strong>the</strong> Audience looks o/s<br />

R. to Akeelah.<br />

1686.(1315+08) HEAD SHOT<br />

OTS Akeelah looks o/s<br />

L. into <strong>the</strong> audience.<br />

1687.(1317+08) CHEST SHOT<br />

Larabee R. Welch L.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 316<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

1688.INT. - BALLROOM - DAY<br />

(1320+05) MCS Akeelah<br />

SMILES o/s L. to<br />

Larabee, <strong>the</strong>n looks to<br />

<strong>the</strong> Judges table o/s<br />

L. FG.<br />

(MUSIC OUT)<br />

AKEELAH:(OUT LOUD)<br />

Could you repeat<br />

<strong>the</strong>...<br />

1689.(1325+04) CHEST SHOT<br />

OTS Judges.<br />

AKEELAH:(CONT)<br />

...word, please?<br />

The Pronouncer gives<br />

two pronunciations.<br />

PRONOUNCER:(TO AKEELAH)<br />

"Ratiocinate,<br />

Ratiocinate."<br />

1690.INT. - DINER - DAY<br />

(1332+00) FULL SHOT<br />

Patrons watch TV.<br />

STEVE:(OUT LOUD)<br />

What in <strong>the</strong> hell, kind<br />

of word, is that?<br />

1691.(1335+09) FULL SHOT<br />

LOW ANGLE of <strong>the</strong> TV in<br />

<strong>the</strong> Diner. Patrons<br />

FG. CAMERA TRACKS L.<br />

AKEELAH:(FROM TV)<br />

R-A...<br />

1269. 1324.04 1329.09 5.05<br />

(over scene end) AKEELAH:(OUT LOUD)<br />

Could you repeat<br />

<strong>the</strong> word, please?<br />

1270. 1327.08 1331.10 4.02<br />

PRONOUNCER:(TO AKEELAH)<br />

"Ratiocinate."<br />

1271. 1332.09 1335.05 2.12 STEVE:(OUT LOUD)<br />

What in <strong>the</strong> hell, kind<br />

of word, is that?<br />

1272. 1335.13 1342.13 7.00<br />

(over scene end) AKEELAH:(FROM TV)<br />

R-A-T-I-O-C...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 317<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

1692.INT. - BALLROOM - DAY<br />

(1338+00) FULL SHOT<br />

HIGH ANGLE of <strong>the</strong><br />

spellers on <strong>the</strong> stage.<br />

Akeelah at <strong>the</strong><br />

microphone. CAMERA<br />

CRANES DOWN.<br />

AKEELAH:(CONT)<br />

...T-I...<br />

1693.(1340+08) FULL SHOT<br />

LOW ANGLE Akeelah at<br />

<strong>the</strong> microphone.<br />

AKEELAH:(CONT)<br />

...O-C...<br />

1694.(1343+07) CHEST SHOT<br />

W<strong>and</strong>a.<br />

AKEELAH:(OS)(CONT)<br />

...I-N-A...<br />

1695.(1346+07) CHEST SHOT<br />

Larabee.<br />

AKEELAH:(OS)(CONT)<br />

...T-E.<br />

1696.(1348+11) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

Ratiocinate.<br />

1697.(1350+13) CHEST SHOT<br />

Judge L., Pronouncer<br />

R.<br />

JUDGE:(TO AKEELAH)(OS)<br />

That's correct.<br />

1698.(1352+07) HEAD SHOT<br />

W<strong>and</strong>a applauds, <strong>the</strong><br />

audience follows<br />

suite.<br />

(APPLAUSE)<br />

1273. 1343.10 1346.10 3.00<br />

(over scene end) AKEELAH:(OS)(CONT)<br />

...I-N-A-T-E.<br />

1274. 1349.02 1350.09 1.07 AKEELAH:(CONT)<br />

Ratiocinate.<br />

1275. *1350.13 1352.05 1.08<br />

(over scene end) JUDGE:(TO AKEELAH)(OS)<br />

That is correct.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 318<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1699.(1355+09) FULL SHOT<br />

Audience. WE SEE<br />

Devon, W<strong>and</strong>a, Georgia,<br />

Welch <strong>and</strong> Larabee<br />

sitting C.<br />

1700.INT. - GYM - DAY<br />

(1357+13) FULL SHOT<br />

Projection screen in<br />

Gymnasium. Students<br />

FG.<br />

(CHEERS)<br />

1701.(1359+07) FULL SHOT<br />

HIGH ANGLE Student's<br />

CHEER.<br />

1702.INT. - DINER - DAY<br />

(1361+00) FULL SHOT<br />

Patrons clap <strong>and</strong> hoot.<br />

SAUNDERS:(FROM TV)<br />

For an eleven year kid<br />

that's...<br />

1703.INT. - HOME - DAY<br />

(1362+08) CHEST SHOT<br />

Kiana <strong>and</strong> Terrence<br />

clap <strong>and</strong> laugh.<br />

SAUNDERS:(FROM TV)<br />

...just amazing.<br />

1704.INT. - BALLROOM - DAY<br />

(1364+06) CHEST SHOT<br />

Larabee claps.<br />

KATIE:(FROM TV)<br />

But watch...<br />

1276. 1361.07 1364.01 2.10<br />

(over scene end) SAUNDERS:(FROM TV)<br />

For an eleven year kid<br />

that is just amazing.<br />

1277. 1365.04 1369.15 4.11<br />

(over scene end) KATIE:(FROM TV)<br />

But watch out, one<br />

wrong letter <strong>and</strong> that<br />

is it.<br />

(Is it: Meaning, "it is all over".)


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 319<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1705.(1366+05) CHEST SHOT<br />

OTS Akeelah BG. looks<br />

to Speller TORSO ONLY<br />

FG.<br />

(DING)<br />

KATIE:(CONT)<br />

...one wrong letter<br />

<strong>and</strong> that's it.<br />

Speller CROSSES o/s L.<br />

1706.(1370+05) CHEST SHOT<br />

Dylan moves to <strong>the</strong><br />

microphone FG.<br />

1707.(1372+01) CHEST SHOT<br />

OTS Akeelah BG., Dylan<br />

at <strong>the</strong> mic. FG.<br />

PRONOUNCER:(TO ALL)<br />

"Oersted".<br />

1708.(1374+02) HEAD SHOT<br />

Mr Chiu. No emotion.<br />

1709.(1375+11) CHEST SHOT<br />

Dylan.<br />

DYLAN:(TO PRONOUNCER)<br />

What's <strong>the</strong> language of<br />

origin?<br />

1710.INT. - DINER - DAY<br />

(1377+06) MS Patrons<br />

look to TV BG.<br />

PRONOUNCER:(FROM TV)<br />

It's from a Danish<br />

name.<br />

1278. 1372.11 1374.07 1.12 PRONOUNCER:(TO ALL)<br />

"Oersted".<br />

1279. 1375.12 1377.04 1.08<br />

(over scene end) DYLAN:(TO PRONOUNCER)<br />

What is <strong>the</strong> language of<br />

origin?<br />

1280. 1377.14 1380.01 2.03 PRONOUNCER:(FROM TV)<br />

It is from a Danish<br />

name.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 320<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - DINER - CONT)<br />

(MUSIC - CONT)<br />

1711.(1380+02) CHEST SHOT<br />

Korean Grocer L.,<br />

Steve R.<br />

STEVE:(TO GROCER)<br />

Now, I can't st<strong>and</strong><br />

this Korean kid.<br />

GROCER:(TO STEVE)<br />

He's Chinese.<br />

STEVE:(TO GROCER)<br />

He's uppity!<br />

1712.INT. - BALLROOM - DAY<br />

(1385+03) CHEST SHOT<br />

Dylan.<br />

DYLAN:(TO ALL)<br />

O-E-S-T-R-E-D.<br />

1713.(1388+12) HEAD SHOT<br />

Akeelah.<br />

JUDGE:(TO ALL)<br />

That's correct.<br />

1714.(1391+06) CHEST SHOT<br />

Dylan turns walks L.<br />

1715.(1393+11) HEAD SHOT<br />

Akeelah looks o/s into<br />

<strong>the</strong> audience.<br />

(APPLAUSE)<br />

1716.(1396+09) FULL SHOT<br />

Audience WE SEE Mr<br />

Chiu stiff <strong>and</strong><br />

unmoving as ALL OTHERS<br />

Applaud.<br />

1717.(1398+13) HEAD SHOT<br />

Akeelah.<br />

1281. 1380.07 1382.11 2.04 STEVE:(TO GROCER)<br />

Now, I can't st<strong>and</strong> this<br />

Korean kid.<br />

1282. 1383.01 1384.11 1.10 GROCER:(TO STEVE)<br />

(THEN STEVE)<br />

- He is Chinese.<br />

- He is uppity!<br />

1283. 1385.07 1388.07 3.00 DYLAN:(TO ALL)<br />

O-E-S-T-R-E-D.<br />

1284. 1389.02 1390.10 1.08 JUDGE:(TO ALL)<br />

That is correct.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 321<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1718.(1402+05) CHEST SHOT<br />

Javier at <strong>the</strong><br />

microphone.<br />

JAVIER:(TO PRONOUNCER)<br />

What's <strong>the</strong> definition?<br />

1719.(1404+05) FULL SHOT<br />

from back of Ballroom.<br />

CAMERA CRANES UP.<br />

PRONOUNCER:(TO ALL)<br />

Xylem is a complex<br />

tissue in <strong>the</strong> vascular<br />

system of higher<br />

plants.<br />

1720.(1411+05) CHEST SHOT<br />

OTS Akeelah BG. looks<br />

to Javier FG.<br />

JAVIER:(TO ALL)<br />

"Xylem", X-<br />

1721.(1413+08) CHEST SHOT<br />

Javier FG.<br />

JAVIER:(CONT)<br />

...Y-L-E-M.<br />

1722.(1417+03) CHEST SHOT<br />

Judge.<br />

JUDGE:(TO JAVIER)<br />

That's correct.<br />

1723.(1419+05) CHEST SHOT<br />

Mr. <strong>and</strong> Mrs. Mendez<br />

applaud.<br />

1724.(1420+14) CHEST SHOT<br />

Javier turns from <strong>the</strong><br />

microphone.<br />

1725.(1422+07) FULL SHOT<br />

back of ballroom.<br />

CAMERA TRACKS R.<br />

1285. 1402.09 1404.01 1.08 JAVIER:(TO PRONOUNCER)<br />

What is <strong>the</strong> definition?<br />

1286. 1404.12 1410.13 6.01 PRONOUNCER:(TO ALL)<br />

Xylem is a complex<br />

tissue in <strong>the</strong> vascular<br />

system of higher<br />

plants.<br />

1287. 1411.11 1416.14 5.03<br />

(over scene end) JAVIER:(TO ALL)<br />

"Xylem", X-Y-L-E-M,<br />

Xylem.<br />

1288. 1417.08 1419.00 1.08<br />

(over scene end) JUDGE:(TO JAVIER)<br />

That is correct.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 322<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1726.(1424+08) HEAD SHOT<br />

OTS Akeelah SMILES to<br />

Javier as he SITS FG.<br />

JAVIER:(TO AKEELAH)<br />

They thought <strong>the</strong>y had<br />

me...<br />

1727.(1427+04) CHEST SHOT<br />

OTS Javier.<br />

JAVIER:(CONT)<br />

...but I was too much<br />

for 'em.<br />

1728.(1429+04) HEAD SHOT<br />

OTS Akeelah CHUCKLES,<br />

<strong>and</strong> STANDS o/s R.<br />

(MUSIC IN)<br />

1729.INT. - APT. - DAY<br />

(1431+06) FULL SHOT<br />

Derrick-T <strong>and</strong> crew<br />

KEEP TIME with<br />

Akeelah's letters.<br />

AKEELAH:(FROM TV)<br />

...T-H-O...<br />

1730.(1434+04) FULL SHOT<br />

Derrick-T <strong>and</strong> Crew<br />

WATCH TV BG. WE SEE<br />

Akeelah spelling.<br />

AKEELAH:(FROM TV)<br />

...E-P-Y.<br />

1289. 1425.08 1428.11 3.03<br />

(over scene end) JAVIER:(TO AKEELAH)<br />

They thought <strong>the</strong>y had<br />

me. But I was too much<br />

for <strong>the</strong>m.<br />

1290. 1431.09 1437.09 6.00<br />

(over scene end) AKEELAH:(FROM TV)<br />

...T-H-O-E-P-Y.<br />

Orthoepy.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 323<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

1731.INT. - BALLROOM - DAY<br />

(1436+05) CHEST SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

"Orthoepy."<br />

JUDGE:(TO AKEELAH)<br />

That's correct.<br />

FAST PAN.<br />

1732.(1439+08) CHEST SHOT<br />

Long hair SPELLER.<br />

FAST PAN.<br />

(DING)<br />

1733.(1440+15) MCS<br />

Pronouncer.<br />

PRONOUNCER:(TO ALL)<br />

Flocculation is<br />

originally...<br />

1734.(1442+05) MCS H<strong>and</strong><br />

to Face Speller.<br />

PRONOUNCER:(OS)(CONT)<br />

...Latin...<br />

MARY:(VO)<br />

Could you use it...<br />

1735.(1444+00) MCS MARY<br />

CALVERETTI at <strong>the</strong><br />

microphone.<br />

MARY:(CONT)<br />

...in a sentence,<br />

please?<br />

1291. 1437.15 1439.07 1.08 JUDGE:(TO AKEELAH)<br />

That is correct.<br />

1292. 1440.12 1443.13 3.01<br />

(over scene end) PRONOUNCER:(TO ALL)<br />

Flocculation is<br />

originally Latin.<br />

1293. 1444.03 1445.11 1.08<br />

(over scene end) MARY:(VO)<br />

Could you use it in a<br />

sentence, please.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 324<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1736.(1445+05) MCS Fuzzy<br />

haired boy.<br />

BOY:(OUT LOUD)<br />

Flocculation.<br />

FAST PAN<br />

(DING)<br />

1737.(1446+15) MCS<br />

SPELLER MAKES A FACE.<br />

AKEELAH:(VO)<br />

Can I...<br />

1738.(1447+13) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...have a definition,<br />

please?<br />

JUDGE:(VO)<br />

That's...<br />

1739.(1449+02) MCS Judge.<br />

JUDGE:(CONT)<br />

...correct.<br />

1740.(1449+14) HEAD SHOT<br />

Mary SMILES.<br />

(APPLAUSE)<br />

1294. 1446.01 1447.09 1.08<br />

(over scene end) BOY:(OUT LOUD)<br />

Flocculation.<br />

1295. 1447.15 1449.07 1.08<br />

(over scene end) AKEELAH:(SPELLS)<br />

(THEN JUDGE)<br />

- Can I have a<br />

definition, please?<br />

- That is correct.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 325<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1741.(1450+15) HEAD SHOT<br />

Boy with Glasses<br />

GRIMACES.<br />

PRONOUNCER:(TO ALL)<br />

Lobscows.<br />

AKEELAH:(VO)<br />

The language of...<br />

1742.(1452+07) MCS<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...origin, please?<br />

FAST PAN<br />

1743.(1453+13) FACE SHOT<br />

Red haired girl.<br />

(DING)<br />

1744.(1454+12) HEAD SHOT<br />

Javier.<br />

JAVIER:(TO ALL)<br />

Any alternate<br />

pronunciations?<br />

1745.(1456+09) HEAD SHOT<br />

DISHEVELED Hair KID.<br />

KID:(TO ALL)<br />

Gastromythia.<br />

(DING)<br />

1746.(1458+06) CS Bell.<br />

DYLAN:(OS)<br />

May I have...<br />

1296. 1450.11 1452.03 1.08 PRONOUNCER:(TO ALL)<br />

Lobscows.<br />

1297. 1452.09 1454.01 1.08<br />

(over scene end) AKEELAH:(VO)<br />

The language of origin,<br />

please?<br />

1298. *1454.12 1456.04 1.08 JAVIER:(TO ALL)<br />

Any alternate<br />

pronunciations?<br />

1299. 1456.11 1458.03 1.08 KID:(TO ALL)<br />

Gastromythia.<br />

1300. 1458.09 1460.14 2.05<br />

(over scene end) DYLAN:(OS)<br />

May I have <strong>the</strong><br />

definition, please?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 326<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1747.(1458+15) HEAD SHOT<br />

Dylan.<br />

DYLAN:(CONT)<br />

...definition, please?<br />

FAST PAN<br />

1748.(1460+07) HEAD SHOT<br />

Finger in MOUTH KID.<br />

1749.(1461+15) MCS Mouth<br />

Kid looks L.<br />

1750.(1462+14) HEAD SHOT<br />

Mouth Kid looks o/s R.<br />

(DING)<br />

1751.(1464+02) MCS<br />

Pronouncer looks o/s<br />

R.<br />

PRONOUNCER:(TO ALL)<br />

Latin.<br />

1752.(1464+15) FACE SHOT<br />

Girl with Glasses.<br />

GIRL:(TO ALL)<br />

Esterodie.<br />

She smiles.<br />

1753.(1466+11) MCS<br />

Pronouncer SMILES.<br />

CAMERA ZOOMS IN.<br />

1754.(1467+09) CHEST SHOT<br />

Javier.<br />

JAVIER:(TO ALL)<br />

Madrigal.<br />

JUDGE:(OS)<br />

That's correct.<br />

CAMERA ZOOMS IN.<br />

1301. 1464.02 1465.10 1.08 PRONOUNCER:(TO ALL)<br />

Latin.<br />

1302. 1466.00 1467.08 1.08<br />

(over scene end) GIRL:(TO ALL)<br />

Esterodie.<br />

1303. 1467.14 1470.00 2.02 JAVIER:(TO ALL)<br />

(THEN JUDGE)<br />

- Madrigal.<br />

- That is correct.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 327<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1755.(1470+08) CHEST SHOT<br />

