@Knight-Shives group
Post movie scripts to you hearts content. Though nobody may repeat a movie. At all.
Post movie scripts to you hearts content. Though nobody may repeat a movie. At all.
I got it! I got it! I got it!
Dinghy ahoy.
Dinghy off the port bow.
According to all known laws
of aviation,
there is no way a bee
should be able to fly.
Its wings are too small to get
its fat little body off the ground.
The bee, of course, flies anyway
because bees don't care
what humans think is impossible.
Yellow, black. Yellow, black.
Yellow, black. Yellow, black.
Ooh, black and yellow!
Let's shake it up a little.
Barry! Breakfast is ready!
Ooming!
Hang on a second.
Hello?
It's me, Peter Parker.
Your friendly neighborhood… you know.
I've come a long way from being the boy who was bit by a spider.
Back then, nothing seemed to go right for me.
Now…
-You cannot pass!
-Gandalf!
I am a servant of the Secret Fire,
wielder of the flame of Anor.
Go back to the Shadow.
The dark fire will not avail you,
flame of Udn!
You shall not pass!
No! No!
Gandalf!
Fly, you fools.
No!
Gandalf!
Gandalf!
What is it, Mr. Frodo?
Nothing.
Just a dream.
Can you see the bottom?
No! Don't look down, Sam!
Just keep going!
Catch it! Grab it, Mr. Frodo!
Mr. Frodo!
I think I've found the bottom.
Bogs and rope,
and goodness knows what.
It's not natural. None of it.
-What's in this?
-Nothing.
Just a bit of seasoning.
I thought maybe if we were having
a roast chicken one night or something.
Roast chicken?!
You never know.
Sam. My dear Sam.
It's very special, that.
It's the best salt in all the Shire.
It is special.
It's a little bit of home.
We can't leave this here for someone
to follow us down.
Who's gonna follow us down here,
Mr. Frodo?
It's a shame, really.
Lady Galadriel gave me that.
Real Elvish rope.
Well, there's nothing for it.
It's one of my knots.
Won't come free in a hurry.
Real Elves rope.
Mordor. The one place in Middle-earth
we don't want to see any closer.
And it's the one place
we're trying to get to.
It's just where we can't get.
Let's face it, Mr. Frodo, we're lost.
I don't think Gandalf meant for us to
come this way.
He didn't mean for a lot of things
to happen, Sam. . .
. . .but they did.
Mr. Frodo?
It's the Ring, isn't it?
It's getting heavier.
-What food have we got left?
-Let me see.
Oh, yes. Lovely.
Lembas bread. And look!
More Lembas bread.
I don't usually hold with foreign food. . .
. . .but this Elvish stuff, it's not bad.
Nothing ever dampens your spirits,
does it, Sam?
Those rain clouds might.
This looks strangely familiar.
It's because we've been here before.
We're going in circles.
What is that horrid stink?
I warrant there's a nasty bog nearby.
-Can you smell it?
-Yes.
I can smell it.
We're not alone.
The thieves. The thieves.
The filthy little thieves.
Where is it?
Where is it?
They stole it from us.
My precious.
Curse them, we hates them!
It's ours, it is, and we wants it!
This is Sting.
You've seen it before. . .
. . . haven't you, Gollum?
Release him or I'll cut your throat.
It burns!
It burns us!
It freezes!
Nasty Elves twisted it.
-Take it off us!
-Quiet, you!
It's hopeless. Every Orc in Mordor's
going to hear this racket.
-Let's just tie him up and leave him.
-No!
That would kill us! Kill us!
It's no more than you deserve!
Maybe he does deserve to die.
But now that I see him, I do pity him.
We be nice to them
if they be nice to us.
Take it off us.
We swears to do what you wants.
We swears.
There's no promise you can make
that I can trust.
We swears. . .
. . .to serve the master
of the precious.
We will swear on. . .
. . .on the precious.
Gollum. Gollum.
The Ring is treacherous.
It will hold you to your word.
Yes. . .
. . .on the precious.
On the precious.
I don't believe you!
-Get down! I said, down!
-Sam!
He's trying to trick us.
If we let him go, he'll throttle us
in our sleep.
-You know the way to Mordor?
-Yes.
You've been there before?
Yes.
You will lead us to the Black Gate.
To the Gate, to the Gate!
To the Gate, the master says. Yes!
No! We won't go back.
Not there. Not to him.
They can't make us. Gollum! Gollum!
But we swore to serve the master
of the precious.
No. Ashes and dust and thirst there is,
and pits, pits, pits.
And Orcses, thousands of Orcses.
And always the Great Eye watching,
watching.
Hey! Come back now! Come back!
There! What did I tell you?
He's run off, the old villain.
So much for his promises.
This way, Hobbits.
Follow me!
Merry!
Merry!
You're late.
Our master grows impatient.
He wants the Shire-rats now.
I don't take orders from Orc-maggots.
Saruman will have his prize.
We will deliver them.
Merry!
Merry? Wake up.
My friend is sick.
He needs water. Please!
Sick, is he?
Give him some medicine, boys!
Stop it!
Can't take his draught!
-Leave him alone!
-Why?
You want some?
Then keep your mouth shut.
Merry.
Hello, Pip.
-You're hurt.
-I'm fine.
-It was just an act.
-An act?
See? I fooled you too.
Don't worry about me, Pippin.
What is it? What do you smell?
Man-flesh.
They've picked up our trail.
Aragorn.
Let's move!
Their pace has quickened.
They must have caught our scent.
Hurry!
Come on, Gimli!
Three days and nights pursuit.
No food. No rest.
And no sign of our quarry,
but what bare rock can tell.
Not idly do the leaves of Lrien fall.
They may yet be alive.
Less than a day ahead of us. Come.
Come, Gimli! We're gaining on them!
I'm wasted on cross-country.
We Dwarves are natural sprinters.
Very dangerous over short distances.
Rohan.
Home of the Horse-lords.
There's something strange at work here.
Some evil gives speed
to these creatures.
Sets its will against us.
Legolas! What do your Elf-eyes see?
The Uruks turn northeast.
They are taking the Hobbits to Isengard.
Saruman.
The world is changing.
Who now has the strength to stand
against the armies of Isengard. . .
. . . and Mordor?
To stand against the might of Sauron
and Saruman. . .
. . . and the union of the two towers?
Together, my Lord Sauron. . .
. . . we shall rule this Middle-earth.
The Old World will burn
In the fires of Industry.
The forests will fall.
A new order will rise.
We will drive the machine of war
with the sword and the spear. . .
. . . and the Iron fists of the Orc.
I want them armed and ready to march
within two weeks!
But, my lord, there are too many!
They cannot all be armed in time,
we don't have the means.
Build a dam, block the stream,
work the furnaces night and day.
We don't have enough fuel
to feed the fires.
The Forest of Fangorn
lies on our doorstep.
-Burn it.
-Yes.
We will fight for you.
Swear it.
We will die for Saruman.
The Horse-Men took your lands.
They drove your people into the hills
to scratch a living off rocks.
Murderers!
Take back the lands they stole from you.
Burn every village!
We have only to remove those
who oppose us.
It will begin In Rohan.
Too long have these peasants
stood against you.
But no more.
othain! othain!
You take your sister.
You'll go faster with just two.
Papa says othain must not ride Garulf.
He is too big for him.
Listen to me. You must ride to Edoras
and raise the alarm.
-Do you understand me?
-Yes, Mama.
I don't want to leave.
I don't want to go, Mama.
Freda, I will find you there.
Quickly!
Go, child.
Rohan, my lord. . .
. . .is ready to fall.
Thodred.
Find the king's son!
-Mordor will pay for this.
-These Orcs are not from Mordor.
My Lord omer, over here!
He's alive.
Thodred.
Your son is badly wounded, my lord.
He was ambushed by Orcs.
If we don't defend our country,
Saruman will take it by force.
That is a lie.
Saruman the White has ever been
our friend and ally.
Grma.
Grma.
Grma.
Orcs are roaming freely
across our lands.
Unchecked. Unchallenged.
Killing at will.
Orcs bearing the White Hand of Saruman.
Why do you lay these troubles
on an already troubled mind?
Can you not see?
Your uncle is wearied
by your malcontent. . .
. . .your warmongering.
Warmongering?
How long is it since
Saruman bought you?
What was the promised price, Grma?
When all the Men are dead,
you will take your share of the treasure?
Too long have you watched my sister.
Too long have you haunted her steps.
You see much, omer, son of omund.
Too much.
You are banished forthwith
from the kingdom of Rohan. . .
. . .and all its domains
under pain of death.
You have no authority here.
Your orders mean nothing.
This order does not come from me.
It comes from the king.
He signed it this morning.
Keep breathing. That's the key.
Breathe.
They've run as if the very whips
of their masters were behind them.
We're not going no further. . .
. . . until we've had a breather.
Get a fire going!
Merry!
Merry!
I think we might have made a mistake
leaving the Shire, Pippin.
What's making that noise?
It's the trees.
What?
You remember the Old Forest,
on the borders of Buckland?
Folk used to say there was something in
the water that made the trees grow tall. . .
. . .and come alive.
Alive?
Trees that could whisper. . .
. . .talk to each other. . .
. . .even move.
I'm starving.
We ain't had nothing but maggoty bread
for three stinking days.
Yeah!
Why can't we have some meat?!
What about them?
They're fresh.
They are not for eating.
What about their legs?
They don't need those.
-They look tasty.
-Get back, scum!
The prisoners go to Saruman.
Alive and unspoiled.
Alive?
Why alive?
Do they give good sport?
They have something.
An Elvish weapon.
The master wants it for the war.
They think we have the Ring.
As soon as they find out we don't,
we're dead.
Just a mouthful. . .
. . .a bit of the flank.
Looks like meat's back on the menu,
boys.
Pippin.
Let's go.
Go on.
Call for help.
Squeal.
No one's going to save you now.
Pippin!
A red sun rises.
Blood has been spilled this night.
Riders of Rohan. . .
. . .what news from the Mark?
What business does an Elf, a Man
and a Dwarf have in the Riddermark?
Speak quickly!
Give me your name, horse-master,
and I shall give you mine.
I would cut off your head, Dwarf. . .
. . .if it stood but a little higher
from the ground.
You would die before your stroke fell.
I am Aragorn, son of Arathorn.
This is Gimli, son of Glin,
and Legolas of the Woodland Realm.
We are friends of Rohan
and of Thoden, your king.
Thoden no longer recognizes
friend from foe.
Not even his own kin.
Saruman has poisoned the mind
of the king. . .
. . .and claimed lordship over these lands.
My company are those loyal to Rohan.
And for that, we are banished.
The White Wizard is cunning.
He walks here and there, they say. . .
. . .as an old man hooded and cloaked.
And everywhere, his spies
slip past our nets.
We are no spies.
We track a party of Uruk-hai
westward across the plain.
They have taken two of our friends
captive.
The Uruks are destroyed.
We slaughtered them during the night.
But there were two Hobbits.
Did you see two Hobbits with them?
They would be small.
Only children to your eyes.
We left none alive.
We piled the carcasses and burned them.
Dead?
I am sorry.
Hasufel! Arod!
May these horses bear you to better
fortune than their former masters.
Farewell.
Look for your friends.
But do not trust to hope.
It has forsaken these lands.
We ride north!
It's one of their wee belts.
We failed them.
A Hobbit lay here.
And the other.
They crawled.
Their hands were bound.
Their bonds were cut.
They ran over here.
They were followed.
The belt!
Run!
Tracks lead away from the battle. . .
. . .into Fangorn Forest.
Fangorn?
What madness drove them in there?
Did we lose him? I think we lost him.
I'm going to rip out
your filthy little innards!
Come here!
Trees. Climb a tree.
He's gone.
Merry!
Let's put a maggot hole in your belly!
Run, Merry!
Little Orcs.
It's talking, Merry.
The tree is talking.
Tree?
I am no tree!
I am an Ent.
A tree-herder.
A shepherd of the forest.
Don't talk to it, Merry.
Don't encourage it!
Treebeard, some call me.
And whose side are you on?
Side?
I am on nobody's side. . .
. . .because nobody's on my side,
little Orc.
Nobody cares for the woods anymore.
We're not Orcs! We're Hobbits!
Hobbits?
Never heard of a Hobbit before.
Sounds like Orc mischief to me!
They come with fire.
They come with axes.
Gnawing, biting, breaking,
hacking, burning!
-Destroyers and usurpers! Curse them!
-No!
You don't understand. We're Hobbits!
Halflings!
Shire-folk!
Maybe you are. . .
. . .and maybe you aren't.
The White Wizard will know.
The White Wizard?
Saruman.
See? See?
We've led you out.
Hurry, Hobbitses. Hurry!
Very lucky we find you.
Nice Hobbit.
It's a bog. He's led us into a swamp.
A swamp, yes, yes.
Come, master. We will take you
on safe paths through the mist.
Come, Hobbits! Come! We go quickly.
I found it. I did.
The way through the marshes.
Orcs don't use it.
Orcs don't know it.
They go around for miles and miles.
Come quickly.
Soft and quick as shadows we must be.
I hate this place. It's too quiet.
There's been no sight nor sound
of a bird for two days.
No, no birdses to eat.
No crunchable birdses.
We are famished! Yes!
Famished we are, precious!
Here.
What does it eats?
Is it tasty?
It tries to chokes us!
We can't eats Hobbit food!
We must starve!
Well, starve, then. And good riddance!
Oh, cruel Hobbit.
It does not care if we be hungry.
Does not care if we should die.
Not like master.
Master cares.
Master knows.
Yes.
Precious.
Once it takes hold of us. . .
. . .it never lets go.
Don't touch me!
There are dead things!
Dead faces in the water.
All dead. All rotten.
Elves and Men and Orcses.
A great battle long ago.
Dead Marshes.
Yes. Yes, that is their name.
This way.
Don't follow the lights.
Careful now! Or Hobbits go down
to join the dead ones. . .
. . .and light little candles
of their own.
Frodo!
-Gollum?
-Don't follow the lights.
-Gollum!
-Mr. Frodo!
Are you all right?
So bright.
So beautiful.
Our precious.
What did you say?
Master should be resting.
Master needs to keep up his strength.
-Who are you?
-Mustn't ask us. Not its business.
Gollum. Gollum.
Gandalf told me you were
one of the river-folk.
Cold be heart and hand and bone
Cold be travelers far from home
He said your life was a sad story.
They do not see what lies ahead
When sun has falled and moon is dead
You were not so very different
from a Hobbit once.
Were you?
Smagol.
What did you call me?
That was your name once, wasn't it?
A long time ago.
My name.
My name.
Smagol.
Black Riders!
Hide! Hide!
Come on, Frodo. Come on!
Quick! They will see us!
They will see us!
-I thought they were dead.
-Dead?
No, you cannot kill them. No.
Wraiths!
Wraiths on wings!
They are calling for it.
They are calling for the precious.
Mr. Frodo! It's all right.
I'm here.
Hurry, Hobbits.
The Black Gate is very close.
Orc blood.
These are strange tracks.
The air is so close in here.
This forest is old.
Very old.
Full of memory. . .
. . .and anger.
The trees are speaking to each other.
Gimli!
Lower your ax.
They have feelings, my friend.
The Elves began it.
Waking up the trees,
teaching them to speak.
Talking trees.
What do trees have to talk about?
Except the consistency
of squirrel droppings.
The White Wizard approaches.
Do not let him speak.
He will put a spell on us.
We must be quick.
You are tracking the footsteps
of two young Hobbits.
Where are they?
They passed this way
the day before yesterday.
They met someone they did not expect.
Does that comfort you?
Who are you?
Show yourself!
It cannot be.
Forgive me.
I mistook you for Saruman.
I am Saruman.
Or rather, Saruman
as he should have been.
You fell.
Through fire. . .
. . .and water.
From the lowest dungeon
to the highest peak. . .
. . . I fought with the Balrog
of Morgoth.
Until at last I threw down
my enemy. . .
. . . and smote his ruin
upon the mountainside.
Darkness took me. . .
. . . and I strayed out of thought
and time.
Stars wheeled overhead. . .
. . . and every day was as long
as a life age of the Earth.
But It was not the end.
I felt life In me again.
I've been sent back. . .
. . . until my task is done.
Gandalf.
Gandalf?
Yes.
That was what they used to call me.
Gandalf the Grey.
That was my name.
Gandalf.
I am Gandalf the White.
And I come back to you now. . .
. . .at the turn of the tide.
One stage of your journey is over.
Another begins.
-We must travel to Edoras with all speed.
-Edoras?
That is no short distance!
We hear of trouble in Rohan.
It goes I'll with the king.
Yes, and it will not be easily cured.
Then we have run all this way for nothing?
Are we to leave those poor Hobbits here. . .
. . .in this horrid, dark, dank tree-infested–?
I mean, charming. . .
. . .quite charming forest.
It was more than mere chance that
brought Merry and Pippin to Fangorn.
A great power has been sleeping here
for many long years.
The coming of Merry and Pippin
will be like the falling of small stones. . .
. . .that starts an avalanche
in the mountains.
I n one thing you have not changed,
dear friend.
You still speak in riddles.
A thing is about to happen that has not
happened since the Elder Days.
The Ents are going to wake up. . .
-. . .and find that they are strong.
-Strong?!
Oh, that's good.
So stop your fretting, Master Dwarf.
Merry and Pippin are quite safe.
I n fact, they are far safer
than you are about to be.
This new Gandalf's more grumpy
than the old one.
That is one of the Mearas. . .
. . . unless my eyes are cheated
by some spell.
Shadowfax.
He is the lord of all horses. . .
. . .and has been my friend
through many dangers.
O rowan mine
I saw you shine
Upon a summer's day
Upon your head
How golden-red
The crown you bore aloft
Such a beautiful verse.
-Is it much further?
-Bru-ra-hroom. Don't be hasty.
You might call it far, perhaps.
My home lies deep in the forest. . .
. . . near the roots of the mountain.
I told Gandalf I would keep you safe.
And safe is where I'll keep you.
I believe you will enjoy this next one too.
It's one of my own compositions.
Right.
Beneath the roof of sleeping leaves
And the dreams of trees unfold
When woodland halls are green and cool
And the wind is In the West
Come back to me
Come back to me
And say my land is best
Sleep, little Shirelings.
Heed no nightly noise.
Sleep till morning light.
I have business in the forest.
There are many to call.
Many that must come.
The Shadow lies on Fangorn.
The withering of all woods
is drawing near.
The veiling shadow that glowers
in the east takes shape.
Sauron will suffer no rival.
From the summit of Barad-dr,
his Eye watches ceaselessly.
But he is not so mighty yet
that he is above fear.
Doubt ever gnaws at him.
The rumor has reached him.
The heir of Nmenor still lives.
Sauron fears you, Aragorn.
He fears what you may become.
And so he'll strike hard and fast
at the world of Men.
He will use his puppet Saruman
to destroy Rohan.
War is coming.
Rohan must defend itself,
and therein lies our first challenge. . .
. . .for Rohan is weak and ready to fall.
The king's mind is enslaved,
it's an old device of Saruman's.
His hold over King Thoden
is now very strong.
Sauron and Saruman
are tightening the noose.
But for all their cunning. . .
. . .we have one advantage.
The Ring remains hidden.
And that we should seek to destroy it. . .
. . . has not yet entered
their darkest dreams.
And so the weapon of the enemy
is moving towards Mordor. . .
. . .in the hands of a Hobbit.
Each day brings it closer
to the fires of Mount Doom.
We must trust now in Frodo.
Everything depends upon speed. . .
. . .and the secrecy of his quest.
Do not regret your decision to leave him.
Frodo must finish this task alone.
He's not alone.
Sam went with him.
Did he?
Did he, indeed? Good.
Yes, very good.
The Black Gate of Mordor.
Oh, save us.
My old Gaffer would have a thing or two
to say if he could see us now.
Master says to show him
the way into Mordor.
So good Smagol does,
master says so.
I did.
That's it, then.
We can't get past that.
Look!
The gate.
It's opening!
I can see a way down.
Sam, no!
Master!
-I do not ask you to come with me, Sam.
-I know, Mr. Frodo.
I doubt even these Elves cloaks
will hide us in there.
-Now!
-No!
No! No, master!
They catch you! They catch you!
Don't take it to him.
He wants the precious.
Always he is looking for it.
And the precious is wanting
to go back to him.
But we mustn't let him have it.
No! There's another way.
More secret. A dark way.
-Why haven't you spoken of this before?
-Because master did not ask.
He's up to something.
Are you saying there's another way
into Mordor?
Yes. There's a path. . .
. . .and some stairs.
And then. . .
. . .a tunnel.
He's led us this far, Sam.
Mr. Frodo, no.
He's been true to his word.
No.
Lead the way, Smagol.
Good Smagol always helps.
Hello?
Treebeard?
Where has he gone?
