英语剧本《春风化雨》
时间:2007-10-27 22:00:13来源: 作者:
Dead Poets Society (1989)
by Tom Schulman.
Final script.
by Tom Schulman.
Final script.
1 INT WELTON ACADAMY DINING HALL - DAY - VARIOUS SHOTS 1
CREDITS ROLL
On the left is a life-sized mural depicting a group of young
school boys looking up adoringly at a woman who represents
liberty. On the right is a mural showing young men gathered
around an industrialist in a corporate boardroom. Between the
murals stands a boy.
An odd, blaring MUSICAL SOUND starts and stops, interrupted
by the noise of pumping. A teacher hurries to the boy,
adjusts his tie, and leads him off.
On another wall is a full-sized portrait of a 19th century
Scotsman in a kilt. In front at this, young boys carrying
banners, and several elderly men in old-fashioned costumes
assembling into a processional formation. Nervous younger
boys (7th graders) are shown their places in line and handed
candles. They light each others.' candles until all their
candles are lit.
Suddenly the MUSIC BLASTS FORTH in its full splendor. It is
a BAGPIPE. The bagpiper, in a kilt like the one in the
portrait, begins a processional march.
2 INT CORRIDOR ADJACENT THE DINING ROOM - SAME 2
The bagpiper enters a long slate and stone hallway. The
haunting timbre of his antiquated instrument reverberates
through the building. Momentarily, he is followed by the
other processional marchers. He leads them down the corridor
and down a threshold staircase into:
3 INT. WELTON'S OLD, STONE CHAPEL - CONTINUOUS 3
Where two hundred high school-aged boys--most of whom wear
black blazers--sit on either side of the central aisle
watching the procession move onto the dais in front. Beside
most of these boys are their parents.
VARIOUS ANGLES ON THE PROCESSION
FOUR 16-YEAR-OLD Boys CARRY BANNERS.
Each boy is dressed in an archaic, turn-of-the-century
outfit. On each banner is emblazoned a different word. One
reads "TRADITION," another reads "HONOR",' a third reads
DISCIPLINE, the last reads 'EXCELLENCE."
THE ELDERLY MEN
in their 70s and SOS, obviously the school's oldest alumni,
each wearing a name tag and the uniform of his day, make their
way toward the stage.
THE SEVENTH GRADERS
carrying candles are nervous and self-conscious. Most
concentrate intently on keeping their candles lit while they
march. One young boy's candle has gone cut and he can barely
keep from crying.
The bagpiper stands at the corner of the dais, marching in
place. Behind him, in black robes, sit the school's 30-odd
teachers. The processional's elderly alumni fill the chairs
of honor on the dais.
The four young BANNER CARRIERS peel off from the main aisle
and take seats beside their parents in the audience. The 7th
graders take seats with their parents too. A purple and black
robed man who brings up the rear of the procession walks up to
the podium. Me is HEADMASTER GALE NOLAN, a big man, in his
mid-60s. The music stops.
NOLAN
Ladies and gentlemen, distinguished
alumni, and students: This year marks
the one hundredth year that Welton
Academy has been in existence.
Applause begins. Soon the whole room is standing in a
thunderous ovation. After an appropriate amount of time,
Nolan motions for everyone to be seated.
NOLAN (CONT'D)
One hundred years ago, in 1859, forty-one boys sat in this
room and were asked the same question that now greets you at
the start of each semester: Gentlemen, what are the four
pillars?
All of the students stand at attention. Find TODD ANDERSON
sitting between his parents. Todd is 16, good looking, but he
seems beaten down, lacking confidence, unhappy. He wears a
name tag and no Welton blazer. When the others stand, Todd's
mother nudges him. Todd stands. He watches as the other
students:
ALL THE BOYS IN UNISON
Tradition! Honor! Discipline!
Excellence!
All the boys sit. Todd sits too. All is silent again.
NOLAN
In her first year, Welton Academy
graduated five students. Last year we
graduated fifty-one and over seventy-five
percent of those went to the Ivy League!
Applause. During it we rind KNOX OVERSTREET and CHARLIE
DALTON, both 16, and both in Welton blazers. Knox (sitting
between his parents) carries a banner. He has curly hair,
looks outgoing, is short but well built. Charlie, also with
his parents, has a handsome yet friendly face. He carries no
banner but, when Nolan mentions Ivy League, both these boys
fit the bill.
NOLAN (CONT'D)
This kind of accomplishment is the
result of fervent dedication to the
principles taught here. This is why you
parents have been sending us your sons,
and this is why we are the best
preparatory school in the United States.
(more applause)
New students
All turn to look at the new students the 7th graders and
transfer students. Todd Anderson is among them and he looks
incredibly self-conscious.
NOLAN (CONT'D)
The key to your success rests on our
four pillars. These are the bywords of
this school and they will become the
cornerstones of your lives. Welton
Society candidate Richard Cameron...
In the audience, not far from Todd is Richard CAMERON, one of
the banner carriers, 16, his father's little clone. He stands
eagerly to attention. Too eagerly.
CAMERON
Yes sir!
NOLAN
What is Tradition?
CAMERON
Tradition, Mr. Nolan, is love of school,
country, and family. Our tradition at
Welton is to be the best!
NOLAN
Good, Mr. Cameron. Welton Society
Candidate George Hopkins. Honor.
Cameron sits. His father beams smugly.
HOPKINS (O.S.)
Honor is dignity and the fulfillment of
duty!
NOLAN
Good, Mr. Hopkins. Honor Society
Candidate, Knox Overstress
Knox, as mentioned, is a banner-holder. He stands.
KNOX
Yes sir.
NOLAN
What is discipline?
KNOX
Discipline is respect for parents,
teachers, headmaster. Discipline comes
from within.
NOLAN
Thank you, Mr. Overstress. Honor
Candidate Neil Perry.
Knox sits. Knox's proud father and mother give him pats of
encouragement. NEIL PERRY stands. Whereas some boys have two
or three achievement pins an the lapels of their coats, Neil
has a huge cluster of them on the pocket of his jacket. Neil
is 16, intense, a born leader. However, there is more than a
hint of anger and dissatisfaction in his eyes. Beside him
sits his unsmiling father, MR. PERRY.
NOLAN
Excellence, Mr. Perry.
NEIL (rote)
Excellence is the result of hard work.
Excellence is the key to all success, in
school and everywhere.
Neil sits. He doesn't look at his father nor does his father
look at him.
NOLAN
Gentlemen, at Welton you will work
harder than you have ever worked in your
lives, and your reward will be the
success that all of us expect of you. I
would now like to call to the podium
Welton's oldest living graduate- Mr.
Alexander Carmichael, Jr., Class of 1866.
An octogenarian on stage shuns help from those beside him and
makes his way slowly--excruciatingly slowly--to the podium As
the audience rises to another standing ovation
DISSOLVE TO:
4 EXT. THE WELTON ACADEMY - MAIN LAWN - DAY 4
Welton Academy is a cluster of traditional weathered stone
buildings. The time is 1959 but at Welton this is irrelevant.
This school with its traditions is completely isolated from
the politics or trends of the outside world.
The students stand with their parents under a giant tent.
Finger food, coffee, tea and punch are laid cut on white
clothed tables.
Charlie's mother stands dotingly fixing Charlie's hair. Then
she kisses him.
Knox's father has his hand affectionately around his son.
Mr. Perry stands adjusting the achievement pins on Neil's
jacket.
Todd Anderson's parents stand chatting with another couple,
paying no attention to Todd who looks very much alone.
Mr.Nolan walks by and looks at Todd's name tag.
NOLAN
Ah, Mr. Anderson. You have some big
shoes to fill, young man. Your brother
was one of our best.
TODD
(faint, almost inaudible)
Thank you.
Neil's father, Neil in tow, approaches Nolan and interrupts.
MR. PERRY
(somewhat disturbed)
Gale. what's this I hear about a new
junior English teacher?
NOLAN
Mr. Gladden took the Headmaster's post
at Malford, so we've hired John Keating.
MR. PERRY
(suspicious)
A former student, I hear?
NOLAN
A star student, Mr. Perry. And he's
spent the last ten years teaching at the
McMillan School in Edinburgh.
MR. PERRY
(acting impressed)
Oh. McMillan.
Nolan looks around. He finds, then indicates:
ACROSS THE LAWN a black-robed teacher stands with his back to
us, staring at the beautiful Welton LAKE. As if he sensed he
was being watched, he turns and faces us. This is JOHN
KEATING, late 30s, sparkling eyes.
Nolan puts his arm on Mr. Perry's shoulder and leads him off.
NOLAN
Come meet him. You'll like him.
We watch Nolan escort Mr. Perry across the lawn and introduce
him to Mr. Keating who walks up to greet them. Todd stands
alone, looking around. Neil Perry, now left alone, does the
same. Both watch the other students saying good-byes to their
parents.
5 EXT. THE WELTON ACADEMY PARKING LOT - DAY 5
The 7th graders are saying good-bye to their parents. Chins
quiver. Young eyes hold back tears. Some boys sob. For most
of these young boys this is the first time in their lives that
they will be away from their parents and their homes, and it
is a devastating experience.
LONG SHOT, WELTON ACADEMY - SAME
Welton Academy sits in a lonely and isolated valley in woods
of Vermont. Though the setting is beautiful, its isolation
only highlights the loneliness that most of the 7th graders
feel at this moment.
6 OMIT 6
7 INT. THE WELTON ACADEMY OAK PANELED HONOR ROOM - DAY 7
The 50 or so members of the junior class sit in chairs or
stand around the room. The students that were featured
earlier are here: Todd Anderson, Neil Perry, Knox Overstress,
Charlie Dalton, Richard Cameron. All except Todd wear Welton
blazers. Todd sticks out and he knows it.
A staircase against a wall leads to a 2nd-floor door. That
door opens and down the stairs file five boys. An old teacher
(DR. HAGER) comes to the door and calls out five names.
HAGER
Overstreet, Perry, Dalton, Anderson,
Cameron.
These boys file up the staircase. As they do, a seated boy
(PITTS) leans to the boy next to him (STEVEN MEEKS). Meeks
has sweet egghead looks and very short hair. He wears a
pocket watch and chain.
PITTS
Who's the new boy?
MEEKS
(shrugs)
Anderson.
Old Hager sees this conversation.
HAGER
Misters Pitts and Meeks. Demerits.
Pitts and Meeks look down. Pitts glances at Necks and rolls
his eyes.
HAGER (CONT'D)
That's another demerit, Mr. Pitts.
Pitts' smile vanishes. Hager closes the door.
8 INT THE HEADMASTER'S OFFICE - SAME 8
The five boys take seats in a row of chairs facing Mr. Nolan.
Nolan sits behind his desk, a HUNTING DOG on the floor beside
him.
NOLAN
Welcome. back, Mr. Dalton. How's your
father?