RAJEEVE.<br />

RAJEEVE:(TO ALL)<br />

Can I have <strong>the</strong><br />

definition, please.<br />

FAST PAN.<br />

PRONOUNCER:(TO ALL)<br />

From earliest...<br />

1756.(1472+06) MCS<br />

Pronouncer.<br />

PRONOUNCER:(CONT)<br />

...known time.<br />

(DING)<br />

1757.(1474+00) HEAD SHOT<br />

BLOND HAIRED KID rolls<br />

his head <strong>and</strong> GRIMACES.<br />

1758.(1475+01) MCS<br />

Rajeeve.<br />

RAJEEVE:(TO ALL)<br />

Aboriginally.<br />

JUDGE:(OS)<br />

That's correct.<br />

FAST PAN<br />

1759.(1476+15) HEAD SHOT<br />

Dylan.<br />

DYLAN:(TO ALL)<br />

Language of origin?<br />

1760.(1477+15) MCS Boy<br />

with arms raised.<br />

(BOY YELLS)<br />

1304. 1470.15 1472.07 1.08 RAJEEVE:(TO ALL)<br />

Can I have <strong>the</strong><br />

definition, please.<br />

1305. 1472.13 1474.05 1.08<br />

(over scene end) PRONOUNCER:(TO ALL)<br />

From earliest known<br />

time.<br />

1306. 1475.02 1476.10 1.08 RAJEEVE:(TO ALL)<br />

(THEN JUDGE)<br />

- Aboriginally.<br />

- Correct.<br />

1307. 1477.00 1478.08 1.08<br />

(over scene end) DYLAN:(TO ALL)<br />

Language of origin?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 328<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1761.(1479+02) MCS Girl<br />

with pearl Ear stud,<br />

GRIMACES.<br />

(DING)<br />

1762.(1480+02) CHEST SHOT<br />

Dylan.<br />

DYLAN:(TO ALL)<br />

Empleomania.<br />

CAMERA ZOOMS IN.<br />

FAST PAN<br />

1763.(1483+14) HEAD SHOT<br />

Akeelah runs her h<strong>and</strong><br />

over her head.<br />

PRONOUNCER:(CONT)<br />

Any ratio without<br />

separation...<br />

1764.(1486+05) MCS<br />

Pronouncer.<br />

PRONOUNCER:(CONT)<br />

...of two phases.<br />

1765.INT. - HOME - DAY<br />

(1487+14) MS<br />

Television at<br />

Akeelah's home.<br />

Akeelah spells.<br />

AKEELAH:(FROM TV)<br />

...I-B-L-E.<br />

1766.(1489+11) FULL SHOT<br />

Terrence <strong>and</strong> Kiana<br />

watch TV BACKS TO<br />

CAMERA.<br />

AKEELAH:(FROM TV)(CONT)<br />

Miscible.<br />

1308. 1480.06 1482.03 1.13 DYLAN:(TO ALL)<br />

Empleomania.<br />

1309. 1483.11 1487.08 3.13<br />

(over scene end) PRONOUNCER:(CONT)<br />

Any ratio without<br />

separation of two<br />

phases.<br />

1310. *1487.14 1491.04 3.06<br />

(over scene end) AKEELAH:(FROM TV)<br />

...I-B-L-E. Miscible.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 329<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - HOME - CONT)<br />

(MUSIC - CONT)<br />

1767.(1491+06) CHEST SHOT<br />

Kiana <strong>and</strong> Terrence<br />

Cheer.<br />

KATIE:(FROM TV)<br />

If you're just joining<br />

us we're here in<br />

<strong>the</strong>...<br />

1768.INT. - BALLROOM - DAY<br />

(1494+12) FULL SHOT<br />

BOY in WHEELCHAIR at<br />

<strong>the</strong> microphone.<br />

CAMERA CRANES UP.<br />

KATIE:(CONT)<br />

...eighth round of <strong>the</strong><br />

National Spelling <strong>Bee</strong><br />

with only thirty<br />

spellers remaining.<br />

WHEELCHAIR:(TO ALL)<br />

...U-R-S-U-S.<br />

"Excursus."<br />

1769.(1510+08) CHEST SHOT<br />

Judge TAPS BELL FG.<br />

(DING)<br />

1770.(1511+15) FULL SHOT<br />

Ballroom.<br />

(AUDIENCE REACTION)<br />

1771.(1513+11) CHEST SHOT<br />

Akeelah steps to <strong>the</strong><br />

microphone.<br />

1772.(1515+11) CHEST SHOT<br />

Judges.<br />

PRONOUNCER:(TO AKEELAH)<br />

"Argillaceous."<br />

1311. 1491.13 1498.08 6.11<br />

(over scene end) KATIE:(FROM TV)<br />

If you are just joining<br />

us we are here in <strong>the</strong><br />

eighth round of <strong>the</strong><br />

national spelling<br />

bee...<br />

1312. 1498.14 1501.14 3.00 KATIE:(CONT)<br />

...with only thirty<br />

spellers remaining.<br />

1313. 1503.01 1510.01 7.00 WHEELCHAIR:(TO ALL)<br />

...U-R-S-U-S.<br />

"Excursus."<br />

1314. 1515.14 1517.06 1.08<br />

PRONOUNCER:(TO AKEELAH)<br />

"Argillaceous."


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 330<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1773.(1517+12) CHEST SHOT<br />

Akeelah.<br />

(MUSIC OUT)<br />

AKEELAH:(TO PRONOUNCER)<br />

Excuse me?<br />

1774.(1520+15) CS<br />

Pronouncer's MOUTH<br />

ONLY.<br />

PRONOUNCER:(TO AKEELAH)<br />

Argillaceous.<br />

1775.(1522+15) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO PRONOUNCER)<br />

Can I have <strong>the</strong><br />

definition, please?<br />

1776.(1527+00) HEAD SHOT<br />

Larabee looks o/s R.<br />

to <strong>the</strong> stage.<br />

PRONOUNCER:(OS)(CONT)<br />

Argillaceous means,<br />

of...<br />

1777.(1529+04) MS W<strong>and</strong>'s<br />

LAP as she GRIPS HANDS<br />

with Georgia <strong>and</strong> Devon<br />

o/s R. <strong>and</strong> L. CAMERA<br />

CRANES UP<br />

PRONOUNCER:(CONT)<br />

...relating to, or<br />

containing clay, or<br />

clay minerals.<br />

1315. 1519.02 1520.10 1.08<br />

AKEELAH:(TO PRONOUNCER)<br />

Excuse me?<br />

1316. 1521.03 1522.11 1.08<br />

PRONOUNCER:(TO AKEELAH)<br />

Argillaceous.<br />

1317. 1523.15 1526.08 2.09<br />

AKEELAH:(TO PRONOUNCER)<br />

Can I have <strong>the</strong><br />

definition, please?<br />

1318. 1527.08 1532.11 5.03<br />

(over scene end) PRONOUNCER:(OS)(CONT)<br />

Argillaceous means,<br />

of, relating to, or<br />

containing...<br />

1319. 1533.01 1535.03 2.02<br />

(over scene end) PRONOUNCER:(CONT)<br />

...clay or clay<br />

minerals.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 331<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

1778.(1534+15) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO PRONOUNCER)<br />

May I have <strong>the</strong><br />

language of origin,<br />

please?<br />

1779.(1537+04) MCS<br />

Pronouncer.<br />

PRONOUNCER:(TO AKEELAH)<br />

Latin.<br />

1780.INT. - HOME - DAY<br />

(1538+11) FULL SHOT<br />

Kiana <strong>and</strong> Terrence.<br />

TERRENCE:(OUT LOUD)<br />

Man that's a white<br />

word if I ever heard<br />

one! It's a trick!<br />

Stop playing!<br />

1781.INT. - GYM - DAY<br />

(1543+11) FULL SHOT<br />

Students FG. Screen<br />

BG.<br />

KATIE:(FROM TV)<br />

It's <strong>the</strong> suffix that<br />

would trip...<br />

1782.(1545+11) MCS Mrs.<br />

Cross.<br />

KATIE:(FROM TV)<br />

...up most people.<br />

They would...<br />

1320. 1535.09 1537.01 1.08<br />

AKEELAH:(TO PRONOUNCER)<br />

May I have <strong>the</strong> language<br />

of origin, please?<br />

1321. 1537.07 1538.15 1.08<br />

(over scene end) PRONOUNCER:(TO AKEELAH)<br />

Latin.<br />

1322. 1539.05 1543.07 4.02 TERRENCE:(OUT LOUD)<br />

Man that is a white<br />

word if I ever heard<br />

one! It is a trick!<br />

Stop playing!<br />

1323. 1543.15 1547.06 3.07<br />

(over scene end) KATIE:(FROM TV)<br />

It is <strong>the</strong> suffix that<br />

would trip up most<br />

people.<br />

1324. 1547.12 1552.15 5.03<br />

(over scene end) KATIE:(FROM TV)<br />

They would tend to<br />

spell it,<br />

"T-I-O-U-S," or<br />

"C-I-O-U-S.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 332<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1783.INT. - DINER - DAY<br />

(1548+03) FULL SHOT<br />

HIGH ANGLE all look to<br />

<strong>the</strong> TV FG.<br />

KATIE:(FROM TV)<br />

...would tend to spell<br />

it, "T-I-O-U-S"...<br />

1784.(1550+13) MCS<br />

Postman looks o/s to<br />

<strong>the</strong> screen.<br />

KATIE:(FROM TV)<br />

...or "C-I-O-U-S."<br />

1785.INT. - BALLROOM - DAY<br />

(1553+02) FULL SHOT<br />

Audience FG. STAGE BG.<br />

Akeelah at <strong>the</strong><br />

microphone.<br />

AKEELAH:(TO PRONOUNCER)<br />

Is it derived from <strong>the</strong><br />

Latin word<br />

"Argilla"...<br />

1786.(1556+12) HEAD SHOT<br />

Larabee.<br />

AKEELAH:(OS)(CONT)<br />

...meaning clay?<br />

PRONOUNCER:(TO AKEELAH)<br />

That's correct.<br />

1787.(1560+09) HEAD SHOT<br />

Akeelah thinks.<br />

1788.(1565+15) CHEST SHOT<br />

Akeelah at <strong>the</strong><br />

microphone. She TAPS<br />

<strong>and</strong> SPELLS.<br />

AKEELAH:(TO ALL)<br />

A-R-G...<br />

1325. 1553.08 1558.05 4.13<br />

(over scene end) AKEELAH:(TO PRONOUNCER)<br />

Is it derived from <strong>the</strong><br />

Latin word "Argilla,"<br />

meaning clay?<br />

1326. 1558.13 1560.05 1.08<br />

PRONOUNCER:(TO AKEELAH)<br />

That is correct.<br />

1327. 1567.07 1573.08 6.01 AKEELAH:(TO ALL)<br />

A-R-G...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 333<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

1789.(1574+00) M FULL<br />

SHOT Akeelah TAPS FG.<br />

WE SEE Dylan BG.<br />

AKEELAH:(CONT)<br />

...I-L...<br />

1790.(1578+08) CHEST SHOT<br />

Akeelah. CAMERA MOVES<br />

IN.<br />

AKEELAH:(CONT)<br />

...L-A...<br />

1791.(1587+13) HEAD SHOT<br />

Larabee.<br />

LARABEE:(TO HIMSELF)<br />

Come on.<br />

1792.(1590+00) HEAD SHOT<br />

Akeelah CLOSES HER<br />

EYES.<br />

1793.INT. -LARABEE'S HOME- DAY<br />

(1594+13) CS of <strong>the</strong><br />

WORD "ARGILLA" CAMERA<br />

PANS R. to FOLLOW a<br />

POINTER.<br />

1794.(1597+11) FACE SHOT<br />

Larabee looks o/s R.<br />

INTO CAMERA.<br />

1795.INT. - BALLROOM - DAY<br />

(1599+03) HEAD SHOT<br />

Akeelah concentrates.<br />

1796.(1600+14) M FULL<br />

SHOT Dylan BG.,<br />

Akeelah FG. TAPS<br />

FINGERS.<br />

1797.(1603+15) CHEST SHOT<br />

Devon L., W<strong>and</strong>a C.,<br />

Georgia R.<br />

1798.(1606+02) HEAD SHOT<br />

Javier.<br />

1328. 1574.14 1577.15 3.01 AKEELAH:(CONT)<br />

...I-L...<br />

1329. 1578.15 1582.03 3.04 AKEELAH:(CONT)<br />

...L-A...<br />

1330. 1587.14 1589.14 2.00 LARABEE:(TO HIMSELF)<br />

Come on.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 334<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

1799.(1608+09) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO JUDGE)(OS)<br />

Can I start over?<br />

JUDGE:(OS)(TO AKEELAH)<br />

You may, but...<br />

1800.(1614+00) CHEST SHOT<br />

Judges.<br />

JUDGE:(CONT)<br />

...you cannot change<br />

<strong>the</strong> letters you've...<br />

1801.(1616+07) MCS Welch<br />

L., Larabee R.<br />

JUDGE:(OS)(CONT)<br />

...already spelled.<br />

CAMERA PANS L. to<br />

Georgia who covers her<br />

eyes.<br />

1802.(1622+10) HEAD SHOT<br />

Akeelah.<br />

1803.(1630+14) M FULL<br />

SHOT Akeelah's HAND FG<br />

OUT OF FOCUS. Dylan<br />

BG. Akeelah RAISES<br />

HER HAND. Dylan LOOKS<br />

to <strong>the</strong> h<strong>and</strong>.<br />

1804.(1637+05) FULL SHOT<br />

Audience BG. Akeelah<br />

FG. LIFTS HER ARMS<br />

OUTWARD.<br />

1805.(1639+15) HEAD SHOT<br />

Akeelah opens her<br />

eyes.<br />

1331. 1610.03 1612.01 1.14 AKEELAH:(TO JUDGE)(OS)<br />

Can I start over?<br />

1332. 1612.15 1617.14 4.15<br />

(over scene end) JUDGE:(OS)(TO AKEELAH)<br />

You may, but you cannot<br />

change <strong>the</strong> letters you<br />

have already spelled.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 335<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

1806.(1642+02) FULL SHOT<br />

EXTREME HIGH ANGLE WE<br />

SEE Akeelah below with<br />

HER ARMS OUT. She<br />

MOTIONS with her HANDS<br />

AS IF JUMPING ROPE.<br />

She JUMPS <strong>and</strong> SPELLS.<br />

CAMERA CRANES DOWN.<br />

AKEELAH:(SPELLS)<br />

A-R-G...<br />

1807.(1648+12) FULL SHOT<br />

Audience REACTS by<br />

LOOKING TO EACH OTHER.<br />

AKEELAH:(OS)(SPELLS)<br />

...I-L...<br />

1808.(1650+15) HEAD SHOT<br />

Georgia PEEKS over her<br />

h<strong>and</strong>.<br />

AKEELAH:(OS)(CONT)<br />

...L...<br />

1809.(1652+09) WAIST SHOT<br />

Akeelah JUMPS <strong>and</strong><br />

SPELLS.<br />

AKEELAH:(CONT)<br />

...A-C...<br />

1810.INT. -LARABEE'S HOME- DAY<br />

(1655+04) CS of <strong>the</strong><br />

REMAINDER of <strong>the</strong> WORD.<br />

CAMERA PANS R.<br />

AKEELAH:(OS)(CONT)<br />

...E-O...<br />

1811.INT. - BALLROOM - DAY<br />

(1657+04) HEAD SHOT<br />

Larabee SMILES.<br />

AKEELAH:(OS)(CONT)<br />

...U...<br />

1333. 1644.11 1649.14 5.03<br />

(over scene end) AKEELAH:(SPELLS)<br />

A-R-G-I...<br />

1334. 1650.04 1654.14 4.10<br />

(over scene end) AKEELAH:(OS)(SPELLS)<br />

...L-L-A-C...<br />

1335. 1655.12 1659.13 4.01<br />

(over scene end) AKEELAH:(OS)(CONT)<br />

...E-O-U-S.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 336<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

1812.(1659+02) FULL SHOT<br />

Audience FG. Akeelah<br />

BG. on stage JUMPS <strong>and</strong><br />

SPELLS.<br />

AKEELAH:(CONT)<br />

...S.<br />

1813.(1660+07) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

..."Argillaceous".<br />

1814.(1663+00) WAIST SHOT<br />

OTS Judges table.<br />

JUDGE:(TO AKEELAH)<br />

That's correct.<br />

1815.(1664+14) FULL SHOT<br />

Akeelah FG. BACK TO<br />

CAMERA Audience BG.<br />

REACTS.<br />

1816.(1667+05) CHEST SHOT<br />

Devon L., W<strong>and</strong>a C.<br />

Georgia R,. CHEER.<br />

(APPLAUSE)<br />

1817.(1670+03) CHEST SHOT<br />

Javier CLAPS <strong>and</strong><br />

SMILES.<br />

1818.INT. - GYM - DAY<br />

(1672+06) FULL SHOT<br />

Students APPLAUD <strong>and</strong><br />

CHEER.<br />

1819.INT. - DINER - DAY<br />

(1673+12) FULL SHOT<br />

Patrons APPLAUD <strong>and</strong><br />

CHEER.<br />

1336. 1661.04 1662.12 1.08 AKEELAH:(CONT)<br />

..."Argillaceous".<br />

1337. 1663.02 1664.10 1.08 JUDGE:(TO AKEELAH)<br />

That is correct.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 5 Page 337<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1820.INT. - HOME - DAY<br />

(1675+11) M FULL SHOT<br />

Kiana <strong>and</strong> Terrence<br />

EMBRACE in<br />

CELEBRATION.<br />

TERRENCE:(OUT LOUD)<br />

She got it! That's my<br />

little sister.<br />

1821.INT. - BALLROOM - DAY<br />

(1678+01) MS CAMERA<br />

FAST TRACKS R. <strong>and</strong><br />

STOPS on Larabee.<br />

(APPLAUSE)<br />

1338. 1675.12 1677.15 2.03 TERRENCE:(OUT LOUD)<br />

She got it! That is my<br />

little sister.<br />

END OF REEL #5<br />

LAST FRAME OF REEL 1683 FEET 11 FRAMES


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 338<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(00+00) PICTURE START (00+00) PICTURE START<br />

1822.INT. - BALLROOM - DAY<br />

(12+00) FULL SHOT<br />

Audience CAMERA CRANES<br />

DOWN for CHEST SHOT<br />

Chiu <strong>and</strong> Wife. Chiu<br />

sits with arms folded.<br />

(MUSIC IN)<br />

1823.(19+00) HEAD SHOT<br />

OTS Akeelah looks o/s<br />

L. to Dylan.<br />

1824.(24+10) CHEST SHOT<br />

Dylan looks o/s R. to<br />

Akeelah.<br />

SAUNDERS:(ANNOUNCES)<br />

Well...<br />

1825.INT. - BOOTH - DAY<br />

(32+02) MCS OTS Ted<br />

Saunders L. BG. Katie<br />

FG.<br />

SAUNDERS:(CONT)<br />

...it's <strong>the</strong> twelfth<br />

round folks. And our<br />

five remaining<br />

spellers are...<br />

1826.INT. - DINER - DAY<br />

(38+01) MS TV. WE SEE<br />

MARY CALVERETTI on <strong>the</strong><br />

screen.<br />

SAUNDERS:(FROM TV)<br />

...Mary Calveretti,<br />

age...<br />

1827.(40+04) WAIST SHOT<br />

Patrons FG. look to<br />

<strong>the</strong> television set BG.<br />

SAUNDERS:(CONT)<br />

...twelve. Thirteen<br />

year old, Rajeeve<br />

Subramonian.<br />

1339. 31.14 34.14 3.00<br />

(over scene end) SAUNDERS:(ANNOUNCES)<br />

Well it is <strong>the</strong> twelfth<br />

round folks.<br />

1340. 35.04 40.10 5.06<br />

(over scene end) SAUNDERS:(CONT)<br />

And our five remaining<br />

spellers are Mary<br />

Calveretti, age twelve.<br />

1341. 41.11 43.11 2.00 SAUNDERS:(CONT)<br />

Thirteen year old,<br />

Rajeeve Subramonian.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 339<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1828.INT. - HOME - DAY<br />