I had the loveliest dream last night.
There was this large barrel,
full of pipe-weed.
And we smoked all of it.
And then. . .
. . .you were sick.
I'd give anything for a whiff of Old Toby.
Did you hear that?
There it is again.
Something's not right here.
Not right at all.
You just said something. . .Treeish.
No, I didn't. I was just stretching.
You're taller.
-Who?
-You!
-Than what?
-Than me!
I've always been taller than you.
Pippin, everyone knows I'm the tall one.
You're the short one.
Please, Merry.
You're what? Three-foot-six? At the most?
Whereas me, I'm pushing 3'7''.
Three-foot-eight.
You did something.
Merry, don't! Don't drink it!
Merry!
No, Treebeard said that you
shouldn't have any.
-I want some!
-It could well be dangerous!
Give me it back. Merry!
What's happening?!
It's got my leg!
Merry!
Help!
Away with you.
You should not be waking.
Eat earth. Dig deep. Drink water.
Go to sleep.
Away with you.
Come, the forest is waking up.
It isn't safe.
The trees have grown wild
and dangerous.
Anger festers in their hearts.
Black are their thoughts.
Strong is their hate.
They will harm you if they can.
There are too few of us now.
Too few of us Ents left to manage them.
Why are there so few of you
when you have lived so long?
-Are there Ent children?
-Bru-ra-hroom.
There have been no Entings
for a terrible long count of years.
-Why is that?
-We lost the Entwives.
Oh, I'm sorry.
-How did they die?
-Die? No.
We lost them.
And now we cannot find them.
I don't suppose you've seen Entwives
in the Shire?
Can't say that I have.
You, Pip?
What do they look like?
I don't remember now.
Edoras and the Golden Hall
of Meduseld.
There dwells Thoden, King of Rohan. . .
. . . whose mind is overthrown.
Saruman 's hold over King Thoden
is now very strong.
My lord, your son. . .
. . . he is dead.
My lord?
Uncle?
Will you not go to him?
Will you do nothing?
Be careful what you say.
Do not look for welcome here.
Oh, he must have died
sometime in the night.
What a tragedy for the king. . .
. . .to lose his only son and heir.
I understand.
His passing is hard to accept.
Especially now that your brother
has deserted you.
Leave me alone, snake!
Oh, but you are alone.
Who knows what you've spoken
to the darkness. . .
. . .in the bitter watches of the night. . .
. . .when all your life seems to shrink.
The walls of your bower
closing in about you.
A hutch to trammel some wild thing in.
So fair.
So cold.
Like a morning of pale spring. . .
. . .still clinging to winter's chill.
Your words are poison.
You'll find more cheer in a graveyard.
I cannot allow you before Thoden King
so armed, Gandalf Greyhame.
By order of Grma Wormtongue.
Your staff.
You would not part an old man
from his walking stick.
My lord, Gandalf the Grey is coming.
He's a herald of woe.
The courtesy of your hall
is somewhat lessened of late. . .
. . .Thoden King.
He's not welcome.
Why should I welcome you. . .
. . .Gandalf Stormcrow?
A just question, my liege.
Late is the hour. . .
. . .in which this conjurer
chooses to appear.
Lthspell I name him.
I'll news is an I'll guest.
Be silent. Keep your forked tongue
behind your teeth.
I have not passed
through fire and death. . .
. . .to bandy crooked words
with a witless worm.
His staff.
I told you to take the wizard's staff.
Thoden. . .
. . .son of Thngel. . .
. . .too long have you sat
in the Shadows.
I would stay still if I were you.
Hearken to me!
I release you. . .
. . .from the spell.
You have no power here. . .
. . .Gandalf the Grey.
I will draw you, Saruman,
as poison is drawn from a wound.
Wait.
If I go, Thoden dies.
You did not kill me. . .
. . .you will not kill him.
Rohan is mine.
Be gone.
I know your face.
owyn.
owyn.
Gandalf?
Breathe the free air again, my friend.
Dark have been my dreams of late.
Your fingers would remember
their old strength better. . .
. . .if they grasped your sword.
I've only. . .
. . .ever served you, my lord.
Your leechcraft would have had me
crawling on all fours like a beast!
Send me not from your sight.
No, my lord! No, my lord.
Let him go.
Enough blood has been spilt
on his account.
Get out of my way!
Hail, Thoden King!
Where is Thodred?
Where is my son?
Simbelmyn.
Ever has it grown on the tombs
of my forebearers.
Now it shall cover the grave
of my son.
Alas that these evil days
should be mine.
The young perish and the old linger.
That I should live. . .
. . .to see the last days of my house.
Thodred's death
was not of your making.
No parent should have to bury
their child.
He was strong in life.
His spirit will find its way
to the halls of your fathers.
They had no warning.
They were unarmed.
Now the Wild Men are moving through
the Westfold, burning as they go.
Rick, cot and tree.
Where is Mama?
This is but a taste of the terror
that Saruman will unleash.
All the more potent for he is driven now
by fear of Sauron.
Ride out and meet him head on.
Draw him away from your women
and children.
You must fight.
You have 2000 good men riding north
as we speak.
omer is loyal to you.
His men will return
and fight for their king.
They will be 300 leagues from here
by now.
omer cannot help us.
I know what it is you want of me. . .
. . .but I will not bring further death
to my people.
I will not risk open war.
Open war is upon you,
whether you would risk it or not.
When last I looked. . .
. . .Thoden, not Aragorn,
was king of Rohan.
Then what is the king's decision?
By order of the king. . .
. . .the city must empty.
We make for the refuge of Helm's Deep.
Do not burden yourself with treasures.
Take only what provisions you need.
Helm's Deep.
They flee to the mountains
when they should stand and fight.
Who will defend them if not their king?
He's only doing what he thinks
is best for his people.
Helm's Deep has saved them
in the past.
There is no way out of that ravine.
Thoden is walking into a trap.
He thinks he's leading them to safety.
What they will get is a massacre.
Thoden has a strong will,
but I fear for him.
I fear for the survival of Rohan.
He will need you before the end,
Aragorn.
The people of Rohan will need you.
The defenses have to hold.
They will hold.
The Grey Pilgrim.
That's what they used to call me.
Three hundred lives of Men I've walked
this earth, and now I have no time.
With luck, my search will not
be in vain.
Look to my coming at first light
on the fifth day.
At dawn, look to the east.
Go.
That horse is half mad, my lord.
There's nothing you can do. Leave him.
His name is Brego.
He was my cousin's horse.
Brego.
I have heard of the magic of Elves. . .
. . .but I did not look for it
in a Ranger from the North.
You speak as one of their own.
I was raised in Rivendell. . .
. . .for a time.
Turn this fellow free.
He's seen enough of war.
Gandalf the White.
Gandalf the Fool!
Does he seek to humble me
with his newfound piety?
There were three
who followed the wizard.
An Elf, a Dwarf and a Man.
You stink of horse.
The Man. . .
-. . .was he from Gondor?
-No, from the North.
One of the Dnedain Rangers,
I thought he was.
His cloth was poor.
And yet he bore a strange ring.
Two serpents with emerald eyes.
One devouring,
the other crowned with golden flowers.
The Ring of Barahir.
So Gandalf Greyhame
thinks he has found Isildur's heir.
The lost king of Gondor.
He is a fool.
The line was broken years ago.
It matters not.
The world of Men shall fall.
It will begin at Edoras.
I am ready, Gamling.
Bring my horse.
This is not a defeat.
We will return.
We will return.
You have some skill with a blade.
Women of this country learned long ago:
Those without swords
can still die upon them.
I fear neither death nor pain.
What do you fear, my lady?
A cage.
To stay behind bars until use
and old age accept them.
And all chance of valor has gone
beyond recall or desire.
You're a daughter of kings. . .
. . .a shieldmaiden of Rohan.
I do not think that would be your fate.
Thoden will not stay at Edoras.
It's vulnerable. He knows this.
He will expect an attack on the city.
They will flee to Helm's Deep. . .
. . .the great fortress of Rohan.
It is a dangerous road to take
through the mountains.
They will be slow.
They will have women and children
with them.
Send out your Warg-riders.
Hey, stinker, don't go getting
too far ahead.
-Why do you do that?
-What?
Call him names.
Run him down all the time.
Because.
Because that's what he is, Mr. Frodo.
There's naught left in him
but lies and deceit.
It's the Ring he wants.
It's all he cares about.
You have no idea what it did to him. . .
. . .what it's still doing to him.
I want to help him, Sam.
Why?
Because I have to believe
he can come back.
You can't save him, Mr. Frodo.
What do you know about it?
Nothing!
I'm sorry, Sam. I don't know
why I said that.
I do.
It's the Ring.
You can't take your eyes off it.
I've seen you.
You're not eating. You barely sleep.
It's taken hold of you, Mr. Frodo.
-You have to fight it.
-I know what I have to do, Sam.
The Ring was entrusted to me.
It's my task.
Mine! My own!
Can't you hear yourself?
Don't you know who you sound like?
We wants it.
We needs it.
Must have the precious.
They stole it from us.
Sneaky little Hobbitses.
Wicked. Tricksy. False.
No. Not master.
Yes, precious. False.
They will cheat you, hurt you, lie!
Master's my friend.
You don't have any friends.
Nobody likes you.
Not listening. I'm not listening.
You're a liar and a thief.
No.
Murderer.
Go away.
Go away?
I hate you.
I hate you.
Where would you be without me?
Gollum. Gollum.
I saved us.
It was me. We survived because of me.
Not anymore.
What did you say?
Master looks after us now.
We don't need you.
What?
Leave now. . .
. . .and never come back.
No.
Leave now and never come back.
Leave now and never come back!
We told him to go away.
And away he goes, precious.
Gone! Gone! Gone!
Smagol is free!
Look.
Look. See what Smagol finds?
They are young.
They are tender. They are nice.
Yes, they are. Eat them. Eat them!
You'll make him sick, you will. . .
. . .behaving like that.
There's only one way to eat
a brace of boneys.
What's it doing?
Stupid, fat Hobbit.
It ruins it.
What's to ruin? There's hardly any meat
on them.
What we need is a few good taters.
What's taters, precious?
What's taters? Eh?
Po-ta-toes.
Boil them, mash them,
stick them in a stew.
Lovely, big, golden chips
with a nice piece of fried fish.
Even you couldn't say no to that.
Oh, yes, we could.
Spoil a nice fish.
Give it to us raw. . .
. . .and wriggling.
You keep nasty chips.
You're hopeless.
Mr. Frodo?
-Who are they?
-Wicked Men.
Servants of Sauron.
They are called to Mordor.
The Dark One is gathering all armies
to him.
It won't be long now.
He will soon be ready.
-Ready to do what?
-To make his war.
The last war that will cover
all the world in Shadow.
We've got to get moving. Come on, Sam.
Mr. Frodo.
Look.
It's an oliphant.
No one at home will believe this.
Smagol?
We've lingered here too long.
Come on, Sam.
Wait! We're innocent travelers!
There are no travelers in this land.
Only servants of the Dark Tower.
We are bound to an errand of secrecy.
Those that claim to oppose the enemy
would do well not to hinder us.
The enemy?
His sense of duty was no less
than yours, I deem.
You wonder what his name is. . .
. . .where he came from.
And if he was really evil at heart.
What lies or threats led him
on this long march from home.
If he would not rather have stayed there. . .
. . .in peace.
War will make corpses of us all.
Bind their hands.
.
It's true, you don't see
many Dwarf women.
And in fact, they are so alike
in voice and appearance. . .
. . .that they're often mistaken
for Dwarf men.
It's the beards.
This, in turn, has given rise
to the belief. . .
. . .that there are no Dwarf women. . .
. . .and that Dwarves just spring out
of holes in the ground. . .
. . .which is, of course, ridiculous.
It's all right. Nobody panic.
That was deliberate.
It was deliberate.
I haven't seen my niece smile
for a long time.
She was a girl when they brought
her father back dead.
Cut down by Orcs.
She watched her mother
succumb to grief.
Then she was left alone,
to tend her king in growing fear.
Doomed to wait upon an old man
who should have loved her as a father.
Gimli.
No, I couldn't
I really couldn't.
I made some stew.
It isn't much, but it's hot.
Thank you.
-It's good.
-Really?
My uncle told me a strange thing.
He said that you rode to war
with Thngel, my grandfather.
But he must be mistaken.
King Thoden has a good memory.
He was only a small child at the time.
Then you must be at least 60.
Seventy?
But you cannot be 80!
Eighty-seven.
You are one of the Dnedain.
A descendant of Nmenor,
blessed with long life.
It was said that your race
had passed into legend.
There are few of us left.
The Northern Kingdom
was destroyed long ago.
I'm sorry. Please, eat.
The light of the Evenstar
does not wax and wane.
It is mine to give to whom I will.
Like my heart.
Go to sleep.
I am asleep.
This is a dream.
Then it is a good dream.
Sleep.
Arwen. . . .
Where is she?
The woman who gave you that jewel.
Our time here is ending.
Arwen's time is ending.
Let her go.
Let her take the ship into the west.
Let her bear away her love for you
to the Undying Lands.
There it will be ever green.
But never more than memory.
I will not leave my daughter here
to die.
-She stays because she still has hope.
-She stays for you.
She belongs with her people.
Why are you saying this?
I am mortal. You are Elf-kind.
It was a dream, Arwen.
Nothing more.
I don't believe you.
This belongs to you.
It was a gift.
Keep it.
My lord?
She is sailing to the Undying Lands
with all that is left of her kin.
What is it?
-Hma?
-I'm not sure.
Wargs!
A scout!
-What is it? What do you see?
-Warg! We're under attack!
Get them out of here!
All riders to the head of the column.
Come on. Get me up here. I'm a rider.
Come on!
You must lead the people
to Helm's Deep, and make haste.
-I can fight.
-No!
You must do this, for me.
Follow me!
-Forward. I mean, charge forward.
-Make for the lower ground!
-That's it! Go on!
-Stay together!
Bring your pretty face to my ax.
That one counts as mine!
Stinking creature.
Aragorn!
Aragorn?
Tell me what happened
and I will ease your passing.
He's. . .
. . .dead.
He took a little tumble off the cliff.
You lie.
Get the wounded on horses.
The wolves of Isengard will return.
Leave the dead.
Come.
-At last!
-Helm's Deep.
There it is, Helm's Deep.
We're safe!
We're safe, my lady.
Thank you.
-Mama!
-othain!
Freda!
-Where is the rest?
-This is all we could save, my lady.
Take it to the caves.
Make way for the king.
Make way for Thoden.
Make way for the king.
So few. So few of you have returned.
Our people are safe.
We have paid for it with many lives.
My lady.
Lord Aragorn. . .
. . .where is he?
He fell.
Draw all our forces behind the wall.
Bar the gate.
And set a watch on the surround.
What of those who cannot fight, my lord?
The women and children?
Get them into the caves.
Saruman's arm will have grown long
indeed if he thinks he can reach us here.
Helm 's Deep has one weakness.
Its outer wall is solid rock. . .
. . . but for a small culvert
at its base. . .
. . . which is little more than a drain.
How? How can fire undo stone?
What kind of device
could bring down the wall?
If the wall is breached,
Helm's Deep will fall.
Even if it is breached, it would take
a number beyond reckoning. . .
. . .thousands, to storm the Keep.
Tens of thousands.
But, my lord, there is no such force.
A new power is rising.
It's victory is at hand.
This night. . .
. . .the land will be stained
with the blood of Rohan!
March to Helm's Deep!
Leave none alive!
To war!
There will be no dawn for Men.
Look. There's smoke to the south.
There is always smoke rising. . .
. . .from Isengard these days.
Isengard?
There was a time. . .
. . .when Saruman would walk in my woods.
But now he has a mind of metal. . .
. . .and wheels.
He no longer cares for growing things.
What is it?
It's Saruman's army.
The war has started.
May the grace of the Valar
protect you.
Brego.
Arwen.
I have made my choice.
He is not coming back.
Why do you linger here
when there is no hope?
There is still hope.
If Aragorn survives this war,
you will still be parted.
If Sauron is defeated
and Aragorn made king. . .
. . .and all that you hope for
comes true. . .
. . .you will still have to taste
the bitterness of mortality.
Whether by the sword
or the slow decay of time. . .
. . .Aragorn will die.
And there will be no comfort
for you. . .
. . . no comfort to ease the pain
of his passing.
He will come to death. . .
. . . an Image of the splendor
of the kings of Men. . .
. . .In glory undimmed before
the breaking of the world.
But you, my daughter. . .
. . .you will linger on in darkness
and in doubt. . .
. . . as nightfall in winter
that comes without a star.
Here you will dwell. . .
. . . bound to your grief
under the fading trees. . .
. . . until all the world is changed. . .
. . .and the long years of your life
are utterly spent.
Arwen.
There is nothing for you here. . .
. . .only death.
The power of the enemy is growing.
Sauron will use his puppet,
Saruman. . .
. . . to destroy the people of Rohan.
Isengard has been unleashed.
The Eye of Sauron now turns
to Gondor. . .
. . . the last free kingdom of Men.
His war on this country
will come swiftly.
He senses the Ring Is close.
The strength of the Ring-bearer
Is failing.
In his heart, Frodo begins
to understand. . .
. . .the quest will claim his life.
You know this.
You have foreseen it.
It is the risk we all took.
In the gathering dark, the will
of the Ring grows strong.
It works hard now to find its way back
Into the hands of Men.
Men, who are so easily seduced
by its power.
The young captain of Gondor
has but to extend his hand. . .
. . . take the Ring for his own,
and the world will fall.
It is close now.
So close to achieving its goal.
For Sauron will have dominion
over all life on this Earth. . .
. . . even unto to the ending
of the world.
The time of the Elves. . .
. . .Is over.
Do we leave Middle-earth
to its fate?
Do we let them stand alone?
What news?
Our scouts report Saruman
has attacked Rohan.
Thoden's people have fled
to Helm's Deep.
But we must look to our own borders.
Faramir, Orcs are on the move.
Sauron is marshaling an army.
Easterlings and Southrons
are at the Black Gate.
-How many?
-Some thousands. More come every day.
-Who's covering the river to the north?
-We pulled 500 men at Osgiliath.
If their city is attacked,
we won't hold it.
Saruman attacks from Isengard.
Sauron from Mordor.
The fight will come to Men
on both fronts.
Gondor is weak.
Sauron will strike us soon.
And he will strike hard.
He knows now we do not have
the strength to repel him.
My men tell me that you are Orc spies.
Spies? Now wait just a minute.
Well, if you're not spies,
then who are you?
Speak.
We are Hobbits of the Shire.
Frodo Baggins is my name,
and this is Samwise Gamgee.
Your bodyguard?
His gardener.
And where is your skulking friend?
That gangrel creature.
He had an ill-favored look.
There was no other.
We set out from Rivendell
with seven companions.
One we lost in Moria. . .
. . .two were my kin. . .
. . .a Dwarf there was also.
And an Elf and two Men.
Aragorn, son of Arathorn,
and Boromir of Gondor.
You're a friend of Boromir?
Yes.
For my part.
It will grieve you then to learn
that he is dead.
Dead?
How? When?
As one of his companions,
I'd hoped you would tell me.
If something has happened to Boromir,
we would have you tell us.
His horn washed up upon the riverbank,
about six days past.
It was cloven in two.
But more than this, I know it in my heart.
He was my brother.
Boromir!
Boromir!
This city was once the jewel
of our kingdom.
A place of light and beauty and music.
And so it shall be once more!
Let the armies of Mordor know this:
Never again will the land of my people
fall into enemy hands.
This city of Osgiliath
has been reclaimed for Gondor!
-For Gondor!
-For Gondor!
-For Gondor!
-For Gondor!
Good speech. Nice and short.
Leaves more time for drinking!
Break out the ale! These men are thirsty!
Remember today, little brother.
Today, life is good.
What?
He's here.
One moment of peace,
can he not give us that?
Where is he?
Where is Gondor's finest?
Where's my first-born?
Father!
They say you vanquished the enemy
almost single-handedly.
They exaggerate.
The victory belongs to Faramir also.
But for Faramir, this city
would still be standing.
Were you not entrusted to protect it?
I would have done,
but our numbers were too few.
Oh, too few.
You let the enemy walk in
and take it on a whim.
Always you cast a poor reflection on me.
That is not my intent.
You give him no credit,
and yet he tries to do your will.
-He loves you, Father.
-Do not trouble me with Faramir. . .
. . . I know his uses, and they are few.
We have more urgent things to speak of.
Elrond of Rivendell has called a meeting.
He will not say why,
but I have guessed its purpose.
It is rumored that the weapon
of the enemy has been found.
The One Ring.
-Isildur's Bane.
-It has fallen into the hands of the Elves.
Everyone will try to claim it:
Men, Dwarves, wizards.
We cannot let that happen.