CHARLIE
Doing fine, sir.
NOLAN
Your family move into that new house,
Mr. Overstreet?
KNOX
Yes sir, about a month ago.
NOLAN
Wonderful. I hear It's beautiful. (he
gives the dog a snack)
Mr. Anderson, since. you're new here,
let me explain that at Welton, I assign
extracurricular activities on the basis
of merit and desire. These activities
are taken every bit as seriously as your
class work... right, boys?
CHARLIE, CAMERON, KNOX
Yes sir!
NOLAN
Failure to attend required meetings will
result in demerits. Mr. Dalton the
school paper, the Service Club, soccer,
rowing. Mr. Overstress Welton Society
Candidates, the school paper, soccer,
Sons of Alumni Club. Mr. Perry Welton
Society Candidates, Chemistry Club,
Mathematics Club, school annual, soccer.
Mr. Cameron Welton Society Candidates,
Debate Club, rowing, Service Club,
forensics, Honor Council. Mr. Anderson
based on your record at Balincrest,
soccer, Service Club, school annual.
Anything else I don't know about?
Todd struggles. He looks like he is trying to speak but
nothing is coming out of his mouth.
NOLAN (CONT'D)
Speak up, Mr. Anderson.
TODD
(barely audible)
I would prefer rowing sir.
It is apparent that Todd's fear of speaking is overwhelming.
Nolan looks at him.
NOLAN
Rowing? Did he say rowing? It says here
you played soccer at Balincrest.
TODD
(again barely audible)
I...did...but...
Sweat breaks out on Todd's brow. He clinches his hands,
turning his knuckles white. He looks like he is going to
burst into tears. The other boys look at him.
NOLAN
You'll like soccer here, Anderson.
Dismissed.
The boys stand and exit. Todd looks absolutely miserable.
The teacher at the door calls out more names.
9 EXT. WELTON CAMPUS - DAY 9
The Welton students walk toward their dorms. Neil Perry
approaches Todd Anderson who walks alone. Neil offers his
handshake.
NEIL
I hear we're going to be roommates.
Neil Perry.
TODD
(softly)
Todd Anderson.
Todd keeps walking. There is an awkward silence.
NEIL
Why'd you leave Balincrest?
TODD
(overlap)
My brother went here.
NEIL
Oh, so you're that Anderson.
10 INT. THE JUNIOR DORM LOBBY - CONTINUOUS 10
Neil and Todd have walked into the dorm lobby.
TODD
My parents wanted me here all along but
my grades weren't good enough. I had to
go to Balincrest to pull them up.
NEIL
Well, you've won the booby prize. Don't
expect to like it here.
TODD
I don't.
11 INT. THE WELTON JUNIOR CLASS DORMITORY ROOM - DAY 11
Each small room contains two single beds, two closets, and
two desks. Suitcases sit on the floor. Neil enters. Richard
Cameron sticks in his head.
CAMERON
Heard you got the new boy. He's a hell
of a speaker, huh? Oops.
Todd Anderson walks in. Cameron ducks out. Todd has heard
Cameron s comment, but he ignores it. He puts his suitcase on
his bed and begins unpacking.
NEIL
Don't mind Cameron. He's an asshole.
There is a knock on the door. Knox Overstress, Charlie
Dalton, and Steven Meeks enter. Charlie speaks to Neil.
CHARLIE
Hey, I heard you went to summer school?
NEIL
Yeah, chemistry. My father thought I
should get ahead.
CHARLIE
Well, Meeks aced Latin and I didn't
quite flunk English so if you want, we've
got our study group.
NEIL
Sure, but Cameron asked me too. Anybody
mind including him?
CHARLIE
What's his specialty, brown-nosing?
Some chuckles.
NEIL
Hey, he's your roommate.
CHARLIE
That's not my fault.
Nobody is excited about Cameron but no one objects.
MEEKS
(to Todd)
I don't think we've met. I'm Steven
Meeks.
TODD
(shyly extending his hand)
Todd. Anderson.
Knox and Charlie offer Todd handshakes.
CHARLIE
Charlie Dalton.
KNOX
Knox Overstreet.
Todd shakes their hands.
NEIL
Todd's brother is Jeffrey Anderson.
CHARLIE
Oh yeah. Sure. Valedictorian, National
Merit Scholar
Todd nods affirmative.
MEEKS
Well, welcome to "Hell"ton.
CHARLIE
It's every bit as hard as they say.
Unless you're a genius like Meeks.
MEEKS
He flatters me so I'll help him with
Latin.
CHARLIE
And English, and trig
Meeks smiles. There is a knock on the door.
NEIL
It's open.
Neil's father enters. Neil is surprised.
NEIL (CONT'D)
Father. I thought you'd... gone.
All the boys stand.
MEEKS, CHARLIE, KNOX
Mr. Perry.
MR. PERRY
Keep your seats, boys. How's it going?
THE BOYS
Fine, sir. Thank you.
MR. PERRY
Neil, I've decided that you're taking
too many extracurricular activities.
I've spoken to Mr. Nolan about it and you
can work on the school annual next year.
NEIL
But father, I'm assistant editor.
MR. PERRY
I'm sorry, Neil.
NEIL
But father, it's not fair.
MR. PERRY
Fellows, would you excuse us a minute?
Mr. Perry walks into the hall, Neil follows.
12 INT. THE JUNIOR DORMITORY HALLWAY - SAME 12
MR. PERRY
I will not be disputed in public, do you
understand me?
NEIL
Father, I wasn't disputing you.
MR. PERRY
When you've finished medical school and
you're on your own, you can do as you
please. Until then, you will listen to
me.
NEIL
Yes sir. I'm sorry.
MR. PERRY
You know what this means to your mother,
don't you?
NEIL
Yes sir.
Using the pressures of guilt and punishment, Mr. Perry is the
most subtle of bullies. Neil's resolve crumbles in front of
his authoritarian father. Neil fills the pause.
NEIL (CONT'D)
You know me, always taking on too much.
MR. PERRY
Good boy. Call us if you need anything.
He turns and walks off.
13 INT. NEIL'S ROOM 13
The others wait in silence. A chastened Neil enters.
CHARLIE
Why doesn't he let you do what you want?
KNOX
Yeah! Tell him off! It couldn't get
any worse.
NEIL
Oh that's rich. Like you tell your
parents off, Mr. Future Lawyer and Mr.
Future Banker!
Neil takes the school annual achievement pin off his shirt
and hurls it at his desk.
KNOX
Wait a minute. I don't let my parents
walk on me.
NEIL
Yeah, you just do everything they say!
You'll be in daddy's law firm as sure as
I'm standing here.
(to Charlie)
And you'll be approving loans till you
croak.
CHARLIE
Okay, so I don't like it any more than
you do. I'm just saying
NEIL
Then don't tell me how to talk to my
father when you're the same way. All
right?!
KNOX
All right. Jesus, what are you gonna
do?
NEIL
What I have to do. Screw the annual.
MEEKS
I certainly wouldn't lose any sleep over
it. It's just a bunch of people trying
to impress Nolan.
NEIL
(bitterly)
Screw it all. I don't give a damn about
any of it.
He slams his hand into his pillow and lies back silently.
Everyone is quiet, sensing Neil's disappointment. Finally,
Charlie breaks the silence.
CHARLIE
I don't know about anyone else, but I
could use a refresher in Latin. Eight
o'clock in my room?
NEIL
Sure.
CHARLIE
You're welcome to join us, Todd.
KNOX
Yeah, come along.
TODD
Thank you.
The boys leave. Neil lies in silence. He sees the
achievement pin that he threw and picks it up. Todd continues
to unpack. He unpacks a photo of his mother and father with
their arms around an older boy who is obviously Todd's brother
Jeffrey. Todd stands to one side, slightly apart from the
family group. Todd unpacks an engraved leather desk set
(pens, blotter, etc.) and puts it on his desk.
NEIL
So what do you think of my father?
TODD
(softly, to himself)
I'll take him over mine.
NEIL
What?
TODD
Nothing.
NEIL
Todd, if you're gonna make it around
here, you've gotta speak up. The meek
might inherit the earth but they don't
get into Harvard. know what I mean?
Todd nods.
NEIL (CONT'D)
The goddamn bastard!
He presses the metal point of the pin into his thumb, drawing
blood. Todd winces. Neil doesn't. Neil hurls the pin again.
14 INT. A CHEMISTRY CLASSROOM - DAY 14
The classroom is a laboratory: filled with flasks, etc.
Neil, Todd, Knox, Charlie, Cameron, Meeks and other members of
the junior class sit around the room. A bespectacled teacher
stands in front, passing out thick textbooks.
CHEMISTRY TEACHER
In addition to the assignments in the
text, you will each pick three lab
experiments from the project list and
report on one every five weeks. The
first twenty problems at the end of
chapter one are due: tomorrow.
ANGLE ON CHARLIE DALTON as the thick textbooks arrive at his
desk. He shoots a disbelieving glance at Knox Overstreet who
can only acknowledge with a shake of his head. Todd takes his
books without reacting.
15 INT. LATIN CLASS - DAY 15
The same students sit before a Latin teacher in his early
60's He declines a Latin noun with a thick Scottish brogue.
LATIN TEACHER (McALLISTER)
Agricola, agricolae, agricolas,
Agricolas, agricolatis, agricolatus
ANGLE FAVORING TODD, NEIL, KNOX AND THE OTHERS as they
struggle to follow along with McAllister's lesson.
16 INT. A MATHEMATICS CLASS - DAY 16
Mathematical charts hang on the walls. The elderly bald
teacher (the one from Nolan's doorway), Dr. Hager, passes out
books. The students' work load is huge.
HAGER
Your study of trigonometry requires
absolute precision. Anyone failing to
turn in any homework assignment will be
penalized one point off his final grade.
Let me urge you now not to test me on
this point. Who would like to begin by
defining a cosine?
Richard Cameron stands.
CAMERON
A cosine is the sin of the compliment of
an angle or arc. If we define an angle
A, then...
17 INT. ENGLISH CLASSROOM - DAY 17
The junior students--Todd, Neil, Knox, Charlie, Cameron,
Meeks and some of the others we've seen--enter. They are
loaded down with books and look weary. Sitting in the front
of the room, staring out the window is JOHN KEATING, the
teacher we glimpsed earlier. He wears a collared shirt, tie,
no jacket.
The boys take seats and settle in. Keating stares out the
window a long time. The students start to shuffle
uncomfortably. Finally Keating stands, picks up a yardstick,
and begins slowly strolling the aisles. He stops and stares
into the face of one of the boys.
KEATING
(to the blushing boy)
Don't be embarrassed.
He moves off, then stops in front of Charlie Dalton.
KEATING (CONT'D)
(as if discovering
something known only to
himself)
Uh-huh
(he moves to Todd Anderson)
Uh-huh
(he moves to Neil Perry)
Ha!