(44+05) FULL SHOT<br />

Terrence <strong>and</strong> Kiana<br />

BACKS TO CAMERA watch<br />

TV.<br />

SAUNDERS:(FROM TV)<br />

Twelve year old Javier<br />

Mendez.<br />

1829.INT. - GYM - DAY<br />

(47+07) FULL SHOT<br />

Students FG. Screen<br />

BG.<br />

SAUNDERS:(FROM TV)<br />

Dylan Chiu, also of<br />

Woodl<strong>and</strong> Hills. Wow,<br />

<strong>the</strong>y really...<br />

1830.INT. - APT. - DAY<br />

(50+12) MCS Derrick-T<br />

looks o/s R. to his TV<br />

<strong>and</strong> makes a dismissive<br />

move.<br />

SAUNDERS:(FROM TV)<br />

...crank 'em out down<br />

<strong>the</strong>re, don't <strong>the</strong>y? Of<br />

course...<br />

1831.INT. - BOOTH - DAY<br />

(53+08) MCS OTS<br />

Saunders.<br />

SAUNDERS:(CONT)<br />

...Akeelah Anderson.<br />

1832.INT. - GYM - DAY<br />

(55+01) FULL SHOT<br />

Students FG. CHEER.<br />

Akeelah on screen BG.<br />

CAMERA TRACKS R.<br />

1833.(57+10) WAIST SHOT<br />

Tough girls <strong>and</strong> Chucky<br />

CHEER.<br />

1342. 44.08 46.13 2.05 SAUNDERS:(FROM TV)<br />

Twelve year old Javier<br />

Mendez.<br />

1343. 47.14 50.06 2.08 SAUNDERS:(FROM TV)<br />

Dylan Chiu, also of<br />

Woodl<strong>and</strong> Hills.<br />

1344. 50.12 53.01 2.05<br />

(over scene end) SAUNDERS:(CONT)<br />

Wow, <strong>the</strong>y really crank<br />

<strong>the</strong>m out down <strong>the</strong>re,<br />

don't <strong>the</strong>y?<br />

1345. 53.07 55.14 2.07<br />

(over scene end) SAUNDERS:(CONT)<br />

Of course, Akeelah<br />

Anderson.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 340<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1834.INT. - BALLROOM - DAY<br />

(60+01) MCS Javier at<br />

<strong>the</strong> microphone.<br />

(MUSIC IN)<br />

JAVIER:(TO PRONOUNCER)<br />

Could you use <strong>the</strong> word<br />

in a sentence...<br />

1835.(62+07) CHEST SHOT<br />

Mendez family look o/s<br />

R. to Javier.<br />

JAVIER:(OS)(CONT)<br />

...please?<br />

1836.(63+14) CHEST SHOT<br />

Judges.<br />

PRONOUNCER:(TO JAVIER)<br />

The Merovingian kings<br />

were known for having<br />

long...<br />

1837.(68+15) M FULL<br />

SHOT OTS Javier st<strong>and</strong>s<br />

between <strong>the</strong> Judges FG.<br />

BACKS TO CAMERA.<br />

PRONOUNCER:(CONT)<br />

...red hair.<br />

JAVIER:(TO PRONOUNCER)<br />

Okay. Ah... M-...<br />

1838.(77+15) MCS Javier<br />

at <strong>the</strong> microphone.<br />

JAVIER:(CONT)<br />

...A...<br />

1346. 60.10 63.11 3.01<br />

(over scene end) JAVIER:(TO PRONOUNCER)<br />

Could you use <strong>the</strong> word<br />

in a sentence, please?<br />

1347. 64.06 70.07 6.01<br />

(over scene end) PRONOUNCER:(TO JAVIER)<br />

The Merovingian kings<br />

were known for having<br />

long red hair.<br />

1348. 70.05 72.05 2.00 JAVIER:(TO PRONOUNCER)<br />

Okay.<br />

1349. 75.04 82.04 7.00<br />

(over scene end) JAVIER:(CONT)<br />

M-A-R...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 341<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1839.(80+02) HEAD SHOT<br />

Akeelah.<br />

JAVIER:(OS)(CONT)<br />

...R-O-V...<br />

1840.(85+08) MCS<br />

Javier.<br />

JAVIER:(CONT)<br />

...I-N...<br />

1841.(87+09) HEAD SHOT<br />

Akeelah.<br />

JAVIER:(OS)(CONT)<br />

...G-I-A...<br />

1842.(91+05) M FULL<br />

SHOT OTS Javier.<br />

JAVIER:(CONT)<br />

...N. "Merovingian."<br />

(DING)<br />

1843.(95+02) MCS<br />

Javier sighs.<br />

(AUDIENCE REACTS)<br />

1844.(98+12) CHEST SHOT<br />

<strong>the</strong> Mendez family<br />

reacts.<br />

PRONOUNCER:(TO JAVIER)<br />

Merovingian is<br />

spelled, M-E...<br />

1845.(104+00) MCS<br />

Javier.<br />

PRONOUNCER:(CONT)<br />

...R-O-V-I-N...<br />

1350. 83.09 88.04 4.11<br />

(over scene end) JAVIER:(OS)(CONT)<br />

...O-V-I-N...<br />

1351. 84.10 91.00 6.06<br />

(over scene end) JAVIER:(OS)(CONT)<br />

...G-I-A-N.<br />

1352. 91.06 94.09 3.03 JAVIER:(CONT)<br />

"Merovingian."<br />

1353. 100.14 103.07 2.09 PRONOUNCER:(TO JAVIER)<br />

Merovingian is spelled,<br />

1354. 103.13 109.11 5.14<br />

(over scene end) PRONOUNCER:(CONT)<br />

M-E-R-O-V-I-N-G-I-A-N


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 342<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1846.(106+15) HEAD SHOT<br />

Akeelah.<br />

PRONOUNCER:(OS)(CONT)<br />

...G-I-A-N.<br />

1847.(109+12) FULL SHOT<br />

HIGH ANGLE Audience<br />

applauds.<br />

(APPLAUSE)<br />

CAMERA CRANES R.<br />

1848.(112+07) MCS Javier<br />

looks o/s L. to <strong>the</strong><br />

crowd. HE MIMES for<br />

<strong>the</strong> Audience. He<br />

THROWS KISSES.<br />

1849.(118+00) M FULL<br />

SHOT Javier BOWS.<br />

1850.(120+09) CHEST SHOT<br />

Judges CLAP <strong>and</strong> SMILE.<br />

1851.(123+08) HEAD SHOT<br />

Akeelah looks o/s L.<br />

to Javier.<br />

JAVIER:(OS)(TO AKEELAH)<br />

I forgot to spell it<br />

how it sounds.<br />

1852.(125+12) CHEST SHOT<br />

OTS Javier.<br />

JAVIER:(TO AKEELAH)<br />

Thirteenth last year,<br />

fifth this year. Next<br />

year I'll take it all.<br />

Now it's your turn.<br />

1853.(134+01) HEAD SHOT<br />

Akeelah smiles o/s L.<br />

to Javier.<br />

1355. 123.11 125.03 1.08 JAVIER:(OS)(TO AKEELAH)<br />

I forgot to spell it<br />

how it sounds.<br />

1356. 126.00 129.09 3.09 JAVIER:(TO AKEELAH)<br />

Thirteenth last year,<br />

fifth this year.<br />

1357. 130.11 133.10 2.15 JAVIER:(CONT)<br />

Next year I will take<br />

it all. Now it is your<br />

turn.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 343<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1854.(136+07) CHEST SHOT<br />

OTS Javier moves o/s<br />

R. from <strong>the</strong> stage.<br />

1855.(137+14) HEAD SHOT<br />

Akeelah looks o/s L.<br />

as she watches Javier<br />

move from <strong>the</strong> stage.<br />

1856.(140+14) WAIST SHOT<br />

Javier sits BETWEEN<br />

HIS PARENTS as <strong>the</strong><br />

console <strong>and</strong><br />

congratulate him.<br />

1857.(146+07) CHEST SHOT<br />

MARY.<br />

MARY:(TO ALL)<br />

...I-S-M.<br />

"Mithridatism."<br />

DYLAN:(VO)<br />

..P-I...<br />

(DING)<br />

1858.(154+00) HEAD SHOT<br />

Dylan.<br />

DYLAN:(SPELLS)<br />

...S-C-N-C-E.<br />

"Resipiscence."<br />

JUDGE (OS)(TO DYLAN)<br />

That's correct.<br />

RAJEEVE:(VO)<br />

F-I...<br />

1859.(160+07) CHEST SHOT<br />

Rajeeve at <strong>the</strong><br />

microphone.<br />

RAJEEVE:(SPELLS)<br />

...R-E. "Vitrophyre."<br />

(DING)<br />

1358. 146.05 150.11 4.06 MARY:(TO ALL)<br />

...I-S-M.<br />

"Mithridatism."<br />

1359. 153.00 157.07 4.07<br />

(over scene end) DYLAN:(VO)<br />

..P-I-S-C-N-C-E.<br />

1360. 157.13 159.13 2.00 DYLAN:(SPELLS)<br />

(THEN JUDGE)<br />

- "Resipiscence."<br />

- That is correct.<br />

1361. 160.03 164.15 4.12<br />

(over scene end) RAJEEVE:(VO)<br />

F-I-R-E. "Vitrophyre".


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 344<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1860.(167+10) HEAD SHOT<br />

Akeelah spells.<br />

AKEELAH:(SPELLS)<br />

G-I-N-O-U-S.<br />

"Serpiginous."<br />

JUDGE:(OS)(TO AKEELAH)<br />

That's correct.<br />

1861.(174+14) CHEST SHOT<br />

Devon STANDS <strong>and</strong><br />

SHOUTS.<br />

DEVON:(OUT LOUD)<br />

Yes!<br />

1862.(176+09) FULL SHOT<br />

HIGH ANGLE Audience.<br />

CAMERA CRANES L.<br />

1863.(178+14) CHEST SHOT<br />

Welch APPLAUDS.<br />

1864.(180+10) HEAD SHOT<br />

W<strong>and</strong>a APPLAUDS.<br />

WANDA:(TO ONLOOKER)<br />

That's my baby.<br />

(APPLAUSE)<br />

1362. 167.15 173.07 5.08 AKEELAH:(SPELLS)<br />

G-I-N-O-U-S.<br />

"Serpiginous."<br />

1363. 173.13 175.05 1.08<br />

(over scene end) JUDGE:(OS)(TO AKEELAH)<br />

That is correct.<br />

1364. 175.11 177.03 1.08<br />

(over scene end) DEVON:(OUT LOUD)<br />

Yes!<br />

1365. 181.00 183.07 2.07 WANDA:(TO ONLOOKER)<br />

That is my baby.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 345<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1865.(183+09) FULL SHOT<br />

Akeelah SITS down in<br />

her chair.<br />

(APPLAUSE)<br />

CAMERA PULLS BACK --<br />

WE SEE only Dylan <strong>and</strong><br />

Akeelah remain on<br />

stage.<br />

JUDGE:(ANNOUNCES)<br />

We're going to take a<br />

small break before<br />

Akeelah <strong>and</strong> Dylan<br />

commence with <strong>the</strong><br />

championship level<br />

words.<br />

1866.INT. - COMFORT ROOM - DAY<br />

(204+09) CHEST SHOT<br />

Akeelah wipes her face<br />

with a towel. She<br />

LOOKS TO HER<br />

REFLECTION <strong>and</strong> SMILES.<br />

She looks down <strong>the</strong> UP<br />

o/s TOP.<br />

AKEELAH:(OUT LOUD)<br />

Pretty good, huh?<br />

1867.INT. - HALLWAY - DAY<br />

(233+13) CHEST SHOT<br />

Akeelah STEPS from <strong>the</strong><br />

comfort room <strong>and</strong> walks<br />

to FG. CAMERA PULLS<br />

BACK PRECEDING. She<br />

looks o/s R. to <strong>the</strong><br />

sound of a voice.<br />

It's Mr. Chiu's voice.<br />

CHIU:(OS)(TO DYLAN)(OS)<br />

You know what happened<br />

last year. Make sure<br />

you stay focused,<br />

right?<br />

1366. 194.11 197.04 2.09 JUDGE:(ANNOUNCES)<br />

We are going to take a<br />

small break...<br />

1367. 197.10 202.13 5.03 JUDGE:(CONT)<br />

...before Akeelah <strong>and</strong><br />

Dylan commence with <strong>the</strong><br />

championship level<br />

words.<br />

1368. 229.00 231.03 2.03 AKEELAH:(OUT LOUD)<br />

Pretty good, huh?<br />

1369. 239.05 246.05 7.00 CHIU:(OS)(TO DYLAN)(OS)<br />

You know what happened<br />

last year. Make sure<br />

you stay focused,<br />

right?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 346<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

1868.INT. - MEN'S ROOM - DAY<br />

(247+06) MCS WE SEE<br />

Akeelah OPEN <strong>the</strong> door<br />

SLIGHTLY <strong>and</strong> look<br />

inside.<br />

CHIU:(OS)(CONT)<br />

This is your...<br />

1869.(249+05) M FULL<br />

SHOT Dylan R. Mr. Chiu<br />

L . They st<strong>and</strong> inside<br />

beside some bathroom<br />

stalls.<br />

CHIU:(CONT)<br />

...last national<br />

spelling bee. If you<br />

lose to that girl,<br />

you're second place<br />

your whole life.<br />

1870.(258+06) HEAD SHOT<br />

Akeelah looks o/s R.<br />

to Chiu <strong>and</strong> Dylan.<br />

CHIU:(OS)(CONT)<br />

No way! You hear me?<br />

1871.(262+14) M FULL<br />

SHOT Chiu L., Dylan R.<br />

CHIU:(CONT)<br />

No way!<br />

1872.(264+15) HEAD SHOT<br />

Akeelah looks o/s R.<br />

to Chiu <strong>and</strong> Dylan. WE<br />

SEE Larabee BG. BEHIND<br />

Akeelah.<br />

LARABEE:(TO AKEELAH)<br />

Peeking on...<br />

1370. 248.03 252.03 4.00<br />

(over scene end) CHIU:(OS)(CONT)<br />

This is your last<br />

national spelling bee.<br />

1371. 252.13 257.13 5.00 CHIU:(CONT)<br />

If you lose to that<br />

girl, you are second<br />

place your whole life.<br />

1372. 259.12 262.04 2.08 CHIU:(OS)(CONT)<br />

No way! You hear me?<br />

1373. *262.15 264.07 1.08 CHIU:(CONT)<br />

No way!<br />

1374. 265.03 266.11 1.08<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

Peeking on someone?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 347<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - MEN'S ROOM - CONT)<br />

1873.(266+00) CHEST SHOT<br />

OTS Akeelah looks L.<br />

to Larabee.<br />

LARABEE:(CONT)<br />

...someone?<br />

1874.(267+03) CHEST SHOT<br />

Larabee looks o/s R.<br />

to Akeelah.<br />

1875.INT. - HALLWAY - DAY<br />

(268+12) CHEST SHOT<br />

OTS Akeelah smiles.<br />

AKEELAH:(TO LARABEE)<br />

Just wishing Dylan<br />

good luck.<br />

1876.(271+15) CHEST SHOT<br />

Larabee.<br />

LARABEE:(TO AKEELAH)<br />

You've done a superb<br />

job. I am so proud of<br />

you.<br />

1375. 269.07 271.06 1.15 AKEELAH:(TO LARABEE)<br />

Just wishing Dylan good<br />

luck.<br />

1376. 272.11 276.02 3.07 LARABEE:(TO AKEELAH)<br />

You have done a superb<br />

job. I am so proud of<br />

you.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 348<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - HALLWAY - CONT)<br />

1877.(276+09) CHEST SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

Now listen, <strong>the</strong>y are<br />

going to hit you with<br />

every trick word<br />

<strong>the</strong>y've got.<br />

They begin to walk<br />

along <strong>the</strong> hallway.<br />

CAMERA PULLS BACK<br />

PRECEDING.<br />

LARABEE:(CONT)<br />

Now, you just remember<br />

<strong>the</strong> things that we've<br />

studied. You can take<br />

<strong>the</strong>se words apart.<br />

Even if you've never<br />

seen <strong>the</strong>m, right?<br />

Akeelah nods.<br />

AKEELAH:(TO LARABEE)<br />

But if I don't beat<br />

Dylan, I've...<br />

1878.(295+11) HEAD SHOT<br />

OTS HIGH ANGLE<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...still got next<br />

year, right?<br />

1879.(298+02) HEAD SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Well, of course you<br />

do.<br />

1377. 276.13 282.08 5.11 LARABEE:(CONT)<br />

Now listen, <strong>the</strong>y are<br />

going to hit you with<br />

every trick word <strong>the</strong>y<br />

have got.<br />

1378. 283.10 286.10 3.00 LARABEE:(CONT)<br />

Now, you just remember<br />

<strong>the</strong> things that we have<br />

studied.<br />

1379. 287.00 291.01 4.01 LARABEE:(CONT)<br />

You can take <strong>the</strong>se<br />

words apart. Even if<br />

you have never seen<br />

<strong>the</strong>m, right?<br />

1380. 293.02 297.00 3.14<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

But if I don't beat<br />

Dylan, I still have<br />

next year, right?<br />

1381. 298.06 299.14 1.08 LARABEE:(TO AKEELAH)<br />

Well, of course you do.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 349<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - HALLWAY - CONT)<br />

1880.(300+00) HEAD SHOT<br />

OTS Akeelah.<br />

LARABEE:(CONT)<br />

Although, I don't know<br />

how much time we'll<br />

have to train<br />

toge<strong>the</strong>r. I've...<br />

1881.(305+10) HEAD SHOT<br />

OTS Larabee.<br />

LARABEE:(CONT)<br />

...been asked to come<br />

back <strong>and</strong> teach at<br />

UCLA. And I've said<br />

yes.<br />

1882.(311+08) HEAD SHOT<br />

OTS Akeelah<br />

AKEELAH:(TO LARABEE)<br />

Really?<br />

1883.(314+09) HEAD SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

Well, far be it from<br />

me to deny <strong>the</strong> next<br />

W.E.B. Dubois <strong>the</strong><br />

benefits of my acerbic<br />

wit <strong>and</strong> sour<br />

disposition.<br />

1884.(326+03) HEAD SHOT<br />

OTS Akeelah SMILES.<br />

(LARABEE CHUCKLES)<br />

(DOOR OPENS)<br />

Akeelah looks o/s L.<br />

to <strong>the</strong> sound.<br />

1382. 301.02 304.11 3.09 LARABEE:(CONT)<br />

Although, I don't know<br />

how much time we will<br />

have to train toge<strong>the</strong>r.<br />

1383. 305.01 310.15 5.14<br />

(over scene end) LARABEE:(CONT)<br />

I have been asked to<br />

come back <strong>and</strong> teach at<br />

UCLA. And I have said<br />

yes.<br />

1384. 313.01 314.09 1.08<br />

(over scene end) AKEELAH:(TO LARABEE)<br />

Really?<br />

1385. 315.01 320.06 5.05 LARABEE:(TO AKEELAH)<br />

Well, far be it from me<br />

to deny <strong>the</strong> next W.E.B.<br />

Dubois...<br />

1386. 320.12 325.07 4.11 LARABEE:(CONT)<br />

...<strong>the</strong> benefits of my<br />

acerbic wit <strong>and</strong> sour<br />

disposition.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 350<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - HALLWAY - CONT)<br />