This thing must come to Gondor.
-Gondor.
-It's dangerous, I know.
Ever the Ring will seek to corrupt
the hearts of lesser Men.
But you, you are strong.
And our need is great.
It is our blood, which is being spilled,
our people who are dying.
Sauron is biding his time.
He's massing fresh armies.
He will return.
And when he does,
we will be powerless to stop him.
You must go.
Bring me back this mighty gift.
No. My place is here with my people.
Not in Rivendell.
-Would you deny your own father?
-If there is need to go to Rivendell. . .
-. . .send me in his stead.
-You?
Oh, I see.
A chance for Faramir, captain of Gondor,
to show his quality.
I think not.
I trust this mission only to your brother.
The one who will not fail me.
Remember today, little brother.
Captain Faramir!
We found the third one.
You must come with me. Now.
Down there.
To enter the Forbidden Pool
bears the penalty of death.
They wait for my command.
Shall I shoot?
The rock and pool
Is nice and cool
So juicy sweet
Our only wish
To catch a fish
So juicy sweet
Wait.
This creature is bound to me.
And I to him.
He is our guide.
Please. . .
. . .let me go down to him.
Smagol.
Master is here.
Come, Smagol.
Trust master. Come.
We must go now?
Smagol, you must trust master.
Follow me. Come on.
Come.
Come, Smagol.
Nice Smagol. That's it.
Come on.
Don't hurt him!
Smagol, don't struggle.
Smagol, listen to me.
Master!
That's enough.
Where are you leading them?
Answer me.
Smagol.
.
Why does it cry, Smagol?
Prepare to leave.
The Ring will go to Gondor.
-He's alive!
-Where is he? Where is he?
Get out of the way!
I'm going to kill him!
You are the luckiest, the canniest. . .
. . .and the most reckless man
I ever knew.
Bless you, laddie.
Gimli, where is the king?
You look terrible.
A great host, you say?
-All Isengard is emptied.
-How many?
Ten thousand strong at least.
Ten thousand?
It is an army bred for a single purpose:
To destroy the world of Men.
They will be here by nightfall.
Let them come!
I want every man and strong lad
able to bear arms. . .
. . .to be ready for battle by nightfall.
We will cover the causeway
and the gate from above.
No army has ever breached
the Deeping Wall. . .
. . .or set foot inside the Hornburg!
This is no rabble of mindless Orcs.
These are Uruk-hai.
Their armour is thick
and their shields broad.
I have fought many wars,
Master Dwarf.
I know how to defend my own keep.
They will break upon this fortress
like water on rock.
Saruman's hordes will pillage and burn.
We've seen it before.
Crops can be resown. . .
. . . homes rebuilt.
Within these walls. . .
. . .we will outlast them.
They do not come to destroy Rohan's
crops or villages.
They come to destroy its people. . .
. . .down to the last child.
What would you have me do?
Look at my men.
Their courage hangs by a thread.
If this is to be our end, then I would
have them make such an end. . .
. . .as to be worthy of remembrance.
Send out riders, my lord.
You must call for aid.
And who will come?
Elves?
Dwarves?
We are not so lucky in our friends
as you.
The old alliances are dead.
-Gondor will answer.
-Gondor?!
Where was Gondor
when the Westfold fell?!
Where was Gondor when
our enemies closed in around us?!
Where was Gon–?
No, my Lord Aragorn. . .
. . .we are alone.
Get the women and children
into the caves.
We need more time
to lay provisions–
There is no time. War is upon us.
Secure the gate.
We Ents have not troubled. . .
. . .about the wars of Men and wizards. . .
. . .for a very long time.
But now, something
is about to happen. . .
. . .that has not happened. . .
. . .for an age.
Entmoot.
What's that?
'Tis a gathering.
A gathering of what?
Beech. Oak.
Chestnut. Ash.
Good. Good. Good.
Many have come.
Now we must decide
if the Ents. . .
. . .will go to war.
Move back! Move to the caves!
Come on, people! Quickly, now!
We'll place the reserves along the wall.
They can support the archers
from above the gate.
Aragorn, you must rest.
You're no use to us half alive.
Aragorn!
I'm to be sent with the women
into the caves.
That is an honorable charge.
To mind the children, to find food
and bedding when the men return.
What renown is there in that?
My lady, a time may come for valor
without renown.
Who then will your people look to
in the last defense?
-Let me stand at your side.
-It is not in my power to command it.
You do not command
the others to stay!
They fight beside you because they
would not be parted from you.
Because they love you.
I'm sorry.
Farmers, farriers, stable boys.
These are no soldiers.
-Most have seen too many winters.
-Or too few.
Look at them. They're frightened.
I can see it in their eyes.
Then I shall die as one of them!
Let him go, lad.
Let him be.
Every villager able to wield a sword
has been sent to the armoury.
My lord?
Who am I, Gamling?
You are our king, sire.
And do you trust your king?
Your men, my lord will follow you
to what ever end
To whatever end.
Where is the horse and the rider?
Where is the horn that was blowing?
They have passed like rain
on the mountains.
Like wind in the meadow.
The days have gone down in the West. . .
. . . behind the hills. . .
. . .Into Shadow.
How did it come to this?
It's been going for hours.
They must have decided something
by now.
Decided? No.
We only just finished saying. . .
. . .good morning.
But it's nighttime already.
You can't take forever.
Don't be hasty.
We're running out of time!
Move! Move to the outer wall.
Give me your sword.
What is your name?
Haleth, son of Hma, my lord.
The men are saying
we will not live out the night.
They say that it is hopeless.
This is a good sword.
Haleth, son of Hma. . .
. . .there is always hope.
We have trusted you this far.
You have not led us astray.
Forgive me.
I was wrong to despair.
We had time, I'd get this adjusted.
It's a little tight across the chest.
That is no Orc horn.
Send for the king.
-Open the gate!
-Open up the gate!
How is this possible?
I bring word from Elrond of Rivendell.
An alliance once existed
between Elves and Men.
Long ago we fought and died together.
We come to honor that allegiance.
You are most welcome.
We are proud to fight
alongside Men once more.
You could have picked a better spot.
Well, lad, whatever luck you live by,
let's hope it lasts the night.
Your friends are with you, Aragorn.
Let's hope they last the night.
-What's happening out there?
-Shall I describe it to you?
Or would you like me to find you a box?
So it begins.
their armors are weak
at the neck
Did they hit anything?
Give them a volley.
-Fire!
-Fire!
Send them to me! Come on!
Good!
Swords! Swords!
Legolas! Two already!
I'm on 1 7!
I'll have no pointy-ear outscoring me!
Nineteen!
Merry.
We have just agreed.
Yes?
I have told your names to the Entmoot. . .
. . .and we have agreed. . .
. . .you are not Orcs.
Well, that's good news.
And what about Saruman?
Have you come to a decision about him?
Now, don't be hasty, Master Meriadoc.
Hasty?
Our friends are out there.
They need our help. They cannot
fight this war on their own.
War? Yes.
It affects us all.
Tree, root and twig.
But you must understand, young Hobbit. . .
. . .it takes a long time. . .
. . .to say anything in Old Entish. . .
. . .and we never say anything. . .
. . . unless it is worth taking. . .
. . .a long time to say.
Seventeen! Eighteen!
Nineteen!
Twenty!
Twenty-one!
Causeway!
Is this it?
Is this is all you can conjure, Saruman?
legolis kill the urukai fire holder
kill him
kill him
Brace the gate!
Hold them! Stand firm!
Aragorn!
Gimli!
The Ents cannot hold back this storm.
We must weather such things
as we have always done.
How can that be your decision?!
This is not our war.
But you're part of this world!
Aren't you?!
You must help. Please.
You must do something.
You are young and brave, Master Merry.
But your part in this tale is over.
Go back to your home.
Maybe Treebeard's right.
We don't belong here, Merry.
It's too big for us.
What can we do in the end?
We've got the Shire.
Maybe we should go home.
The fires of Isengard will spread. . .
. . .and the woods of Tuckborough
and Buckland will burn.
And. . . .
And all that was once green and good
in this world will be gone.
There won't be a Shire, Pippin.
Aragorn!
Fall back to the Keep!
Get your men out of there!
Haldir!
retreat
What are you doing?
What are you stopping for?
Haldir!
Brace the gate!
Hold them!
To the gate. Draw your swords!
Make way!
We cannot hold much longer!
-Hold them!
-How long do you need?
As long as you can give me.
Gimli!
Timbers!
Brace the gate!
Come on. We can take them.
It's a long way.
Toss me.
-What?
-I cannot jump the distance!
You'll have to toss me!
Don't tell the Elf.
Not a word.
Shore up the door!
-Make way!
-Follow me to the barricade.
Watch our backs!
-Throw another one over here!
-Higher!
Hold fast the gate!
Gimli! Aragorn!
Get out of there!
Aragorn!
Pull everybody back.
Pull them back.
Fall back!
Fall back!
They have broken through!
The castle is breached. Retreat!
-Fall back!
-Retreat!
Hurry! Inside. Get them inside!
Into the Keep!
I will leave you at the western borders
of the forest.
You can make your way north
to your homeland from there.
Wait! Stop!
Stop!
Turn around.
-Turn around. Take us south.
-South?
But that will lead you past Isengard.
Yes. Exactly.
If we go south, we can slip
past Saruman unnoticed.
The closer we are to danger,
the farther we are from harm.
It's the last thing he'll expect.
That doesn't make sense to me.
But then. . .
. . .you are very small.
Perhaps you're right.
South it is, then.
Hold on, little Shirelings.
I always like going south.
Somehow it feels like going downhill.
Are you mad? We'll be caught.
No, we won't.
Not this time.
Look!
Osgiliath burns!
Mordor has come.
The Ring will not save Gondor.
It has only the power to destroy.
Please. . .
. . .let me go.
Hurry.
Faramir!
You must let me go!
And those little family of field mice. . .
. . .that climb up sometimes,
and they tickle me awfully.
They're always trying to get somewhere
where they. . . .
Many of these trees were my friends.
Creatures I had known
from nut and acorn.
I'm sorry, Treebeard.
They had voices of their own.
Saruman.
A wizard should know better!
There is no curse in Elvish. . .
. . . Entish or the tongues of Men. . .
. . .for this treachery.
Look! The trees! They're moving!
Where are they going?
They have business with the Orcs.
My business is with Isengard tonight. . .
. . .with rock and stone.
Yes.
Come, my friends.
The Ents are going to war.
It is likely. . .
. . .that we go to our doom.
Last march. . .
. . .of the Ents.
Faramir! Orcs have taken the eastern
shore. Their numbers are too great.
By nightfall we will be overrun.
Mr. Frodo?
It's calling to him, Sam.
His Eye is almost on me.
Hold on, Mr. Frodo.
You'll be all right.
Take them to my father.
Tell him Faramir sends a mighty gift.
A weapon that will change our fortunes
in this war.
Do you want to know
what happened to Boromir?
You want to know
why your brother died?
He tried to take the Ring from Frodo
after swearing an oath to protect him!
He tried to kill him!
The Ring drove your brother mad!
Watch out!
Mr. Frodo?
They're here.
They've come.
Nazgl!
Stay here. Keep out of sight.
Take cover!
The fortress is taken.
It is over.
You said this fortress would never fall
while your men defend it.
They still defend it.
They have died defending it.
They're breaking in!
They're past the door!
Is there no other way for the women
and children to get out of the caves?
Is there no other way?
There is one passage.
It leads into the mountains.
But they will not get far.
The Uruk-hai are too many.
Tell the women and children
to make for the mountain pass.
-And barricade the entrance!
-So much death.
What can Men do
against such reckless hate?
Ride out with me.
Ride out and meet them.
For death and glory.
For Rohan.
For your people.
The sun is rising.
Look to my coming at first light
on the fifth day.
At dawn. . .
. . . look to the east.
Yes.
Yes.
The horn of Helm Hammerhand. . .
. . .shall sound in the Deep. . .
. . .one last time.
Yes!
Let this be the hour
when we draw swords together.
Fell deeds, awake.
Now for wrath. . .
. . . now for ruin and a red dawn.
Forth Eorlingas!
Gandalf.
Thoden King stands alone.
Not alone.
Rohirrim!
omer.
To the king!
Yes!
A hit. A fine hit.
Break the dam!
Release the river!
Pippin! Hold on!
Hold on, little Hobbits.
What are you doing?
Where are you going?
It's me.
It's your Sam.
Don't you know your Sam?
I can't do this, Sam.
I know.
It's all wrong.
By rights, we shouldn't even be here.
But we are.
It's like in the great stories, Mr. Frodo.
The ones that really mattered.
Full of darkness and danger they were.
And sometimes you didn't want
to know the end. . .
. . .because how could the end be happy?
How could the world go back
to the way it was. . .
. . . when so much bad had happened?
Victory!
We have victory!
But in the end,
It's only a passing thing. . .
. . . this shadow.
Even darkness must pass.
A new day will come.
And when the sun shines,
It will shine out the clearer.
Those were the stories
that stayed with you. . .
. . . that meant something.
Even If you were too small
to understand why.
But I think, Mr. Frodo, I do understand.
I know now.
Folk in those stories. . .
. . . had lots of chances of turning back,
only they didn't.
They kept going. . .
. . .because they were holding
on to something.
What are we holding on to, Sam?
That there's some good
in this world, Mr. Frodo.
And it's worth fighting for.
I think at last we understand one another,
Frodo Baggins.
You know the laws of our country,
the laws of your father.
If you let them go,
your life will be forfeit.
Then it is forfeit.
Release them.
Stay out of the forest!
Keep away from the trees!
Final count. . .
-. . .42.
-Forty-two?
That's not bad for a pointy-eared
Elvish princeling.
I myself am sitting pretty on 43.
-Forty-three.
-He was already dead.
-He was twitching.
-He was twitching. . .
. . .because he's got my ax
embedded in his nervous system!
-He doesn't look too happy, does he?
-Not too happy at all, Merry.
Still, I suppose the view
would be quite nice from up there.
Oh, yes. It's a quality establishment.
I hear the staff are very good.
-What are you doing?
-Nothing.
-The world is back to normal, that's all.
-No, it isn't.
I'm starving.
Good luck trying to find something
decent around here.
Probably dead rats and moldy bread.
Saruman's storeroom!
I don't believe it.
It can't be.
-It is!
-Longbottom Leaf.
The finest pipe-weed in South Farthing.
It's perfect. One barrel each.
Wait.
Do you think we should share it
with Treebeard?
Share it?
No. No.
Dead plant and all that.
Don't think he'd understand.
Could be a distant relative.
I get it.
Don't be hasty.
Exactly.
Bar-hrum.
This is the old sewer.
Runs right under the river
through to the edge of the city.
You'll find cover in the woods there.
Captain Faramir. . .
. . .you have shown your quality, sir.
The very highest.
The Shire must truly be a great realm,
Master Gamgee. . .
. . .where gardeners are held in high honor.
What road will you take
once you reach the woods?
Gollum says there's a path. . .
. . . near Minas Morgul
that climbs up into the mountains.
Cirith Ungol?
-Is that its name?
-No.
No!
-Yes.
-Frodo. . .
. . .they say a dark terror dwells
in the passes above Minas Morgul.
-You cannot go that way.
-It is the only way.
Master says we must go to Mordor,
so we must try.
I must.
Go, Frodo.
Go with the goodwill of all Men.
Thank you.
May death find you quickly
if you bring them to harm.
Come on, keep up.
Mr. Frodo didn't mean for them Rangers
to hurt you.
You know that, don't you?
He was trying to save you, see?
Save me?
So there's no hard feelings.
-Forgive and forget.
-No, no, no hard feelings.
Gollum, Gollum.
Yes, master.
-Nice Hobbits.
-Very decent of you.
Very decent, indeed, Gollum.
Sauron's wrath will be terrible,
his retribution swift.
The battle for Helm's Deep is over.
The battle for Middle-earth
is about to begin.
All our hopes now lie
with two little Hobbits. . .
. . . somewhere in the wilderness.
I wonder if we'll ever be
put into songs or tales.
What?
I wonder if people will ever say,
"Let's hear about Frodo and the Ring."
And they'll say,
"Yes! That's one of my favorite stories."
"Frodo was really courageous,
wasn't he, Dad?"
"Yes, my boy.
The most famousest of Hobbits.
And that's saying a lot"
Well, you've left out
one of the chief characters:
"Samwise the Brave"
I want to hear more about Sam.
Frodo wouldn't have got far
without Sam.
Now, Mr. Frodo, you shouldn't make fun.
I was being serious.
So was I.
"Samwise the Brave"
Smagol?
We're not going to wait for you.
Come on.
Master.
Master looks after us.
Master wouldn't hurt us.
Master broke his promise.
Don't ask Smagol.
Poor, poor Smagol.
Master betrayed us.
Wicked. Tricksy. False.
We ought to wring
his filthy little neck.
Kill him! Kill him!
Kill them both!
And then we take the precious. . .
. . .and we be the master!
But the fat Hobbit, he knows.
Eyes always watching.
Then we stabs them out.
Put out his eyeses
and make him crawl.
Yes. Yes. Yes.
Kill them both.
Yes. No! No!
It's too risky. It's too risky.
Where is he? Where has he gone?
-Hey, Gollum! Where are you?
-Smagol?
We could let her do it.
Yes. She could do it.
Yes, precious, she could.
And then we takes it
once they're dead.
Once they're dead.
Come on, Hobbits. Long ways to go yet.
Smagol will show you the way.
Long ago…
…in the early years of the Second Age…
…the great Elven-smiths
forged Rings of Power.
Nine for mortal Men.
Seven for the Dwarf-lords.
Three for the tall Elf-kings.
But then, the Dark Lord learned
the craft of ring-making…
…and made the Master Ring.
The One Ring to rule them all.
With the One Ring, Middle-earth is his
and he cannot be overcome.
As the last alliance of Men and Elves
fell beneath his power…
…he did not notice the heroic shadow
who slipped in.
It was Prince Isildur…
…of the mighty kings from across the sea…
…who took the Ring.
But because he did not destroy it,
the spirit of the Dark Lord lived on…
…and began to take shape and grow again.
But the Ring had a will of its own,
and a way of slipping from one hand…
…to be found by another, so that it
might at last get back to its master.
And there the Ring lay,
at the bottom of the Great River Anduin…
…for thousands of years.
During those years…
…the Dark Lord captured the nine Rings
that were made for Men…
…and turned their owners
into the Ring wraiths:
Terrible shadows under his great shadow…
…who roamed the world,
searching for the One Ring.
In time, the Ring was found.
Two friends were fishing
in the Great River one day.
(was that spider Man 3?)
Yes. :)
Love that movie series. My favorite series out of all the spidermans.))
It’s summer of 2001; Joe meets Patrick and he’s like “Yo, I know about music.”
And Patrick’s like “Yo, I know more about music.”
"That’s impossible! Do you wanna start a band?”
And Patrick’s like, “…Yeah… That’s cool.”
And then he’s like “Yo, this is a book store, it's not a music store!”
And then they met at Patrick’s house. And Patrick’s wearing shorts and socks and a hat. Patrick is playin’ drums for some fuckin’ reason! And Pete’s there for some reason! They start playin’ music together. And they're like “Oh, let’s play some fuckin’ covers from some other bands!” It was like, Green Day and fuckin’ Misfits and fuckin’ Ramones!
Pete said to Joe, “Yo, we gotta change this shit up! Yo, we’ve played all these bands; let’s play shit from Fall Out Boy.”
And so Pete and Patrick are like “Yo, that’s dope. But we need a fuckin’ drummer!” Because Patrick’s playin’ drums and he’s a singer!
Patrick's like “Yo! I got a soul voice!”
And they're like “Wait, how do you have a soul voice?”
And he’s like “Yo, watch this: Yeah!”
And they’re like “Oh my god! That sounds like soul!” So they put it in the song and it was like “WHERE IS YOUR BOY TONIGHT!”
And then they’re like: “Yo, that's fuckin’ perfect. This is Fall Out Boy.” And they made records like, Evening Out With Your Ex-Girlfriend. Evening Out With Your Ex-Girlfriend, everybody loves it.
[Pete corrects Brendon]
It's called Evening Out With Your Girlfriend.
[Brendon ignores Pete]
With Your Ex-Girlfriend! It's called Evening Out With Your Ex-Girlfriend!
It's called Eating Out Your Girlfriend, and it's real and it doesn't matter.
And Pete talked to Patrick and Joe and he was like “Yo, what the FUCK! Yo, this is gonna be fuckin’ DOPE!”
So they made a record, and it was called: Take This To Your Grave.
They made it without a drummer! And they had like three, four drummers come in.
The four drummers they had come in were like: Josh Freese, Neil Peart, the dude from Toto… The fourth one was like the guy from Papa Roach or something.