Keating slaps his free hand with the yardstick, then strides
to the front of the room.
KEATING (CONT'D)
Nimble young minds!
He steps up onto the desk, turns and faces the class.
KEATING (CONT'D)
(energetically)
Oh Captain, My Captain. Who knows where
that's from?
No one raises a hand.
KEATING (CONT'D)
It was written by a poet named Walt
Whitman about Mr. Abraham Lincoln. In
this class you may refer to me as either
Mr. Keating, or Oh Captain, My Captain.
Keating steps down and starts. strolling the aisles.
KEATING (CONT'D)
So that I become the source of as few
rumors as possible, let me tell you that
yes, I was a student at this institution
many moons ago, and no, at that time I
did not possess this charismatic
personality. However, should you choose
to emulate my manner, it can only help
your grade. Pick up a textbook from the
back, gentlemen, and let's retire to the
honor room.
He steps off the desk and walks out. The students sit, not
sure what to do, then realize they are to follow him. They
quickly gather their books, pick up texts, and follow.
18 INT. THE WELTON OAK PANELED HONOR ROOM - DAY 18
This is the room where the boys waited earlier. The walls
are lined with class pictures: dating back into the 1800s.
School trophies of every description fill trophy cases and
shelves. Keating leads the students in, then faces the class.
KEATING
Mister...
(Keating looks at his roll)
Pitts. An unfortunate name. Stand up,
Mister Pitts.
Pitts stands.
KEATING (CONT'D)
Open your text, Pitts, to page forty and read for us the
first stanza of the poem.
Pitts looks through his book. He finds the poem.
PITTS
To The Virgins to Make Much Of Time?
KEATING
That's the one.
Giggles in the class. Pitts reads.
PITTS
Gather ye rosebuds while ye may
Old time is still a flying
And this same flower that smiles today
Tomorrow will be dying.
KEATING
Gather ye rosebuds while ye may. The
Latin term for that sentiment is "Carpe
Diem." Anyone know what that means?
MEEKS
Carpe Diem... seize the day.
KEATING
Very good, Mr._?
MEEKS
Meeks.
KEATING
Seize the day while you're young, see
that you make use of your time. Why does
the poet write these lines?
A STUDENT
Because he's in a hurry?
KEATING
Because we're food for worms, lads!
Because we're only going to experience a
limited number of springs, summers, and
falls. One day, hard as it is to
believe, each and every one of us is
going to stop breathing, turn cold, and
die! Stand up and peruse the faces of
the boys who attended this school sixty
or seventy years ago. Don't be timid, go
look at them.
The boys get up. Todd, Neil, Knox, Meeks, etc. go over to
the class pictures that line the honor room walls.
ANGLES ON VARIOUS PICTURES ON THE WALLS. Faces of young men
stare at us from out of the past.
KEATING
They're not that different than any of
you, are they? There's hope in their
eyes, just like in yours. They believe
themselves destined for wonderful things,
just like many of you. Well, where are
those smiles now, boys? What of that
hope?
THE BOYS are staring at the pictures, sobered by what Keating
is saying.
KEATING (CONT'D)
Did most of them not wait until it was
too late before making their lives into
even one iota of what they were capable?
In chasing the almighty deity of success
did they not squander their boyhood
dreams? Most of those gentlemen are
fertilizing daffodils! However, if you
get very close, boys, you can hear them
whisper. Go ahead, lean in. near it?
(loud whisper)
'Carpe Diem, lads. Seize the day. Make
your lives extraordinary. -
Todd, Neil, Knox, Charlie, Cameron,
Meeks, Pitts all stare into the pictures
on the wall. All are lost in thought.
19 EXT. THE WELTON CAMPUS - DAY 19
The class files out of the honor room. Todd, Neil, Knox,
Charlie, Cameron, Necks, and Pitts walk together, books in
hand. All thinking about what just happened in class.
PITTS
Weird.
NEIL
But different.
KNOX
Spooky if you ask me.
CAMERON
You think he'll test us on that stuff?
CHARLIE
Oh come on, Cameron, don't you get
anything?
EXT. THE WELTON CAMPUS - CONTINUOUS
MEEKS
How about a trig study group? Right
after dinner.
VARIOUS BOYS
Good by me. Sure. Great.
KNOX
I can't make it. I got a sign-out to
have dinner at the Danburrys' house.
PITTS
Who are the Danburrys?
CAMERON
Big alum,. How'd you pull that?
KNOX
They're friends of my dad. Probably in
their nineties or something.
NEIL
Listen, anything's, better than mystery
meat.
CHARLIE
I'll second that.
The group disperses. Neil finds himself walking near Todd
who has been silent through this whole discussion.
NEIL
Want to come to the study group?
TODD
Thanks but I'd better do history.
20 INT. TODD AND NEIL'S DORM ROOM - LATE AFTERNOON 20
Todd enters alone. He puts down his books and sits at his
desk. Flipping through the stack of books in front of him, he
sighs at the work load that is piling up.
Todd takes out his notebook and opens his history book. He
stares at his notebook for a moment, then writes "SEIZE THE
DAY" in big letters. He looks at the words that he's written,
sighs, tears the page off, then plunges into his homework.
A21 EXT. THE WELTON CAMPUS - DUSK - WIDE SHOT A21
The autumnal colors are muted by the onset of nightfall. Old
Dr. Hager drives the school "woody" station wagon out of the
campus.
B21 EXT. WALTON VILLAGE (NEW CASTLE) - DUSK - WOODY DRIVE-BY B21
21 EXT./INT. A LARGE MANSION - DUSK 21
Knox Overstreet gets out of the woody. Dr. Hager pulls away.
Knox walks to the door of the home and is admitted by a maid.
Knox is amazed by this palatial home.
22 INT. THE DANBURRY MANSION LIBRARY - DUSK 22
JOE DANBURRY is a sharp looking man of about 40, well
dressed, friendly. His wife, an attractive blonde about the
same age, sits beside him.
JOE DANBURRY
Knox, come in. Joe Danburry. This is
my wife, Janette.
KNOX
(surprised)
Nice to meet you.
MRS. DANBURRY
You're the spitting image of your
father. How is he?
KNOX
Great. Just did a big case for GM.
JOE DANBURRY
Ah. I know where you're headed. Like
father like son, eh?
(looking off screen)
Ginny. Come meet Knox.
GINNY DANBURRY--15, cute, shy, a shock of misplaced hair--
enters.
MRS. DANBURRY
Knox, this is our daughter, Virginia.
GINNY
Ginny, mom.
Knox shakes her hand. His "hello" is polite. Her "hi" is
shy.
CHET DANBURRY--a tall jock of a guy a couple of years older
than Knox--enters. With him is a lovely teenage brunette,
CHRIS NOEL, in a short tennis dress. Soft glowing eyes,
athletic figure, this girl is stunning.
CHET
Dad, can I take the Buick?
JOE DANBURRY
What's wrong with your car?
MRS. DANBURRY
Chet, where are your manners? Knox,
this is my son Chet and his girlfriend
Chris Noel. This is Knox Overstreet.
Excuse me while I check on dinner.
CHET
(perfunctorily)
Hi.
Knox shakes Chet's hand. Knox is THUNDERSTRUCK by Chris.
Chris offers Knox her hand and a smile. Knox shakes her hand1
his mouth practically hanging open.
CHRIS
Pleased to meet you.
KNOX
The pleasure is mine.
CHET
Come on, Dad, why is this always a big
deal?
JOE DANBURRY
Because I bought you a sports car and
suddenly you want my car all the time.
CHET
Chris' mom feels safer when we're in a
bigger car. Right, Chris?
Chet shoots her a wicked smile. Chris blushes.
CHRIS
It's all right, Chet.
CHET
It's not all right. Come on, Dad
Joe Danburry walks out of the room. Chet follows him.
CHET (CONT'D)
Come on, Dad.
Knox, Ginny, and Chris remain in the room. Knox smiles at
Chris.
KNOX
So, uh, where are you in school?
CHRIS
Ridgeway High. How's Henley Hall, Gin?
Ginny
(flat)
Okay.
CHRIS
(to Knox)
That's your sister school, right?
KNOX
Sort of.
CHRIS
(to Ginny)
You going out for the Henley Hall play?
(to Knox)
They're doing "A Midsummer Night's
Dream."
GINNY
Maybe.
KNOX
How did you meet Chet?
(both girls look at him)
I mean... Er...
CHRIS
He plays on the Ridgeway football team
and I'm a cheerleader. He used to go to
Welton but he flunked out.
(to Ginny)
You should do it, Gin. You'd be great.
Ginny looks down, shyly. Chet comes to the door.
CHET
Chris. We got it. Let's go.
CHRIS
Nice meeting you, Knox. Bye, Gin.
KNOX
(dying inside)
Nice meeting you. Chris.
Chris and Chet exit. Through the window, we see Chet and
Chris walk out and put their arms around each other.
GINNY
(confiding to Knox)
Chet just wants the Buick so they can go parking.
KNOX
Oh.
Outside, Chris and Chet get in the Buick and kiss. Knox
stares with envy.
GINNY
something wrong?
KNOX
Nah.
23 EXT. DANBURRY HOUSE - DUSK 23
Chet and Chris drive off.
24 INT. THS JUNIOR CLASS LOUNGE - NIGHT 24
The dorm is quiet. Neil, Cameron, Weeks, Charlie and Pitts
are gathered studying math. As they do, Pitts works to
assemble a small crystal radio. Todd is in his room, studying
alone. Knox, looking shell-shocked, shuffles into the lobby.
CHARLIE
How was dinner?
KNOX
Terrible. Awful! I met the most
beautiful girl I've ever seen in my life!
NEIL
Are you crazy? What's wrong with that?
KNOX
She's practically engaged to Chet
Danburry. Mr. Mondo Jocko himself.
PITTS
Too bad.
KNOX
It's not too bad. It's a tragedy! Why
does she have to be in love with a jerk?!
PITTS
All the good ones go for jerks, you know
that. Forget her. Take out your trig
book and figure out problem twelve.
KNOX
I can't just forget her, Pitts. And I
certainly can't think about math!
MEEKS
Sure you can. You're off on a tangent--
so you're halfway into trig already
CAMERON
Duh, Meeks!
MEEKS
(sheepishly)
I thought it was clever.
KNOX
(sitting down)
You really think I should forget her?
PITTS
You have another choice.
Knox drops to his knee like he is proposing.
KNOX
Only you, Pittsie.
Pitts pushes Knox away. Knox sits back down but despair is
beginning to wash over him.
25/26 OMIT 25/26
26A EXT: WELTON CAMPUS - MORNING 26A
The Welton bagpiper marches on the lawn, practicing. Students
emerge from their dorms and head to breakfast.