1885.(330+02) WAIST SHOT<br />

Dylan <strong>and</strong> Chiu step<br />

INTO THE HALL <strong>and</strong> walk<br />

L. CAMERA PANS L. to<br />

follow. They CROSS<br />

o/s BG. as Larabee <strong>and</strong><br />

Akeelah st<strong>and</strong> FG.<br />

1886.(337+02) HEAD SHOT<br />

OTS Akeelah looks<br />

down.<br />

1887.(340+01) HEAD SHOT<br />

OTS Larabee.<br />

LARABEE:(TO AKEELAH)<br />

What's <strong>the</strong> matter?<br />

1888.(342+00) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO LARABEE)<br />

Nothing, Doctor<br />

Larabee. I should get<br />

back. No matter what<br />

happens, I want you to<br />

know that...<br />

1889.(357+11) HEAD SHOT<br />

OTS Larabee.<br />

AKEELAH:(CONT)<br />

I couldn't have gotten<br />

this far without you.<br />

1890.(362+02) HEAD SHOT<br />

OTS Akeelah.<br />

1387. 340.09 342.01 1.08<br />

(over scene end) LARABEE:(TO AKEELAH)<br />

What is <strong>the</strong> matter?<br />

1388. 343.02 348.09 5.07 AKEELAH:(TO LARABEE)<br />

Nothing, Doctor<br />

Larabee. I should get<br />

back.<br />

1389. 349.13 351.05 1.08 AKEELAH:(CONT)<br />

No matter what<br />

happens...<br />

1390. 355.07 361.01 5.10<br />

(over scene end) AKEELAH:(CONT)<br />

...I want you to know<br />

that I could not have<br />

gotten this far without<br />

you.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 351<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - HALLWAY - CONT)<br />

1891.(363+13) FULL SHOT<br />

WE SEE W<strong>and</strong>a ENTER BG.<br />

Larabee L. FG.<br />

WANDA:(TO AKEELAH)(OS)<br />

Akeelah, baby. There<br />

you are, come on.<br />

1892.(366+00) HEAD SHOT<br />

OTS Akeelah looks to<br />

Larabee FG.<br />

AKEELAH:(TO LARABEE)<br />

I gotta go.<br />

1893.(369+10) FULL SHOT<br />

Akeelah runs to W<strong>and</strong>a<br />

BG. Larabee FG. looks<br />

on.<br />

WANDA:(TO AKEELAH)<br />

They're about to start<br />

up again.<br />

1894.(373+04) HEAD SHOT<br />

Larabee moves o/s R.<br />

1895.INT. - BALLROOM - DAY<br />

(378+05) FULL SHOT<br />

Audience BG. MOVES to<br />

<strong>the</strong>ir SEATS. Larabee<br />

ENTERS, MOVES to FG.<br />

1896.(382+05) HEAD SHOT<br />

Larabee looks o/s L.<br />

to <strong>the</strong> stage.<br />

1897.(386+01) WAIST SHOT<br />

Larabee. W<strong>and</strong>a <strong>and</strong><br />

Devon CROSS BG. W<strong>and</strong>a<br />

STOPS <strong>and</strong> turns to<br />

Larabee.<br />

WANDA:(TO LARABEE)<br />

Don't look...<br />

1391. 364.07 365.15 1.08 WANDA:(TO AKEELAH)(OS)<br />

Akeelah, baby. There<br />

you are, come on.<br />

1392. 367.12 369.04 1.08 AKEELAH:(TO LARABEE)<br />

I have to go.<br />

1393. 371.08 374.06 2.14<br />

(over scene end) WANDA:(TO AKEELAH)<br />

They are about to start<br />

up again.<br />

1394. 392.07 397.07 5.00<br />

(over scene end) WANDA:(TO LARABEE)<br />

Don't look so nervous.<br />

I hear she had a pretty<br />

good coach.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 352<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

1898.(393+05) HEAD SHOT<br />

OTS Larabee.<br />

WANDA:(CONT)<br />

... so nervous. I<br />

heard she had a pretty<br />

good coach.<br />

1899.(401+00) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO LARABEE)<br />

You know, I just found<br />

out that <strong>the</strong> <strong>Bee</strong> only<br />

gives each...<br />

1900.(405+07) HEAD SHOT<br />

OTS Larabee.<br />

WANDA:(CONT)<br />

...kid two plane<br />

tickets. I was<br />

wondering how we<br />

ended...<br />

1901.(410+10) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(CONT)<br />

...up with six?<br />

1902.(416+09) HEAD SHOT<br />

OTS Larabee.<br />

LARABEE:(TO WANDA)<br />

Perhaps it was some<br />

unexpected largess on<br />

<strong>the</strong> part of <strong>the</strong> <strong>Bee</strong>.<br />

1903.(426+02) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO LARABEE)<br />

Or perhaps Akeelah's<br />

coach is also pretty<br />

generous.<br />

1904.(433+14) HEAD SHOT<br />

OTS Larabee looks<br />

down, smiles.<br />

1395. 402.02 407.09 5.07<br />

(over scene end) WANDA:(TO LARABEE)<br />

You know, I just found<br />

out that <strong>the</strong> <strong>Bee</strong> only<br />

gives each kid two<br />

plane tickets.<br />

1396. 409.05 412.07 3.02<br />

(over scene end) WANDA:(CONT)<br />

I was wondering how we<br />

ended up with six?<br />

1397. 416.13 423.13 7.00 LARABEE:(TO WANDA)<br />

Perhaps it was some<br />

unexpected largess on<br />

<strong>the</strong> part of <strong>the</strong> <strong>Bee</strong>.<br />

1398. 427.07 433.11 6.04 WANDA:(TO LARABEE)<br />

Or perhaps Akeelah's<br />

coach is also pretty<br />

generous.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 353<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

1905.(437+01) HEAD SHOT<br />

OTS W<strong>and</strong>a.<br />

WANDA:(TO LARABEE)<br />

Thanks, for<br />

everything.<br />

1906.(445+13) HEAD SHOT<br />

OTS Larabee.<br />

LARABEE:(TO WANDA)<br />

You're welcome.<br />

1907.(449+04) WAIST SHOT<br />

W<strong>and</strong>a L., Larabee R.<br />

JUDGE:(OS)(ANNOUNCES)<br />

Ladies <strong>and</strong> Gentlemen,<br />

let's...<br />

1908.(452+05) CHEST SHOT<br />

Judge.<br />

JUDGE:(CONT)<br />

...welcome Akeelah <strong>and</strong><br />

Dylan back to <strong>the</strong><br />

stage.<br />

(APPLAUSE)<br />

(MUSIC IN)<br />

CAMERA CRANES UP.<br />

SAUNDERS:(ANNOUNCES)<br />

Now remember if ei<strong>the</strong>r<br />

speller misses a<br />

word...<br />

1909.INT. - BOOTH - DAY<br />

(462+04) HEAD SHOT OTS<br />

Saunders.<br />

SAUNDERS:(CONT)<br />

...<strong>the</strong> o<strong>the</strong>r has to<br />

spell that missed<br />

word...<br />

1399. 439.09 444.05 4.12 WANDA:(TO LARABEE)<br />

Thanks, for everything.<br />

1400. 447.02 449.00 1.14 LARABEE:(TO WANDA)<br />

You are welcome.<br />

1401. 449.14 456.09 6.11<br />

(over scene end) JUDGE:(OS)(ANNOUNCES)<br />

Ladies <strong>and</strong> Gentlemen,<br />

let us welcome Akeelah<br />

<strong>and</strong> Dylan back to <strong>the</strong><br />

stage.<br />

1402. 458.15 461.11 2.12<br />

(over scene end) SAUNDERS:(ANNOUNCES)<br />

Now remember if ei<strong>the</strong>r<br />

speller misses a<br />

word...<br />

1403. *462.04 468.14 6.10<br />

(over scene end) SAUNDERS:(CONT)<br />

...<strong>the</strong> o<strong>the</strong>r has to<br />

spell that missed<br />

word plus ano<strong>the</strong>r to<br />

win. Right?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 354<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BOOTH - CONT)<br />

(MUSIC - CONT)<br />

1910.(465+15) FULL SHOT<br />

Audience FG. Dylan <strong>and</strong><br />

Akeelah on stage BG.<br />

SAUNDERS:(CONT)<br />

...plus ano<strong>the</strong>r to<br />

win. Right?<br />

KATIE:(ANNOUNCES)<br />

That's right.<br />

1911.(470+01) HEAD SHOT<br />

OTS Katie.<br />

KATIE:(CONT)<br />

And we could exhaust<br />

all twenty five<br />

championship words.<br />

1912.INT. - BALLROOM - DAY<br />

(475+07) HEAD SHOT<br />

Akeelah SITS in her<br />

chair on stage.<br />

KATIE:(CONT)<br />

But it's never<br />

happened. The<br />

championship...<br />

1913.(478+13) CHEST SHOT<br />

Dylan moves to <strong>the</strong><br />

microphone.<br />

KATIE:(CONT)<br />

...words are just too<br />

difficult.<br />

1914.(481+13) CHEST SHOT<br />

Judges.<br />

PRONOUNCER:(TO ALL)<br />

"Filiopietistic."<br />

1404. 469.04 475.03 5.15<br />

(over scene end) KATIE:(ANNOUNCES)<br />

That is right. And we<br />

could exhaust all<br />

twenty five<br />

championship words.<br />

1405. 469.04 477.15 8.11 KATIE:(CONT)<br />

But it has never<br />

happened.<br />

1406. 478.05 481.10 3.05<br />

(over scene end) KATIE:(CONT)<br />

The championship words<br />

are just too difficult.<br />

1407. 482.03 483.11 1.08 PRONOUNCER:(TO ALL)<br />

"Filiopietistic."


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 355<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1915.(484+13) CHEST SHOT<br />

Dylan at microphone.<br />

DYLAN:(TO PRONOUNCER)<br />

Can I have <strong>the</strong><br />

definition, please?<br />

1916.(486+12) HEAD SHOT<br />

Akeelah.<br />

PRONOUNCER:(TO ALL)<br />

Of, or relating too,<br />

an often excessive<br />

veneration of<br />

ancestors or<br />

tradition.<br />

1917.(494+09) CHEST SHOT<br />

Dylan.<br />

DYLAN:(SPELLS)<br />

Filiopietistic. F-I...<br />

1918.(500+01) HEAD SHOT<br />

Akeelah looks INTO THE<br />

AUDIENCE.<br />

1919.(501+13) FULL SHOT<br />

Audience. WE SEE Mr.<br />

Chiu C. CROSSES HIS<br />

ARMS.<br />

DYLAN:(OS)(CONT)<br />

...L-I-O...<br />

(DYLAN'S VOICE UNDER)<br />

1920.(507+09) HEAD SHOT<br />

OTS Akeelah looks o/s<br />

L. to Chiu.<br />

1408. 484.11 486.07 1.12 DYLAN:(TO PRONOUNCER)<br />

Can I have <strong>the</strong><br />

definition, please?<br />

1409. 486.15 493.00 6.01 PRONOUNCER:(TO ALL)<br />

Of, or relating too, an<br />

often excessive<br />

veneration of ancestors<br />

or tradition.<br />

1410. 494.12 497.04 2.08 DYLAN:(SPELLS)<br />

Filiopietistic.<br />

1411. 498.05 505.05 7.00<br />

(over scene end) DYLAN:(CONT)<br />

F-I-L-I-O...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 356<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1921.(510+04) FULL SHOT<br />

Chiu with arms<br />

crossed. CAMERA ZOOMS<br />

IN. WE SEE <strong>the</strong><br />

Audience applaud. Mr.<br />

Chiu sits stoically<br />

with arms still<br />

crossed.<br />

1922.(517+01) HEAD SHOT<br />

Akeelah watches Chiu<br />

o/s.<br />

1923.(519+13) CHEST SHOT<br />

Chiu sits unmoving.<br />

WE SEE <strong>the</strong> audience<br />

applauding. He does<br />

not move.<br />

(APPLAUSE UP)<br />

1924.(524+12) HEAD SHOT<br />

Akeelah looks o/s R.<br />

to Chiu, <strong>the</strong>n o/s R.<br />

to Dylan.<br />

1925.(527+05) CHEST SHOT<br />

Dylan sits also<br />

stoically but looks<br />

o/s R. to his fa<strong>the</strong>r.<br />

1926.(529+09) HEAD SHOT<br />

Akeelah looks back to<br />

Chiu o/s R.<br />

1927.(534+04) HEAD SHOT<br />

Judge.<br />

JUDGE:(TO AKEELAH)<br />

Akeelah, you're up.<br />

1928.(537+09) HEAD SHOT<br />

Akeelah STANDS.<br />

1929.(541+00) M FULL<br />

SHOT OTS Akeelah moves<br />

to <strong>the</strong> microphone C.<br />

between <strong>the</strong> judges<br />

BACKS TO CAMERA.<br />

1412. 534.12 537.03 2.07 JUDGE:(TO AKEELAH)<br />

Akeelah, you are up.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 357<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1930.(545+09) HEAD SHOT<br />

OTS Akeelah at <strong>the</strong><br />

microphone.<br />

1931.(548+01) HEAD SHOT<br />

Pronouncer.<br />

PRONOUNCER:(TO ALL)<br />

"Xanthosis."<br />

1932.(550+10) HEAD SHOT<br />

Akeelah at <strong>the</strong><br />

microphone.<br />

AKEELAH:(TO PRONOUNCER)<br />

Xanthosis?<br />

1933.INT. - CLASS ROOM - DAY<br />

(553+12) CHEST SHOT<br />

Dylan LOOKS INTO<br />

CAMERA.<br />

DYLAN:(TO AKEELAH)(OS)<br />

It starts with an "X".<br />

1934.INT. - BALLROOM - DAY<br />

(556+09) HEAD SHOT<br />

Akeelah looks down,<br />

<strong>the</strong>n o/s R. to Dylan.<br />

1935.(563+03) CHEST SHOT<br />

Dylan looks o/s L. to<br />

Akeelah at <strong>the</strong><br />

microphone THEN down.<br />

1936.(569+03) HEAD SHOT<br />

Akeelah turns back to<br />

<strong>the</strong> microphone.<br />

1937.(574+09) HEAD SHOT<br />

Larabee.<br />

1938.(579+06) HEAD SHOT<br />

Akeelah looks o/s L.<br />

to Chiu.<br />

1939.(581+10) FULL SHOT<br />

Audience. Chiu SITS<br />

WITH ARMS CROSSED.<br />

1413. 548.11 550.09 1.14 PRONOUNCER:(TO ALL)<br />

"Xanthosis."<br />

1414. 551.11 553.08 1.13 AKEELAH:(TO PRONOUNCER)<br />

Xanthosis?<br />

1415. 554.03 556.03 2.00 DYLAN:(TO AKEELAH)(OS)<br />

It starts with an "X".


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 358<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1940.(585+05) HEAD SHOT<br />

Judge.<br />

JUDGE:(TO AKEELAH)(OS)<br />

Miss Anderson?<br />

1941.(588+01) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(SPELLS)<br />

Xanthosis. Z...<br />

1942.(606+11) CHEST SHOT<br />

Dylan looks up o/s L.<br />

to Akeelah.<br />

AKEELAH:(OS)(SPELLS)<br />

...A-N...<br />

1943.(608+09) HEAD SHOT<br />

Larabee can't believe<br />

his ears. HE STANDS.<br />

AKEELAH:(OS)(SPELLS)<br />

...T-H-O...<br />

1944.(611+10) CHEST SHOT<br />

Larabee st<strong>and</strong>s INTO<br />

SHOT <strong>and</strong> looks o/s R.<br />

to <strong>the</strong> stage.<br />

1945.(612+14) CHEST SHOT<br />

Dylan can't believe it<br />

ei<strong>the</strong>r. CAMERA ZOOMS<br />

IN.<br />

AKEELAH:(OS)(CONT)<br />

...S-I-S.<br />

1416. 585.13 587.05 1.08 JUDGE:(TO AKEELAH)(OS)<br />

Miss Anderson?<br />

1417. 600.14 602.14 2.00 AKEELAH:(SPELLS)<br />

Xanthosis.<br />

1418. 605.11 608.08 2.13<br />

(over scene end) AKEELAH:(CONT)<br />

Z-A-N...<br />

1419. 609.02 614.12 5.10<br />

(over scene end) AKEELAH:(OS)(SPELLS)<br />

...T-H-O-S-I-S.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 359<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1946.(616+07) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

Xanthosis.<br />

(DING)<br />

1947.INT. - GYM - DAY<br />

(622+06) CHEST SHOT<br />

Tough Girls SHOW<br />

DISAPPOINTMENT.<br />

1948.(624+12) CHEST SHOT<br />

Mrs. Cross is<br />

disappointed.<br />

1949.INT. - BALLROOM - DAY<br />

(626+10) HEAD SHOT OTS<br />

Akeelah FG. Dylan BG.<br />

with mouth agape.<br />

Akeelah moves o/s L.<br />

to her chair.<br />

1950.(630+08) HEAD SHOT<br />

Dylan looks o/s R. to<br />

his fa<strong>the</strong>r.<br />

1951.(632+15) HEAD SHOT<br />

Mr. Chiu is expectant.<br />

1952.(636+06) FULL SHOT<br />

Larabee st<strong>and</strong>ing in<br />

<strong>the</strong> audience slowly<br />

sits.<br />

1953.(639+02) CHEST SHOT<br />

Larabee C. slumps into<br />

his seat. Welch L.,<br />

looks to <strong>the</strong> floor.<br />

1954.(642+08) CHEST SHOT<br />

Devon <strong>and</strong> W<strong>and</strong>a look<br />

to <strong>the</strong> floor.<br />

JUDGE:(ANNOUNCES)<br />

Dylan it's your...<br />

1420. 618.07 620.00 1.09 AKEELAH:(CONT)<br />

Xanthosis.<br />

1421. 643.13 645.12 1.15<br />

(over scene end) JUDGE:(ANNOUNCES)<br />

Dylan it is your turn.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 360<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1955.(644+11) MCS<br />

Georgia hangs her<br />

head.<br />

JUDGE:(OS)(CONT)<br />

...turn.<br />

1956.(646+11) HEAD SHOT<br />

Dylan looks o/s L. to<br />

Akeelah <strong>the</strong>n st<strong>and</strong>s.<br />

1957.(650+08) HEAD SHOT<br />

Akeelah looks to <strong>the</strong><br />

floor.<br />

1958.(652+08) HEAD SHOT<br />

Dylan moves to <strong>the</strong><br />

microphone.<br />

1959.(656+12) CHEST SHOT<br />

Judges.<br />

PRONOUNCER:(TO ALL)<br />

"Xanthosis."<br />

1960.(658+09) HEAD SHOT<br />

Dylan.<br />

1961.(662+03) M FULL<br />

SHOT OTS Dylan C.<br />

looks L. to Akeelah<br />

seated in her chair.<br />

1962.(665+01) HEAD SHOT<br />

Dylan looks back to<br />

<strong>the</strong> microphone.<br />

DYLAN:(SPELLS)<br />

Xanthosis. X...<br />

1963.(682+12) HEAD SHOT<br />

Akeelah.<br />

DYLAN:(OS)(SPELLS)<br />

...A-N-T-H...<br />

1422. 656.11 658.03 1.08 PRONOUNCER:(TO ALL)<br />

"Xanthosis."<br />

1423. 680.10 682.06 1.12 DYLAN:(SPELLS)<br />

Xanthosis.<br />

1424. 682.15 685.15 3.00<br />

(over scene end) DYLAN:(CONT)<br />

X-A-N-T-H...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 361<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1964.(689+13) HEAD SHOT<br />