And they were like, “Yo, we need Andy Hurley. Andy Hurley. Take This To Your Grave. Fuckin' record it.” And he did it, and he killed it.
He was like, Bigadigadigalalululapssshhhh!
Killing the skins! Tapping the skins! Tapping the rims! Playing the shit! Killing these bitches! Wrapping it out!
[Brendon to Pete]
(You're getting a fucking tattoo right now! What the fuck is going on?!)
“We should get signed, to Fueled by Ramen. 'Cause these guys know what the fuck is going on.”
And they were like “Yo, if you can make our scene any bigger than it is, which is not fuckin' hard, we will sign you guys."
Pete was like ”Yo! We got this record that’s fuckin’ dope, dude! It's called Take This To Your Grave.“
Hey, it's gonna be called From Under The Cork Tree, it's gonna be fuckin' huge.
And then Patrick’s like "I gotta keep it real, I gotta keep it artistic. These are three songs that are gonna make the album and it's called (burp), this is called: 'Thnks fr th Mmrs,' '20 Dollar Nose Bleed,' and 'Sugar, We're Goin' Down.'
And they made this record that was fucking dope and it fucking hit on the charts.
Like: one, two, three! Three, two one! Three, four, five, six, seven, eight, nine, ten! TEN TO ONE!
From Under The Cork Tree sold like, four million records!
Ten million records!
Fifteen million records!
And Brendon Urie had nothing to do with the entire record. And Patrick was like “That's good!”
Pete was like “Yo, fuck you! I can do whatever I want!”
Joe was like “Yeah, it's cool man, whatever… I don’t give a shit.” And then Andy was like “Eh… Cool!”
And Pete was like "Makeup is fuckin’ great for a guy. Because it makes a guy look beautiful. Which a lot of times, a guy is not beautiful. And I wanna change that. I wanna make sure everybody thinks that guys are beautiful."
(-I'm good so far.
-You wanna spit one more time?
-Yeah, I do.
…Shut the fuck!..)
Pete was like “Oh my god, I’m so embarrassed about this dick pic!”
And then I saw the dick pic, and I was like “Eh, it's not bad. It's not a bad dick. Let’s be real.”
We made Rolling Stone one issue before Fall Out Boy. And Fall Out Boy made the issue right after us and they were so pissed!
They were like “Yo, fuck you guys!”
They were like “Yo! Panic has the fucking cover of Rolling Stone? Yo, fuck these dudes! We're gonna fucking go miles above! We're gonna hit every fucking continent there is known to man!”
But they didn’t! Because they missed a second of time.
Apparently, they were like: “Oh, shit we got every continent.” And they didn’t actually hit it.
Dude, Pete was like "What the FUCK?”
Oh, you didn’t fuckin’ make the continent. It's like, fuck you!
So From Under the Cork Tree happens, we fuckin' have three, four years of awesomeness!
Like people are cumming on themselves, 'cause it's so big!
So Fall Out Boy was like, so Patrick’s like “Yo, we're gonna name this record From Under The Cork Tree and From Infinity On High.”
Pete was like “Yo, Folie à Deux means the Theatric of Two.”
Fall Out Boy was like “Yo, we gotta take a break” meaning, Pete was like “Yo, we gotta take a break bro”
And Patrick’s like, “I need time for my music! Uhhh!”
And Joe's like “Yo, I need time to find the fuckin’ art dude I gotta find some fuckin’ meau-metal.”
And Andy’s like “I’m just gonna play with some fuckin' metal bands.”
And they were like, “Alright, this breaks been like three years long. Two years long.
Three years long.
Three and a half?
We gotta fuckin’ come back man. We gotta come back strong!
(-You took my beer away, what the fuck?!
-No, you poured it all over yourself!
-Yeah, you poured it on yourself, man.)
We gotta make this shit legit. It's gonna be fuckin' dope. It's gonna go fuckin' sky high. We're gonna make a fuckin' record that sails the skies.
We're gonna call this record: Save Rock and Roll.
So they made "Alone Together", "Light 'Em Up", "Alone Together", "Phoenix".
And everyone’s like “What the fuck? You’re working with this guy who fuckin' recorded Avril Lavigne and P!nk!”
(-What the fuck is this on my shirt, did I puke on my shirt?
-No, you poured beer all over yourself.
-Oh god…)
ANASTASIA
FADE IN:
on a well-worn PHOTOGRAPH ALBUM. An ELDERLY WOMAN'S
HAND touched the album, caressing it lovingly for a
moment, as WE HEAR her voice.
TATIANA (O.C.)
Once we lived in an enchanted
world. . .
She opend the ALBUM to reveal a BLACK AND WHITE
PHOTOGRAPH of the PALACE AT ST. PETERSBERG on a
brilliant summer day.
TATIANA (CONT)
A world of Tsars and Princesses
and elegant palaces. . .
CAMERA MOVES CLOSER TO the picture. . .
TATIANA (CONT)
and grand parties. . .
The PHOTO dissolves into REALITY in brilliant color as
the day turns into night and the summer cools into
winter. We see the palace at night, blanketed in a
beautiful, almost glowing, snow as hourse drawn carriages
pull up to the front door.
TATIANA (CONT)
A beautiful, magical time. . .
MOVE INTO THE PALACE
TATIANA (CONT)
That would soon be gone
forever. . .
INT. PALACE AT ST. PETERSBERG - NIGHT
Elegant ROYALISTS mingle around the MAIN HALL as an
ORCHESTRA plays.
All eyes turn to the GLASS DOORS OF TWO ELEVADORS which
descend grandly on either side of a beautiful staircase.
Through the glass doors we see TATIANA, the Dowager
Empress, 60, imperious and bedecked with jewels, she is
seemingly unapproachable. TSAR NICHOLAS and his SON are
with her. In the other elevador, ALEXANDRA and her
daughters - well, all her daughters except. . .
ANASTASIA, eight years old and apparently late for the
party, rushes down the upstairs hallway followed by a
SERVENT (SONYA) 16, who is trying to catch up with
Anastasia to tie a large ribbon in her long, dark hair.
SONYA
(whispering)
Princess Anastasia - you're
late and it's all my fault!
ANASTASIA
Don't worry, Sonya, no one'll
notice. . .
Just then, Sonya lassoes the ribbon around her hair,
stopping Anastasia with a
ANASTASIA
(loudly)
. . . owwwwwwwww!
All eyes turn to Anastasia, who once she realizes that
she's the center of attention, flashes a mischievous
smile and descends the staircase in grand style. As the
ribbon falls out of her hair and down her back,
Anastasia kicks it to Sonya without breaking stride.
Tatiana sees her and can't help but smile.
The music suddenly becomes a FLOURISH OF TRUMPETS.
SERVENTS open the elevador doors as the ROYAL FAMILY
steps out and begins a proccession through their
subjects. Tatiana holds out her arm to Anastasia as she
makes it to Tatiana's side just in time. Anastasia has
a beautiful but slightly impish face, dominated by
large, blue, mischievous eyes. She an abundance of
energy and confidence for a girl her age.
"THE RULARS OF RUSSIA" (OPENING NUMBER)
The elegant guests sing their admiration as the
beautiful and happy Romanov family makes it's entrance
into the ball, they're "the pride of all Russia".
Vladimir invites Sophie to dance and the entire
glittering assembly assembly swings into a GLORIOUS SWEEPING
WALTZ. Singing their certainty that the Romanovs will
rule forever.</u>
During the above, the ball is in full swing. Beautiful
COUPLES swirls across the dance floor, including
Anastasia dancing gracefully with her father.
Under a long buffet table, we see DMITRI, 11, darkly
handsome, dressed in ragged servant clothes, with a
shock of dark hair which continuoually falls accross his
eyes as watches the guest enviously. Anastasia, still
waltzing with her father, sees him. SERVENTS cross the
room carrying a trays of BEAUTIFUL TROPICAL FRUIT. The
guests "Ew" and "ah" at the sumptuous fruit. Anastasia
sees Dmitri eyeing it hungrily and without missing a
dance step, she grabs an orange off thr tray and tosses
it to Dmitri. He catches it and smiles broadly at her.
Suddenly, A HAND grabs Dmitri and pulls him out from
under the table. It's IVAR, the HEAD SERVENT, who pulls
Dmitri into an open wall panel.
IVAR
(angrily)
You're a servent! Never forget
your place!
DMITIRI
(defiant)
Someday my place will be out
there!
IVAR
Never! You're a peasant,
Dmitri! Back in the kitchen
RULARS OF RUSSIA (CONT.)
UNDERSCORE CONTINUES as Dmitri is dragged from his
hiding place under the table and back to the kitchen.
It's like the Moscow circus back there, COMIC MUSICAL
CONFUSION. The servants sing about their demanding
employers and mockingly imitate their behavior: they
imply that they have their own "party", that change is
coming.
While back in the ballroom, the Royalists are
oblivious to the servants discontent and sing their
satisfaction with their own lives.
DRAMATIC UNDERSCORE CONTINUES though the following
scenes.</u>
ON TATIANA
in a large throne-like chair. Tatiana is very serious
and very regal. She slides over to make room for
Anastasia who sits next to her.
TATIANA
Why were you so late tonight
ANASTASIA
I was showing Sonya
something . . .
TATIANA
What were you showing her?
ANASTASIA
(sheepishly)
How to read.
TATIANA
I thought you were told not to
tutor your servants anymore.
ANASTASIA
I know, but I had to because . . .
Anastasia looks up at Tatiana and sees her smile with
pride. Anastasia knows she doesn't have to explain.
ANASTASIA
(cuddling)
Oh, Grandmama, why do you have
to go back to Paris?
TATIANA
It's where I've made my home
but I do have something for
you . . .
Tatiana reaches from behind the chair and brings out a
beautiful MUSIC BOX. Tatiana takes the key, a small
silver and enamel flower, on a silver neck chain and
winds it up. MUSIC BEGINS, she hands Anastasia the key.
CLOSE UP
the key bearing the inscription "Together in Paris".
ANASTASIA
"Together in Paris"! Oh, when
can we be "together in Paris?!
TATIANA
When you're older . . .
Anastasia makes a disgruntled face. Tatiana laughs.
TATIANA
Until then, whenever you hear
this song, think of me and know
that I'm waiting for you.
Tatiana puts the key around Anastasia's neck and they
embrace. Then, suddenly . . .
ON THE GRAND CHANDELIER
the lights begin to fade in and out.
GROUP SHOT
as PEOPLE in the ballroom look around bewildered. Then,
a WHIRLWIND kicks up, sending everyone off the dance
floor, as the whirlwind becomes a TORNADO.
Suddenly, an ALBINO BAT (BARTOK) with huge eyes, springs
out of the funnel, screeching and swooping over the
crowd, causing everyone to duck and cover their heads in
fear.
The tornada reaches it's peak and EXPLODES in smoke -
leaving RASPUTIN standing alone in the middle of the
floor. He is of indeterminate age, towering over other
men in the room, his most striking feature are his eyes
VARIOUS SHOTS
of Nicholas, Alexandra, Sophie and Vladimir, Dmitri
peeking out ofthe wallpanel, Tatiana and Anastasia,
all of whom are frightened.
NICHOLAS
as he gathers his son and wife to his side
NICHOLAS
Rasputin! You're alive . . .
RASPUTIN
(advancing)
Despite being shot, poisoned
and thrown into an icy river . . .
YES!
NICHOLAS
(honestly)
I had nothing to do with it!
RASPUTIN
You gave the orders!
NICHOLAS
I did no such thing!
RASPUTIN
After all I've done for your
family - YOU TRIED TO KILL
MEEEEEE ! ! !
Rasputin swings the reliquary, wrapping himself in smoke
which seems to grow larger. Eerie moaning noises come
from the reliquary. PEOPLE back awayin terror.
RASPUTIN (CONT.)
The Romanov dynasty ends here!
You, your wife and children
will all die within the
fortnight!
ANASTASIA
NO!
Anastasia leaves Tatiana and rushes to stand in front of
her father. Still holding her Music Box, Anastasia's
shaking hands are the only thing that gives away her
fear. Rasputin spins toward the voice.
ANASTASIA
We're not afraid of you!
RASPUTIN
(furious)
You . . . my little babushka . . .
you'll be so much fun to kill
that I'll save you for last!
Twirling the reliquary again, the MOANS grow louder as
Bartok circles around his head. The smoke that emerges
seems to have almosy a human shape to it.
RASPUTIN
THIS IS THE END OF THE ROMANOV
LINE - FOREVER !!!!
The tornada of smoke begins again, whipping into a
frenzy and then EXPLODING.
The smoke clears and Rasputin is gone. As the lights
return to normal the Romanov family all stand together,
and try to look regal and in control once again.
TATIANA (O.C.)
Some say Rasputin ad harnessed
all the dark powers of evil and
that it was his curse which
brought about the end . . .
DISSOLVE TO:
the ROMANOV FAMILY fades into a PORTRAIT OF THE FAMILY.
TATIANA (O.C.)
I will never know for sure.
All I do know is that the
beauty of our world was soon
Gone . . . Forever . . .
a lick of BRIGHT ORANGE FLAME creeps into view.
"RULERS OF RUSSIA" (VOCAL REPRISE)
HUGE, OMINOUS VOCALS reprise the onceglorious watlz
of the Romanovs, heralding the end of their world and
underscoring the coming revolution.</u>
PULL BACK
to see the PORTRAIT, a huge FRIEZE which covers an
entire entire wall, singeing as the FLAME creeps up the nearby
drapery, tinting the room in a red glow.
A SCREAMING MOB, some in uniform, some not, has crashed
into the palace and is heading up the stairs. A few in
the mob fire off orange RIFLE SHOTS.
INT. ANASTASIA'S BEDROOM - NIGHT
Anastasia BOLTS UP, hearing the shots. Her music box is
next to her on her nightstand.
INT. HALLWAY - NIGHT
Mass confusion as the MOB is met by a few SERVANTS, who
try to stop them from advancing. More shots.
ON THE ROMANOV'S
still in nightclothes, are being rushed down the
hallway. Tatiana is next to Anastasia as Anastasia
stopsdead in her tracks.
ANASTASIA
My music mox!
Anastasia turns around and runs back down the hall.
Tatiana tries to stop her.
TATIANA
Anastasia, no!
It's too late, Anastasia fights her way back into her
room, with Tatiana following her.
FROM THE OTHER END OF THE HALLWAY
we see Dmitri watching amidst all the confusion.
INT. ANASTASIA'S BEDROOM - NIGHT
Anastasia grabs her music box as Tatiana rushes in.
TATIANA
Hurry, child!
LOUD RIFLE SHOTS are heard as Dmitri bursts into the
room, closing the door behind him.
DMITRI
No - this way!
Dmitri runs to a wall panel and thows his weight
against it. It opens, revealing a passage way.
DMITRI (CONT.)
Go! Run!! Out the servant's
quarters!
Tatiana, enormously grateful, looks at Dmitri as he
flips his hair out of his face unconsciously.
DMITRI
Go!
Tatiana goes in as Dmitri shoves Anastasia toward the
passageway, knocking the music box out of her hand. She
reaches for it, but hearing the mob voices growing
closer, he pushes her through the panel without it.
DMITRI (CONT.)
Go!
Tatiana quickly follows Anastasia into the passageway
and Dmitri closes the panel JUST AS the mob bursts in.
DMITRI (CONT.)
(lying to the mob)
No one's here! Let's try the
next room!
The MOB, accepts the word of a peasant boy and rushes
out. Dmitri picks up the music box and looks sadly
toward the panel.
EXT. TRAIN STATION - NIGHT
Which is under siege by ROYALISTS trying to board the
overcrowded train and the REVOLUTIONARIES who are trying
to stop them.
A TOURING CAR pulls up RIGHT ON THE TRACKS behind the
caboose as the train starts to pull away.
Tatiana and Anastasia climb out of the car and race for
the train, fighting their way through the frenzied and
frightened crowd. WE HEAR shouts of "The Empress - let
her through!" which helps clear the way.
Anastasia reaches the train first, then turns to see
Tatiana. trying to catch up.
ANASTASIA
Hurry, Grandmama!
TATIANA
Get on! Anastasia, get on!
Anastasia refuses to board the train.
UP AHEAD
A MOB OF REVOLUTIONARIES block the tracks with a TRUCK
ON ANASTASIA
who pushes Tatiana up the stairs of the caboose. This
puts Anastasia a few steps behind as the train speeds
up. Tatiana is gripped by other passengers as she
reaches out to Anastasia.
TATIANA
Grab my hand!
Anastasia reaches up and takes Tatiana's hand.
ANASTASIA
Don't let go!
CLOSE ON
the TWO HANDS. then suddenly. her small hand is pulled
from Tatiana's grasp and falls out of the frame.
TATIANA (O.C.)
ANASTASIA!
ON ANASTASIA
who has stumbled, hitting the ground hard.
ON TATIANA
horrified, screaming:
TATIANA
ANASTASIA!
Tatiana rushes to jump off the train after her, but is
caught and held back by the ROYALIST PASSANGERS as the
train CRASHES through the truck and picks up speed.
TATIANA's POV:
Anastasia rising from the ground, her hand outstretched.
But she is suddenly swallowed up by the mob.
SUPERIMPOSE:
A BLACK AND WHITE PHOTOGRAPH
of Anastasia, in a happier time, smiling.
UNDERSCORE: "THE MUSIC BOX THEME"
TATIANA (O.C.)
I never saw her again. . .
The PHOTO ALBUM slowly closes. . .
END OPENING NUMBER
DISSOLVE TO:
EXT. ORPHANAGE - DAY
A gray and ugly, post-revolution building with a sign
above the door that identifies it: "Young Comrades
Without Parents".
INT. ORPHANAGE - DAY
CHILDREN of all ages clean the cold, gray dormitory.
Their clothes are ragged and they look underfed.
CLOSE ON
ANYA, 18, pretty despite the boy's hand-me-down clothes
she is forced to wear, is busy scrubbing the floor.
Unlike the others, she is determined not to let her
surroundings get to her. She hums a tune.
The door suddenly SLAMS open and GREGOR, 8, and clearly
terrified, comes running in followed by COMRADE
PHLEGMENKOF - a huge woman carrying a switch.
GREGOR
Anya! Anya!
All of the OTHER KIDS turn away, not wanting to get
involved. Anya focuses on Gregor, who is shivering with
fright and on the verge of tears as Phlegmenkof
approaches, swinging the switch menacingly.
PHLEGMENKOF
You can't get away from me
now . . .
Phlegmenkof advances on Gregor. Anya takes the scrub
brush and SHOVES it across the floor, right under
Phlegmenkof's unsuspecting foot. Phlegmenkof's feet fly
out from under her and she SMASHES to the floor. Gregor
hops over her huge body and runs to Anya for safety.
Some of the OTHER KIDS glance over. A CHUBBY GIRL and a
very pretty LITTLE GIRL, look at Anya with greeat
admiration . . . someof the OTHERS think she's crazy.
Phlegmenkof rises, covered with soap bubbles , and spins
on Anya - who gives her a very innocent smile.
PHLEGMENKOF (CONT.)
You! You did this!
Some of the OTHER CHILDREN laugh as soap bubbles fly off
the enraged woman. She spins on them, her back to Anya.
PHLEGMENKOF (CONT.)
Brats! There'll be no supper
for any of you! Back to work!
Anya, behind Phlegmenkof, mimics her outraged face and
angry gestures perfectly - as the CHILDREN laugh harder.
Phlegmenkof spins and almost catches Anya. She advances
on Anya as Gregor hides behind her legs.
ANYA
Don't touch him.
PHLEGMENKOF
(to Anya)
You ragged, skinny, little
nothing! I have had just about
enough of you . . .
Phlegmenkof raises her hand to slap Anya, who hold her
ground. Suddenly, Phlegmenkof SNIFFS the air.
ON THE KIDS
as the horrible smell reaches them too. They all make
faces and hold their noses.
ON PHLEGMENKOF
who first sniffs under her raised arm, then realized the
cause of the stench . . .
PHLEGMENKOF (CONT.)
Comrade Serebreakov!
She tries to straighten herself out nervously - this
must be someone very important.
COMRADE SEREBREAKOV stands in the doorway, lecherously
eyeing the girls. He is a huge, fleshly man with facial features which are reminiscent of a fish.
PHLEGMENKOF (CONT.)
(flirting)
Comrade Serebreakov! What a
lovely surprise! What brings
you here?
SEREBREAKOV
I need. . . a worker.
His eye catches Anya. He looks her up and down, his
beady eyes showing a touch of lust for her.
SEREBREAKOV (CONT.)
I will take her.
He leans close close to Anya.
SEREBREAKOV (CONT.)
Tomorrow you begin your life's
work in my hearing factory.
You'll start by cutting off the
tails - but if I'm pleased with
(MORE)
SEREBREAKOV (CONT.)
you - you just may move up to
cutting off the heads. How
does that sound?