27 INT. KEATING'S ENGLISH CLASS - DAY 27
The lights are out and shades are drawn. Keating sits in a
chair beside the teacher's desk. He looks solemn. All is
still.
KEATING
(soft and soothing voice)
Boys, quietly open your texts to page
54
The boys follow instructions. Keating reads the following in
a tone of quiet reverence.
KEATING (CONT'D)
Little Boy Blue, by Eugene Field:
The little toy dog is covered with dust,
But sturdy and staunch he stands.
And the little toy soldier is red with rust,
And his musket moulds in his hands;
Time was when the little toy dog was new,
And the soldier was passing fair;
And that was the time when our Little Boy Blue,
Kissed them and put them there.
'Now don't you go till I come,' he said,
'And don't you make any noise!'
So toddling off to his trundle bed
He dreampt of pretty toys;
And as he was dreaming, an angel song,
Awakened our Little Boy Blue--
Oh the years are many, the years are
long,
But the little toy friends are true.
Ay, faithful to Little Boy Blue they stand,
Each in the same old place--
Awaiting the touch of a little hand,
The smile of a little face.
And they wonder, as waiting the long years thru,
In the dust of that little chair,
What has become of our Little Boy Blue,
Since he kissed them and put them there.
Keating is a masterful reader. With his marvelous voice, he
has milked this sentimental poem for everything it is worth.
Many of the boys are on the verge of tears. Suddenly Keating
shouts
KEATING (CONT'D)
AHHGGGG!!
The students jump halfway out of their seats.
KEATING (CONT'D)
Treacle! Mawkish treacle! Rip it out
of your books. Rip out the entire page!
I want this sentimental rubbish in the
trash where it belongs!
He marches down the aisles with the trash can and waits for
each boy to deposit the page from his textbook. The boys,
having been led down the sentimental path, cannot help but
laugh at this sudden change of mood.
KEATING (CONT'D)
Make a clean tear. I want nothing left
of it! Eugene Field! Disgraceful.
27A INT.MCALLISTER'S CLAS5RDOM - DAY 27A
Mr. McAllister, the Scottish Latin teacher, exits his room
and walks across the hall to Keating's classroom. He peeks in
the door window and sees boys ripping pages out of their
books. Alarmed, McAllister opens the door and enters
Keating's room.
27B INT. KEATING'S CLASSROOM - SAME 27B
McAllister is about to reprimand the boys when suddenly he
sees Keating.
McALLISTER
What the... Sorry, I didn't think you
were in here, Mr. Keating.
Baffled and embarrassed, McAllister exits. Keating strides
back to the front of the room, Flits the trash can on the
floor, and jumps into it. He stomps the trash a few times,
then kicks the can away.
KEATING
This is battle, boys. War! You are
souls at a critical juncture. Either you
will succumb to the will of hoi polloi
and the fruit will die on the vine--or
you will triumph as individuals. It may
be a coincidence that part of my duties
are to teach you about Romanticism, but
let me assure you that I take the task
quite seriously. You will learn what
this school wants you to learn in my
class, but if I do my job properly, you
will also learn a great deal more. You
will learn to savor language and words
because they are the stepping stones to
everything you might endeavor to do in
life and do well. A moment ago I used
the term 'hoi polloi.' Who knows what it
means? Come on, Overstreet, you twirp.
(laughter)
Anderson, are you a man or a boil?
More laughter. All eyes are on Todd. He visibly tenses all
over. He cannot bring himself to speak. He shakes his head
jerkily "no.'. Meeks raises his hands and speaks:
MEEKS
The hoi polloi. Doesn't it mean the
herd?
KEATING
Precisely, Meeks. Greek for the herd.
However, be warned that, when you say
"the hoi polloi" you are actually saying
the the herd. Indicating that you too
are "hoi polloi."
Keating grins wryly. Meeks smiles. More chuckles. Keating
paces to the back of the room.
KEATING (CONT'D)
Now, many will argue that nineteenth--
century literature has nothing to do with
business school or medical school. They
think we should I read our Field and
Pipple, learn our rhyme and meter, and
quietly go about it our business of
achieving other ambitions.
He slams his hand on the wall behind him. The wall booms
like a drum. The boys jump and turn around.
KEATING (CONT'D)
(defiant whisper)
Well, I say drivel! One reads poetry
because he is a member of the human race
and the human race is filled with
passion! Medicine, Law, Banking-these
are necessary to sustain life-but poetry,
romance, love, beauty! These are what we
stay alive for. I read from Whitman.
Oh me, Oh life of the questions of these
recurring. OF the endless trains of the
faithless of cities filled with the
foolish... skipping... What good amid these O
me, O life? Answer: That you are here-
That life exists and identity That the
powerful play goes on, and you may
contribute a verse."
Keating pauses. The class sits, taking this in.
KEATING (CONT'D)
(awestruck tone)
"That the powerful play goes on, and you
may contribute a verse." Incredible.
(pause)
Poetry is rapture, lads. Without it we are doomed.
Keating waits a long moment.
KEATING (CONT'D)
What will your verse be?
CLOSE ON the faces of NEIL, KNOX, CHARLIE, MEEKS, CHAMERON,
PITTS, and TODD as they contemplate this question. Softly,
Keating breaks the mood:
KEATING (CONT'D)
Let's open our textbooks to page sixty
and learn about Wordsworth notion of
romanticism...
25 INT. THE WELTON DINING ROOM - DAY 25
On the dais in the front of the room is the teacher's dining
table. Below them are the students' tables. Mr. McAllister
sits to Keating's right.
McALLISTER
Quite an interesting class you had
today, Mr. Keating.
KEATING
Sorry if I shocked you.
McALLISTER
No need to apologize. It was quite
fascinating, misguided though it was.
KEATING
You heard it all?
McALLISTER
You're hardly a Trappist monk.
McAllister smiles. So does Keating.
McALLISTER (CONT'D)
You take a big risk encouraging them to
be artists, John. When they realize
they're not Rembrants or Shakespeares or
Picassos, they'll hate you for it.
KEATING
Not artists, George, free thinkers. And
I hardly pegged you as a cynic.
McALLISTER
A cynic? A realist! Show me the heart
unfettered by foolish dreams and I'll
show you a happy man.
He chews a bite.
McALLISTER (CONT'D)
But I will enjoy listening to your
lectures
Keating grins with amusement
ANOTHER ANGLE - THE DINNING ROOM - SAME
Todd, Knox, Charlie, Cameron, Pitts, and Meeks sit at a table
eating. Neil enters and joins them.
NEIL
I found his senior annual in the
library.
Neil opens the annual and reads.
NEIL (CONT'D)
Captain of the soccer team, editor of
the annual, Cambridge bound, Man most
likely to do anything, Thigh man, Dead
Poets Society.
Hands grab the old annual away from Neil.
CHARLIE
Thigh man? Mr. "K" was a hell raiser.
KNOX
What is the Dead Poets Society?
MEEKS
Any group pictures in the annual?
NEIL
Nothing. No mention of it.
CHARLIE
Nolan.
Mr. Nolan approaches the boys' table. Under the table,
Cameron insistently hands the annual to Todd. Todd looks at
Cameron, then takes it.
NOLAN
Enjoying your classes, Mr. Perry?
NEIL
Yes sir. Very much.
NOLAN
And our Mr. Keating. Finding him
interesting, boys?
CHARLIE
Yes sir. We were just talking about
that.
NOLAN
Good. We're very excited about him. He
was a Rhodes Scholar, you know.
Nolan exits. Todd looks at the annual that he hides in his
lap under the table, then continues eating.
29 EXT. THE CAMPUS - LATER 29
Keating walks across the school lawn wearing his sport coat
and a scarf, carrying his books. Pitts, Neil, Cameron, Knox,
Charlie, Meeks and Todd approach him.
NEIL
Mr. Keating? Sir? Oh Captain My Captain.
(Keating stops)
What was the Dead Poets Society?
KEATING
Ah, so you boy's have been snooping.
NEIL
I was just looking in an old annual and...
KEATING
Nothing wrong with research.
The boys wait for more.
NEIL
But what was it?
Keating checks around to be sure they are unwatched.
KEATING
The Dead Poets was a secret
organization. I don't know how the
present administration would look upon it
but I doubt the reaction would be
favorable. Can you keep a secret?
An instant sea of nods.
KEATING
The Dead Poets Society was dedicating to
sucking the marrow out of life. That
phrase is by Thoreau and was invoked at
every meeting. A small group of us would
meet at a cave and there we would take
turns reading Shelley, Thoreau, Whitman,
our own verse-any number of poets-and, in
the enchantment of the moment, let them
work their magic on us.
KNOX
You mean it was a bunch of guys sitting
around reading poetry?
KEATING
(amused)
Both sexes participated, Mr. Overstreet.
And, believe me, we did not simply read,
we let it drip from our tongues like
honey. Women swooned, spirits soared...
Gods were created, gentlemen.
The boys think a minute.
NEIL
What did the name mean. Did you only
read dead poets.
KEATING
All poetry was acceptable. The name
simply referred to the fact, that to join
the organization, you had to be dead.
SEVERAL
What?
KEATING
Full membership required a lifetime of
apprenticeship. The living were simply
pledges. Alas, even I am still a lowly
initiate.
The boys don't quite know what to say.
KEATING (CONT'D)
The last meeting must have been 25 years
ago. Hasn't been another since.
Keating exits. The boys stand watching. Neil turns to them.
NEIL
I say we go tonight. Everybody in?
PITTS
Where is this cave he's talking about?
NEIL
Beyond the stream. I think I know.
PITTS
That's miles.
CAMERON
Sounds boring to me.
CHARLIE
Don't come.
CAMERON
You know how many demerits we're
talking?
CHARLIE
So don't goddam come! Please.
CAMERON
All I'm saying is we have to be careful.
We can't get caught.
CHARLIE
(sarcastic)
Well, no shit, Sherlock
NEIL
Who's in?
CHARLIE
I'm in.
Neil looks at Knox, Pitts, and Weeks.
PITTS
Well...
CHARLIE
Oh come on, Pitts...
MEEKS
His grades are hurting, Charlie.
NEIL
Then you can help him.
PITTS
What is this, a midnight study group?
NEIL
Forget it, Pitts, you're coming. Meeks,
your grades hurting too?
Laughter.
MEEKS
All right. I'll try anything once.
CHARLIE
Except sex.
More laughter. Meeks blushes.
CAMERON
I'm in as long as we're careful.
CHARLIE
Knox?
KNOX
I don't know. I don't get it.
CHARLIE
Come on. It'll help you get Chris.
KNOX
It will? How do you figure?
CHARLIE
Women swoon!
KNOX
But why?
The group walk off. Knox holds, then follows,
KNOX (CONT'D)
Why do they swoon?! Charlie, tell me
why they swoon!
Knox moves off after the others. Todd remains behind. No one
asked Todd and he moves off by himself.