Dylan.<br />

DYLAN:(CONT)<br />

...O-S-E-S.<br />

1965.(698+15) HEAD SHOT<br />

Akeelah looks o/s L.<br />

to Dylan.<br />

DYLAN:(OS)(CONT)<br />

Xanthosis.<br />

1966.(703+04) M FULL<br />

SHOT OTS Dylan a <strong>the</strong><br />

microphone. Judges<br />

FG.<br />

(DING)<br />

1967.(704+15) CHEST SHOT<br />

Chiu STANDS, CAMERA<br />

TILTS UP to follow.<br />

(AUDIENCE REACTS)<br />

1968.(707+07) HEAD SHOT<br />

Akeelah looks o/s L.<br />

to Dylan.<br />

PRONOUNCER:(TO ALL)<br />

Xanthosis is spelled,<br />

X-A-N...<br />

1969.(712+04) HEAD SHOT<br />

Dylan looks o/s L. to<br />

Akeelah.<br />

PRONOUNCER:(CONT)<br />

...T-H-O-S-I-S.<br />

1970.(717+05) HEAD SHOT<br />

Chiu isn't happy, but<br />

struggles with his<br />

feelings.<br />

1425. 691.00 698.00 7.00 DYLAN:(CONT)<br />

...O-S-E-S.<br />

1426. 699.09 701.11 2.02 DYLAN:(OS)(CONT)<br />

Xanthosis.<br />

1427. 707.12 709.15 2.03 PRONOUNCER:(TO ALL)<br />

Xanthosis is spelled,<br />

1428. 710.05 716.11 6.06<br />

(over scene end) PRONOUNCER:(CONT)<br />

X-A-N-T-H-O-S-I-S


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 362<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

1971.(721+03) HEAD SHOT<br />

Dylan looks o/s L. to<br />

<strong>the</strong> Judge.<br />

DYLAN:(TO JUDGE)(OS)<br />

Can I get some water,<br />

please?<br />

1972.(723+03) HEAD SHOT<br />

Judge looks o/s L.<br />

JUDGE:(TO ASSISTANT)<br />

Can we please get<br />

both...<br />

1973.(725+12) HEAD SHOT<br />

Larabee looks o/s R.<br />

<strong>and</strong> shakes his head.<br />

JUDGE:(OS)(CONT)<br />

...spellers some<br />

water?<br />

(APPLAUSE)<br />

(MUSIC OUT)<br />

1974.(727+13) FULL SHOT<br />

WE SEE Mr. Chiu<br />

STANDING in <strong>the</strong><br />

audience. He slowly<br />

SITS.<br />

1975.(733+04) CHEST SHOT<br />

Chiu sits.<br />

1976.(737+00) HEAD SHOT<br />

OTS Dylan looks to<br />

Akeelah FG. BACK TO<br />

CAMERA.<br />

DYLAN:(TO AKEELAH)<br />

What are you...<br />

1429. 721.10 724.03 2.09<br />

(over scene end) DYLAN:(TO JUDGE)(OS)<br />

Can I get some water,<br />

please?<br />

1430. 724.14 727.05 2.07<br />

(over scene end) JUDGE:(TO ASSISTANT)<br />

Can we please get<br />

both spellers some<br />

water?<br />

1431. 738.03 740.07 2.04<br />

(over scene end) DYLAN:(TO AKEELAH)<br />

(THEN AKEELAH)<br />

- What are you doing?<br />

- What are you doing?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 363<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

1977.(738+13) HEAD SHOT<br />

OTS Akeelah.<br />

DYLAN:(CONT)<br />

...doing?<br />

AKEELAH:(TO DYLAN)<br />

What are you doing?<br />

1978.(740+15) HEAD SHOT<br />

OTS Dylan.<br />

DYLAN:(TO AKEELAH)<br />

You just threw that<br />

word.<br />

AKEELAH (TO DYLAN) So<br />

did you.<br />

DYLAN:(TO AKEELAH)<br />

You're just gonna give<br />

this all away?<br />

1979.(747+01) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO DYLAN)<br />

Your dad will be<br />

happy.<br />

1980.(750+08) HEAD SHOT<br />

OTS Dylan.<br />

DYLAN:(TO AKEELAH)<br />

Who cares? He's never<br />

won anything in his<br />

life. I won <strong>the</strong><br />

Regionals...<br />

1432. 741.08 744.04 2.12 DYLAN:(TO AKEELAH)<br />

(THEN AKEELAH)<br />

- You just threw that<br />

word.<br />

- So did you.<br />

1433. 745.00 746.14 1.14 DYLAN:(TO AKEELAH)<br />

You are just going to<br />

give this all away?<br />

1434. 748.11 750.06 1.11 AKEELAH:(TO DYLAN)<br />

Your dad will be happy.<br />

1435. 752.09 757.09 5.00 DYLAN:(TO AKEELAH)<br />

Who cares? He has<br />

never won anything in<br />

his life.<br />

1436. 758.13 761.15 3.02<br />

(over scene end) DYLAN:(CONT)<br />

I won <strong>the</strong> Regionals<br />

three times in a row.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 364<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

1981.(760+00) HEAD SHOT<br />

OTS Akeelah.<br />

DYLAN:(CONT)<br />

...three times in a<br />

row. And I finished<br />

second in <strong>the</strong><br />

Nationals twice.<br />

AKEELAH:(TO DYLAN)<br />

And now you can finish<br />

first. I can do it<br />

next year.<br />

1982.(771+06) HEAD SHOT<br />

OTS Dylan.<br />

DYLAN:(TO AKEELAH)<br />

You do your best this<br />

year.<br />

1983.(774+00) HEAD SHOT<br />

OTS Akeelah.<br />

AKEELAH:(TO DYLAN)<br />

Dylan...<br />

1984.(776+06) HEAD SHOT<br />

OTS Dylan.<br />

DYLAN:(TO AKEELAH)<br />

You do your best, or I<br />

don't want it.<br />

1985.(781+08) HEAD SHOT<br />

OTS Akeelah.<br />

ASSISTANT:(OS)(TO BOTH)<br />

Here's your water.<br />

1986.(790+14) HEAD SHOT<br />

OTS Dylan looks L. to<br />

Akeelah. He MOTIONS<br />

with his head for her<br />

to TAKE HER TURN.<br />

1987.(792+15) HEAD SHOT<br />

OTS Akeelah STANDS <strong>and</strong><br />

moves o/s L.<br />

1437. 763.00 765.11 2.11 DYLAN:(CONT)<br />

And I finished second<br />

in <strong>the</strong> Nationals twice.<br />

1438. 767.01 771.00 3.15 AKEELAH:(TO DYLAN)<br />

And now you can finish<br />

first. I can do it<br />

next year.<br />

1439. 772.04 773.12 1.08 DYLAN:(TO AKEELAH)<br />

You do your best this<br />

year.<br />

1440. 774.02 775.12 1.10 AKEELAH:(TO DYLAN)<br />

Dylan...<br />

1441. 776.11 780.12 4.01 DYLAN:(TO AKEELAH)<br />

You do your best, or I<br />

don't want it.<br />

1442. 783.05 785.04 1.15 ASSISTANT:(OS)(TO BOTH)<br />

Here is your water.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 365<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1988.INT. - BOOTH - DAY<br />

(797+07) HEAD SHOT OTS<br />

Saunders.<br />

SAUNDERS:(ANNOUNCES)<br />

That's kind of amazing<br />

isn't it? That both<br />

of <strong>the</strong>se...<br />

1989.INT. - HOME - DAY<br />

(800+13) MS Television<br />

in Akeelah's house.<br />

WE SEE Akeelah move to<br />

<strong>the</strong> microphone.<br />

SAUNDERS:(FROM TV)<br />

...incredible spellers<br />

would stumble on<br />

that...<br />

1990.(803+01) FULL SHOT<br />

Terrence <strong>and</strong> Kiana FG.<br />

watch <strong>the</strong> TV L BG.<br />

SAUNDERS:(FROM TV)<br />

...that word?<br />

KATIE:(FROM TV)<br />

I think we've got...<br />

1991.(805+11) CHEST SHOT<br />

Kiana L. Terrence R.<br />

KATIE:(FROM TV)<br />

...some pretty nervous<br />

kids up <strong>the</strong>re.<br />

1443. 797.07 799.07 2.00 SAUNDERS:(ANNOUNCES)<br />

That is kind of amazing<br />

isn't it?<br />

1444. 799.13 804.10 4.13<br />

(over scene end) SAUNDERS:(CONT)<br />

That both of <strong>the</strong>se<br />

incredible spellers<br />

would stumble on that<br />

word?<br />

1445. 805.00 807.15 2.15<br />

(over scene end) KATIE:(FROM TV)<br />

I think we have some<br />

pretty nervous kids up<br />

<strong>the</strong>re.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 366<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1992.INT. - BALLROOM - DAY<br />

(808+10) HEAD SHOT<br />

Pronouncer.<br />

PRONOUNCER:(TO ALL)<br />

"Effleurage"...<br />

1993.(811+03) M FULL<br />

SHOT OTS Akeelah at<br />

<strong>the</strong> microphone.<br />

PRONOUNCER:(CONT)<br />

...or "Effleurage."<br />

1994.(814+09) HEAD SHOT<br />

Akeelah looks o/s L.<br />

to Dylan.<br />

1995.(816+13) HEAD SHOT<br />

Dylan nods.<br />

1996.(818+10) HEAD SHOT<br />

Akeelah looks back to<br />

<strong>the</strong> microphone.<br />

AKEELAH:(SPELLS)<br />

E-F-F-L-E-U-R-A-G-E,<br />

Effleurage.<br />

1997.(831+14) M FULL<br />

SHOT OTS Akeelah at<br />

<strong>the</strong> microphone.<br />

JUDGE:(TO ALL)<br />

That's correct.<br />

(APPLAUSE)<br />

1998.(833+13) HEAD SHOT<br />

Dylan smiles <strong>and</strong> nods.<br />

1446. 808.15 813.15 5.00<br />

(over scene end) PRONOUNCER:(TO ALL)<br />

"Effleurage" or<br />

"Effleurage."<br />

1447. 822.00 828.12 6.12 AKEELAH:(SPELLS)<br />

E-F-F-L-E-U-R-A-G-E,<br />

1448. 830.00 831.08 1.08 AKEELAH:(CONT)<br />

Effleurage.<br />

1449. *831.14 833.06 1.08 JUDGE:(TO ALL)<br />

That is correct.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 366<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

1999.INT. - GYM - DAY<br />

(838+10) LS Students<br />

APPLAUD <strong>and</strong> CHEER.<br />

SAUNDERS:(FROM TV)<br />

I'm telling you this<br />

is just like watching<br />

two star tennis<br />

players...<br />

2000.(842+14) M FULL<br />

SHOT SIDE ANGLE of<br />

students in <strong>the</strong> Gym,<br />

<strong>the</strong>y all chant <strong>and</strong><br />

cheer.<br />

SAUNDERS:(FROM TV)<br />

...at <strong>the</strong> net,<br />

returning volleys. I<br />

mean...<br />

2001.(846+01) MS<br />

Students STOMP FEET,<br />

CAMERA TRACKS L.<br />

SAUNDERS:(FROM TV)<br />

...<strong>the</strong>se kids are<br />

incredible.<br />

(MUSIC IN)<br />

DYLAN:(FROM TV)<br />

Lagniappe.<br />

2002.INT. - BALLROOM - DAY<br />

(849+03) HEAD SHOT<br />

Dylan.<br />

DYLAN:(SPELLS)<br />

L-A-G-N-I-A-P-P-E.<br />

Lagniappe.<br />

1450. 838.15 845.08 6.09<br />

(over scene end) SAUNDERS:(FROM TV)<br />

I'm telling you this is<br />

just like watching two<br />

star tennis players at<br />

<strong>the</strong> net returning<br />

volleys.<br />

1451. 845.13 848.02 2.05<br />

(over scene end) SAUNDERS:(FROM TV)<br />

I mean <strong>the</strong>se kids are<br />

incredible.<br />

1452. 848.08 853.14 5.06<br />

(over scene end) DYLAN:(FROM TV)<br />

Lagniappe.<br />

L-A-G-N-I-A-P-P-E<br />

lagniappe.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 367<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

2003.(854+04) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(SPELLS)<br />

Sumpsimus.<br />

2004.(855+10) HEAD SHOT<br />

Dylan.<br />

DYLAN:(SPELLS)<br />

Can you use it in a<br />

sentence, please?<br />

2005.(857+04) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(SPELLS)<br />

Is that a verb?<br />

2006.(858+07) HEAD SHOT<br />

Dylan.<br />

DYLAN:(SPELLS)<br />

Ophelimity.<br />

2007.(859+08) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(SPELLS)<br />

Tralatitious.<br />

2008.(860+08) HEAD SHOT<br />

Judge.<br />

JUDGE:(TO ALL)<br />

That's correct.<br />

1453. *854.04 857.01 2.13<br />

(over scene end) AKEELAH:(SPELLS)<br />

(THEN DYLAN)<br />

- Sumpsimus.<br />

- Can you use it in a<br />

sentence, please?<br />

1454. 857.07 859.00 1.09<br />

(over scene end) AKEELAH:(SPELLS)<br />

(THEN DYLAN)<br />

- Is that a verb?<br />

- Ophelimity.<br />

1455. 859.06 862.00 2.10<br />

(over scene end) AKEELAH:(SPELLS)<br />

(THEN JUDGE)<br />

- Tralatitious.<br />

- That is correct.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 368<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

2009.(862+01) HEAD SHOT<br />

Dylan.<br />

DYLAN:(SPELLS)<br />

Sophrosyne.<br />

2010.(863+06) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(SPELLS)<br />

Parrhesia.<br />

2011.(864+11) HEAD SHOT<br />

Dylan.<br />

DYLAN:(SPELLS)<br />

Is that Greek?<br />

2012.(866+01) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(SPELLS)<br />

Is that Latin?<br />

2013.(867+05) HEAD SHOT<br />

Dylan Starts a<br />

question.<br />

DYLAN:(TO PRONOUNCER)<br />

What's <strong>the</strong> language of<br />

origin...<br />

2014.(868+01) HEAD SHOT<br />

Akeelah completes <strong>the</strong><br />

question.<br />

AKEELAH:(SPELLS)<br />

...please.<br />

1456. 862.06 864.04 1.14<br />

(over scene end) DYLAN:(SPELLS)<br />

(THEN AKEELAH)<br />

- Sophrosyne.<br />

- Parrhesia.<br />

1457. 864.10 866.15 2.05<br />

(over scene end) DYLAN:(SPELLS)<br />

(THEN AKEELAH)<br />

- Is that Greek?<br />

- Is that Latin?<br />

1458. 867.04 868.12 1.08<br />

(over scene end) DYLAN:(TO PRONOUNCER)<br />

(AKEELAH COMPLETES)<br />

What is <strong>the</strong> language of<br />

origin, please?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 369<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

2015.(869+00) HEAD SHOT<br />

Dylan.<br />

DYLAN:(SPELLS)<br />

Lyophilize.<br />

2016.(870+03) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(SPELLS)<br />

Zarzuela.<br />

2017.(871+03) HEAD SHOT<br />

Dylan.<br />

DYLAN:(SPELLS)<br />

Vibrissae.<br />

2018.(872+05) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(SPELLS)<br />

Craquelure.<br />

2019.(873+08) HEAD SHOT<br />

Judge.<br />

JUDGE:(TO ALL)<br />

That's correct.<br />

(APPLAUSE)<br />

1459. 869.02 870.13 1.11<br />

(over scene end) DYLAN:(SPELLS)<br />

(THEN AKEELAH)<br />

- Lyophilize.<br />

- Zarzuela<br />

1460. 871.03 873.07 2.04<br />

(over scene end) DYLAN:(SPELLS)<br />

(THEN AKEELAH)<br />

- Vibrissae.<br />

- Craquelure.<br />

1461. 873.13 875.05 1.08 JUDGE:(TO ALL)<br />

That is correct.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 370<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

2020.(875+09) FULL SHOT<br />

audience APPLAUDS.<br />

CAMERA TRACKS L. in<br />

front of stage<br />

proscenium below <strong>the</strong><br />

anti proscenium.<br />

SAUNDERS:(ANNOUNCES)<br />

These kids are chewing<br />

through <strong>the</strong>se super<br />

tough words like...<br />

2021.(881+00) HEAD SHOT<br />

Larabee nods.<br />

SAUNDERS:(CONT)<br />

...<strong>the</strong>y were breakfast<br />

cereal.<br />

KATIE:(ANNOUNCES)<br />

You know, <strong>the</strong>y could<br />

actually go...<br />

2022.(885+14) CHEST SHOT<br />

Chiu <strong>and</strong> Wife applaud.<br />

KATIE:(CONT)<br />

...<strong>the</strong> distance. And<br />

most people consider<br />

that un...<br />

2023.(890+04) HEAD SHOT<br />

W<strong>and</strong>a.<br />

KATIE:(CONT)<br />

...thinkable.<br />

JUDGE:(ANNOUNCES)<br />

You're now thirteen<br />

words into <strong>the</strong><br />

champion...<br />

1462. 876.03 882.10 6.07<br />

(over scene end) SAUNDERS:(ANNOUNCES)<br />

These kids are chewing<br />

through <strong>the</strong>se super<br />

tough words like <strong>the</strong>y<br />

were breakfast cereal.<br />

1463. 883.05 887.03 3.14<br />

(over scene end) KATIE:(ANNOUNCES)<br />

You know, <strong>the</strong>y could<br />

actually go <strong>the</strong><br />

distance.<br />

(Go/distance: Allegory meaning, "complete<br />

<strong>the</strong> task.")<br />

1464. 887.09 890.13 3.04<br />

(over scene end) KATIE:(CONT)<br />

And most people<br />

consider that<br />

unthinkable.<br />

1465. 891.10 896.02 4.08<br />

(over scene end) JUDGE:(ANNOUNCES)<br />

You are now thirteen<br />

words into <strong>the</strong><br />

championship level.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 371<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

2024.(894+13) M FULL<br />

SHOT OTS Dylan at <strong>the</strong><br />

microphone. Judges FG.<br />

BACKS TO CAMERA.<br />

Akeelah L. BG.<br />

JUDGE:(CONT)<br />

...ship level. If you<br />

make it through <strong>the</strong><br />

remaining...<br />

2025.(898+07) CHEST SHOT<br />

Judges.<br />

JUDGE:(CONT)<br />

...twelve words,<br />

you'll be<br />

co-champions.<br />

2026.(902+04) HEAD SHOT<br />

Dylan looks o/s L. to<br />

Akeelah.<br />

JUDGE:(OS)(CONT)<br />

That's never...<br />

2027.(904+03) CHEST SHOT<br />

Akeelah SMILES o/s R.<br />

to Dylan.<br />

JUDGE:(OS)(CONT)<br />

...happened before.<br />

2028.(906+11) HEAD SHOT<br />

Dylan.<br />

DYLAN:(SPELLS)<br />

Vinegarroon.<br />

2029.(907+14) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(SPELLS)<br />

Ecdysis.<br />

1466. 897.02 901.15 4.13<br />

(over scene end) JUDGE:(CONT)<br />

If you make it through<br />

<strong>the</strong> remaining twelve<br />

words, you will be<br />

co-champions.<br />

1467. 902.13 905.07 2.10<br />

(over scene end) JUDGE:(OS)(CONT)<br />

That has never happened<br />

before.<br />

1468. 907.03 908.11 1.08<br />

(over scene end) DYLAN:(SPELLS)<br />

- Vinegarroon.<br />

- Ecdysis.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 372<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