ANYA
About as bad as you smell!
Phlegmenkof moves between them, pulling Serebreakov
away.
PHLEGMENKOF
No, no, Comrade - you don't
want her . . .
SEREBREAKOV
I want her.
PHLEGMENKOF
That's horrible, skinny thing?!
She's crazy - she has no memory
of anything before she came
here! She didn't even know her
name! That one is a rotten
troublemaker, willful. . .
SEREBREAKOV
I'll break her will. . .
(to Anya)
I shall come for you tomorrow
at dawn.
(he touches her face as
she pulls away)
You will enjoy serving under
me.
Smiling in anticipation, he exit.
PHLEGMENKOF
I couldn't break you - but he
can!
And she turns to leave in a huff. Anya does one more
imitation of her, making the CHILDREN laugh. But as
Anya turns away from her audience, we see her facade
fade and realize her terror of the future.
INT. ORPHANAGE - NIGHT
The CHILDREN huddle in their cots under tattered, thin
blankets. Anya is fully dressed, illuminated by the
light of a FULL MOON, she ties a dull gray sheets together
and anchors the "rope" to an ice cold radiator and
throws the other end out of the window. She is about to
climb out when she looks at the sleeping children and
smiles sadly. She walks over to Gregor's bed and puts
one hand lovingly on his head and then reaches over and
takes the hand of a sleeping LITTLE GIRL, who opens her
eyes and smiles.
GREGOR
(loudly)
Anya?
The other childern wake up as Anya gently "shushes" him.
GREGOR (CONT.)
(quietly)
Are you running away?
ANYA
No. I'm running <u>to</u>.
LITTLE GIRL
Running to? Running to what?
ANYA
To find my home.
A CHUBBY TWELVE YEAR OLD GIRL looks at Anya.
CHUBBY GIRL
But you are home.
ANYA
No. This isn't a home - it's
just a building. Home is where
you belong and none of us
belong here.
GREGOR
Where is your home, Anya?
ANYA
I'm not sure but look. . .
Anya shows Gregor the key around her neck.
CLOSE UP on the inscription: "Together in Paris"
ANYA
It says "Together in Paris". I
was wearing this when I came
here ten years ago - it's the
only way that I know . . .
ANYA (CONT.)
(beat)
. . . that I must have been
someone someone loved.
CHUBBY GIRL
Is your home in Paris?
ANYA
It might be. I have to go and
find out.
Anya smiles lovingly at the children.
"A SOMEPLACE AND A SOMEONE"
(Anya's "I want" song). Anya SINGS SOFTLY to the children about how all she has is the key around her neck to the "someone and thesomeplace" she was "lost from long ago". She tells the children that she must go find them again.</u>
UNDERSCORE continues.
ANYA
I have to go now, before it
gets light.
GREGOR
(worried)
But what if we can't ever find
where we came from?!
ANYA
Then you'll have to make your
own home. Lots of people do.
Anya embraces the children and walks to the window.
GREGOR
(nervous, sad)
Anya! What if <u>we</u> can't find
anyone who loves us?!
ANYA
Then come find me.
Gregor is relieved and cuddles into his bed as Anya
smiles lovingly and crawls out the window.
EXT. ORPHANAGE - NIGHT
Anya begins to climb down the street, testing the knots.
The knotshold tight, but the old sheet RIPS in half,
sending her PLUMMETING into a snow drift. From the
depths of the snow we HEAR her voice.
ANYA (O.C.)
I hope there's no snow in
Paris. . .
EXT. HILLSIDE - DAWN
A glorious bright (and cold) dawn creeps over the
horizon. Anya stands at edge of the hill, looking
down on the city of ST.PETERSBURG. The old gray
orphanage looms behind her. Anya "borrows" an old,
beat-up bicycle from the orphanage and rides down the
hill.
Music picks up in energy and excitement as Anya zooms on
her way bumping and bouncing downhill as the sunrises
and St. Petersburg looms nearer.
"A SOMEONE AND A SOMEPLACE" (CONT.)
Music becomes UPTEMPO, HOPEFUL, ACTIVE, ACTIVE. Anya SINGS - - full of hope, energy and excitement as she peddls her rickety bike toward the city. "Her heart is on its way" and nothing is going to stop her.</u>
Anya passes though the countryside toward the city. A
peasant family waves to her as she goes by. A Gypsy
Troupe performs tricks by the side of the road. A very
fancy car zooms by.
"A SOMEONE AND A SOMEPLACE" (CONT.)
Anya SINGS, imagining who she might be – anyone from
a peasant to a princess! But it doesn't matter as long
as she finds her real family.</u>
People stare at her as she rides into the edge of the
city. She is captivated by all the activity: cars,
busses, stores, long lines of people, etc.
"A SOMEONE AND A SOMEPLACE" (CONT.)
Anya SINGS – in this sea faces, there must be
someone who has a clue to her identity. She'll stop at
nothing to find the someone who once loved her. SOARING
MUSICAL AND VOCAL CONCLUSION.
END MUSICAL NUMBER</u>
Anya does not see a cute little PUPPY (MEETOO) with a
HUGE BONE in his mouth, being chased along the sidewalk
by a pack of much larger, vicious DOGS until he bolts
across Anya's path forcing her to skid to a stop. She
watched him as he scoots into an alley, followed by the
angry pack.
On reflex, Anya drops the bike and reuns into the alley
after him.
EXT. ALLEY - DAY
Meetoo is trapped. The PACK surrounds him, ready to
pounce when Anya LEAPS into the middle of the circle.
The PACK is startled, but begins to advance on both Anya
and Meetoo.
Anya doesn't know what to do. She crouches and then. . .
growls back at them, making her eyes look as ferocious
as possible. The PACK exchange a confused look; there's
a girl growling at them. Meetoo stands, suddenly brave,
behind her and growls along with her.
Suddenly, Anya pounced toward the pack, growling louder.
The pack has definately had enough - some start to back
out quizzically, others turn and run like hell.
Anya turns to Meetoo, who looks up at her gratefully,
wagging his tail. Anya picks up the bone and puts it
back in his mouth.
ANYA
I think you should be more
careful about who you invite to
dinner!
Meetoo nods and lets out a little "bark" that sounds as
if he were saying "retu". Anya pats him and heads back
to her bike.
EXT. ST. PETERSBURG STREET - DAY
Anya rides down the street. She doesn't see Meetoo,
running like a little maniac behind her.
Anya approaches a STERN LOOKING BUILDING with a sign
over the door: "The People's Bureau of Bureaucracy".
She leaps off her bike and heads up the stais. Meetoo,
breathing heavily from his run, follows and almost
reaches her when the heavy door slams in his face. He
slumps against it, panting, his little paw-to chest.
INT. BUREAU OF BUREAUCRACY - DAY
Anya enters and STOPS when she sees. . . LINES and LINES
of people which seem to go on forever. She walks down
the side of one line, trying to figure out which one to
stand in.
ANYA
Could someone tell me. . .
PEASANT 1
End of the line!
ANYA
Which line?
PEASANT 2
Any line.
PEASANT 3
All lines are good lines.
PEASANT 1, 2, & 3
(in unison)
In our beloved Soviet Union!
They turn toward an armed Soviet Guard and smile
sweetly, hoping he heard their flattery. He did.
GUARD
Very good. . .
He jots something down in his notebook.
ON ANYA
as she gets closer to the window. She turns to the
person behind her.
ANYA
Is this the right line to get
papers to travel?
PEASANT 4
Travel? Travel to where?
ANYA
To Paris. I have to get to
Paris
PEASANT 5, in front of her, turns around.
PEASANT 5
Paris?! What do they have in
Paris that they don't have
here?
PEASANT 6
Shorter lines?!
Peasant 6 is immediately carted off by TWO ARMED GUARDS
for his blasphamy against the state.
PEASANT 7
(quietly)
Nobody leaves Soviet Russia.
The OTHER PEASANTS join in with variations of "Nobody
leaves Russia" as Anya reaches the window and speaks to
the clerk.
ANYA
Is this where I get traveling
papers?
CLERK
It would be if we let you
travel which we don't so it
isn't.
(loudly, for all to
hear)
Russia is the people's
paradise!
And to further make his point, he slams shut his window,
which immediately opens a crack as he whispers to Anya.
CLERK (CONT.)
See Dmitri. He can help.
He shuts the window, only to open it again immediately.
CLERK (CONT.)
But you didn't hear it from me.
He shuts the window.
ANYA
(doesn't get it)
I didn't
He opens it again.
CLERK
No.
The clerk sticks out a sign: "Samovar Break - back in
ten minutes" and slams the window shut.
EXT. BUREAU OF BUREAUCRACY
Anya steps out of the building, still not seeing Meetoo
and looks around at the hoards of people waiting in
lines for everything: bread, gas, clothes, etc.
ANYA
(to herself)
Dmitri? There must be a
million Dmitris. . .
FOLLOW ANYA
as she wades into the crowded street. Meetoo getting
tangled in the legs of waiting Soviets.
Anya stops suddenly. She sniffs the air. Her eyes
widen as she recognizes the stench that is floating
through the air. She spins around and sees Serebreakov
DIRECTLY ACROSS THE STREET.
Serebreakov is on a mission to find Anya. He turns in
her direction just as a bus passes. Anya is gone.
We now see Anya clinging to the side of the bus as it
drives down the street. Meetoo looks, his face dropping
Anya approaches TWO PEASANTS who are waiting in line in
front of a cafe.
PEASANT 9
(to Peasant 10)
Which line is this?
PEASANT 10
The line to get into the line.
ANYA
Excuse me, do you know
Dmitri. . .
PEASANT 9
I know nothing!
PEASANT 10
Nothing!
PEASANTS 9 & 10
(whispering
simultaneously)
Try the tavern/ library.
They begin to bicker back and forth in forced whispers
as to wether Dmitri is at the tavern or the library.
Exasperated, Anya walks away. They call after her.
PEASANTS9& 10
But we didn't tell you!
Anya rolls her eyes in frustration. She doesn't see
Meetoo at her feet.
ANYA
(To herself)
I wish they'd all stop telling
me they didn't tell me!
Meetoo gives a "retu" of agreement. Anya looks down and
sees him.
ANYA (CONT.)
What are you doing. . .
Just then, she catches another whiff of something foul
in the air. Anya duck quickly into a doorway and loses
Meetoo. Anya peeks out. A GARBAGE WAGON full of dead
fish and rotten food passes Anya. She sighs with relief,
it wasn't Serebreakov - it just smelled like him.
Anya steps out of the doorway and approaches a STREET
ARTIST sketching a LARGE PEASANT WOMAN as her TINY
HUSBAND looks over his shoulder.
TINY HUSBAND
(To Artist)
Could you get rid of her
moustache?
ANYA
Excuse me - I'm looking for a
man named Dmitri. . .
The Artist quickly scribbles and address on his pad and
hands it to her without turning around.
ARTIST
But I didn't write it.
Anya looks down at the note
CLOSE ON NOTE
"St. Petersburg Art Theatre - 99 Pushkin Street"
DISSOLVE TO A SIGN
"Pushkin Street"
CAMERA PANS TO:
EXT. ST. PETERSBURG ART THEATRE - DAY
Where WE HEAR a cacophony of FEMALE VOICES as the camera
moves inside.
INT. ST. PETERSBURG ART THEATRE
The waiting room is filled with YOUNG WOMEN, of various
shapes and sizes, holding reading aloud from a piece of
paper. WE HEAR many variations of "Oh, Grandmama! It's
me, Anastasia. I've waited so long to see you".
INT. STAGE
An ACTRESS stands in front of what looks to be an OLD
WOMAN in a shawl who's back is to the "audience".
ACTRESS 1
(over the top)
Oh, Grandmama! It's me,
Anastasia! I've waited so
long to see you!
The Actress then LUMBERS over to the OLD WOMAN, with a
gait like John Wayne.
REVERSE ANGLE
to see the "Old Woman" is Vladimir, with a shawl over
his head. He looks older, of course, but with the same
dapper mustache. He rolls his eyes.
VLADIMIR
(out to audience)
Dmitri! I can not work with
her!
(MORE)
VLADIMIR (CONT.)
(to Actress)
May I remind you that you are
supposed to be Princess - not a
lazy lumbering lout!
IN THE SEATS
is Dmitri. Now 20 and darkly handsome. His hair still
falling in his eyes as he flips it off his forehead.
DMITRI
Vladimir, calm down!
Vladimir walks off the stage and toward Dmitri.
VLADIMIR
This, my friend, as an exercise
in futility! We shall never
find a girl to play the
Princess Anastasia out of this
motley crew of commoners!
Vladimir dramatically throws one end of his shawl over
his shoulder.
DMITRI
For a ten million rubles reward
we can look a little longer.
This is the big one. . . and all
I need is the right girl.
"A SOMEONE AND A SOMEPLACE" (REPRISE
(Dmitri's "I want") Dmitri SINGS a reprise of Anya's
song, a COMIC VERSION, in which he expresses the hope
that he can find the right girl for his scam. Anyone
from a peasant to a princess will do, as long as she can
fool Tatiana.</u> (NOTE: We don't want to give Dmitri a
whole new song here or we'll be too song-heavy in Act I.
By giving him a short reprise of Anya's song, we can
effectively align these two characters emotionally.)
QUICK CUTS:
of various aspirants:
ACTRESS 2
(heavy hasal)
Oh, Grandmama! It's me,
Anastasia. I've waited so long
to see you.
DMITRI (O.C.)
Next!
ACTRESS 3
(stupid)
Oh. . . Grandmama it's me.
Anastasia, I have waited so
long, too.
(as a good-bye)
See you!
DMITRI (O.C.)
Next!
ACTRESS 4 looks like a hooker and sounds like Mae West.
ACTRESS 4
Oh. . . Grandmama. . . It's me. . .
DMITRI (O.C.)
Next!
BACK TO DMITRI
DMITRI
I wouldn't be on the outside
anymore. The ten million
rubles would make me welcome
anywhere. I'd really belong
somewhere - if I could just
find the right girl.
BACK TO QUICK CUTS:
A very round ACTRESS 5
ACTRESS 5
Oh, Grandmama. . .
DMITRI (O.C.)
Next!
ACTRESS 6
(very intense)
What's my modivation?
ON VLADIMIR
VLADIMIR
(calling out to seats)
Stanislavski!
CUT TO STANISLAVSKI
shrugs innocently.
DMITRI (O.C.)
Next!
ACTRESS 7 is actually a man.
ACTRESS 7
Oh. . .
ON DMITRI
in a state of disbelief.
DMITRI
I've gotta find the right girl!
END MUSICAL NUMBER
DMITRI
Next.
EXT. ST. PETERSBURG ART THEATRE
Anya rides up to front of the theatre and drops her
bike. She rushes the steps.
INT. THEATRE
now empty as Dmitri and Vladimir are gathering up their
things to leave. Vladimir still wears the remnants of
the evening clothes that he worein the first scene.
VLADIMIR
It's no use, Dmitri - we'll
never find the right girl!
DMITRI
We will. We <u>have</u> to.
(trying to cheer him
up)
Come on, Vlad - she's out
there.
They walk out the door.
EXT. ST. PETERSBURG ART THEATRE - CONTINUOUS
DMITRI
She could be right under our
nose
Anya is running up the stairs as Dmitri walks out and
they COLLIDE: her forehead banging Dmitri literally
under his nose. Dmitri grabs his upper lip in pain.
DMITRI
(over reacting)
Ouch! That really hurt!
ANYA
I'm sorry. . . I'm. . .
DMITRI That's quite a hard head you've got there, boy.
In her old hand-me-down boys clothes andhat pulled low,
she could easily be mistaken for a boy.
ANYA
(breathless)
I'm looking for Dmitri. I need
traveling papers - to Paris. I
heard Dmitri could help me.
Vladimir and Dmitri exchange a look. . . wary. . . Dmitri
looks around and motions to Vladimir to handle it while
he walks ahead nonchalantly.
VLADIMIR
Who did you hear it from?
ANYA
I heard it from everyone who
said I didn't hear it from
them! Do you know Dmitri?
Dmitri keeps walking ahead followed by Vladimir. Anya
is determined not to give up and keeps up with Vladimir
even though she keeps getting bumped and pulled off
track by people walking in the opposite direction.
VLADIMIR
(loudly, acting)
Providing travel papers is
illeagal!
(then, quietly)
I know Dmitri well - perhaps I
can help you. Providded you
have enough money to pay for
this service. . .
ANYA
Well, I don't have any money . . .
VLADIMIR
Good day!
Vladimir pats her on the head and walks away.
ANYA
I have a bike! Perhaps I could
sell it and. . .
Vladimir keeps walking, catching up to Dmitri.
Anya runs back around to the front of the building where
she left her bike. She stops suddenly when she realizes
that there is no bicycle there anymore - just Meetoo.
ANYA (CONT.)
What are you doing here? And
where's my bike?
A POLICEMAN strolls by.
ANYA (CONT.)
Officer! My bike has been stolen!
POLICEMAN
Nonsense. There is no crime in
the Soviet Socialist Republic.
And he keeps walking. Anya realizes that there is no
hope in pursuing the policeman so she heads off to find
Vladimir - who has vanished down the street. Meetoo
starts to follow her.
ANYA
Sorry, boy, I have to go.
Meetoo barks "retu" and starts after her.
ANYA (CONT.)
No. You can't come with me.
I'm leaving. . .
Meetoo barks his "retu" and starts after her again.
ANYA (CONT.)
(laughing)
It sounds like you're saying
"me too". Listen little guy, I
have money, no food. . . and
no bicycle. I'm the last
person you should be following!
Anya pats him on the head and heads off in the direction
of Vlad and Dmitri. Meetoo, of course, follows her.
FURTHER DOWN THE STREET
Anya spots Vladimir and Dmitri turning the corner in the
distance. Anya runs, trying to catch up with them. She
turns the corner and STOPS.
ANYA'S POV
the PALACE in the distance, only now it's run down,
boarded up and partially burned.
Anya is taken back. She stares, fascinated by it -
moved by it . As the sun sets behind the Palace, it's
bathed in a beautiful golden light.
INT. PALACE BEDROOM - NIGHT
CLOSE on a roaring fire, over which Vladimir has
fasioned a roatating "spit" which is propelled by a
Victrola. Vladimir is carefully basting the only thing
on the spit: a head of cabbage.
Dmitri is sitting by the window, staring at the MUSIC
BOX that Anastasia dropped the night of the revolution.
VLADIMIR
. . . even if we find her, what
makes you think the
Empress will even see us?
Dmitri holds up the music box.
DMITRI
She'll see us.
EXT. PALACE AT ST. PETERSBURG - NIGHT
Anya approaches, tentative and glancing around. She
tries to open the door but it won't budge, so she moves
to a boarded up window. She looks through a crack in a
board.
INT. BALLROOM
Dark and eerie. All of it's former glory destroyed.
CAMERA RISES to a partially destroyed CHANDLIER ehere
we see BARTOK, the bat who was with Rasputin.
He hangs upside down next to a FEMALE BAT. He clears
his throat - she doesn't respond. Using his wings, he
gives his "hair: a quick grooming.
BARTOK
You, uhh. . . hang here often?
(laughs nervously)
"Hang" get it? I said "hang"
and we're both, you know, cause
we're bats. . . and, uhhh. . .
what's your sign?
No reaction from FEMALE BAT.
EXT. PALACE
Anya uses a stick to pry off some of the window boards.
We HEAR a crack.
INT. PALACE BEDROOM
SAME CRACK noises from downstairs just as Vladimir's
cabbage falls from the spit into the fire.
DMITRI
(off noise)
What was that?
VLADIMIR
That was your dinner! I do
hope there is no cabbage in
Paris!
INT. BALLROOM
BARTOK
Whatta' ya say we go somewhere
- maybe get a bug to eat. Get
it? A "bug" to eat, 'cause
we're. . .
FEMALE BAT rolls her eyes in disgust and flaps away.
BARTOK (CONT.)
(one last try)
I'm a Gemini. . .
He hears the SOUND of boards being torn off the window.
BARTOK'S HIGH ANGLE POV
Anya climbs into the ballroom.
INT. SMALL ROOM
Meetoo manages to wiggle in after her and follows Anya
as she wanders around, spell bound by the faded glory of
the palace.
INT. DINING ROOM
Anya wanders into the partially destroyed room and bends
down to inspect half of a broken plate that's lying on
the floor. The instant she touches it, she pulls her
hand away as if SHOCKED. Recovering, she picks it up.
CLOSE ON PLATE
painted with decorative dancing Russian bears.
Anya wanders out of the room and to the top of a HUGE
STAIRCASE which leads down to the once grand BALLROOM.
She stops at a large landing half way down the steps.
Meetoo sees a large curtain hanging precariously on the
side wall. Being a puppy he can't resist leaping and
grabbing at it with his teeth. Anya notices and runs
her hand along a the carved butterflies in the worn
banister.