30 INT. THE STUDY HALL - LATE AFTERNOON 30
Students study. Neil sits near Todd.
NEIL
(hushed voice)
Listen, I'm inviting you. You can't
expect everybody to think of you all the
time. Nobody knows you.
TODD
Thanks but it's not a question of that.
NEIL
What is it then?
TODD
I... I just don't want to come.
NEIL
But why? Don't you understand what
Keating is saying? Don't you want to do
something about it?
TODD
Yes. But
NEIL
Put what? Goddamn it, tell me.
TODD
I don't want to read.
NEIL
What?
TODD
Keating said everybody took turns
reading. I don't want to do it.
NEIL
God, you really have a problem, don't
you? How can it hurt you to read? I
mean isn't that what this is all about?
Expressing yourself?
31 INT. THE DORM - LATE NIGHT 31
Old Dr. Hager, the resident dorm marshal, putters in his
room, door ajar, making tea. Neil, Charlie, Knox, Meeks,
Pitts, Cameron, and Todd sneak silently past his door and out.
32 EXT. THE WELTON CAMPUS - NIGHT 32
The school hunting dog comes up and growls at the boys. Pitts
slips the dog a piece of food and it goes away.
33 EXT. THE SCHOOL GROUNDS - NIGHT 33
The stars are out and the wind is blowing. A SERIES of SHOTS
show the boys crossing the campus. They reach a stone wall
with an old iron gate that is chained shut. The boys squeeze
through the gate and disappear into the woods beyond.
34 EXT. THE WELTON WOODS AND STREAM - NIGHT 34
The boys make their way through the eerie forest searching
for the cave. They reach the bank of the stream and begin
looking for an appropriate spot amongst the tree roots and
erosion. Charlie suddenly looms out of the cave entrance.
CHARLIE
Yaa, I'm a dead poet!
MEEKS
(frightened)
Ahh!
(then recovering)
Eat it, Dalton!
CHARLIE
This is it.
SHORT DISSOLVE TO:
34A INT. THE CAVE - A BIT LATER 34A
A newly lit fire comes to life The boys huddle around the
flames.
NEIL
I hereby reconvene the Welton Chapter of
the Dead Poets Society. These meetings
will be conducted by myself and by the
rest of the new initiates now present.
Todd Anderson, because he prefers not to
read, will keep minutes of the meetings.
Todd is unhappy with this role but he tries not to show it.
NEIL (CONT'D)
I will now read the traditional opening
message from society member Henry David
Thoreau.
Neil opens Keating's copy of Thoreau's Walden, and reads.
NEIL (CONT'D)
I went to the woods because I wanted to
live deliberately."
(skips thru the text)
I wanted to live deep and suck out all
the marrow of life!"
CHARLIE
All right. I'll second that.
NEIL
To put the rout all that was not life.
(skips thru the text)
And not, when I came to die, discover
that I had not lived. Pledge Overstreet.
Knox steps up. Neil hands him Walden. Knox flips thru the
book until he finds another underlined passage. He reads.
KNOX
The millions are awake enough for
Physical labor; but only one in a million
is awake enough for effective
intellectual exertion, only one in a
hundred millions to a poetic or divine
life. To be awake is to be alive.
CHARLIE
Hey, this is great.
Knox hands the bock to Cameron. Cameron reads.
CAMERON
If one advances confidently in the
direction of his dreams and endeavors to
live the life which he has imagined, he
will meet with a success unexpected in
common hours.
KNOX
Yes! I want success with Chris!
Cameron hands the book to Todd. Todd holds the book, frozen.
Before the others notice Todd's fear, Neil takes the book from
Todd and hands it to Meeks.
MEEKS
If you have built castles in the air,
your work need not be lost. That is
where they should be. Now put
foundations under them.
NEIL
God, I want to do everything! I'm going
to explode.
Neil looks imbued with the desire to break out of his mold.
He slams the palms of his hands together with an expression of
determination. Charlie opens a book he brought and flips
through it.
CHARLIE
Listen to this: Out of the night that
covers me, Black as the Pit from pole to
pole, I thank whatever gods may be for my
unconquerable soul!"
PULL BACK from this small band of boys standing huddled in
the night. Something is swirling their heads, something alive
and exciting like the wind and the swaying trees that surround
them. Charlie raises his hands in the air.
CHARLIE (CONT'D)
I here and now commit myself to daring!
DISSOLVE TO:
35 INT. KEATING'S CLASSROOM - DAY 35
KEATING
So avoid using the word 'very' because
it's lazy. A man is not very tired, he
is exhausted. Don't use very sad, use
morose. Language was invented for one
reason, boys--to woo women--and, in that
endeavor, laziness will not do. It also
won't do in your essays.
The class laughs appreciatively. Keating closes his book,
then walks over and raises a map that covers the blackboard in
the front of the room. On the board is a quote, which Keating
reads aloud:
KEATING (CONT'D)
Creeds and schools in abeyance I
permit to speak at every hazard, Nature
without check, with original energy. --
Walt Whitman. Ah, but the difficulty of
ignoring those creeds and schools,
conditioned as we are by our parents, our
traditions, by the modern age. How do
we, like Whitman, permit our own true
natures to speak? How do we strip
ourselves of prejudices, habits,
influences? The answer, my dear lads, is
that we must constantly endeavor to find
a new point of view.
He leaps onto his desk.
KEATING (CONT'D)
Why do I stand here? To feel taller
than you? I stand on my desk to remind
myself that we must constantly force
ourselves to look at things differently.
The world looks different from up here.
If you don't believe it, stand up here
and try it. All of you. Take turns.
Keating jumps off. The boys, with the notable exception of
Todd, go to the front of the room and a few at a time take
turns standing on Keating's desk. As they do, Keating strolls
up and down the aisles.
KEATING (CONT'D)
Try never to think about anything the
same way twice. If you're sure about
something, force yourself to think about
it another way, even if you know it's
wrong or silly. When you read, don't
consider only what the author thinks, but
take the time to consider what you think.
You must strive to find your own voice,
boys, and the longer you wait to begin,
the less likely you are to find it at
all. Thoreau said, "Most men lead lives
of quiet desperation." I ask, why be
resigned to that? Risk walking new
ground. Now. A flame in your hearts
could change the world, lads. Nurture
it.
Keating goes to the door. He locks at the class, then
flashes the room lights on and off over and over. He makes a
noise like crashing thunder.
KEATING (CONT'D)
In addition to your essays, I want you
each to write a poem--something your own
to be delivered aloud in class. See
you Monday.
He exits. Momentarily, he pops his head back in.
KEATING (CONT'D)
(impish grin)
And don't think I don't know this
assignment scares you to death, Mr.
Anderson, you mole.
Keating holds out his hands and pretends he is sending
lightning bolts at Todd. The class laughs. Todd forces a
hint of a smile.
A36 INT./EXT. WELTON CAMPUS, AFTERNOON - VARIOUS LOCATIONS A36
Pitts and Meeks climb up the inside of the bell tower that
sits atop the Welton Chapel. They affix Pitts' crystal radio
antenna to the chapel cross. momentarily, they tune in a
fuzzy rock 'n roll station.
PITTS
Radio Free America.
They try to tune in the music but it soon dissolves into
static. They jiggle the radio in frustration.
36 36
Some of the Welton students run on the green, kicking soccer
balls.
37 37
Down at the lake, the Welton crew team is practicing. Mr.
Nolan sits in a rowboat, smoking a pipe, watching.
38 38
Knox rides down a wooded lane on his bike. He comes to
RIDGEWAY HIGH SCHOOL. Beyond a fence, uniformed boys practice
football. Not far from them, cheerleaders practice. Knox
stops. He sees:
Among the cheerleaders is Chris. She laughs as she practices
the cheers with the other girls. Knox watches her with
intense longing in his eyes.
Chet Danburry catches a pass in front of Chris, struts for
her amusement, then moves on. Chris laughs.
Knox gets back on his bike and pedals away
39 INT. TODD AND NEIL'S ROOM - AFTERNOON 39
Todd sits at his bed, a pad of paper beside him. He starts
to write something, scratches it out, then covers his face in
frustration. The door opens. Neil enters, looking like he's
just seen God. He lets his books fall to his desk.
NEIL
I've found it.
TODD
Found what?
NEIL
What I want to do! Right now. What is
really inside of me.
He hands Todd a piece of paper. Todd reads it.
TODD
A Midsummer Night's Dream. What is it?
NEIL
A play, dummy.
TODD
I know that. What's it got to do with
you?
NEIL
They're putting it on at Henley Hall.
See, open try-outs.
TODD
So?
NEIL
So I'm gonna act! Ever since I can
remember I've wanted to try it. Last
summer I even tried to go to summer stock
auditions but of course my father
wouldn't let me.
TODD
And now he will?
NEIL
Hell no, but that's not the point. The
point is for the first time in my whole
goddamned life, I know what I want, and
for the first time I'm gonna do it
whether my father wants me to or not!
Carpe diem, goddamn it!
Neil picks up the play and reads a coupe of lines aloud. They
delight him. He clenches his fists in the air with joy.
TODD
Neil, how are you gonna be in a play if
your father won't let you?
NEIL
First I gotta get the part, then I'll
worry about that.
TODD
Won't he kill you if you don't let him
know you're auditioning?
NEIL
As far as I'm concerned, he won't have
to know about any of it.
TODD
Come on, that's impossible.
NEIL
Horseshit. Nothing's impossible.
TODD
Why don't you ask him first? Maybe
he'll say yes.
NEIL
That's a laugh. If I don't ask, at
least I won't be disobeying him.
TODD
But if he said no before then...
NEIL
Jesus Christ, whose side are you on? I
haven't even gotten the part yet. Can't
I enjoy the idea even for a little while?
Todd turns back to his work. Neil sits on the bed and starts
reading the play.
NEIL (CONT'D)
By the way, there's a meeting this
afternoon. You coming?
TODD
(blase)
I guess.
Neil puts down his play and looks at Todd.
NEIL
None of what Mr. Keating has to say
means shit to you, does it?
TODD
What is that supposed to mean?
NEIL
Being in the club means being stirred up
by things. You look about as stirred up
as a cesspool.
TODD
You want me out... is that what you're
saying?
NEIL
No, I want you in. But being in means
you gotta do something. Not just say
you're in.
TODD
(turns angrily)
Listen Neil, I appreciate your interest
in me but I'm not like you. When you say
things, people pay attention. People
follow you. I'm not like that.
NEIL
Why not? Don't you think you could be?
TODD
No! I don't know, I'll probably never
know. The point is, there's nothing you
can do about it so butt out, all right?
I can take care of myself just fine. All
right?
NEIL
Er No.
TODD
No? What do you mean 'no'?
NEIL
(shrugs matter-of-factly)
No.