2030.(909+02) HEAD SHOT<br />

Dylan.<br />

DYLAN:(SPELLS)<br />

Concitato.<br />

2031.(910+06) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(SPELLS)<br />

Puerpera.<br />

2032.(911+07) M FULL<br />

SHOT Akeelah at <strong>the</strong><br />

microphone.<br />

JUDGE:(TO ALL)<br />

That's correct.<br />

(APPLAUSE)<br />

Akeelah moves L.<br />

Akeelah <strong>and</strong> Dylan do a<br />

HIGH FIVE.<br />

SAUNDERS:(ANNOUNCES)<br />

Dylan <strong>and</strong> Akeelah<br />

are...<br />

2033.INT. - GYM - DAY<br />

(915+14) FULL SHOT<br />

Kids chant <strong>and</strong> cheer.<br />

SAUNDERS:(FROM TV)<br />

...trying to stage a<br />

miracle here.<br />

KATIE:(FROM TV)<br />

And to make it to <strong>the</strong><br />

finish line...<br />

1469. 909.06 911.04 1.14<br />

(over scene end) DYLAN:(SPELLS)<br />

- Concitato.<br />

- Puerpera.<br />

1470. 911.10 913.06 1.12 JUDGE:(TO ALL)<br />

That is correct.<br />

1471. 914.08 917.15 3.07<br />

(over scene end) SAUNDERS:(ANNOUNCES)<br />

Dylan <strong>and</strong> Akeelah<br />

are trying to stage a<br />

miracle here.<br />

1472. 918.11 922.03 3.08<br />

(over scene end) KATIE:(FROM TV)<br />

And to make it to <strong>the</strong><br />

finish line, <strong>the</strong>y need<br />

each o<strong>the</strong>r to succeed.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 373<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

2034.INT. - BALLROOM - DAY<br />

(920+01) FULL SHOT<br />

HIGH ANGLE of <strong>the</strong><br />

Audience.<br />

KATIE:(CONT)<br />

...<strong>the</strong>y need each<br />

o<strong>the</strong>r to succeed.<br />

2035.(922+14) M FULL<br />

SHOT OTS Dylan st<strong>and</strong>s<br />

at <strong>the</strong> microphone.<br />

DYLAN:(SPELLS)<br />

E-R...<br />

2036.(925+00) HEAD SHOT<br />

Dylan.<br />

DYLAN:(SPELLS)<br />

...A-Z...<br />

2037.(929+07) CHEST SHOT<br />

Chiu is tense.<br />

2038.(932+10) HEAD SHOT<br />

Dylan, cocks his head<br />

in thought.<br />

2039.(934+09) MCS<br />

Akeelah looks o/s R.<br />

to Dylan.<br />

2040.(937+01) HEAD SHOT<br />

Dylan.<br />

DYLAN:(SPELLS)<br />

...A-D-I-A-N<br />

2041.(940+11) M FULL<br />

SHOT OTS Dylan.<br />

DYLAN:(SPELLS)<br />

Scheherazadian.<br />

1473. 922.15 926.15 4.00<br />

(over scene end) DYLAN:(SPELLS)<br />

E-R-A-Z...<br />

1474. 937.03 940.10 3.07 DYLAN:(SPELLS)<br />

...A-D-I-A-N<br />

1475. 941.03 942.11 1.08 DYLAN:(SPELLS)<br />

Scheherazadian.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 374<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

2042.(942+13) CHEST SHOT<br />

Judge.<br />

JUDGE:(TO ALL)<br />

That's correct.<br />

(MUSIC OUT)<br />

2043.(944+00) HEAD SHOT<br />

Dylan.<br />

(APPLAUSE)<br />

2044.(947+01) MCS<br />

Akeelah applauds.<br />

2045.(948+03) CHEST SHOT<br />

Chiu <strong>and</strong> Wife breath.<br />

AKEELAH:(SPELLS)<br />

L...<br />

2046.(950+10) HEAD SHOT<br />

W<strong>and</strong>a.<br />

AKEELAH:(OS)(SPELLS)<br />

O...<br />

2047.(952+05) HEAD SHOT<br />

Javier.<br />

AKEELAH:(SPELLS)<br />

G-I...<br />

2048.(954+06) HEAD SHOT<br />

Akeelah R. FG., Dylan<br />

L. BG.<br />

AKEELAH:(SPELLS)<br />

C...<br />

2049.(958+11) MCS Dylan<br />

spells quietly with<br />

Akeelah o/s R.<br />

AKEELAH:(SPELLS)<br />

A-L.<br />

1476. 943.03 944.11 1.08<br />

(over scene end) JUDGE:(TO ALL)<br />

That is correct.<br />

1477. 950.15 956.15 6.00<br />

(over scene end) AKEELAH:(SPELLS)<br />

L-O-G-I...<br />

1478. 956.10 960.10 4.00<br />

(over scene end) AKEELAH:(SPELLS)<br />

...C-A-L...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 375<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

2050.(961+03) HEAD SHOT<br />

Akeelah FG.<br />

AKEELAH:(CONT)<br />

Palynological.<br />

2051.(963+05) CHEST SHOT<br />

Judge.<br />

JUDGE:(TO ALL)<br />

That's correct.<br />

2052.(965+01) MCS<br />

Akeelah R. FG. Dylan<br />

BG.<br />

(APPLAUSE)<br />

Dylan nods to Akeelah<br />

FG.<br />

2053.(967+10) CHEST SHOT<br />

Welch L., Larabee R.<br />

2054.(970+06) CHEST SHOT<br />

Chiu L., Wife R.<br />

(APPLAUSE)<br />

Chiu applauds Akeelah<br />

along with <strong>the</strong> rest of<br />

<strong>the</strong> audience.<br />

2055.(974+09) FULL SHOT<br />

Audience from <strong>the</strong><br />

proscenium. CAMERA<br />

TRACKS R.<br />

JUDGE:(ANNOUNCES)<br />

Ladies <strong>and</strong> Gentlemen,<br />

we are down to <strong>the</strong><br />

final...<br />

1479. 961.13 963.05 1.08<br />

(over scene end) AKEELAH:(CONT)<br />

Palynological.<br />

1480. 963.11 965.03 1.08<br />

(over scene end) JUDGE:(TO ALL)<br />

That is correct.<br />

1481. 974.11 980.11 6.00<br />

(over scene end) JUDGE:(ANNOUNCES)<br />

Ladies <strong>and</strong> Gentlemen,<br />

we are down to <strong>the</strong><br />

final two championship<br />

words.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 376<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

2056.(978+04) HEAD SHOT<br />

Georgia smiles.<br />

JUDGE:(ANNOUNCES)<br />

...two championship<br />

words.<br />

2057.(981+03) HEAD SHOT<br />

Judge.<br />

JUDGE:(CONT)<br />

One or both...<br />

2058.(983+02) CHEST SHOT<br />

Dylan L., Akeelah R.<br />

JUDGE:(OS)(CONT)<br />

...of our spellers<br />

will walk away with<br />

<strong>the</strong> first place<br />

trophy.<br />

2059.(989+07) HEAD SHOT<br />

Judge.<br />

JAVIER:(CONT)<br />

Dylan, you're up.<br />

2060.(991+12) CHEST SHOT<br />

Dylan L,. walks to <strong>the</strong><br />

microphone. CAMERA<br />

WALKS R. For OTS with<br />

<strong>the</strong> Pronouncer.<br />

PRONOUNCER:(TO DYLAN)<br />

Logorrhea.<br />

1482. 981.15 988.03 6.04<br />

(over scene end) JUDGE:(CONT)<br />

One or both of our<br />

spellers will walk away<br />

with <strong>the</strong> first place<br />

trophy.<br />

1483. 989.07 991.11 2.04 JAVIER:(CONT)<br />

Dylan, you are up.<br />

1484. 1002.07 1004.02 1.11 PRONOUNCER:(TO DYLAN)<br />

Logorrhea.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 377<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

2061.(1004+07) HEAD SHOT<br />

Dylan R. Akeelah BG.<br />

DYLAN:(TO PRONOUNCER)<br />

May I have <strong>the</strong><br />

definition, please?<br />

PRONOUNCER:(CONT)<br />

Logorrhea is excessive<br />

<strong>and</strong> often incoherent<br />

talkativeness.<br />

DYLAN:(SPELLS)<br />

Logorrhea. L-O...<br />

2062.(1037+09) CHEST SHOT<br />

Chiu <strong>and</strong> Wife.<br />

DYLAN:(SPELLS)<br />

...G...<br />

2063.(1041+07) HEAD SHOT<br />

Dylan R. Akeelah BG.<br />

DYLAN:(SPELLS)<br />

...O-R...<br />

2064.(1046+08) HEAD SHOT<br />

Chiu.<br />

DYLAN:(SPELLS)<br />

...R-H...<br />

1485. 1005.07 1007.05 1.14 DYLAN:(TO PRONOUNCER)<br />

May I have <strong>the</strong><br />

definition, please?<br />

1486. 1009.01 1015.01 6.00 PRONOUNCER:(CONT)<br />

Logorrhea is excessive<br />

<strong>and</strong> often incoherent<br />

talkativeness.<br />

1487. 1025.10 1027.05 1.11 DYLAN:(SPELLS)<br />

Logorrhea.<br />

1488. 1031.15 1037.07 5.08 DYLAN:(CONT)<br />

L-O...<br />

1489. 1038.09 1040.10 2.01 DYLAN:(SPELLS)<br />

...G...<br />

1490. 1041.15 1046.03 4.04 DYLAN:(SPELLS)<br />

...O-R...<br />

1491. 1048.02 1051.07 3.05 DYLAN:(SPELLS)<br />

...R-H...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 378<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

2065.(1052+00) HEAD SHOT<br />

Dylan FG. Akeelah BG.<br />

DYLAN:(SPELLS)<br />

...E-A. Logorrhea.<br />

JUDGE:(OS)(TO DYLAN)<br />

Congratulations,<br />

Dylan. You've won <strong>the</strong><br />

Scripps...<br />

2066.(1064+00) CHEST SHOT<br />

Chiu <strong>and</strong> Wife are<br />

overjoyed.<br />

JUDGE:(OS)(CONT)<br />

...National<br />

Spelling...<br />

2067.(1065+03) HEAD SHOT<br />

Chiu STANDS.<br />

JUDGE:(CONT)<br />

...<strong>Bee</strong>.<br />

CHIU:(OUT LOUD)<br />

Yes! Yes!<br />

(APPLAUSE)<br />

2068.(1071+03) FULL SHOT<br />

Audience STANDS <strong>and</strong><br />

applauds.<br />

(APPLAUSE)<br />

2069.(1074+07) CHEST SHOT<br />

Judge <strong>and</strong> Pronouncer<br />

clap <strong>the</strong>ir h<strong>and</strong>s.<br />

1492. 1052.07 1055.03 2.12 DYLAN:(SPELLS)<br />

...E-A.<br />

1493. 1056.05 1058.01 1.12 DYLAN:(SPELLS)<br />

Logorrhea.<br />

1494. 1059.03 1061.07 2.04 JUDGE:(OS)(TO DYLAN)<br />

Congratulations, Dylan.<br />

1495. 1061.13 1066.01 4.04<br />

(over scene end) JUDGE:(CONT)<br />

You have won <strong>the</strong><br />

Scripps National<br />

Spelling <strong>Bee</strong>.<br />

1496. 1066.07 1070.04 3.13 CHIU:(OUT LOUD)<br />

Yes!


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 379<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

2070.(1076+00) CHEST SHOT<br />

Dylan looks o/s L. to<br />

Akeelah.<br />

DYLAN:(TO AKEELAH)<br />

Go get 'em.<br />

2071.(1079+00) MCS Dylan<br />

moves L. away from <strong>the</strong><br />

microphone. Akeelah<br />

CLAPS. Dylan moves L.<br />

The two exchange<br />

grins.<br />

2072.(1083+05) FULL SHOT<br />

Audience CLAPS.<br />

2073.(1086+09) WAIST SHOT<br />

Dylan L. BG. makes a<br />

victory gesture L BG.<br />

Akeelah R. FG. st<strong>and</strong>s<br />

at <strong>the</strong> microphone.<br />

JUDGE:(ANNOUNCES)<br />

Ladies <strong>and</strong> Gentlemen,<br />

please be seated...<br />

2074.(1091+04) CHEST SHOT<br />

Judge.<br />

JUDGE:(CONT)<br />

...for Akeelah's turn.<br />

(MUSIC IN)<br />

2075.(1096+11) FULL SHOT<br />

of stage BG. audience<br />

FG. CAMERA CRANES UP.<br />

2076.(1100+06) HEAD SHOT<br />

Akeelah at <strong>the</strong><br />

microphone.<br />

1497. 1077.12 1079.15 2.03<br />

(over scene end) DYLAN:(TO AKEELAH)<br />

Go get <strong>the</strong>m.<br />

(Get <strong>the</strong>m: A wish for success.)<br />

1498. 1088.07 1093.11 5.04<br />

(over scene end) JUDGE:(ANNOUNCES)<br />

Ladies <strong>and</strong> Gentlemen,<br />

please be seated for<br />

Akeelah's turn.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 380<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

2077.(1102+12) CHEST SHOT<br />

OTS The Judges.<br />

PRONOUNCER:(TO AKEELAH)<br />

Pulchritude.<br />

2078.(1104+09) HEAD SHOT<br />

Akeelah.<br />

2079.INT. -GYM FLASHBACK- DAY<br />

(1107+03) CHEST SHOT<br />

Larabee LOOKS INTO<br />

CAMERA.<br />

LARABEE:(TO AKEELAH)<br />

Pulchritude.<br />

2080.INT. - BALLROOM - DAY<br />

(1110+05) HEAD SHOT<br />

Akeelah looks o/s L.<br />

2081.(1113+11) HEAD SHOT<br />

Larabee looks o/s R.<br />

to Akeelah.<br />

2082.(1116+01) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(TO PRONOUNCER)<br />

It's derived from <strong>the</strong><br />

Latin word<br />

"pulcher,"...<br />

2083.(1123+11) HEAD SHOT<br />

W<strong>and</strong>a.<br />

AKEELAH:(OS)(CONT)<br />

...meaning<br />

beautiful...<br />

2084.(1128+01) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(CONT)<br />

...isn't it?<br />

1499. *1102.12 1104.04 1.08<br />

PRONOUNCER:(TO AKEELAH)<br />

Pulchritude.<br />

1500. 1107.03 1109.03 2.00 LARABEE:(TO AKEELAH)<br />

Pulchritude.<br />

1501. 1118.08 1123.03 4.11<br />

(over scene end) AKEELAH:(TO PRONOUNCER)<br />

It is derived from <strong>the</strong><br />

Latin word<br />

"pulcher,"...<br />

1502. 1125.00 1129.07 4.07<br />

(over scene end) AKEELAH:(OS)(CONT)<br />

...meaning beautiful.<br />

Isn't it?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 381<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

2085.(1129+09) CHEST SHOT<br />

Judges.<br />

PRONOUNCER:(TO AKEELAH)<br />

That's correct.<br />

2086.(1131+05) HEAD SHOT<br />

Akeelah.<br />

AKEELAH:(SPELLS)<br />

P...<br />

2087.INT. -LARABEE'S HOME- DAY<br />

(1134+03) HEAD SHOT<br />

Larabee.<br />

LARABEE:(TO CAMERA)<br />

...U...<br />

2088.INT. - WELCH'S OFFICE - DAY<br />

(1135+06) HEAD SHOT<br />

Welch.<br />

WELCH:(TO CAMERA)<br />

...L...<br />

2089.INT. - HOME - DAY<br />

(1136+10) HEAD SHOT<br />

Kiana.<br />

KIANA:(TO CAMERA)<br />

...C...<br />

2090.(1137+11) HEAD SHOT<br />

Devon.<br />

DEVON:(TO CAMERA)<br />

...H...<br />

2091.(1138+12) HEAD SHOT<br />

Terrence.<br />

TERRENCE:(TO CAMERA)<br />

...R...<br />

1503. 1129.13 1131.05* 1.08<br />

(over scene end) PRONOUNCER:(TO AKEELAH)<br />

That is correct.<br />

1504. 1132.13 1133.13 1.00 AKEELAH:(SPELLS)<br />

P...<br />

1505. *1134.04 1135.04* 1.00 LARABEE:(TO CAMERA)<br />

...U...<br />

1506. 1135.10 1136.10* 1.00 WELCH:(TO CAMERA)<br />

...L...<br />

1507. *1136.11 1137.11* 1.00 KIANA:(TO CAMERA)<br />

...C...<br />

1508. *1137.12 1138.12* 1.00 DEVON:(TO CAMERA)<br />

...H...<br />

1509. *1138.13 1139.13* 1.00 TERRENCE:(TO CAMERA)<br />

...R...