ON ANYA
who jumps, startled, as Meetoo pulls the curtain and it
hits the floor.
INT. PALACE BEDROOM
Dmitri and Vladimir look up from their burnt cabbage.
They heard it too.
INT. STAIRCASE (BALLROOM)
Anya is relieved to see it is only Meetoo, who wags his
tail happily with the curtain still in his mouth.
ANYA
What are you do. . .
Anya STOPS mid sentence, taken by what she sees.
ANYA'S POV
Behind the curtain was the FRIEZE of the ROMANOV FAMILY.
The moonlight hits the portrait with a ghostly glow.
"ONCE UPON A DECEMBER" (THE MUSIC BOX THEME)
Anya is mesmerized by the FRIEZE. She looks around the
Ballroom. . . almost remembering something. . .
ANYA
(singing)
DANCING BEARS, PAINTED WINGS
THINGS I ALMOST REMEMBER.
AND A SONG SOMEONE SINGS
ONCE UPON A DECEMBER
As she sings the ballroom transform into it's once
spledid glory. Anya takes off her coat and at once her
rags are transformed into a beautiful gown. NICHOLAS
steps down from the FRIEZE and walks her down the stairs
gracefully and begins a waltz with her.
ANYA (CONT.)
SOMEONE HOLDS ME SAFE AND WARM
HORSES PRANCE
THROUGH A SILVER STORM
FIGURES DANCING GRACEFULLY
ACROSS MY MEMORY.
MUSIC BUILDS. A CHORUS of voices sing the melody as
royal ghosts appear as elegant and beautiful as in the
opening scene. Then
ANYA (CONT.)
SOMEONE HOLDS ME SAFE AND WARM
HORSES PRANCE
THROUGH A SILVER STORM
FIGURES DANCING GRACEFULLY
ACROSS MY MEMORY.
MUSIC: FULL!
Dmitri and Vladimir appear at the top of the stairs.
DMITRI & VLADIMIR'S POV
some ragged lunatic dancing with "himself".
ANYA (CONT.)
FAR AWAY, LONG AGO
GLOWING DIM AS AN EMBER,
THINGS MY HEART USED TO KNOW
THINGS IT YEARNS TO REMEMBER
Anya is released from Nicholas' embrace. He kisses her
on the forehead and slowly backs away. She follows
Nicholas, back up the stairs to the landing, where the
sun has caused a "dust" mist.
Then, magically, TATIANA appears through the mist, a
loving beautiful vision from the past.
ANYA (CONT.)
AND A SONG SOMEONE SINGS
ONCE UPON A DECEMBER.
DMITRI (O.C.)
(yelling)
Who are you?!
END NUMBER
Dmitri's voice causes the visage to disintegrate. All
goes back to the way it was - dark and destroyed.
Anya spins toward Dmitri, surprised and frightened.
DMITRI'S POV
Anya is caught in a ray of moonlight, directly in front
of the image of Anastasia in the frieze. The
resemblance is striking. Dmitri is taken aback, but
Vladimir is unaffected.
VLADIMIR
You're trespassing, boy!
Anya is dazed by what has just happened to her and can't
quite refocus on reality.
ANYA
I. . . I. . . spoke to you earlier
about traveling paper. .
Dmitri pokes Vladimir with his elbow but doesn't take
his eyes off Anya.
DMITRI
(whispering to Vlad)
It's her.
VLADIMIR
He's her?
DMITRI
Look!
Vladimir looks at Anya again and get it.
ANYA
Are you Dmitri? I didn't mean
to trespass - I don't want to
do anything dishonest, but if
you could just help help me. . .
Vladimir and Dmitri walk down the stairs and up her
stairs and begin to circle around her.
VLADIMIR
Perhaps you heard of our
brilliant plan to find a girl
and. . .
Dmitri pokes him hard in the ribs and shakes his head.
DMITRI
(quietly to Vlad)
She doesn't want to do anything
"dishonest". . .
VLADIMIR
(gets it, whispers)
Ew. . . the honest type.
Dmitri gives Vlad a "let me handle this" gestures.
DMITRI
(off frieze)
You look like her. Like the
Princess Anastasia. Has anyone
ever told you that before?
Anya is coming back to her senses, doesn't like these
men circling her.
ANYA
(sarcastic)
Oh, yeah - in the orphanage
they constantly told me I
looked like a princess! Stop
that!
Dmitri stops circling and then begins to use everything
that Anya says - the perfect and charming con man that
he is - to get what he wants.
DMITRI
People say Anastasia was the
only member of the Royal Family
to escape alive. That makes
her an orphan too
(MORE)
DMITRI (CONT.)
(beat)
What happened to your parents?
ANYA
I don't know - I don't remember
anything that happened before
the revolution. . .
DMITRI
You know, it's strange -
Anastasia's grandmother, the
Dowager Empress Tatiana has
been looking for Anastasia
since the revolution. Why do
you think she wouldn't go to
her own grandmother?
ANYA
I don't know. I don't see what
this has to do with me.
DMITRI
Perhaps it's because she has
amnesia too - can't remember. . .
VLADIMIR
How much do you weigh?
Dmitri pokes him again.
VLADIMIR (CONT.)
(to Dmitri)
I was just wondering since we
already have the dress. . .
ANYA
Look, I came here to get papers
to travel to Paris and. . .
DMITRI
Why do you want to go to Paris?
ANYA
(defiant)
I have my reasons.
DMITRI
Anastasia's grandmother is in
Paris. We're going to bring
Anastasia to her - in Paris.
(MORE)
DMITRI (CONT.)
(beat)
And I think you are the
Princess Anastasia.
Anya laughs. Vlad mouths to Dmitri "Do you think she's
really Anastasia?" Dmitri shakes his head no, of course
not, then continues with Anya. Vlad smiles to himself
and walks down the stairs - Dmitri's so good even he got
confused!
DMITRI (CON'T)
You never thought of the
possibility?
ANYA
Look - there isn't an orphan in
the world who doesn't dream
she's a princess but, come
on. . . Look at me!
Dmitri spins spins around, dramatically pointing to
Anastasia's image in the freeze.
DMITRI
NO! YOU LOOK AT HER! LOOK AT
HER!
(beat, then softly)
It could be you.
UNDERSCORE: "THE MUSIC BOX THEME"
Anya fiddles with the key around her neck and looks down
at the ballroom, remembering what just happened there -
could it have been a memory. . .
Dmitri tries to act casual as he turns and starts
walking down the stairs.
DMITRI (CONT.)
You don't have anything to
lose. If I am wrong - the
Empress will simply tell us you
aren't Anastasia and we'll be
on our way. No harm done - an
honest mistake - but at least
you <u>will</u> be in Paris.
Anya touches Anastasia's painted hand in the frieze.
ANYA
(singing in a whisper)
THINGS MY HEART USED TO KNOW
THINGS IT YEARNS TO REMEMBER. . .
Dmitri looks at Anya, her back toward him, as he raises
his arm to her.
DMITRI
Find out the truth - come to
Paris with us.
Anya expression registers her internal debate. What is
it's true. . . It coudn't be. . . but if. . . Then,
ANYA
All right. I will go with you.
Meetoo let's out his "retu". Vladimir lets out a whoop
of joy. Dmitri smiles and bows to Anya..
DMITRI
The Her Royal Highness Princess
Anastasia!
ON BARTOK
having watched the whole thing - he sighs.
BARTOK
Oy. . . he's gonna be so mad. . .
Bartok flies out a broken window and into the night.
EXT. AERIAL VIEW OF ST. PETERSBURG - NIGHT
BARTOK'S POV
The city lights fade and we move into the blackness of
the Russian forest. Finally, in the distance, we see
the orange glow of a fire.
EXT. GYPSY CAMP - NIGHT
Bartok swoops along the wagons. Everyone looks to be
asleep. Bartok keeps flying until he sees an OMINOUS
LOOKING BLACK WAGON, the largest and most elaborate.
Bartok screws up his courage and flies into the open
window of the BLACK WAGON
ANYA
(singing in a whisper)
THINGS MY HEART USED TO KNOW
THINGS IT YEARNS TO REMEMBER ...
Dmitri looks at Anya, her back toward him, as he raises
his arm to her.
DMITRI
Find out the truth - come to
Paris with us.
Anya expression registers her internal debate. What if
it's true… It couldn't be… but if… Then,
ANYA
All right. I will go with you.
Meetoo lets out his "retu". Vladimir lets out a whoop of
joy. Dmitri smiles and bows to Anya.
DMITRI
The Her Royal Highness Princess
Anastasia!
ON BARTOK
having watched the whole thing - he sighs.
BARTOK
Oy. . . he's gonna be so mad...
Bartok flies out a broken window and into the night.
EXT. AERIAL VIEW OF ST. PETERSBURG - NIGHT
BARTOK'S POV
The city lights fade and we move into the blackness of
the Russian forest. Finally, in the distance. we see
the orange glow of a fire.
EXT. GYPSY CAMP - NIGHT
Bartok swoops along the wagons. Everyone looks to be asleep.
Bartok keeps flying until he sees an ONIOUS LOOKING BLACK
WAGON, the largest and most elaborate.
Bartok screws up his courage and flies into the open
window of the BLACK WAGON.
INT. RASPUTIN'S WAGON
A lone candle lights the dark wagon. A frightened Bartok,
stays on the window sill.
BARTOK
Ummm ... Father Gregori? It's,
uhh ... me. Bartok.
(a sign of relief)
Phew! Not home ...
Rasputin's face suddenly ROARS into FRAME from the bed
below, his eyes fiery red and his beard wild.
RASPUTIN
What?
BARTOK
Oh my God!
(wing to chest)
Don't do that ... feel my heart.
Go ahead. I'm dying here ...
RASPUTIN
(smiling)
And what do you want, my little
rat-with-wings?
Rasputin rises and pours himself a glass of vodka.
BARTOK
Name calling! That's mature.
Rasputin grabs him by the throat.
RASPUTIN
I gave you that tongue and I
can rip it out!
BARTOK
(strangled)
No, I really like my tongue...
we're very attached.
(rasputin releases him)
Oyyyy... Okay, now... promise
you won't get angry.
RASPUTIN
(sweetly)
Why would I ever be angry with
you, little friend?
BARTOK
Yeah, right. Keep that thought
okay? So, I'm in town, stop by
the old palace. You get a better
class of bats there - no tattoos
or anything.
Rasputin rummages around for a full bottle of vodka,
tossing the empties - which Bartok has to dodge.
BARTOK (CONT.)
So, I'm cruisin' the rafters and...
what can I say, I struck out. I
thought chicks would like the fact
that I can talk, you know but,
I mean, the way things are going
I couldn't get invited to a plague.
(a bottle smashes)
Someone's gotta clean that up...
RASPUTIN
Get to the point sometime tonight..
I'm late for a wenching.
BARTOK
Okay... you're not gonna like this
but, well, it looks like Anastasia
is ... still alive.
He tenses, waiting for Rasputin's explosion but Rasputin
just laughs.
RASPUTIN
Impossible. That rumor's been
around for years.
Bartok hovers face-to-face.
BARTOK
Trust me, it's her!
RASPUTIN
(eyes narrowing)
How do you know?
BARTOK
Rodent's intuition, how do I know?
She looks exactly like her.
Except she's taller,
which is natural ... Of course
my second cousin Treplev - he
never grew. Looks like a
little pepper shaker. He was
so cute ...
Rasputin begins a slow growl that builds.
BARTOK (CONT. )
Oyyy... I knew this was gonna
to upset him!
Rasputin howls in anger and smashes his glass against
the wall. He moves toward the CABINET, knocking over
furniture. Rasputin flings open the cabinet and we see
the RELIQUARY, glowing gently as if it were sleeping.
Bartok covers his eyes in fear. Even Rasputin seem a
bit nervous in front of it.
RASPUTIN
(with reverence)
Source of my power. Owner of
my soul. I need your help.
Rasputin takes the RELIQUARY out of the cabinet and
sets it on the table.
BARTOK
Hey, she's just a kid. And she's
going to Paris outta sight,
outta mind, outta Russia.
RASPUTIN
I cursed then all!
BARTOK
My Aunt Bella, sweet woman not
the brightest bat in the world -
she used to hang right side up,
anyway she always said "Curses
were made to be broken". Course,
she said it in those irritating
little bat squeaks, so it wasn't
quite so profound...
Rasputin pulls out a set of RUSSIAN DOLLS (a small
painted. hollow doll with a smaller doll inside it,
and a smaller doll inside it, etc.) The first doll
bears an eerie resemblance to Nicholas. Inside the
second looks like Alexandra, all the way down to the
ANASTASIA doll.
"THE END OF THE LINE" (PRODUCTION NUMBER)
Rasputin will have a DARK, MENACING, DELICIOUSLY
SCARY NUMBER in whIch he SINGS of his obsession with
killing the Romanovs once and for all. Bartok will
interject comically throughouut. as Rasputin
will conjure up tLis minions from the iquary and sing
about Romanovs FINALE, he sends them off after Anya.
SONG TO INCORPORATE THE FOLLOWING SENTIMENTS:</u>
RASPUTIN
The Romanovs tried to kill me and
I swore to destroy all of them!
If she lives, if she should have
a child someday, the Romanov Family
continues! And I won't lot that
happen! THIS IS THE END OF THE LINE!
He crushes the Anastasia doll in his massive hand.
BARTOK
You know, this is really obsessive
behavior. There is this doctor this
doctor in Austria, Sigmund something
and he feels. . .
Bartok land on the table while be's talking and his
wing accidently knocks the RELIQUARY on its side and
it begins to roll.
RASPUTIN
YOU IDIOT
Rasputin makes a sad leap, grabbing it seconds before it
shatters on the floor. Rasputin holds it up. The
smokey SPIRITS inside swirl around, moaning.
RASPUTIN (CONT.)
(to Reliquary)
Yesses - you'd all like to get
out, wouldn' t you? Sorry
just one at a time and only
when I call.
Rasputin spins an Bartok, who Us been slinki away, and
slams a goblet over his.
BARTOK'S POV
From under the glass, Rasputin looks distorted and even
more horrifying.
RASPUTIN
(to Bartok)
Do you have any idea what would
happen if that broke?!
BARTOK
(voice under glass)
You'd lose your security deposit?
RASPUTIN
(waving reliquary)
Evil, powerful beings - I have
their power only if I contain
them, control them. If they
should all be released at
once... well ...
Rasputin smiles with his horrible yellow, decayed teeth,
and lifts the glass an if to whisper in Bartok, a ear.
RASPUTIN (CONT.)
YOU DON'T WANT TO BE AROUND
IF THAT HAPPENS!
The volume of Rasputin's voice rattles Bartok around the
inside of the glass. Rasputin focuses on the RELIQUARY.
RASPUTIN (CON'T.)
(to reliquary)
Where is she? Where is
Princess Anastasia...
Inside the reliquary the awoke begins to mow Suddenly,
the smoke EXPLODES in a burst and forms into the smoke
from a train engine. As the reliquary picture broadens,
we see a train and Anya, Dmitri and Vladimir all hurrying
to catch it.
RASPUTIN(CONT.)
She has friends. No matter...
Bartok looks desperate under glass. He trios to topple
the glass prism by jumping up but just cooks his head.
BARTOK
Ohhh, that was dumb...
BARTOK (CONT.)
(calling to Rasputin)
Hello, I've get really terrible
claustrophobia. That's why I
could never live in a cave ...
Rasputin gives his attention only to the reliquary.
RASPUTIN
Finish my prophecy...
Smoke begins to pour out of the reliquary. asput almost
giddy with the thought of finishing ambition, laughs
hysterically.
BARTOK
Ew, I hate when he does this!
As Rasputin swirls his arms the smoke begins to form
into MINIONS. All look human at first, but then
we see MINION ONE, has the body of a human and a head of
a JACKAL, MINION TWO has the face of a woman and the
claws of a TIGER, and MINION- the most horrible
of all - has a huge bear-like body with the head of a
VULTURE. All wear long capes with hoods.
RASPUTIN
She is not to get off that
train... alive!
Rasputin kicks open the wagon door and leaps outside.
The MINIONS, still filling out into forms, follow.
One of the wisps of smoke, like a tail, swishes by and
knocks over Bartok's glass prism, freeing his.
EXT. GYPSY CAMP - NIGHT
Rasputin releases his BLACK HORSES who stoup -and
whinny, men ing something bad, as two Minions float
on to them the other flies ahead of than.
RASPUTIN
Go! I don't care what you do with the
others but finish the girl! KILLLLL HERRRRR!
(sinister)
And have fun...
The Minions take off. Rasputin laughs wildy.
END MUSICAL NUMBER
INT. TATIANA'S STUDY, PARIS - DAY
CLOSE ON
TATIANA'S HANDS covering her face. Slowly dropping her
hands down to reveal an older, sad TATIANA.
TATIANA
Take her away, Sophie.
PULL BACK
to reveal a YOUNG WOMAN standing in front of bar desk.
TATIANA
Haven't anything better to do
than to break my heart.
Sophie ushers the now ashamed YOUNG WOMAN to the door.
The YOUNG WOMAN looks amazing like Anya except that her
hair is long and her clothes are now. She walks with a
certain regal grace until she passes through the doorway -
out of Tatiana's sight - and her posture "question-marks"
and she lopes out.
TATIANA (CONT.)
(quietly)
No more. So more...
Sophie. heavier and larger bottomed than ten years earlier,
speaks quickly - without ev er breathing, in a high
pitched nervous chitter.
SOPHIE
(very rapidly)
Oh, oh... I must say. I thought
that one was bar - i'm just so
shocked that she wasn't real well,
she was real, I mean she was human,
of course. but not our real. I must
say, even my sisters were touched
by her yes - yes they were...
XENIA and ESTELLE, as pinched and skinny as Sophie in
"full", don't appear to ever have been "touched" by
anything (or anyone).
SOPHIE (CONT.)
... moved to tears of joy! We won't
be f ooled next time, girls! I'm a
going to think of really hard questions...
TATIANA
(stopping Sophie with
a raise of her hand)
No, Sophie. My heart can't take it
anymore! I will see no more girls
claiming to be Anastasia.
Tatiana walks sadly out of the room.
EXT. TRAM STATION - MORNING
Anya and Metoo doze near a fire along with the other
PEASANTS waiting for the train. Dmitri looks over Vladimir's
shoulder nervously watching his forging their travel papers.
DMITRI
Hurry up with those papers.
VLADIMIR
Would you have leaned over
Rembrant's shoulder and told
him to paint faster?
Vladimir looks at Dmitri's anxious face.
VLADIMIR (CONT.)
You probably would.
(hands his the papers)
They're still wet.
A TRAIN WHISTLE SLOWS and Vlad Moves to Anya.
VLADIMIR (CONT.)
Wake up, young lady, that's our train.
DMITRI
(correcting)
"Wake up, your highness" - we should
start getting used to saying it.
VLADIMIR
What a world - a man who was in
my position in society is calling
a peasant 'Your Highness".
Dmitri leans over and tugs Anya's hair lightly.
DMITRI
(to Anya)
Wake up!
Anya's eyes flash open and - totally on reflex - she belts
Dmitri in the nose. Ditri reels back, lands on his butt -
Vladimir observes ruefully.
VLADIMER
We have a lot of work to do...
EXT. TRAIN PLATFORM - SECONDS LATER
Vladimir, using his ample belly, bumps people out of the
way as they head for the train. Vlad climbs on just as
it starts up, followed by Dmitri. Dmitri turns back and
reaches out his hand to help Anya up. But she
freezes… just STANDS THERE, not running.
ANYA'S POV
DMITRI
Come on!
Dmitri on the train, his band extended - just like
Tatiana's was. Although Anya can't quite remember,
something about this terrifies bar. She snaps out
of it when Meetoo nips her ankle.
Anya looks down and sees the puppy, picks his up and
runs for the train.
DMITRI
Take my hand!
Anya puts Meetoo into his hands and Jumps on without
touching his.
INT. TRAIN COMPARTMENT
The compartment is JAMMED with travelers. Suitcases
and packages balanced precariously. Dmitri sits down
and carefully touches his painful noso.
DMITRI
Do you always punch people first
thing in the morning?
ANYA
Sorry - it's a reflex. Living
in an orphanage if someone bothers
you - you automatically come up
swinging.
DMITRI
I wasn't bothering you. I was
trying to wake you up!
OVER ANYA'S SHOULDER, out of the window. we see the
THREE MINIONS on horseback charging down a snow covered
hill toward the train.
ANYA
By pulling my hair?!
DMITRI
I was all out of dynamite!
Dmitri touches his nose again. Anya opens the window
and grabs some snow. WE SEE the minions racing wildly
to catch up with the train. As the scene continues, we
see the minions, by one, getting close to the train
and then disappear from view - only their riderless
horses ride away.