Neil opens his play. Todd waits for Neil to relent. He
doesn't.
40 OMIT 40
A41 EXT. CAVE - AFTERNOON A41
The boys enter the cave.
41 INT. THE CAVE - AFTERNOON 41
It is a clear, crisp fall afternoon. Charlie, Knox, Todd,
Necks, Neil, Cameron, and Pitts sit around. Neil recites from
Thoreau.
NEIL
"I went to the woods because I wished to
live deliberately. I wanted to live deep
and suck out all the marrow of life."
KNOX (moans)
God, I want to suck all the marrow out
of Chris. I'm so in love, I feel like
I'm going to die!
NEIL
You know what the dead poets would say:
Gather ye rosebuds while ye may...
KNOX
But she's in love with: the moron son of
my father's best friend. What would the
dead poets say about that?
Knox walks away from the group. Despair is washing over him.
CHARLIE
I feel like I've never been alive. For
years I've been risking nothing. I have
no idea what I am or what I want to do!
Neil, you know you want to act. Knox
wants Chris.
KNOX
Needs Chris! Must have Chris!
CHARLIE
Meeks, you're the brain here. What do
the dead poets say about somebody like
me?
MEEKS
The romantics were passionate
experimenters, Charles. They dabbled in
many things before settling, if ever.
CAMERON
There aren't too many places to be an
experimenter at Welton, Meeks.
Charlie paces a moment, then gets an idea. He addresses the
group.
CHARLIE
I hereby declare this the Charles Dalton
Cave for Passionate Experimentation. In
the future, anyone wishing entry must
have permission from me.
PITTS
Wait a minute, Charlie. This should
belong to the club.
CHARLIE
It should, but I found it and now I
claim it. carpe cavern, guys. Seize the
cave.
Charlie grins. The boys look at each other and shake their
heads. Neil heads out.
NEIL
I gotta get to the tryouts. Wish me
luck.
MEEKS
Good luck.
Neil exits. Charlie finds a rock and begins carving his name
on a wall of the cave. Pitts shakes his head.
42 EXT. SOCCER FIELD - AFTERNOON 42
Gusts of wind blow across the field. About 50 boys stand in
their sweats, moving around, trying to keep warm. Among them
are Todd, Charlie, Pitts, and Knox who is in a state of
lovesick despair. Keating walks up, carrying same soccer
balls under one arm and a case under the other.
PITTS
Say, look who's the soccer instructor.
KEATING
Here here, there are quite a few of us
so we have to be quiet if we're to get
anything accomplished. Who has the roll?
SENIOR STUDENT
I do, sir.
SENIOR STUDENT
Keating takes the three-page roll and examines it.
KEATING
Answer "present." please. Chapman?
STUDENT (CHAPMAN)
Present.
KEATING
Perry? (no answer) Neil Perry?
Keating glances at Todd. Todd doesn't know what to say.
KEATING (CONT'D)
Hmmmm. Watson? (no answer) Richard
Watson? Absent too, eh?
SOMEONE
Watson's sick, sir.
KEATING
Hmm. Sick indeed. I suppose I should
give Watson demerits. But if I give
Watson demerits, I will also have to give
Perry demerits and I like Perry.
He crumples the roll up and tosses it away.
KEATING (CONT'D)
Boys, you don't have to be here if you
don't want to. Anyone who wants to play,
follow me.
Keating marches off. Astonished and delighted by this
capriciousness, most of the boys excitedly follow.
43 NEW ANGLE - FAR SOCCER FIELD - LATER 43
Most of the boys from earlier sit on the ground. Keating
stands before them.
KEATING
Devotees may argue that one game or
sport is inherently better than another.
For me the most important thing in all
sport is the way other human beings can
push us to excel. Plato, a gifted man
like myself, said, "Only the contest made
me a poet, a sophist, an orator." Each
person take a slip of paper and line up
single file.
He passes out slips of paper to the curious students.
44 EXT. THE SOCCER FIELD - LATER 44
The boys form a long line. Todd stands listlessly at the
rear. Ten feet in front of the boy at the head of the line, a
soccer ball rests on the ground.
KEATING
You know what to do... Now go!
McAllister walks past the soccer field. He watches in
fascination as the boy at the head of the line steps out and
reads loudly from his slip of paper.
FIRST BOY
Oh to struggle against great odds, To
meet enemies undaunted!
He runs and kicks the ball at the goal, missing. Keating
puts down another ball, then puts a record on a portable
record player. Classical music starts. The second boy, Knox,
steps out.
KEATING
Rhythm, boy! Rhythm is important.
SECOND BOY (KNOX)
To be entirely alone with them, to find
out how much one can stand!
Knox too runs and kicks the ball. Just before he smashes it
with his foot, he yells: "CHET!" ball. Keating puts down
another ball
THIRD BOY (MEEKS)
To look strife, torture, prison, popular
odium face to face!
Meeks runs and kicks the ball with great intent. Next,
Charlie steps out and reads.
CHARLIE
To indeed be a God!
With determination, Charlie kicks the ball through the goal.
McAllister smiles and walks on.
45 OMIT 45
46 INT. NEIL AND TODD'S ROOM - NIGHT 46
Todd sits at his desk, a half-composed poem before him. He
adds a line, then breaks the pencil in frustration. He paces,
sighs, then picks up another pencil and tries to again.
47 INT. THE DORM HALLWAY - SAME 47
Neil enters, looking stunned.
NEIL
I got it. Hey, everybody, I got the
part! I'm going to play Puck. Hey, I'm
Puck!
VOICE FROM A ROOM
Puck you! Pipe down.
CHARLIE AND OTHERS
All right, Neil. Congratulations!
48 INT. NEIL AND TODD'S ROOM - NIGHT 45
Neil enters and closes the door. Incredibly excited, he
pulls out an old typewriter and begins to type. Todd watches.
TODD
Neil, how are you gonna do this?
NEIL
Sssh. That's what I'm taking care of.
They need a letter of permission.
TODD
From you?
NEIL
From my father and Nolan.
TODD
Neil, you're not gonna...
NEIL
Quiet. I have to think.
Neil mumbles lines from the play, giggles to himself, then
keeps typing. Todd shakes his head in disbelief.
49 INT. KEATING'S CLASSROOM - DAY 49
Knox stands before class reading the poem he wrote.
KNOX
I see a sweetness in her smile
Bright light shines from her eyes
But life is complete: contentment mine
Just knowing that she--
Knox stops. He lowers his paper.
KNOX
I'm sorry. It's stupid.
Knox walks back to his seat.
KEATING
It's fine, Knox. Good effort.
(to the class)
What Knox has done demonstrates an
important point, not only in writing
poetry, but in every endeavor. That is,
deal with the important things in life
love, beauty, truth, justice.
Keating paces.
KEATING (CONT'D)
And don't limit poetry to the word.
Poetry can be found in a work of art,
music, a photograph, in the way a meal is
prepared--anything with the stuff of
revelation in it. It can exist in the
most everyday things but it must never,
never be ordinary By all means, write
about the sky or a girl's smile but when
you do, let your poetry conjure up
salvation day, doomsday, any day, I don't
care, as long as it enlightens us,
thrills us and--if it's inspired--makes
us feel a bit immortal.
MEEKS
Oh, Captain, My Captain. Is there poetry
in math?
Chuckles from the class.
KEATING
Absolutely, Mr. Dalton, there is
elegance in mathematics. If everyone
wrote poetry, the planet would starve,
for God's sake. But there must be
poetry--and we must stop to notice it--in
even the simplest acts of living, or we
will have wasted the truly wonderful
opportunity that life as human beings
offers us. That said, who wants to
recite next? Come on. I'll get to
everyone eventually.
Keating looks around. No one volunteers. Keating grins.
KEATING (CONT'D)
Look at Mr. Anderson. In such agony.
Step up, lad, and let's put you out of
your misery.
All eyes are on Todd. He is dying inside. He stands and
walks slowly to the front of the class like a condemned man on
his way to his execution.
KEATING (CONT'D)
Todd, have you prepared your poem?
Todd shakes his head no.
KEATING (CONT'D)
Mr. Anderson believes that everything he
has inside of him is worthless and
embarrassing. Correct, Todd? Isn't that
your fear?
Todd nods jerkedly yes.
KEATING (CONT'D)
Then today you will see that what is
inside of you is worth a great deal.
Keating strides to the blackboard. Rapidly, he writes:
"I SOUND MY BARBARIC YAWP? OVER THE ROOFTOPSOF THE WORLD.--
Walt Whitman
KEATING (CONT'D)
A yawp, for those who don't know, is a
loud cry or yell. Todd, I would like you
to give us a demonstration of a barbaric
yawp.
TODD
(barely audible)
A yawp?
KEATING
A barbaric yawp.
Keating pauses, then suddenly moves fiercely at Todd.
KEATING (CONT'D)
Good god, boy! Yell!
TODD
(frightened)
Yawp!
KEATING (CONT'D)
Again! Louder!
TODD
YAWP!
KEATING
LOUDER!
TODD
AHHHHHH!
KEATING
All right! Very good! There's a
barbarian in there after all!
Keating claps. The class claps too. Todd, red-faced, swells
a bit.
KEATING (CONT'D)
Todd, there's a picture of Whitman over
the door. What does he remind you Of?
Quickly, Anderson, don't think about it.
TODD
A madman.
KEATING
A madman. Perhaps he was. What kind of
madman? Don't think! Answer.
TODD
A crazy madman.
KEATING
Use your imagination! First thing that
pops to your mind, even if it's
gibberish!
TODD
A... A sweaty-toothed madman.
KEATING
Now there's the poet speaking! Close
your eyes and think of the picture.
Describe what you see. NOW!
TODD
I... I close my eyes. His image floats
beside me.
KEATING
(prompting)
A sweaty-toothed madman
TODD
A sweaty-toothed madman with a stare
that pounds my brain.
KEATING
Excellent! Have him act. Give it
rhythm!
TODD
His hands reach out and choke me All the
time he mumbles slowly. Truth... Truth is
like a blanket that always leaves your
feet cold.
This brings chuckles from the class. This angers Todd.
KEATING
To hell with them, most about the
blanket!
Todd opens his eyes and addresses the class in defiant
cadence.
TODD
Stretch it, pull it, it will never cover
any of us. Kick at it, beat at it, it
will never be enough-
KEATING
Don't stop!
TODD
(struggling, but getting it
out)
From the moment we enter crying to the
moment we leave dying, It will cover
just your head as you wail and cry and
scream!
Todd stands still for a long time. Both he and the students
have felt the magic or what has just taken place. Neil starts
applauding. Others join in. Todd swells and, for the first
time, there is a hint of confidence in him. The applause
stops. Keating walks to Todd.
KEATING
Don't forget this.