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 382<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

2092.INT. - APT. - DAY<br />

(1139+14) HEAD SHOT<br />

Derrick-T.<br />

DERRICK-T:(TO CAMERA)<br />

...I...<br />

2093.EXT. - SCHOOL - DAY<br />

(1140+15) HEAD SHOT<br />

Javier.<br />

JAVIER:(TO CAMERA)<br />

...T...<br />

2094.EXT. -GEORGIA'S HOUSE- DAY<br />

(1142+01) HEAD SHOT<br />

Georgia.<br />

GEORGIA:(TO CAMERA)<br />

...U...<br />

2095.EXT. - PARK - DAY<br />

(1143+04) HEAD SHOT<br />

Akeelah FATHER.<br />

FATHER:(TO CAMERA)<br />

...D...<br />

2096.(1144+04) HEAD SHOT<br />

W<strong>and</strong>a.<br />

WANDA:(TO CAMERA)<br />

...E.<br />

2097.INT. - BALLROOM - DAY<br />

(1146+01) MCS Akeelah.<br />

AKEELAH:(TO CAMERA)<br />

Pulchritude.<br />

Akeelah smiles.<br />

2098.(1152+14) CHEST SHOT<br />

OTS Judges.<br />

JUDGE:(TO AKEELAH)<br />

Congratulations,<br />

Akeelah.<br />

1510. *1139.14 1140.14* 1.00<br />

DERRICK-T:(TO CAMERA)<br />

...I...<br />

1511. *1140.14 1142.00* 1.02 JAVIER:(TO CAMERA)<br />

...T...<br />

1512. *1142.01 1143.03* 1.02 GEORGIA:(TO CAMERA)<br />

...U...<br />

1513. *1143.04 1144.03* 0.15 FATHER:(TO CAMERA)<br />

...D...<br />

1514. *1143.03 1146.00* 2.13 WANDA:(TO CAMERA)<br />

...E.<br />

1515. 1146.07 1147.15 1.08 AKEELAH:(TO CAMERA)<br />

Pulchritude.<br />

1516. 1152.13 1154.05 1.08 JUDGE:(TO AKEELAH)<br />

Congratulations,<br />

Akeelah.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 383<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

2099.(1154+14) M FULL<br />

SHOT OTS Akeelah<br />

RAISES HER ARMS in<br />

triumph.<br />

2100.(1155+15) HEAD SHOT<br />

W<strong>and</strong>a STANDS/CHEERS.<br />

2101.(1157+10) FULL SHOT<br />

from BACK OF BALLROOM.<br />

The Audience<br />

STANDS/CHEERS.<br />

2102.(1159+03) CHEST SHOT<br />

Dylan <strong>and</strong> Akeelah<br />

EMBRACE.<br />

2103.(1160+14) FULL SHOT<br />

Audience FG.<br />

STANDS/CHEERS.<br />

2104.(1162+15) HEAD SHOT<br />

Devon CHEERS.<br />

DEVON:(OUT LOUD)<br />

That's what I'm<br />

talking about!<br />

2105.(1165+00) CHEST SHOT<br />

Dylan <strong>and</strong> Akeelah<br />

RAISE CLASPED HANDS in<br />

triumph.<br />

2106.INT. - GYM - DAY<br />

(1166+10) FULL SHOT<br />

HIGH ANGLE Students<br />

STAND/JUMP/CHEER.<br />

2107.(1170+01) CHEST SHOT<br />

Students CHEER.<br />

AKEELAH:(VO)<br />

You know that<br />

feeling...<br />

1517. 1163.00 1164.14 1.14 DEVON:(OUT LOUD)<br />

That is what I'm<br />

talking about!<br />

1518. 1170.02 1174.10 4.08<br />

(over scene end) AKEELAH:(VO)<br />

You know that<br />

feeling where<br />

everything feels right?


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 384<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

2108.INT. - DINER - DAY<br />

(1172+13) FULL SHOT<br />

Patrons STAND/CHEER.<br />

AKEELAH:(VO)<br />

...where everything<br />

feels right?<br />

2109.(1174+14) CHEST SHOT<br />

Postman CHEERS.<br />

AKEELAH:(VO)<br />

Where...<br />

2110.INT. - BALLROOM - DAY<br />

(1176+03) CHEST SHOT<br />

Javier AND Parents<br />

CLAP/CHEER.<br />

AKEELAH:(VO)<br />

...you don't have to<br />

worry about...<br />

2111.(1178+05) MCS<br />

Georgia<br />

JUMPS/CLAPS/CHEERS.<br />

AKEELAH:(VO)<br />

...tomorrow, or<br />

yesterday.<br />

2112.(1181+05) CHEST SHOT<br />

Welch CLAPS/CHEERS.<br />

AKEELAH:(VO)<br />

Where you feel...<br />

2113.(1183+13) HEAD SHOT<br />

Larabee CLAPS <strong>and</strong><br />

SMILES.<br />

AKEELAH:(VO)<br />

..safe. And know<br />

you're...<br />

1519. 1175.10 1181.03 5.09<br />

(over scene end) AKEELAH:(VO)<br />

Where you don't have to<br />

worry about tomorrow,<br />

or yesterday.<br />

1520. 1182.12 1187.08 4.12<br />

(over scene end) AKEELAH:(VO)<br />

Where you feel safe.<br />

And you know you are<br />

doing <strong>the</strong> best you can.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 385<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

2114.INT. - GYM - DAY<br />

(1186+04) MCS Mrs.<br />

Cross CLAPS.<br />

AKEELAH:(VO)<br />

...doing <strong>the</strong> best you<br />

can.<br />

2115.(1188+01) CHEST SHOT<br />

Tough Girls CHEER.<br />

AKEELAH:(VO)<br />

There's a word...<br />

2116.INT. - APT. - DAY<br />

(1189+14) WAIST SHOT<br />

Derrick-T <strong>and</strong> FRIEND<br />

CLASP/SLAP h<strong>and</strong>s in<br />

triumph.<br />

AKEELAH:(VO)<br />

...for that feeling.<br />

2117.INT. - DINER - DAY<br />

(1192+03) MCS Steve<br />

<strong>and</strong> <strong>the</strong> Korean Grocer<br />

EMBRACE in triumph.<br />

AKEELAH:(VO)<br />

It's called, "love".<br />

2118.INT. - BALLROOM - DAY<br />

(1195+00) MCS Devon<br />

<strong>and</strong> W<strong>and</strong>a EMBRACE.<br />

AKEELAH:(VO)<br />

L...<br />

2119.INT. - HOME - DAY<br />

(1197+02) CHEST SHOT<br />

Kiana <strong>and</strong> Terrence<br />

JUMP AND EMBRACE.<br />

AKEELAH:(VO)<br />

...O-V...<br />

1521. 1189.02 1191.08 2.06<br />

(over scene end) AKEELAH:(CONT)<br />

There is a word for<br />

that feeling.<br />

1522. 1192.11 1194.11 2.00 AKEELAH:(VO)<br />

It is called, "love".<br />

1523. 1195.11 1199.01 3.06<br />

(over scene end) AKEELAH:(VO)<br />

L-O-V-E.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 386<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

2120.EXT. - HOME - DAY<br />

(1199+10) FULL SHOT<br />

<strong>the</strong> Anderson FAMILY on<br />

<strong>the</strong> front steps entry<br />

to <strong>the</strong>ir home. THEY<br />

PRACTICE with Akeelah.<br />

AKEELAH:(VO)<br />

...E. And it's what I<br />

feel for all my<br />

family...<br />

2121.EXT. - PARK - DAY<br />

(1205+00) FULL SHOT<br />

Akeelah sits on <strong>the</strong><br />

hood of Derrick-T's<br />

car CAMERA PULLS BACK,<br />

TRACKS R. as <strong>the</strong> CREW<br />

Practices with<br />

Akeelah.<br />

AKEELAH:(VO)<br />

...<strong>and</strong> all my coaches.<br />

2122.EXT. - SIDEWALK - DAY<br />

(1207+13) WAIST SHOT<br />

Terrence <strong>and</strong> Akeelah<br />

WALK AWAY along <strong>the</strong><br />

neighborhood sidewalk.<br />

AKEELAH:(VO)<br />

In my neighborhood<br />

where I come from.<br />

2123.EXT. -LARABEE'S HOME- DAY<br />

(1212+14) FULL SHOT<br />

Akeelah JUMPS ROPE as<br />

Larabee BEATS TIME on<br />

a watering can.<br />

CAMERA WALKS R.<br />

AKEELAH:(VO)<br />

Where I learned how to<br />

spell.<br />

1524. 1200.13 1207.04 6.07<br />

(over scene end) AKEELAH:(VO)<br />

And it is what I feel<br />

for all my family <strong>and</strong><br />

all my coaches.<br />

1525. 1208.00 1212.07 4.07 AKEELAH:(VO)<br />

In my neighborhood<br />

where I come from.<br />

1526. 1213.08 1218.03 4.11 AKEELAH:(VO)<br />

Where I learned how to<br />

spell.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 387<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(MUSIC - CONT)<br />

2124.INT. - BALLROOM - DAY<br />

(1223+04) MS <strong>the</strong><br />

TROPHY, HELD ALOFT BY<br />

Dylan <strong>and</strong> Akeelah.<br />

(APPLAUSE)<br />

CAMERA PULLS BACK.<br />

2125.(1232+02) FULL SHOT<br />

Devon, W<strong>and</strong>a, Welch,<br />

Larabee <strong>and</strong> o<strong>the</strong>rs<br />

MOVE TO THE STAGE.<br />

2126.(1235+08) FULL SHOT<br />

Group moves to st<strong>and</strong><br />

with Akeelah.<br />

Audience FG. CAMERA<br />

CRANES L.<br />

2127.(1239+03) M FULL<br />

SHOT W<strong>and</strong>a EMBRACES<br />

Akeelah. Surrounding<br />

Akeelah are Devon,<br />

Georgia, Welch <strong>and</strong><br />

Larabee. WE SEE Chiu<br />

<strong>and</strong> Wife CROSS FG<br />

moving o/s L. to<br />

Dylan.<br />

2128.(1242+04) CHEST SHOT<br />

OTS Dylan <strong>and</strong> Chiu<br />

EMBRACE.<br />

2129.(1244+12) CHEST SHOT<br />

OTS Larabee looks to<br />

Akeelah FG.<br />

2130.(1246+12) HEAD SHOT<br />

OTS Akeelah looks R.<br />

to Larabee.<br />

AKEELAH:(TO LARABEE)<br />

We did it.<br />

Larabee EMBRACES<br />

Akeelah.<br />

2131.(1253+14) CHEST SHOT<br />

Chiu PASSES <strong>the</strong> TROPHY<br />

R. to Larabee.<br />

1527. 1247.12 1249.12 2.00 AKEELAH:(TO LARABEE)<br />

We did it.


"Akeelah & <strong>the</strong> <strong>Bee</strong>" Reel 6 Page 388<br />

Combined Continuity <strong>and</strong> Title Spotting List Footages <strong>and</strong> Titles<br />

Dialogue No. Start Stop Total Title<br />

(INT. - BALLROOM - CONT)<br />

(MUSIC - CONT)<br />

2132.(1255+15) HEAD SHOT<br />

OTS Akeelah L. Larabee<br />

R. with trophy. THEY<br />

LIFT <strong>the</strong> TROPHY HIGH.<br />

Akeelah grins.<br />

2133.(1259+01) CHEST SHOT<br />

W<strong>and</strong>a <strong>and</strong> Akeelah L,.<br />

Trophy C,. Larabee R.<br />

ALL SMILE.<br />

(FREEZE FRAME)<br />

FADE TO BLACK;<br />

(MUSIC SEGUE)<br />

End Credits Roll (1277+08)<br />

(see attached sheets)