ANYA
(hands Dmitri the snow)
Put it on your nose. For heaven's
sake, you're making such a fuss!
Dmitri tries to act very manly as he puts the ice on his
nose, but cringes with the cold. Anya smiles.
ANYA
(to herself)
Men are such babies...
An ELDERLY WOMAN loaded with packages cones into the
compartment. Anya immediately rises to help her.
ANYA
Here, let me
Dmitri and Vlad both pull her back down.
DMITRI
You're a princess...
VLADIMIR
Royalty do not help people
with their luggage.
Anya gives them both a look and helps the woman.
VLADIMIR
Well, she certainly has a mind
of her own.
DMITRI
Yes. And I hate that in a woman.
Vlad holds Meotoo, who is enthralled and plays with
Vladimir's drooping mustache, like a kitten with a string.
The COMPARTMENT DOOR swings open and an OMINOUS LOOKING
GUARD strides in!
GUARD
Papers!
Everyone rustles for their papers. Dmitri confidently
pulls out their papers, done in beautiful BLACK ink.
Then, he glances at the PERSON NEXT TO HIM and sees
that his papers are done in a bright RED ink. Dmitri
looks over at Vladimir - who has seen the mistake as well.
VLADIMIR
(sheepishly)
It's what I hate about this
government - everything in red!
The guard hand papers back to a soulful looking man
with a frozen beard.
GUARD
Thank you, Comrade Zhivago.
ZHIVAGO
Doctor Zhivago.
GUARD approaches Vlad and Dmitri.
VLADIMIR
What do we do now?
DMITRI
Pray he's color-blind...
Dmitri flashes the Guard a charming smile as he hands
over his papers. Vladimir is nervously playing with
his mustache until it stands out straight. Anya has
no idea what's going on.
GUARD
wait here.
As the Guard heads out of the compartment, Vlad turns
to Dmitri and they exchange an "oh, no" look.
INT. CORRIDOR, ANOTHER CAR
The MINIONS, hoods pulled low, push their way through
the PASSENGERS in search of Anastasia.
INT. CORRIDOR
Dmitri spots the GUARD conferring with the GUARDS
over the papers. Anya pokes bar head out.
ANYA
I'm going to stretch my legs
DMITRI
That's a good idea - a great
idea - stretch your legs
(pointing the opposite
direction of the
guards)
... stretch then that way.
Anya looks at him like he's crazy and walks away.
ANYA
(to herself)
I must have hit him harder than
I thought...
Dmitri runs back in and grabs his SMALL BACKPACK. He
pulls Vlad, carrying Meetoo, out off the compartment
Anya has a load on them as they follow.
INT TRAIN COMPARTMENT - DAY
The GUARDS burst in, ready for an arrest. In the
background, the hooded Minions pass. The Guards,
seeing empty seats, head back out.
INT. TRAIN CORRIDOR - ANOTHER CAR
Anya looks out the window as the country side flies by
and smiles.
INT. CORRIDOR
The Guards spot three figures at the far end of the car.
GUARD
That's them! Come on!
They run after who they think are the fugitives.
The Guard grabs a minion and spins him around.
It's MINION THREE, who comes face-to-beak with him
and lets out a HORRENDOUS SCREECH, causing the other
Minion to turn around. The Guards scream and reel backward,
pushing and shoving each other to got out of the way
The Minions proceed up the corridor, MINION TWO, spot
Anya looking out the window. He grabs her. palling her
viciously to the other Minions. She spins around - it
isn't Anya - it's a SERIOUSLY UGLY WOMAN. The Minions
now scream and reel back in horror.
INT. CORRIDOR - SIMULTANEOUS
Dmitri and Vladimir catch up to Anya and grab her in
each arm, loading bar down the hall WE HEAR the MINIONS
SCREAM from the next car.
EXT. BETWEEN CARS
Anya. Dmitri and Vlad step out on a platform and see
there is no place left to run. Only the engine is
ahead of them.
DMITRI
Wait here!
He leaps up gracefully, grabbing the edge of the roof,
and pull& himself up.
ANYA
(to Vlad)
Would you like to tell what we are...
as Dmitri's head, upside down, appears from the roof.
DMITRI
Come on up!
ANYA
Why?
Vladimir picks Anya from up from tobehind and hoists
her up to Dmitri. She hollers.
EXT. TRAIN ROOF
Anya is pulled up by Dmitri, with a force that knocks
them both over Anya on top. An awkward moment. Anya
rolls off him as Dmitri tries to catch the breath she
knocked out of him.
ANYA
Just what do you think you're doing?!
DMITRI
Trying... to... breathe...
Suddenly, Meetoo appears, as if he were flying and
lots out a little "retu". Vladimir has tossed his
up and Dmitri catches his, band his to Anya, and
reaches down to Vladimir.
INT. CORRIDOR
Though the window the Minions see Vladimir's legs
as he's being lifted.
INT. ROOF oF TRAIN
Dmitri struggles to got Vlad to the roof but he's
losing his grasp. Anya puts Meetoo down and reaches
to help the dangling Vlad. Even Meetoo helps by
pulling an Vladimir's scarf .
EXT. PLATFORM
Minion one grabs for Vladimir's legs, just as
they disappear.
EXT. ROOF OF TRAIN
Dmitri and Anya let out a sigh of relief as Vlad in
safe, but it's short lived as they both SIMULTANEOUSLY
lot out a yell.
DMITRI & ANYA'S POV:
a TUNNEL rapidly approaching.
They hit the deck, Vlad on his back between Anya and
Dmitri. Anya and Dmitri exchange a quick look as the
tunnel gets closer - Vladimir's stomach is sticking up
too high to clear the tunnel. They reach up together
and push down on his big belly, causing his eyes to
bulge
ON THE SIDE OF THE TRAIN
The minions, now climbing up the side are plunged into
total darkness.
ON THE ROOF
light hits as the train comes out of the tunnel.
Vlad lets out a gasp as they release his belly.
Just then a Minion hand reaches up over the edge.
Dmitri assumes it's a Guard.
DMITRI
The guards!
(Anya gives his a lack)
I'll explain later.
Anya and Vlad follow Dmitri toward the back of the train.
ON THE MINIONS
now on the roof, seeing their prey in short distance.
ON ANYA AND THE OTHERS
running, without looking back. jumping from car to car,
passing Meetoo like a football. Vladiair makes a huge
running leap into the air…
INT. TRAIN COMPARTMENT
As all PASSENGERS react to Vladimir's bulk hitting and
denting the coiling.
EXT. ROOF OF TRAIN
The TRAIN WHISTLE erupts and Anya glances back to see
her pursuers just as they are enveloped in the thick black
smoke of the engine. Behind them, Anya can another tunnel.
TUNNEL
They drop down, this time Vlad in on his stomach. Anya
and Dmitri realize his butt won't clear the tunnel.
They push it down.
ON THE MINIONS
An the smoke disappears, the Minions' eyes go wide when
they realize it's too late for them. The train roars the
tunnel as the MINIONS SMASH &"'not the sift of
the mountain in a COLORFUL BURST OF SMOKE from which
they were created.
INT. RASPUTIN'S WAGON - PARALLEL TIME
DISSOLVE TO
EXT. ROOF OF TRAIN - DAY
Rasputin stares at the scene in his reliquary, watching
his well laid plan *go up in smoke", and lots out a
simmering growl.
Anya is standing with her hands an her hips arguing
with Dmitri and Vladiair.
ANYA
Forged papers! Now, what?!
DMITRI
Now just get off the train.
ANYA
HUH?!
Dmitri motions that they are going to Jump. Anya shakes
her head slowly.
ANYA
Noooo....
VLADIMIR
She's quite right, Dmitri, a man
of my stature should not have to
Dmitri shoves him off the top of the train with Meetoo
in his arm. Dmitri then puts out his hand to Anya.
DMITRI
Come on, we'll jump together...
Take my hand.
Dmitri turns forward and sees the train is approaching
a HIGH RAILROAD BRIDGE over a rocky ravine. It's now
or never.
DMITRI
Come on!
ANYA
No!
With his outstretched hand, Dmitri shoves her off the bar.
EXT. COUNTRYSIDE - DAY
Vladimir has landed in a large pile of snow. He stands,
rubbing his bottom.
VLADIMIR
I think I have hurt my...
Meetoo comes out of the pile of leaves, rubbing his
bottom and answers Vladimir's with his "retu".
A short distance away, Anya seems to be sitting on
top of a puddle - but she isn't wet. Suddenly, Dmitri
gets up from underneath her, covered in snow. Anya
isn't wet because she landed on Dmitri! She jumps up.
DMITRI
You must enjoy causing me pain!
ANYA
You shouldn't have pushed us!
Vladimir and Meetoo come over.
VLADIMIR
Is everyone all right?
ANYA
I'm fine.
DMITRI
She's fine!
(limping away)
I may never walk right again,
but she's fine...
INT. RASPUTIN'S WAGON
Rasputin paces, still angry at the Minions. Bartok,
nervous, fakes a yawn and stretches.
BARTOK Well, I better got goin'. Got a busy day letting all the blood rush to my head...
Rasputin pulls him back in, then speaks to his reliquary.
RASPUTIN
She's too far away, isn't she?
The reliquary glows eyes. Rasputin places It back in it's cabinet.
RASPUTIN (CONT.)
Yesss... our power is much stronger
when were near. We must get close
to her.
BARTOK
Oy... not a road trip. I get
wagon sick, you know that.
Rasputin smacks him against the wall as he stomps out
of the wagon. Bartok slides down the wall.
BARTOK (CONT.)
You're absolutely right. Travel
broadens your horizons...
And he hits the floor.
EXT. GYPSY CAMP - MIGHT
Rasputin, on his obsessed mission, leaps on top of the
wagon as Bartok, still dizzy, tries to catch up.
RASPUTIN
We'll catch her and finish her!
(he grabs the, reigns)
We ride this night!
Rasputin then looks down and sees that there are no horses
harnessed he gave then to the begins a slow growl.
BARTOK
Well, we wait this night!
EXT. COUNTRY - BREAK OF DAWN
Anya is walking ahead with Vladiair as Dmitri follows
he's still muddy, wet and unhappy.
VLADIMIR
No have a lot of work to do,
Anya! Come along, Meetoo!
Meetoo is trying to catch fire flies in his mouth.
VLADIMIR (CONT.)
We have to prepare you for an
audience with Sophie.
ANYA
Who's Sophie?
VLADIMIR
(lost in warm memories)
Ah ... the Lady Sophie... The
ravishing first cousin, once
removed, from the Empress. We
must convince Sophie that you
are the Princess before we'll
be granted a meeting with the
Empress ... your grandmother,
I mean.
Anya stops dead in her tracks, this is the first she's
heard of this.
ANYA
What?!
Dmitri, not paying attention, slams into the back
of Anya. Anya, not hurt, turns to Dmitri - who is
rubbing his now sore shoulder.
ANYA (CONT.)
You never said anything to me
about having to prove I'm a
Princess!
DMITRI
You are the Princess.
VLADIMIR
We're just going to refresh
your memory...
ANYA
I don't have a memory and I'm
not a Princess!
(looks down at herself)
Even if I were - no one's ever
going to believe it. I'm not
exactly...
Anya searches for the -word as she sits down next
to a frozen pond.
ANYA (CONT.)
(sadly to herself)
... good enough...
(to others)
I can't go through with this!
Dmitri sits next to Anya and looks at her reflection
in the ice.
DMITRI
What do you see?
ANYA'S POV
her smudged face and boy's clothes. Dmitri's hands
come into frame, wipe off her face with snow and
them pull her hair off her face. Anya does, truly,
look pretty.
DMITRI(CONT.)
See? The Princess is under there ...
VLADIMIR
Ah! Let us begin!
A POSSIBLE VLADIMIR SONG
Vladimir would begin to sing here, telling Anya that she
has a lot to learn. The music would probably have a
LIGHT, SOMEWHAT COMEDIC tone, and would be just a SHORT
SECTION OF SINGING, which would then SEGUE TO UNDERSCORE
for the scenes of instruction which follow.
We see the three of them from behind, walking down a
road - Meetoo trots behind them, happily.</u>
VLADIMIR (CONT.)
You were born on the Adriatic sea at
the summer palace, where the parties
and the buffets were marvelous ....
EXT. SLEIGH - DAY
Vladimir is putting icicles in Anya's hair to keep it
up in a bun - she looks sweet, despite her boy's clothes.
She is reciting something to Dmitri.
ANYA
...and on my father's side,
there was [THIS SECTION IS NOT LEDGABLE]
Anya thinks as Dmitri looks at a long sheet of
paper, prompting her.
DMITRI
Every Russian family has one..
ANYA
(gets it)
Natasha! Natasha Feastavich!-
but we called her Nashie
Fooshie!
VLADIMIR
Did I tell you that?
ANYA
You must have.
EXT. PIG CART - DAY
Anya, Dmitri and Vladimir are sitting in the back of a
pig cart traveling down a country road. The pigs are very
interested as Anya is pointing to different pieces of hay
which "set" her imaginary table.
ANYA
(repeating)
...fish fork, salad fork, meat fork and. . .
(can't remember, then
exasperated)
[THIS SECTION ALSO NOT LEDGABLE]
DMITRI
(hinting)
It's the best fork of all
ANYA
The dessert fork!
VLADIMIR
(lost in a memory of
rich desserts)
Ah, yes ... I have always loved
that fork...
Dmitri and Anya exchange a look and then laugh,
adding ad libs of "we can tell" and "There's a
fork you should have skipped". This is the first
time Dmitri and Anya have laughed together -
actually the first time he's ever seen her smile.
EXT. PORT - DAY
Dmitri, who is sneaking around, pulling women's clothes
out of a suitcase that clearly isn't theirs! He takes
out a large, but pretty dress, a beautiful veil - and a
huge brassiere, which he quickly stuffs back in the
suitcase - somewhat frightened. He takes the dress and
veil puts it in his backpack and joins Vladimir and Anya
as they admire the ship.
ANYA
What a beautiful ship!
DMITRI
It used to be a private yacht
before the government took it over.
VLADIMIR
Oh, yes it was the seagoing vessel
of elaborate elegance in entertaining...
(looks at Dmitri and Anya explaining)
A party boat. It once belonged to ...
Vladimir honestly can't remember, Anya thinks it's
another quiz.
ANYA
Konstantin Petrovich of Moscow!
Dmitri and Vladimir exchange a quizzical look. No
one told her that…
Meetoo spots TWO UGLY PUG DOGS and a distinguished
ELDERLY DOWAGER. He runs happily to play with them.
She pulls her DOGS away from Meetoo.
ELDERLY DOWAGER
No, no, boys! You don't know where
he's been!
They give him a disgusted look and walk away. Meetoo
looks a little hurt.
INT. HALLWAY OF THE SHIP - NIGHT
Dmitri and Vladimir are standing by a closed door.
Anya is on the other side.
ANYA (0. C.)
No! I look ridiculous!
VLADIMIR
Come out! I can do alterations.
ANYA (O.C.)
You'll laugh.
VLADIMIR
I shant!
ANYA (O.C.)
Not you. Him.
DMITRI
I won't laugh - I swear...
The door opens and Anya comes out in the blue dress
Dmitri stole which at least ten sizes too big for her.
She is still wearing her hair up and despite the size
which actually gives her a "Kate Moss" waifish look
with her men's boots and baggy dress - the blue brings
out her eyes. Dmitri sees her and BUSTS OUT LAUGHING.
ANYA
You said you wouldn't laugh!
DMITRI
It's not you - it's the dress!
Anya storms back into the cabin and slam the door behind her.
INT. CABIN - SIMULTANEOUS ACTION
When Anya storms into the cabin, she catches a glimpse of
herself in the mirror.
ANYA
(to herself)
I'm never going to be..
Just then, the slamming door catches the back of her dress,
pulling more than half of it into the door frame. She sees
in the mirror that the now fitted dress shows a lovely
woman's figure. Pleased, she looks at herself.
ANYA (CONT.)
Well! Maybe I am...
EXT. CABIN DOOR - NIGHT
Vladimir and Dmitri wait outside the door. The door opens
and Anya appears, having tied the veil around the waist
of the dress, making it look fitted and beautiful. Dmitri
and Vladimir are surprised as Anya walks past them with
confidence and throws them a look over her shoulder.
"REPRISE OF VLADIMIR'S SONG (OVER MONTAGE)
The tone of the song would now change - - the older,
wiser person watching as two younger people are
unwittingly falling in love. The tone can still be
light, as are the visuals here, but there would be
an undercurrent of irony and romance. The song would
end as Anya and Dmitri have their first, momentary
embrace.</u>
MONTAGE: (MOS)
ON DECK: Anya, still in her boots, walks gracefully
down the deck in spite of the ship's rocking motion.
Dmitri and Vlad can't even stand due to the motion.
Anya looks back and flashes them a smile.
IN THEIR CABIN: Dmitri gets out of the bed he's
been sharing with Vlad and walks over, past where
Anya is sleeping peacefully, to close the port hole
against a cold wind. He closes is and see's Anya -
she looks beautiful - he bends down to pull up her
covers and she SLUGS him.
UNDER A TABLE: Meetoo is walking around sniffing
feet. Suddenly, he runs smack into the TWO UGLY
PUG DOGS who growl at him. He runs away and finally
see's a woman's foot and a pair of pretty feminine
shoes, with heels, that she has kicked off. Meetoo
grabs them in his mouth and runs.
ON DECK: The sea is calm, but Anya - wearing the heeled
shoes for the first time - is teetering and wobbling
like mad. Dmitri and Vlad watch her with amusement.
Anya turns to them.
ON DECK: Dmitri has stuffed his feet into the woman's
shoes and is barely able to walk as Anya watches him
with great vindication.
BALLROOM: Anya walks -into the ballroom, steady and
graceful in her new shoes, on Vladimir's arm and
completes a perfect curtsy in front of Dmitri. Dmitri
applauds and moves down to her as she stands and smacks
him with her head accidently.
THEIR CABIN: Vladimir is directing Anya as she waltzes
gracefully in their swaying cabin. Dmitri enters and is
directed to join Anya. He does and they dance together,
with Anya clearly leading. The boat sways to the left
and Anya is thrown closer into Dmitri's arms. Neither
of them even try to readjust.
END MONTAGE
STILL IN THE SCENE
Vladimir walks over to Anya and nervously chatters (he
knows he interrupted something) as he leads her away
from Dmitri.
VLADIMIR
You are a natural! I don't know
how you ever learned to dance
that well! That must have been
some high class orphanage ...
EXT. SEA - NIGHT
As a storm begins to whip up, the wind starts to howl
and the waves become more violent.
REVERSE ANGLE
just as a BOLT OF LIGHTNING STRIKES the water, we see
Rasputin's face.
INT. CABIN - NIGHT
The storm is pitching the boat wildly. Vladimir is
sleeping, snoring loudly. Meetoo, sound asleep, is
sliding from side of the cabin to the other. Anya
is looking out the small port hole at the violent
sea when Dmitri, carrying his back pack, sits on the
bed next to her.
DMITRI
I wanted to show you something.
Dmitri takes out the music box and hands it to Anya.
She is immediately taken by it, something about it …
ANYA
It's so beautiful ... and sad.
DMITRI
Sad?
ANYA
Lost. it feels lost. This was hers?
DMITRI
Yeah ... well, yours. You still
don't believe that you're the
Princess, do you?
ANYA
I know I must have had something
to do with the palace - I've had
little flashes of things - but
being the Princess? It doesn't
matter as long as I find my home.
DMITRI
Well, the only thing you've got
when you've got a home is a fear
of losing it! You're lucky you
don't remember the revolution --
I never had much, but what I did
have -- I lost.
ANYA
I'm sorry.
DMITRI
(false bravado)
Hey! It doesn't matter! You gotta
make your own way in the world!
Don't be sorry for me! I'm going
to get what I want don't you worry!
Dmitri goes back over to his bed. Anya sees through
him and knows how much it all did matter to him.
EXT. SEA CLIFF - NIGHT
The wagon sits on the edge of a high cliff. Rasputin
stands on the top of his wagon, staring at the sea
demonically. The jagged bolts of lightening and the
icy silver rain make him look all the more menacing.
RASPUTIN
(low, slow)
She's out there ...
The wind parts his beard and we see Bartok hanging
upside down in it, trying to stay out of the storm.
BARTOK
I'm getting a chest cold..
RASPUTIN
Bartok... a question.
BARTOK
I'm getting pneumonia. I have
a fever. Feel my forehead...
RASPUTIN
What do you think is the most
humiliating way to die?
Rasputin's eyes light up as if he just thought of the
answer to his own question. Bartok is thrown out of his
beard when he makes a sudden turn and leaps off the
wagon. Bartok follows.
BARTOK
My cousin Mischa, nice fellow
had some dental problems - you
didn't want to watch him eat,
let's put it that way...