49A EXT. THE SOCCER FIELD - DAY 49A
A soccer ball careens off a kicking foot. Beethoven's Ninth
symphony, fourth movement, "Ode To Joy," blares forth. Keating
stands on the sidelines beside his portable record player,
watching the boys play soccer, waving his arms like an
orchestra conductor. In front of Keating the boys play soccer
to this spectacular music. They run, kick, pass, fall, block,
head, dribble, take--all to the overpowering chorus of one of
the most inspirational pieces of music ever written.
50A EXT DEAD POETS CAVE - AFTERNOON 50A
Boys enter the cave.
50 INT. DEAD POETS CAVE - AFTERNOON 50
Neil hurries in carrying a small, broken statue. The other
pledges of the Dead Poets Society are assembled around
Charlie who sits silently cross-legged before them. His eyes
are closed and, in one hand, he holds an old saxophone.
NEIL
Look at this.
PITTS
What is it?
NEIL
The god of the cave.
The statue has a stake sticking cut of its head with a candle
stuck in it. Neil plants the statue in ground and lights the
candle. It illuminates a red and blue drummer boy, face
pitted from exposure, yet noble in its visage. Charlie, who
hasn't moved, clears his throat. All turn to him and settle
in.
CHARLIE
Gentlemen, "Poetrusic" by Charles
Dalton.
He blows scattered notes on the saxophone. Random, blaring,
they sound like bad John Cage. Suddenly Charlie stops.
CHARLIE (CONT'D)
(trance-like, run-on
delivery)
Laughing, crying, tumbling, mumbling,
gotta do more. Gotta be more
He plays more notes on the sax, then:
CHARLIE (CONT'D)
(more rapid than before)
Chaos screaming, chaos dreaming, crying,
flying, gotta be more!! Gotta be more!!
Charlie plays a simple but absolutely gorgeous melody. The
skeptical looks on the faces of the boys disappear. As
Charlie gets lost in the music, so do the others. The melody
ends with a long, beautiful, haunting note.
NEIL
Charlie, That was great! Where did you
learn to play like that?
CHARLIE
My parents made me take clarinet but I
hated it.
(putting on a mock British
accent)
The sax is more sonorous.
Knox stands. He backs away, full of torment and frustration.
KNOX
God, I can't take it anymore! If I
don't have Chris, I'll kill myself.
CHARLIE
Knox, you gotta calm down.
KNOX
No, I've been calm all my life! If I
don't do something, it's gonna kill me.
NEIL
Where are you going?
KNOX
I'm calling her!
51 INT. THE DORM PHONE ROOM - LATER 51
All of the boys stand around. Knox picks up the phone,
boldly dials some numbers, then waits.
52 INT. CHRIS' HOUSE - AFTERNOON 52
Chris is in wet hair and a damp towel, but she looks
stunning. She enters and answers the phone.
CHRIS
Hello?
53 INT. THE DORM PHONE ROOM/STAIRWELL - AFTERNOON 53
Knox hears Chris' voice. He starts to speak, then hangs up
the phone.
KNOX
She's gonna hate me! The Danburrys will
hate me. My parents will kill me!
He looks at the faces of the others. No one says a word.
KNOX (CONT'D)
All right, goddamn it, you're right!
'Carpe diem' even if it kills me.
He picks up the phone and dials again.
54 INT. CHRIS~ HOUSE - SAME 54
Again the phone rings. Again Chris enters and answers.
CHRIS
Hello?
55 INT. THE DORM - SAME 55
KNOX
Hello Chris, this is Knox Overstress.
56 INT. CHRIS' HOUSE - SAME 56
CHRIS
Knox. Oh yes, Knox. I'm glad you
called.
57 INT. THE DORM - SAME
KNOX
You are?
(excitedly to his friends)
She's glad I called!
58 INT. CHRIS' HOUSE - SAME 58
I wanted to call you but I didn't have
the number. Chet's parents are going out
of town this weekend so Chet's having a
party. Would you like to come?
59 INT. THE DORM - SAME 59
KNOX
Well, sure!
60 INT. CHRIS' HOUSE - SAME 60
CHRIS
Chet's parents don't know about it, so
please keep it quiet. But you can bring
someone if you like.
61 INT. DORM - SAME 61
KNOX
I'll be there. The Danburrys. Friday
night. Thank you, Chris.
He hangs up the phone. He is thunderstruck. He lets out a
yelp.
KNOX (CONT'D)
Can you believe it? She was gonna call
me! She invited me to a party with her!
CHARLIE
At Chet Danburry's house.
KNOX
Yeah.
CHARLIE
Well?
KNOX
So?
CHARLIE
So you really think she means you're
going with her?
KNOX
Well hell no, Charlie, but that's not
the point. That's not the point at all!
CHARLIE
What is the point?
KNOX
The point is she was thinking about me!
I've only met her once and already she's
thinking about me. Damn it, it's gonna
happen! I feel it. She's going to be
mine!
He exits the phone room, his head in a cloud. The others
look at each other, not sure what to think.
62 EXT. THE HENDLY HALL AUDITOMUM - DAY 62
The buildings at this school are white brick. Neil parks his
bicycle and enters the auditorium.
63 INT. THE AUDITORIUM STAGE - LATER 63
High school actors are on stage rehearsing Shakespeare's "A
Midsummer Night's Dream." Neil stands center stage, playing
Puck. He holds a stick with a bell accoutered jester's head
on one end of it.
NEIL (AS PUCK)
Yet but three? Come one more.
Two of both kinds makes up four.
Here she comes, curst and sad.
Cupid is a knavish lad
Thus to make poor females mad.
Enter Ginny Danburry playing Hermia, crawling on stage,
looking exhausted. As she starts her lines, the DIRECTOR of
the play, a woman in her 40s, interrupts.
DIRECTOR
Good, Neil. I really get the feeling
your Puck knows he's in charge. Remember
that he takes great delight in what he's
doing.
NEIL
(broadly, boldly impish)
Cupid is a knavish lad Thus to make poor
females mad!"
DIRECTOR
Excellent. Continue, Ginny.
As Ginny re-enters and starts her lines-
GINNY (AS HERMIA)
Never so weary, never so in woe,
Bedabbled with the dew, and torn with
briars I can no further crawl, no further
go."
64 EXT. THLE WELTON DORMS - NIGHT 64
Neil rides up on his bike and parks it. As he starts into
the dorm, he spots a figure sitting motionless on a wall.
NEIL
Todd?
Neil walks over to get a better look. It is Todd, sitting in
the dark without a coat.
NEIL (CONT'D)
What's going on?
Todd doesn't answer.
NEIL (CONT'D)
Todd, what's the matter?
TODD
It's my birthday.
NEIL
It is? Happy Birthday. You get
anything?
Todd is motionless. Then he points to a box. Neil looks. In
the box seems to be the monogrammed desk set that we've seen
on Todd's desk.
NEIL (CONT'D)
This is your desk set.
(pause)
I don't get it.
TODD
They gave me the exact same thing as
last year!
NEIL
Oh..
TODD
Oh.
(mocking)
Long pause.
NEIL
Well, maybe they thought you'd need
another one. Maybe they thought...
TODD
Maybe they don't think at all unless
it's about my brother! His birthday's
always a big to-do.
(pause: looks at the desk
set)
The stupid thing is, I didn't even like
the first one.
He puts the desk set down.
NEIL
Look, Todd, you're obviously under-
estimating the value of this desk set.
TODD
what?
NEIL
I mean, this is one special gift! Who
would want a football or a baseball bat
or a car when they could get a desk set
as wonderful as this one!
TODD
Yeah! And just look at this ruler!
They laugh. A silence falls.
TODD (CONT'D)
(thoughtful)
You know what Dad called me when I was
growing up? "Five ninty-eight." That's
what all the chemicals in the human body
would be worth if you bottled them raw
and sold them. He told me that was all
I'd ever be worth unless I worked every
day to improve myself. "Five ninety-
eight."
Neil shakes his head.
TODD (CONT'D)
When I was little, I thought all parents
automatically loved their kids. That's
what my teachers told me. That's what I
read in the books they gave me. That's
what I believed. Well, my parents might
have loved my brother but they did not
love me.
He takes a deep, anguished breath. Neil is groping for
something to say. Todd walks into the dorm.
65 EXT. A WELTON BRICK COURTYARD - DAY 65
The class pours into the courtyard expectantly. Another
Keating stunt? Keating addresses them.
KEATING
People, I am delighted with your
progress as reflected in your essays and
poems. However, I know the school policy
is to encourage study groups and I
believe that a dangerous though
inevitable element of conformity has been
seeping into your work. Misters Pitts,
Cameron, Overstreet, and Chapman line up
please over here.
Keating indicates for the four boys to stand near him.
KEATING (CONT'D)
On the count of four, begin walking
together around the courtyard. Nothing
to think about. No grade here. One,
two, three, go.
The boys begin walking. They go down one side of the
courtyard, across the back, up the other side, then across the
front.
KEATING (CONT'D)
That's the way. Please continue.
As the boys walk around the courtyard again, they begin to
walk together in step. Soon it becomes like a march,
producing a one-two-three-four cadence. Keating begins to
clap.
KEATING (CONT'D)
There it is Hear it?
(clapping louder in time)
One two, one two, one two, one two
ANGLE THROUGH A WINDOW
McAllister sits in his empty classroom, reading a book. He
sees the commotion in the courtyard and watches.
ANGLE FROM ABOVE
The marching boys get into it. The class joins in clapping.
Soon the tour boys are marching vigorously to the rhythmic
clapping of the entire class.
NEW ANGLE
Inside his second-story office, Nolan is looking out his
window at the marching boys below.
ANGLE ON KEATING
KEATING (CONT'D)
All right, stop. You way have noticed
how at the beginning Mister Overstress
and Pitts: seemed to have a different
stride than the others, but soon they
were all walking in the same cadence.
Our encouragement made it even more
marked. Now this experiment was not to
single out Pitts or Overstress. What it
demonstrates is how difficult it is for
any of us to listen to our own voice or
maintain our own beliefs in the presence
of others. If any of you believe you
would have marched differently, then ask
yourself why you participated in the
clapping. Lads, there is a great need in
all of us to be accepted. However, that
need can be like a nasty current,
whisking us away unless we're strong and
determined swimmers. Don't insist on the
separate path simply to be different or
contrary, but trust what is unique about
yourselves even if it's odd or unpopular.
As Mr. Robert Frost said, "Two roads
diverged in a wood, and I... I took the one
less traveled by, And that has made all
the difference."
A bell rings, signifying the end of class. Keating walks
off.
ANGLE ON NOLAN IN HIS OFFICE
Nolan moves away from the window.
ANGLE ON McALLISTER IN HIS CLASSROOM
Amused at Keating's antics, he turns back to his book.
66 INT. ENTRANCE TO THE DEAD POETS CAVE - NIGHT 66
Todd. Neil, Cameron, Pitts, and Meeks sit around. A fog has
moved in and the trees sway in the breeze.