END CREDITS "AKEELAH AND THE BEE" Pg. 1<br />

Unit Production Manager<br />

First Assistant Director<br />

Key Second Director<br />

Executive in Charge of Production<br />

Associate Producers<br />

Akeelah<br />

Dr. Larabee<br />

Tanya<br />

Mr. Welch<br />

Javier<br />

Dylan<br />

Georgia<br />

Devon<br />

Terrence<br />

Kiana<br />

Derrick-T<br />

Ms. Cross<br />

Mr. Chiu<br />

Steve<br />

Polly<br />

Roman<br />

Ted Saunders<br />

Herself<br />

National Spelling <strong>Bee</strong> Head Judge<br />

National Spelling <strong>Bee</strong> Pronouncer<br />

Tough Girl #1<br />

Tough Girl #2<br />

District Judge<br />

District Pronouncer<br />

Regional Judge<br />

Regional Pronouncer<br />

Cheating Boy<br />

Cheating Boy’s Mom<br />

Akeelah’s Fa<strong>the</strong>r<br />

Chuckie<br />

Volunteer<br />

Mary Calveretti<br />

Rajeev Subramonian<br />

Korean Grocer<br />

Reporter<br />

Woman on TV<br />

Little Girl on TV<br />

Red-Haired Girl<br />

Eighth-Grade Girl<br />

Regional <strong>Bee</strong> Assistant Judge<br />

District Speller #1<br />

District Speller #2<br />

Cast<br />

MIKE UPTON<br />

RODNEY ALLEN HOOKS<br />

DAVID RIEBEL<br />

DONNA SLOAN<br />

MICHAEL JOHNSON<br />

DALIA PHILLIPS<br />

KEKE PALMER<br />

LAURENCE FISHBURNE<br />

ANGELA BASSETT<br />

CURTIS ARMSTRONG<br />

JR VILLARREAL<br />

SEAN MICHAEL AFABLE<br />

SAHARA GAREY<br />

LEE THOMPSON YOUNG<br />

JULITO McCULLUM<br />

ERICA HUBBARD<br />

EDDIE STEEPLES<br />

DALIA PHILLIPS<br />

TZI MA<br />

JERIS LEE POINDEXTER<br />

SARA NIEMIETZ<br />

GEORGE HORNEDO<br />

CRAIG WASSON<br />

KATIE KERWIN McCRIMMON<br />

MARJORIE HARRIS<br />

JACQUES BAILLY, PH.D<br />

KRYSTEN LEIGH JONES<br />

AMIRAH HAWKINS<br />

JEFF MARLOW<br />

CHLOÉ CONROY<br />

LEE GARLINGTON<br />

SID GANIS<br />

AUSTIN HERRERA DAVIS<br />

JANET BORRUS<br />

WOLFGANG BODISON<br />

MARCUS HAWKINS DUNGEY<br />

BONITA FRIEDERICY<br />

CAROLINE J. SMITH<br />

NEIL SONI<br />

JACK ONG<br />

LAUREN SANCHEZ<br />

FAY HAUSER<br />

KESHELL LUCAS<br />

CORINA BOETTGER<br />

SHYANN CHATMAN<br />

TODD WAGNER<br />

BRITTANY ELIZABETH CURRAN<br />

ALEXANDRA RIEGER


END CREDITS "AKEELAH AND THE BEE" Pg. 2<br />

Regional Speller #1<br />

Regional Speller #2<br />

Regional Speller #3<br />

“Sacciform” Speller<br />

“Scutellate” Speller<br />

“Longicollis” Speller<br />

“Ginglymus” Speller<br />

“Empennage” Speller<br />

“Souchong” Speller<br />

“Intussusception” Speller<br />

“Engastrimythic” Speller<br />

“Escharotic” Speller<br />

“Flocculation” Speller<br />

Boy in Wheelchair<br />

Driver<br />

Postman<br />

ERIC DON<br />

JULIA KELLEHER<br />

ZAC GARDNER<br />

JOHN A. AUSICK<br />

MADDY KLOSS<br />

MASON GREEN<br />

JESSY J. HWANG<br />

BIPLAB PANDA<br />

ALEXANDER CHRISTIAN STEPHANS<br />

KATIE L. BROWN<br />

JOHN OXENREITER<br />

KATIE OLSON<br />

JASON ORTENBERG<br />

LANCE NORLING<br />

JMEKA CHERREL<br />

KAHLIL ASHANTI<br />

Crew<br />

Production Supervisor JENNIFER L. BOOTH<br />

Additional Editing<br />

A-Camera Operator<br />

First Assistant Camera<br />

Second Assistant Camera<br />

Film Loader<br />

B-Camera Operator<br />

First Assistant B Camera<br />

Second Assistant B Camera<br />

Still Photographer<br />

Script Supervisor<br />

Sound Mixer<br />

Boom Operator<br />

Cable Person<br />

Key Grip<br />

Best Boy Grip<br />

Dolly Grip<br />

Grips<br />

MARK CZYZEWSKI<br />

JOHN RADZIK<br />

THEO PINGARELLI<br />

DAVID MUN<br />

STEPHEN WHITCOMB<br />

CHRISTOPHER MOSIO<br />

KEITH EISBERG<br />

MARCUS LOPEZ<br />

SAEED ADY ANI<br />

JAN McWILLIAMS<br />

MATTHEW NICOLAY, C.A.S.<br />

STACEY A. WASHER<br />

GERARD VERNICE<br />

BRAD HEINER<br />

RICK YOUNG<br />

JAMES “KEEPER” AULD<br />

DENISE BRADY<br />

JORDAN GARRETSON<br />

STEPHEN K. JAMES<br />

MATT MINKE<br />

ROBERT MYERS<br />

NOAH PETER<br />

ALEXANDER SALAZAR<br />

DERON TSE<br />

JOSEPH M. BARNO<br />

BRIAN CHRISTIE


END CREDITS "AKEELAH AND THE BEE" Pg. 3<br />

Gaffer<br />

Best Boy Electric<br />

Electricians<br />

Art Director<br />

Set Designer<br />

Set Decorator<br />

Leadman<br />

Set Dressers<br />

Drapers<br />

On Set Dressers<br />

Greensman<br />

Art Department Coordinator<br />

Property Master<br />

Assistant Property Master<br />

Assistant Props<br />

Propmakers<br />

Laborers<br />

Construction Coordinator<br />

Painters<br />

Art Department Production<br />

Assistants<br />

Costume Supervisor<br />

RICH PAISLEY<br />

ROBERT MURPHY<br />

ERIC S. ADAMSON<br />

COOPER DONALDSON<br />

TIM HEDGECODK<br />

TOMMY HUBBARD<br />

JOHN T. LEONETTI<br />

JOSHUA LEE HUBER<br />

SHELLEY A. WALLACE<br />

ALICIA MACCARONE<br />

JULIEANN GETMAN<br />

GREG SANGER<br />

NELSON BUSH<br />

DOUGLAS McKAY<br />

GRANT SAWYER<br />

EFRÉN PÉREZ<br />

BUDDY RAY REYNOLDS-MAICHEL<br />

SALVADOR VALLE<br />

KEN PETERSON<br />

LAWRENCE D. LIRA<br />

ABRAHAM VORSTER<br />

JOHN WARNER<br />

SHAN KELLY<br />

JOSE A. SAENZ<br />

ALYSIA D. ALLEN<br />

KATHLEEN KASINGER<br />

F. MATTHEW FURGINSON<br />

CHELA FIORINI<br />

MATTHEW D. EGAN<br />

JASON DOCK HARRELL<br />

OSWALDO ROJAS<br />

CRILL HANSEN<br />

LONNIE HANSEN<br />

MARQUIS SMITH<br />

ROBERT “CASS” McENTEE<br />

KRISTIE E. MOORE-BIALUSKI<br />

CHARLES KERN<br />

LESLIE LAWSON<br />

MICHAEL RYAN<br />

ROXANNE BROOKS<br />

RICHARD J. DAY JR.<br />

MARK FINER<br />

JOCELYN MARSH<br />

ANGELA SIMPSON<br />

SHERMAN TOY<br />

RIKI LIN SABUSAWA


END CREDITS "AKEELAH AND THE BEE" Pg. 4<br />

Assistant Designer<br />

Costumers<br />

Department Head Makeup<br />

Key Makeup<br />

Department Head Hairstylist<br />

Assistant Hair<br />

Location Manager<br />

Assistant Location Managers<br />

Transportation Coordinator<br />

Transportation Captains<br />

Transportation Dispatcher<br />

Drivers<br />

Genny Operator<br />

Mechanic<br />

Production Coordinator<br />

Assistant Production Coordinator<br />

Office Production Assistants<br />

Second Second Assistant Director<br />

Additional Assistant Director<br />

Set Production Assistants<br />

Production Accountant<br />

First Assistant Accountant<br />

Payroll Accountant<br />

ROBIN WEST<br />

YVONNE BASTIDOS<br />

CHERYL CRAVEDI<br />

META MOÏSE<br />

JODIE STERN<br />

EDNA M. SHEEN<br />

GIGI WILLIAMS<br />

LINDA COWAN<br />

KENNETH WALKER<br />

FAY KELLY<br />

ERMA KENT<br />

ANDY KEETER<br />

CRAIG N. SIMMONS<br />

RICHARD DiPATRI<br />

GENO HART<br />

KIRK HUSTON<br />

ANGEL DE SANTI<br />

NATHAN HARDCASTLE<br />

TONY BARATTINI<br />

ROD BRODIE<br />

JOE COSENTINO<br />

AUDREY FITZGERALD<br />

WILLIAM GARDNER<br />

JOHN PELLEGRINO<br />

ADAM PINKSTAFF<br />

JOE ROSE<br />

STEVE WEIBLE<br />

H. DAVID WILSON<br />

WAYNE FLOWERS<br />

LEO LANDA<br />

DASH HART<br />

ESTEBAN MUÑOZ<br />

JULES CARIDEO<br />

DONALD E. WYGAL JR.<br />

JENNY DeARMITT<br />

BRYANT CHENG<br />

JOSH “HOLDEN” HUME<br />

MARVIN J. WILLIAMS JR.<br />

ANNE CARROLL<br />

SHADEE ARDALAN<br />

JASON M. COX<br />

LYMAN RICHARDSON<br />

JEFF SAVILLE<br />

CYNTHIA GATES FUJIKAWA<br />

MARY JANE AMATO<br />

JAMES M. ARNOLD


END CREDITS "AKEELAH AND THE BEE" Pg. 5<br />

Assistant to Michael Paseornek<br />

Assistant to Donna Sloan<br />

Assistant to Sid Ganis<br />

Assistant to Michael Romersa &<br />

Danny Llewelyn<br />

Assistant to Mike Upton<br />

Assistant to Marc Butan<br />

Assistant to Helen Sugl<strong>and</strong><br />

Assistant to Laurence Fishburne<br />

Assistant to Angela Bassett<br />

Assistant to Jay Faires<br />

Cast Assistants<br />

Studio Teacher<br />

Technical Advisor<br />

Dialogue Coach<br />

Caterer<br />

Chef<br />

Craft Service<br />

Second Craft Service<br />

Medic<br />

Set Security<br />

Clearance Supervisor<br />

Rights & Clearances<br />

Unit Publicist<br />

Assistant<br />

EPK<br />

Casting Assistants<br />

Extras Casting<br />

BREE BAILEY<br />

DANIEL MacARTHER<br />

CARLO EUGSTER<br />

ROBERT NATTER<br />

DOROTTYA HEGEDUS-LUM<br />

ROBYN HEATH<br />

AUDREY KENDRICK<br />

LELAND JAY ANDERSON<br />

TRACY JACKSON<br />

MICHELLE PULLMAN<br />

KERI ANN MOORHOUSE<br />

RICKY MENDEZ<br />

CHRISTOPHER MARLON<br />

DANIELLE MANA<br />

JO ANN M. SMITH<br />

POLLY BUSINGER<br />

JACQUES BAILLY, PH.D<br />

ELAINE HALL KATZ<br />

ROBERT WEISMAN<br />

JOSE LOPEZ<br />

NERY LOPEZ<br />

KEVIN PICKETT<br />

KEITH C. PICKETT<br />

SUSAN BANNOUT<br />

JAMES ROSS<br />

LISA GOODING<br />

ENTERTAINMENT CLEARANCES, INC.<br />

LAURA SEVIER<br />

CASSANDRA BARBOUR<br />

JULIE POLKES<br />

LISA NG<br />

JEFF LIEBERMAN<br />

BENITA ELLIOTT<br />

ROBYN MITCHELL<br />

EVE STREGER<br />

LAMESE WILLIAMS<br />

PRIME CASTING<br />

BIG CROWDS


END CREDITS "AKEELAH AND THE BEE" Pg. 6<br />

Unit Production Manager<br />

Production Supervisor<br />

First Assistant Director<br />

Second Unit Director of Photography<br />

Assistant to Christopher Mosio<br />

Additional Photographer<br />

First Assistant Camera<br />

Second Assistant Camera<br />

Additional Photography<br />

Key Grip<br />

Production Assistants<br />

Driver<br />

JOE GENIER<br />

LISA LOONEY<br />

CHAD ROSEN<br />

CHRISTOPHER MOSIO<br />

KEITH ICEBERG<br />

STEVEN DOUGLAS SMITH<br />

JEFFREY R. CLARK<br />

JARROD OSWALD<br />

MANNY DURAN<br />

DANIELLE MANA<br />

TODD MCCORMICK<br />

MICHAEL S. STRANGE<br />

LUIS MATA<br />

Post Production<br />

First Assistant Editor MARK CZYZEWSKI<br />

Post Production Supervisor<br />

Post Production Coordinator<br />

Post Production Assistant<br />

Sound Design & Editorial by<br />

Supervising Sound Editor/Sound<br />

Designer<br />

Supervising Dialogue Editor<br />

Supervising ADR Editor<br />

Sound Effects Editor<br />

First Assistant Sound Editor<br />

ADR Mixer<br />

ADR Recordist<br />

Foley Artists<br />

Foley Mixer<br />

Foley Editor<br />

Re-Recording Mixer<br />

Additional Re-Recording Mixers<br />

Recordist<br />

Sound Editorial Coordinator<br />

Dolby Engineer<br />

ADR Voice Casting<br />

CARL PEDREGAL<br />

MARK W. McCOY<br />

JENNY CHO<br />

DANETRACKS, INC.<br />

ROLAND N. THAI, M.P.S.E.<br />

JAMES MORIOKA<br />

FRED STAFFORD<br />

GREGORY HEDGEPATH, M.P.S.E.<br />

NANCY BARKER<br />

ERIC THOMPSON, C.S.A.F.<br />

CHRIS NAVARRO<br />

LAURA MACIAS<br />

VINCE NICASTRO<br />

SHAWN KENNELLY<br />

MELISSA PILLMEAR<br />

KEN S. POLK, C.A.S.<br />

EZRA DWECK<br />

LANCE BROWN<br />

BARBARA McCART<br />

MATT HEDGES<br />

JAMES WRIGHT<br />

BARBARA HARRIS


END CREDITS "AKEELAH AND THE BEE" Pg. 7<br />

ADR Cast KIMBERLY BAILEY<br />

CARLYLE KING<br />

ANDREA BAKER<br />

LANAI CHAPMAN<br />

KHANYA MKHIZE<br />

CARLOS LA CAMARA<br />

JEFFREY TODD FISCHER<br />

JOHN LA FAYETTE<br />

TERENCE MATTHEW<br />

TINASHE KACHINGWE<br />

KRYSTEN LEIGH JONES<br />

PAIGE HURD<br />

COURTNEY BURNESS<br />

JESSIE FLOWER<br />

ASHLYN ROSE<br />

KATELYN KOWALICK<br />

KAYLA HENRY<br />

MISCHON RATLIFF<br />

TERRENCE HARDY<br />

KENDRE BERRY<br />

AXEL ALBA<br />

ZACK SHADA<br />

AUSTIN MARQUES<br />

KEVIN DAVIDSON<br />

CODY KLOP<br />

AJ NOEL<br />

DENZEL WHITAKER<br />

AVID Editing Systems provided by ELECTRIC PICTURE SOLUTIONS, INC.<br />

Main title by PIC<br />

PAMELA GREEN<br />

JARIK VAN SLUIJS<br />

GARY HEBERT<br />

Opticals, VFX, Previews <strong>and</strong> End Titles by MODERN VIDEOFILM, INC.<br />

Colorist<br />

IQ Artist<br />

VFX Producer<br />

Inferno Artist<br />

VP Feature Post<br />

SUE GATES<br />

JOHN SCHEER<br />

ANDREW MIDGLEY<br />

SHELLY DUTCHER<br />

MARK INTRAVARTOLO<br />

PAT REPOLA<br />

VFX by XY&Z VISUAL EFFECTS<br />

Visual Effects Supervisor MIKE UGUCCIONI<br />

Video Projection Equipment Provided by AMERICAN HI DEFINITION, INC.<br />

Prints by TECHNICOLOR<br />

Color Timer<br />

Lab Contact<br />

DAVID ORR<br />

JOSH MOORE<br />

Stock Footage supplied by GETTY IMAGES


END CREDITS "AKEELAH AND THE BEE" Pg. 8<br />

Telecine<br />

Negative Cutter<br />

Post Production Accountants<br />

Sr. VP, Production<br />

Creative Executive<br />

Supervisor of Production<br />

Manager of Production<br />

Executive Vice President, Business<br />

& Legal Affairs<br />

Vice President, Business & Legal<br />

Affairs<br />

Business & Legal Affairs<br />

Coordinator<br />

Business & Legal Affairs<br />

Contract Administrator<br />

Co-President of Film Marketing<br />

Co-President of Film Marketing<br />

Supervisor, Assets <strong>and</strong> Production<br />

Publicity<br />

Digital Asset Management<br />

President of Music<br />

Music Consultant<br />

Music Legal<br />

Camera Cranes & Dollies by<br />

Lighting <strong>and</strong> Grip Equipment<br />

Provided by<br />

Insurance Provided by<br />

Completion Guaranty Provided by<br />

Camera Cranes & Dollies<br />

For LIONSGATE:<br />

ENTERTAINMENT POST<br />

MARTHA SAVELIO<br />

NEGATIVE PEOPLE, INC.<br />

EMILY RICE<br />

LIAM HEARNE<br />

JOHN SACCHI<br />

JONATHAN RUIZ<br />

CURTIS A. MILLER<br />

ROSEMARY LARA<br />

ROBERT MELNIK<br />

CHARLYN WARE<br />

AMANDA SHAMIS<br />

AMBER N. ROY<br />

SAMAR SEPHERI<br />

TIM PALEN<br />

SARAH GREENBERT<br />

YON ELVIRA<br />

JIM BARTOO<br />

JAY FAIRES<br />

TRICIA HOLLOWAY<br />

EVELYN J. PAGLINAWAN<br />

KEVIN KOLOFF<br />

For 2929 PRODUCTIONS:<br />

2929 Counsel P. JOHN BURKE<br />

AKIN GUMP STRAUSS HAUER & FELD LLP<br />

2929 Business Affairs DOUGLAS B. McCLURE<br />

Assistant to Doug McClure DIANA HORWICH<br />

JL FISHER<br />

PASKAL LIGHTING<br />

AON/ALBERT G. RUBEN<br />

INSURANCE SERVICES, INC.<br />

BRIAN KINGMAN<br />

INTERNATIONAL FILM GUARANTORS<br />

CHAPMAN/LEONARD STUDIO<br />

EQUIPMENT INC.


END CREDITS "AKEELAH AND THE BEE" Pg. 9<br />

Music Supervisor<br />

Music Clearance<br />

Music Coordinator<br />

Music Assistant<br />

Music Composed <strong>and</strong> Conducted by<br />

Score Recorded <strong>and</strong> Mixed by<br />

Electronic Programming by<br />

Supervising Music Editor<br />

Music Editor<br />

Music Consultant<br />

JOEL C. HIGH<br />

JEANNE FAY<br />

REBECCA RIENKS<br />

MOLLIE B. CASEY<br />

AARON ZIGMAN<br />

MICHAEL STERN<br />

JESSE VOCCIA<br />

MATEO LABORIEL<br />

JOHNNY CARUSO<br />

EDUARDO PONSDOMENECH<br />

SAM ZEINES for CLOCKWIRK MUSIC<br />

"EL INDIO Y EL VAQUERO "<br />

Written by Xocoyotzin Herrera<br />

Performed by Francisco Javier González & José Zuñiga<br />

Courtesy of LMS Records/Latin Music Specialists<br />

"THE HUSTLE PT. III "<br />

Written by J. Green <strong>and</strong> M. Perretta<br />

Performed by Planet Asia<br />

Courtesy of Battle Axe Records<br />

"DAY BY DAY "<br />

Written by S. Jones<br />

Performed by Stephanie Jones<br />

Courtesy of Stephanie Jones<br />

"ANTHRAX ISLAND "<br />

Written by S. Bunting, K. Hendriks <strong>and</strong> W. Plischke<br />

Performed by Swollen Members<br />

Courtesy of Battle Axe Records<br />

"NOT IN YOUR VIDEO"<br />

Written by Lauren Palmer, Loreal Palmer <strong>and</strong> Sharon Palmer<br />

Performed by Loreal Palmer<br />

"RUBBERBAND MAN"<br />

Written by Thomas Bell <strong>and</strong> Linda Creed<br />

Performed by The Spinners<br />

Courtesy of Atlantic Recording Corp.<br />

By arrangement with Warner Music Group Film & TV Licensing<br />

"EFFERVESCENT"<br />

Written by Bootsy Collins<br />

Performed by Bootsy Collins<br />

Courtesy of Bootzilla Productions Inc.


END CREDITS "AKEELAH AND THE BEE" Pg. 10<br />

"RESPECT"<br />

Written by Otis Redding<br />

Performed by Aretha Franklin<br />

Courtesy of Atlantic Recording Corp.<br />

By arrangement with Warner Music Group Film & TV Licensing<br />

"WHATEVER IT TAKES "<br />

Written by Patrice Germain<br />

Performed by Frankie<br />

Courtesy of Lovecat Music<br />

By arrangement with Ocean Park Music Group<br />

"LESTER HAYES "<br />

Written by L. Daumont <strong>and</strong> X. Mosley<br />

Performed by Lateef & The Chief<br />

Courtesy of Quannum Projects<br />

By special arrangement with Bank Robber Music & Zync Music<br />

"WAKE UP EVERYBODY "<br />

Written by Victor Leon Carstarphen, Gene McFadden <strong>and</strong> John Whitehead<br />

Performed by Harold Melvin <strong>and</strong> <strong>the</strong> Blue Notes<br />

Courtesy of Epic Records<br />

By arrangement with SONY BMG MUSIC ENTERTAINMENT<br />

"EVERYTHING "<br />

Written by Ben Harper<br />

Performed by Ben Harper<br />

Courtesy of Virgin Records<br />

Under License from EMI Film & Television Music<br />

"DEFINITION OF LOVE"<br />

Written by James Harris, III, Terry Lewis <strong>and</strong> James Q. Wright<br />

Performed by Deborah Cox<br />

Additional vocals by KeKe Palmer, Michelle Williams, Shalea Frazier, & A<br />

Place Called Home Choir<br />

Produced by Jimmy Jam, Terry Lewis & James “Big Jim” Wright for Flyte Tyme<br />

Productions, Inc.<br />

"LET YOUR BABY GO"<br />

Written by Jamey Jaz <strong>and</strong> Rhona Bennett<br />

Performed by Erica Rivera<br />

Courtesy of Music Line/Atlantic Recording Corporation<br />

"PROUD"<br />

Written by Hea<strong>the</strong>r Small <strong>and</strong> Peter Vettese<br />

Performed by Hea<strong>the</strong>r Small<br />

Courtesy of SONY BMG MUSIC ENTERTAINMENT (U.K.) LIMITED<br />

SOUNDTRACK AVAILABLE ON LIONSGATE<br />

[logo]<br />

Mr. Fishburne dedicates his performance to his daughter<br />

Montana


END CREDITS "AKEELAH AND THE BEE" Pg. 11<br />

Special Thanks to:<br />

HONDA MOTOR COMPANY<br />

SCRIPPS NATIONAL SPELLING BEE<br />

FOOTAGE COURTESY OF ESPN ENTERPRISES, INC.<br />

FREDERICK DOUGLASS NATIONAL HISTORICAL SITE<br />

CROSLEY RADIO<br />

AIR TRANS<br />

ATARI INTERACTIVE, INC.<br />

BLUE NOTE RECORDS<br />

HASBRO GAMES<br />

SCRABBLE BOARD GAME<br />

LANGERS JUICE COMPANY<br />

LOS ANGELES SENTINEL, INC.<br />

A PLACE CALLED HOME<br />

PROFESSOR RICHARD YARBOROUGH, DEPARTMENT OF ENGLISH<br />

UNIVERSITY OF CALIFORNIA, LOS ANGELES<br />

THE DON AND GEE NICHOLL FELLOWSHIPS IN SCREENWRITING<br />

UNIVERSITY OF CALIFORNIA, BERKELEY<br />

UNIVERSITY OF SOUTHERN CALIFORNIA<br />

YALE UNIVERSITY<br />

WASHINGTON, DC GRAND HYATT HOTEL<br />

MONDRIAN HOTEL<br />

MATTEL<br />

INVACARE® MVP<br />

MCINTOSH EQUIPMENT<br />

BAYO OGUMDELE<br />

MARY N' DOYE<br />

DUBRIL N'DOYE<br />

MARC & TEGRA LITTLE<br />

REPLOGLE GLOBES, INC.<br />

BLACK SCHOLAR MAGAZINES<br />

WUV PUBLICATIONS, INC.<br />

D.A.R.E.<br />

McDONALD PUBLISHING COMPANY<br />

FRANK SCHAFFER PUBLICATIONS<br />

UNIVERSAL MUSIC<br />

PIERCE LAW GROUP LLP<br />

WARD A.M.E. CHURCH<br />

ALVIN WILLIAMS<br />

AMY ATCHISON & MICHAEL BEHRENS<br />

ERIC J. DANENBERG<br />

GREG TENNANT<br />

GARTH FRIEDRICH<br />

LOU PITT<br />

CARLA M. ROBERTS, ESQ.<br />

ALEX GRAVES<br />

Quotes from "A RETURN TO LOVE" courtesy of MARIANNE WILLIAMSON<br />

Footage from "E.T. <strong>the</strong> Extra-Terrestrial" Courtesy of<br />

UNIVERSAL STUDIOS LICENSING LLLP <strong>and</strong> AMBLIN ENTERTAINMENT<br />

MapQuest <strong>and</strong> MapQuest.com name <strong>and</strong> logo © 2005 MapQuest.com<br />

Map content © 2005 MapQuest <strong>and</strong> GDT, Inc. Used with permission.


END CREDITS "AKEELAH AND THE BEE" Pg. 12<br />

By permission. Webster's Third new International® Dictionary, Unabridged<br />

© 1993 by Merriam-Webster, Incorporated (www.Merriam-Webster.com)<br />

Set Design of <strong>the</strong> Scripps spelling <strong>Bee</strong> by Hargrove, Inc.<br />

DOLBY DIGITAL ®<br />

[logo]<br />

MPAA # 42313<br />

[logo]<br />

MOTION PICTURE ASSOCIATION OF<br />

AMERICA<br />

KODAK<br />

Motion Picture Film<br />

[logo]<br />

Filmed with<br />

PANAVISION ®<br />

Camera <strong>and</strong> Lenses<br />

[logo]<br />

TEAMSTERS<br />

[logo]<br />

DTS ®<br />

[logo]<br />

IATSE<br />

[logo]<br />

© 2005 Lions Gate Films, Inc. & 2929 Productions LLC.<br />

THE PERSONS AND EVENTS IN THIS MOTION PICTURE ARE FICTITIOUS.<br />

ANY SIMILARITY TO ACTUAL PERSONS OR EVENTS IS UNINTENTIONAL.<br />

THIS MOTION PICTURE IS PROTECTED UNDER LAWS OF THE<br />

UNITED STATES AND OTHER COUNTRIES.<br />

UNAUTHORIZED DUPLICATION, DISTRIBUTION OR EXHIBITION MAY<br />

RESULT IN CIVIL LIABILITY AND CRIMINAL PROSECUTION.<br />

STARBUCKS ENTERTAINMENT [logo]<br />

2929 PRODUCTIONS [logo]<br />

LIONSGATE [logo]

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!