MEEKS
where's Knox?
PITTS
Getting ready for that party.
CAMERON
What about Charlie? He's the one who
insisted on this meeting.
NEIL
I went to the woods because I wanted to
live deliberately. To live deep and suck
out all the marrow of life-~
In the woods there is a noise the sound of girls' laughter.
GIRL'S VOICE
I can't see a thing.
CHARLIE'S VOICE
It's just over here.
Charlie and TWO GIRLS arrive at the cave. One is pretty, the
other is plain. The girls are about 20, blonde, beers in
their hands. They aren't the type to be seriously interested
in Charlie or the other boys. They're just here for a good
time.
CHARLIE
Hey guys, meet Gloria and...
PLAIN GIRL (TINA)
Tina.
CHARLIE
Tina and Gloria, this is the pledge
class of the Dead Poets society.
GLORIA
It's such a strange name! Won't you
tell us what it means?
CHARLIE
I told you, that's a secret.
GLORIA
Isn't he precious?
Gloria gives Charlie an affectionate hug. The other members
or the club are flabbergasted. These girls are wild, exotic
creatures, the kind whose unashamed love of men causes young
boys' hearts to come to rest in young boys'
The girls giggle.
TINA
I can't call you Charlie anymore?
(Puts her arm around
Charlie)
What does Numama mean, honey?
CHARLIE
It's Nuwanda, and I made it up.
GLORIA
I'm cold.
Charlie puts his arm around Gloria.
MEEKS
Let's build a fire.
Charlie shoots Meeks a look. As the boys move off to gather
wood, Charlie scrapes some mud off the wall of the cave and
wipes it on his face like an Indian brave. Me shoots Gloria
his sexiest stare, then goes off with the other boys. The
girls whisper and giggle together.
67 EXT. THE DANBURRY HOUSE - NIGHT 67
Knox parks his bicycle along the side of the house. He takes
off his overcoat, and stuffs it in the bike saddle bag. He
straightens his tie, then goes to the front door. He knocks.
He can hear music inside. He knocks again. Finally, since no
one comes to the door, Knox opens it.
68 INT. THE DANBURRY HOUSE - SAME 68
Knox enters. "Open the Door to Your Heart" by Darrell Banks
is playing on the Hi-Fi. On the entrance hall couch is a
couple, making out like crazy. Up and down the stairs are
other couples doing the same. Knox stands there, not knowing
what to do. Momentarily, Chris walks through, her hair an
uncombed mass.
KNOX
Chris!
Chris turns and sees Knox.
CHRIS
Oh, hi. I'm glad you made it. Did you
bring anybody?
KNOX
No.
CHRIS
Ginny Danburry's here. Look for her.
KNOX
But, Chris...
CHRIS
I gotta find Chet. Make yourself at
home.
She exits. Knox watches her. He slumps in dejection.
69 EXT. THE WOODS AROUND THE CAVE 69
Charlie is gathering wood. Neil, Pitts, Todd and the other
boys surround him.
NEIL
Charlie...
CHARLIE
It's Nuwanda.
NEIL
Nuwanda, what is going on?
CHARLIE
Nothing, unless you object to having
girls here.
PITTS
Well, of course not. It's just that...
You could have warned us.
CHARLIE
I thought I'd be spontaneous. I mean,
that's the point of this whole thing,
isn't it?
NEIL
Where'd you find them?
CHARLIE
They were walking along the fence past
the soccer field. Said they were curious
about the school so I invited them to the
meeting.
CAMERON
Do they go to Henley Hall?
CHARLIE
I don't think they're in school.
CAMERON
They're townies?!
CHARLIE
Cameron, what is the matter with you.
You act like they're your mother or
something. You afraid of them?
CAMERON
Hell no, I'm not afraid of them just, if
we get caught with them, we're dead.
GLORIA (O.S.}
Say, what's going on out there?
CHARLIE
Just gathering wood.
(low, to Cameron)
You just keep your mouth shut, jerkoff,
and there's nothing to worry about.
CAMERON
Watch who you call a jerkoff.
NEIL
Oh calm down, Cameron.
Charlie gives Cameron an expression of mock fear, then heads
off. The others follow. Cameron watches Charlie and Neil for
a moment, then walks after them.
70 INT. THE DANBURRY PANTRY - NIGHT 70
Knox, looking suicidal, wanders through the crowded party and
ends up in the pantry. Kids stand talking. A couple in the
corner is involved in a long kiss. His hand keeps wandering
to her knee and her hand keeps pushing his away, yet the kiss
never breaks. This happens over and over through the entire
next scene.
Ginny Danburry is in the corner and she and Knox exchange
smiles. At the sink a guy stands making bourbon and Cokes.
The guy eyes Knox.
GUY
You Mutt Sanders' brother?
Knox shakes his head no.
GUY (CONT'D)
Bubba...
BUBBA is a big, drunk jock leaning on the refrigerator.
GUY (CONT'D)
This guy look like Mutt Sanders?
BUBBA
You his brother?
KNOX
No relation. Never heard of him.
Sorry.
BUBBA
Say Steve, where's your manners? Here's
Mutt's brother and you don't offer him a
drink? Want some bourbon?
KNOX
Actually I don't
Steve puts a glass in Knox's hand and fills it with bourbon,
adding only a hint of Coke. Bubba clinks the glass with him.
BUBBA
To Mutt.
STEVE
To Mutt.
KNOX
To Mutt.
Bubba and Steve drain their glasses. Knox follows their
lead, then bursts into a coughing fit. Steve pours everyone
more bourbon.
BUBBA
So what the hell's Mutt been up to?
KNOX
(coughing fitfully)
Actually I don't really know Mutt.
BUBBA
(toasting)
To fucking Mutt.
STEVE
To fucking Mutt.
KNOX
Fucking Mutt
They drain their glasses again. Knox continues coughing.
BUBBA
Well, I'd better find Patsy.
(slaps Knox on the back)
Say hello to Mutt for me.
KNOX
Will do.
Knox and Ginny exchange knowing smiles. Bubba leaves Knox,
who is still coughing. Ginny wanders out. Steve pours him
and Knox more bourbon.
71 INT. THE CAVE - NIGHT 71
The boys have lit a fire and the girls are warming their
hands. The candle on the head of the "cave god" FLUTTERS.
Tina notices the pitted statue.
TINA
I heard you guys were weird but not this
weird.
She takes out a pint of whiskey and offers some to Neil. He
takes it and sips. He obviously hasn't had much whiskey in
his life but he tries to act like he has. He hands it back.
TINA (CONT'D)
Go ahead, pass it around.
Neil does. It goes from boy to boy. Each boy tries to act
like he likes the terrible bitterness he tastes. Unlike most
of the others, Todd manages to keep from coughing as he
swallows the whiskey. Everyone is impressed.
GLORIA
(to Todd)
Yeah! (to the others) Don't you guys
miss having girls here?
CHARLIE
Miss it? It drives us crazy. That's
part of what this club is about. In
fact, I'd like to announce that I've
published an article in the school paper,
in the name of the Dead Poets society,
demanding girls be admitted to Welton, so
we can all stop beating off.
NEIL
You what?! How did you do that?
CHARLIE
I'm one of the proofers. I slipped the
article in.
PITTS
Oh God, it's over now!
CHARLIE
Why? Nobody knows who we are.
PITTS
Don't you think they'll figure out who
did it?! Don't you know they'll come to
you and demand to know what the Dead
Poets Society is? Charlie, you had no
right to do something like that!
CHARLIE
It's Nuwanda, Cameron.
GLORIA
(putting her arm around
Charlie)
That's right, it's Nuwanda.
CHARLIE
And are we just playing around out here
or do we mean what we say? If all we do
is come and read a bunch of poems to each
other, what the hell are we doing?
NEIL
You still shouldn't have done it,
Charlie. You don't speak for the club.
CHARLIE
Hey, would you not worry about your
precious little necks? If they catch me,
I'll tell them I made it up. All your
asses are safe. Look, Gloria and Tina
didn't come here to listen to us argue.
Are we gonna have a meeting or what?
GLORIA
Yeah, how do we know if we want to join
if you don't have a meeting?
NEIL
(casts a surprised lock at
Charlie)
Join?
Charlie ignores this. He turns to Tina.
CHARLIE
"Shall I compare thee to a summer's day?
Thou art more lovely and more temperate..."
In his recital, Charlie has aimed these words directly at
Tina. She melts into warm goo.
TINA
Oh, that's so sweet!
Tina hugs Charlie. The other boys look at each other, trying
unsuccessfully to hide their incredible jealousy.
CHARLIE
I wrote that for you.
TINA
You did?
CHARLIE
I'll write one for you too, Gloria.
(closes his eyes then)
"She walks in beauty like the night.."
Charlie's eyes open. He has forgotten the words to this
poem. Covering, he walks across the cave.
CHARLIE (CONT'D)
"She walks in beauty like the night..."
Charlie turns his back, opens a book, and reads quickly to
himself. He closes it, puts the bock down, and turns back to
Gloria.
CHARLIE (CONT'D)
'of cloudless climes and starry skies;
All that's best of dark and bright Meet
in her aspect and her eyes.'
Gloria squeals with delight.
GLORIA
Isn't he wonderful?!
The other boys are absolutely appalled, but desperately
jealous that Charlie is getting away with this. Gloria hugs
Charlie.
72 INT. THE DANBURRY LIVING ROOM - NIGHT 72
Music by the Drifters is playing loudly. Every light in the
room is out. The only illumination is moonlight through the
windows. Only after our eyes get adjusted to the dark can we
see that the room is filled with couples making out.
Knox, carrying another drink and looking tipsy, enters. He
walks a bit, then trips over a couple on the floor.
ANGRY GUY'S VOICE
Hey!
KNOX
Sorry.
Knox falls onto the sofa. To his left sit a couple making
out heavily. Their breathing is like that of some giant
beast. To Knox' right is another couple, making out too. Knox
tries to get up but the couple he tripped aver has now rolled
against his shins, pinning him. Knox tries to get comfortable
in his little spot on the sofa.
The music stops. The room sounds like an artificial
respiration ward. The couple to Knox' right look and sound as
if they are going to chew each other's lips off. Knox glances
at the couple to his left. He hears:
BOY'S VOICE
Oh Chris, you're so beautiful.
The couple are Chris and Chet. Chris is sitting right next
to Knox. Music starts again. It's "This Magic Moment" by the
Drifters. Chris and Chet continue petting heavily. Knox
tries to look away but can't keep his eyes off Chris.
CHET
Chris, you are so gorgeous.
Chet kisses Chris hard and she leans against Knox. In the
moonlight-filled room, Knox sees the outline of Chris' face,
the nape of her neck, the curves of her breasts. He downs the
rest o