Rasputin steps in
INT. WAGON - NIGHT
As Bartok continues, Rasputin moves to the
reliquary's cabinet.
BARTOK
... anyway, a bunch of other
bats were hanging in the belfry -
I know, cliche, but there you have
it, and Mischa, not the brightest
bat in the world, decides to hang
<u>in</u> the bell. Which was fine
for awhile until it started ringing ...
(shivers)
Ewwww, what a mess ...
RASPUTTN
(to reliquary)
Show her to me ...
BARTOK
And it didn't help the tonal
quality of the bell, either.
IMAGES, horrifying and frightening, begin to spin
into a small tornado. Rasputin throws open the door
and the TORNADO bursts out streaking across the water.
EXT. SEA CLIFF - NIGHT
Rasputin follows tornado to the cliff and watches
as it disappears into the horizon of the water.
Lightning and thunder crash as he laughs maniacally.
INT. CABIN - NIGHT
which is swaying with the storm. PAN past Vladimir,
snoring, his now limp mustache flopping wildly and
past Dmitri, sleeping restlessly. Move to Anya, who
seems quite content.
From under the door SMOKY IMAGES silently slither.
They float across the cabin and swirl around Anya.
CLOSE ON:
Anya's CLOSED EYES as the SMOKY IMAGES seem to enter
her head. She smiles in her sleep and we are in ANYA'S
DREAM. . .
EXT. FOREST - DAY
Anya, in a beautiful white dress, is walking peacefully
through a sunny part of a lovely forest on a spring day.
She reaches down to pick some pretty flowers, then looks
up as it seems to get dark… OMINOUS LOOKING CLOUDS cover
the sun. Anya reaches down for another flower when she
HEARS A GROWL.
Anya spins to see an ENORMOUS BEAR emerge from the trees.
(All the animals in the dream sequence have a SLIGHT
resemblance to Rasputin.) Anya is frozen with fear as MORE
BEARS emerge and head straight for her. She tries to back
away as the beautiful FLOWERS GROW LONG AND HORRIBLE THORNS
and wrap around her ankles, impeding her escape.
It gets darker as the BEAR'S EYES, glowing yellow, multiply
and move closer. Anya pulls free of the flowers and rushes
to the safety of a large tree She climbs the tree and
escapesthe bears. Looking down, from her perch on a sturdy
branch, the ground seems miles away.
Suddenly, the BRANCH JOLTS her and almost falling, she hold
on to it tightly. But the branch TURNS IN TOWARD
HER - no longer a tree branch, but A HUGE UGLY SNAKE with
red eyes and huge fangs that come right for her!
Anya leaps to another branch, which also turns into a snake.
She jolts backward and begins to fall … toward a HUNDRED
YELLOW EYES, FIFTY BLOOD RED MOUTHS AND THOUSANDS OF SHARP
TEETH. As Anya falls, she lets out a SILENT SCREAM.
A BURST OF SUNLIGHT
as Anya lands in a field of soft GOLDEN WHEAT. Unharmed
and very relieved, she stands and looks around at the
beautiful sunny wheat field.
INT. CABIN
Reality. Anya's eyes are closed as she smiles in her
sleep and sits up in bed. TINY WISPS of smoke still
swirl around her head. As she gets out of bed, she
unintentionally steps on Meetoo's tail, waking him.
Meetoo watches as the sleeping Anya opens the cabin door
and walks out.
Meetoo rises to follow Anya but the ship pitches, sending
him sliding across the cabin floor.
EXT. DECK - NIGHT
Anya walks out on the deck, the ship pitching violently
in the storm, as she smiles.
IN HER DREAM
Anya is walking through the wheat field to the edge of
a BLUFF. A few yards below the bluff, Anya sees a beautiful
little pond where a FAMILY frolic's in the clear water;
laughing, splashing, swiming happily. Anya climbs over a
low flowering wall to look closer.
PULL BACK
REALITY: Anya has climbed over the railing of the deck
and is looking into the black ocean… smiling.
DISSOLVE TO:
A SMOKY IMAGE OF THE SAME SCENE
It's RASPUTIN'S POV as he watches his plan unfold in the
reliquary.
INT. CABIN
Meetoo finally rights himself from his slide across the
floor and begins to bark into Dmitri's ear.
EXT. DECK
Anya is waving happily at the dangerous water.
IN HER DREAM
Anya is waving to the FAMILY. They turn around toward
her and she sees that it's the ROMONOV FAMILY, from
the frieze that she saw in the palace. She is delighted
to see them as she feels a distance recollection of who
they are to her.
INT. CABIN
Meetoo jumps up and NIPS at Dmitri's hand. Dmitri leaps
up with an "owwww!" and looks over at the excited Meetoo.
DMITRI
If you have to go - wake her..
Dmitri looks over to Anya's bed - she isn't sits up and
throws his legs over the side
EXT. DECK
Anya is standing right on the edge of death…
IN HER DREAM
She isn't there. He of his bed.
the FAMILY is waving to her. NICHOLAS waves for her to
jump into the clear pond and join them. Anya nods and
moves to jump in…
EXT. DECK
Anya gets ready to jump into the violent and icy black
waves. She takes one step out when… DMITRI GRABS HER
SHOULDERS.
Anya JOLTS awake from her dream. Confused at first,
then terrified to see what almost happened to her.
isn't lifts her to the other side of the railing
and looks at her.
DMITRI
What were you doing?!
Anya puts her hands to her mouth in shock, shaking
and almost crying with fear, she throws her arms
around Dmitri and holds him tightly.
Dmitri is surprised at first, but tightens his arms
around her.
DMITRI (CONT.)
It's okay now - I've got you.
You're safe...
They stand steady on the deck in a tight embrace,
their feelings for each other are stronger than the storm.
DISSOLVE TO:
THE SAME, as seen through the reliquary
Rasputin watches … seething quietly, as Bartok peeks
meekly over his shoulder.
BARTOK
Boy, don't you hate it when
that happens?
RASPUTIN
(controlling)
She leads a charmed life, that
little one ... Someone is always
there to save her. In the palace
as a child, on the train and now
... it's him.
Rasputin studies Dmitri in the reliquary - Dmitri and
Anya still in a warm embrace.
BARTOK
Nice looking fellow. I mean,
don't get me wrong - I'm not
attracted to him in the physical
sense, I just ...
But Rasputin's not interested, he stares into the
reliquary and speaks directly to it.
RASPUTIN
You are toying with me, aren't
you? You let me get so close...
The reliquary, as if in answer, seem to be chuckling.
Rasputin smiles and joins in with it.
RASPUTIN (CONT.)
Bartok ... have you ever been to Paris?
BARTOK
Me? No. Rich food - it kills me.
Ever try and fly after one of
those heavy sauces?
Rasputin returns the reliquary to its cabinet.
RASPUTIN
We are going to Paris - and while
we're there, let's kill the young
man. He annoys me.
EXT. BOAT DOCK (LA HAVRE) - DAY
As Anya walks down the plank her dress gets caught
on a nail. Dmitri is walking toward her as she yanks her
dress free and accidentally punches him in the stomach.
Dmitri takes it like a man.
ANYA
Oh! I'm sorry...
DMITRI
It's okay. Didn't hurt..
Vlad has been watching as he walks down the plank
with Meetoo - they exchange an "oh boy" look, both
noticing that clearly something is different between
Anya and Dmitri. Anya catches something out of the
corner of eye and turns quickly.
CLOSE ON a sign: "Paris 30 kilometers"
Anya walks away from Dmitri and over to the sign
and looks at it longingly.
ANYA
(to herself)
I'm almost there... I'm finally
going to know...
AT THE OTHER END OF THE DOCK
Vladimir stares into his purse, depressed.
DMITRI
How is our current financial status?
VLADIMIR
If I used the word "bleak" I would
be optimistic.
As he says this the ELDERLY DOWAGER from the ship
passes by with her TWO OBNOXIOUS PUG DOGS. Meetoo
growls as Vlad and Dmitri get an idea.
VLADIMIR (CONT.)
The "Odessa Dunk"?
DMITRI
It worked in Odessa...
Vladimir picks up Meetoo and whispers instructions.
Meetoo likes the plan.
NEW ANGLE
as Meetoo races past the PUGS. They ignore him, so he
stops and makes a face, giving them a sloppy "razzberry",
which piques them a little. Meetoo then bends over and
waves his furry little butt at them. Now the PUGS are
offended and TAKE OFF after him, yapping all the way.
Meetoo turns and scrambles with the Pugs in hot pursuit.
As they get closer, Meetoo SUDDENLY STOPS and the Pugs
go FLYING OFF they edge of the dock and into the water
below. Meetoo looks over the edge and gives them a 'Boy,
are you guys morons look as the ELDERLY DOWAGER runs
up screaming.
ELDERLY DOWAGER
Help! My little dogs! Chevalier! Maurice!
Hold on, darlings!
Dmitri comes running up, a little too gallant.
DMITRI
I'll save them, Madame
Dmitri dives into the water as Vlad rushes up behind
the Elderly Dowager. Anya watches from a distance as
Dmitri climbs out of the water carrying the soaked
(and pissed) Pugs.
VLADIMIR
Such bravery! Why, that man should
be rewarded! Amply rewarded!
MINUTES LATER
Dmitri hands Vlad a pile of FRANCS as Anya approaches.
ANYA
That was really very kind of you.
She gives him a kiss on the cheek and walks away with
Meetoo, who turns back and gives Dmitri a look. A
little guilty, Dmitri turns to Vlad.
VLADIMIR
I won't say a word...
EXT. GRAND OPEN CAR - DAY
Traveling is style! Vladimir is driving - badly - with
Meetoo in the front seat. Meetoo covers his eyes. Dmitri
and Anya are in the open back seat, enjoying the beautiful
French countryside.
Dmitri looks over at Anya.
DMITRI
Nervous?
ANYA
Yes - If I can't convince Sophie,
I'll never be able to see Tatiana....
DMITRI
You'll convince her. You have the
qualities of a princess you're
poised and strong... and beautiful
... even if you forget a couple
dates of family names - she'll know.
Anya smiles at Dmitri, knowing that all the confidence
she has is because of him. She takes his hand but
looks away.
EXT. TATIANA'S PARIS HOUSE - DAY
They pull up in front of the beautiful white house.
Anya is nervous as Vladimir walks up to the front door
ahead of Dmitri and Anya. Vladimir knocks. Sophie
answers the door.
She moves with grace and regal poise.
VLADIMIR
May I present her Royal
Highness Princess Anastasia!
SOPHIE
Oh good! We haven't seen an
Anastasia in several days!
Anya looks to Dmitri, a little confused by that last
comment. Dmitri makes a little "she's slightly crazy"
signal.
They all leap to avoid her butt as she bustles into
the house.
INT. DRAWING ROOM - DAY
Sophie, flanked by her sisters, sits at a table. Anya,
looking nervous but poised, sits across while Dmitri and
Vladimir hover nervously at the far end of the room.
Sophie's PAT CAT, TILLIE, attempts to cuddle up next to
Meetoo, who wants nothing to do with her.
SOPHIE
I'd just like to ask you a
few questions, dear...
Sophie opens a huge book that SLAMS open. Vlad and
Dmitri jump.
ANYA
Of course.
SOPHIE
Where were you born?
SCENE CONTINUES MOS
TIME LAPSE MONTAGE
Dmitri watches Anya answer questions gracefully and
without hesitating. Anya smiles as her answers begin
to surprise Sophie.
DMITRI (V.0.)
The real Anastasia couldn't have
grown up to be lovelier.
Sophie and the sisters look tired. Sophie has her last
question.
SOPHIE
(almost giggling)
This is the hard one ... what rare
treat was served on the night of
the Three Hundredth Anniversary of
the Romanov Dynasty? The last ball
they ever had?
Dmitri and Vladimir exchange a nervous look. It's
obvious they never briefed Anya on this one.
Anya thinks a moment, then looks up, smiling, as
she remembers …
ANYA
Father had fresh tropical fruits
sent in. Oranges and pineapples
from the far east. I remember ...
I remember I threw an orange to a
young boy who was hiding under a
table...
Dmitri is shocked. He know this is Anastasia Romonov
and he can't believe it.
SOPHIE
(shocked)
Yes ... yes, it was fresh fruit.
Well, maybe not "fresh" Estelle
got one rather brown banana but ...
CLOSE ON
Dmitri, as he stares at Anya as Sophie prattles on.
MINUTES LATER
Anya sits near the window, stroking Tillie …
much to the consternation of a jealous Meetoo.,
She looks out the window and sees Dmitri, deep
in thought, wandering in the garden.
OUT OF HER EARSHOT at the other end of the room,
Vladimir speaks to Sophie.
VLADIMIR
Are you impressed with our Anastasia?
SOPHIE
Oh, heavens - I must say, yes.
VLADIMIR
Then, you'll take her to see
Tatiana?
SOPHIE
Oh, heavens I must say... no, no
actually, I can't - Tatiana has
refused to see any more girls.
VLADIMIR
Perhaps you could convince her?
SOPHIE
Oh, heavens, no... but ...
(Vlad-leans closer as
Sophie shares a
naughty secret)
She is going to be at the
Ballet Russe tonight! That's
the Russian Ballet - Russe for
Russian, oh those crazy
French... they only go to see
which dancers will defect.
She rises heading towards Anya. Her butt knocks over
a vase, which Vladimir deftly catches.
SOPHIE
Come my dear, we've much to
talk about.
EXT. GARDEN
Vladimir has finished giving Dmitri the details.
Both are ecstatic.
VLADIMIR
We did it! We did it, my boy! We're
going to see Tatiana at the ballet
tonight and we're going to be rich!
Rich!
DMITRI
But it's not the money, Vlad.
VLADIMIR
(shocked)
Are you feeling all right?
ANYA (CONT.)
(deeply grateful)
But you never doubted who I was,
did you, Dmitri? Not for a second ...
Anya gratefully kisses Dmitri an the cheek and
runs into the house. Vladimir, who's been watching,
has a warning.
VLADIMIR
Life is funny, isn't it. You find
the right girl ... and then you
lose her.
DMITRI
What do you mean?
VLADIMIR
Dmitri ... You must understand that
once you take her to Tatiana... well,
it's over... nothing can happen between
you. She's a princess and you're a
commoner.
Dmitri understands this and is devastated. Vladimir pats
him on the back as he walks into the house.
MUSIC BEGINS: BRIGHT, EXCITING, PARIS IN THE TWENTIES
Anya and Dmitri, followed by Vlad and Sophie are walking
down the Champs Elysees. Meetoo trots along after them,
happily. They walk by AN ACCORDION PLAYER and a LADY FLOWER
SELLER, who watch them and whisper to each other.
ACCORDION PLAYER
Lovers!
FLOWER SELLER
Ooh la la!
"PARIS HOLDS THE KEY TO YOUR HEART" (PRODUCTION NUMBER)
In UPTEMPO "PARIS IN THE TWENTIES style MUSIC, the people of
Paris ALL SING, welcoming Anya and Dmitri, Sophie and Vlad,
to Paris!
The foursome explores the city and Anya has the
happiest day of her young life. On the streets they
encounter the motley denizens of Paris, as well as
people with very familiar faces – for anyone in the
audience in the know, they'll see Josephine Baker,
Maurice Chevalier, Rodin, Gertrude Stein, Freud,
Lindbergh - people who were in Paris in the twenties..
For those in the audience who don't recognize them,
they'll simply be unidentified fascinating "types" who SING.
As the joyous number progresses, we realize that Dmitri
is feeling something else – the impending loss of Anya
to a world where she clearly is at home. He SINGS for a
short moment, knowing that he's about to lose her. Anya
visits a couturier and comes out with a big dress box
for her evening at the ballet. A BIG FINALE as they go
off for the evening. Even Meetoo has found some female
poodle companionship. But for one last beat, Dmitri's
wistfulness cuts against joy.
END MUSICAL NUMBER</U>
EXT. PARIS SKYLINE - DUSK
A glorious sunset over the city of lights …
PAN DOWN
to the "other side of the tracks, a run down area
next to the Seine River. Rasputin's wagon is
parked on the edge.
INT. RASPUTIN'S WAGON
Bartok freshens himself up in front of the mirror as he
BARTOK
(singing, a cappella)
PARSE HOLDS THE KEY TO MY HEART
FRENCH- BAT- CHICKS HANG OUT AT
MONTMARTRE
WE'LL EAT SOME IN-SECTS
THEN GO BACK AND HAVE --
RASPUTIN (O.C.)
(cutting him off)
Shut up!
NEW ANGLE
showing Rasputin trying to concentrate on the reliquary.
BARTOK
Sorry, it's just... you know I saw these
french postcards once and... ooh la la ...
well, I'm not sure about the "ooh", but
it's the "la la" I'm really lookin'
forward to...
(Rasputin growls)
Right, I'm shutting up.
Rasputin leans closer to the reliquary, which now contains
the BRIGHTEST COLORS we've seen. The reliquary sits in
it's cabinet.
RASPUTIN
We're close to her, aren't we?
The reliquary BRIGHTENS even more, looking as if it could
burst.
RASPUTIN (CONT.)
Excited, eh? You look about to burst ...
(teasing)
You'd like to burst, wouldn't you?
The lightsin the reliquary shake, as if to say "yes".
RASPUTIN (CONT.)
No, no, no. We made a bargain.
(petting it)
Someday you'll have me for all eternity.
Till then...
(leaning closer)
I'm in charge.
Rasputin slams the cabinet shut, then turns to see Bartok
in front of a mirror. He wears a smart BLACK BERET which
is much too large on him.
BARTOK
What do you think? Is it me?
EXT. SMALL HOTEL - NIGHT
Sweet, small french hotel on a winding cobble stone street
of the Left Bank.
INT. SMALL HOTEL - NIGHT
Dmitri and Vladimir are both dressed in formal attire and
look extremely dapper. Vlad is delighted with himself,
modeling his finery, but Dmitri looks very sad.
VLADIMIR
Compliments of Sophie. Her escort
has to look his best.
They turn as the door opens and Anya stands nervously,
but then strikes a regal pose. She looks magnificent …
radiant, which is not lost on Dmitri.
ANYA
How do I look?
Before Vladimir can gush, Dmitri, forced to repress his
true feelings, is a bit curt and rises.
DMITRI
Fine. We better go.
Anya looks surprised by his tone, but follows.
EXT. PARIS OPERA HOUSE - NIGHT
As the BEAUTIFUL PEOPLE OF PARIS pull up in carriages and
automobiles.
INT. PARIS OPERA HOUSE
As Dmitri, Vladimir and Anya take their seats, all around
them people are whispering "Who's that?", "What a beautiful
woman", etc. The Ballet begins.
ANYA'S POV
Dancers in bright costumes leap across the stage.
Dmitri turns to Anya and gestures to the box seats to the
left. He hands her the opera glasses.
DMITRI
Look. There is your grandmother...
Anya gives Dmitri a very nervous look and takes the glasses,
aiming them toward Tatiana.
ANYA'S POV
The majestic Tatiana, flanked by Sophie and her sisters and
backed by several large GUARDS in uniform.
ANYA
She's so beautiful! I do remember
her ... I remember her ...
The music continues as Anya looks at Tatiana.
INTERMISSION
The lights come up and people around them begin to stand
up, stretch, etc. Dmitri turns to Anya.
DMITRI
Come on. It's time..
INT. MEZZANINE – MINUTES LATER
They approach Tatiana's private box.
DMITRI Wait here for just a moment. I'll go in first and
prepare her. It's bound to be a shock…
ANYA
I'm so scared...
DMITRI
Don't be
ANYA
And grateful. To you.
(reaching out to him)
If it weren't for you --
DMITRI
(upset, pulling away)
I know.
Dmitri opens the door into Tatiana's private box. Anya
waits nervously outside.
INT. PRIVATE BOX
Dmitri walks up to the guards standing at the top of three
small steps into the box seats.
DMITRI
I need to speak with the
Dowager Empress ...
[PAGE MISSING]
TATIANA (CONT.)
How much pain will you inflict
on an old woman for money?!
DMITRI
Please, if you'd just listen...
TATIANA
(to guards)
Remove him at once.
The guards physically force Dmitri out, in spite of his
urgent pleas.
DMITRI
Please! Empress! It's not what you ....
Dmitri is thrown out of the box and straight into Anya,
who stares at him with tears in her eyes. She then turns
and runs away.
DMITRI
Anya. . . please. . .
INT. LOBBY
Anya pushes her way through the CROWD with Dmitri in pursuit.
EXT. OPERA HOUSE - NIGHT
Anya bursts out of the doors followed by Dmitri
DMITRI
Anya, wait!
ANYA
(spinning on him)
Tell me it isn't true?! Tell me
you didn't do this for the money!
DMITRI
No! Well, yes, but
ANYA
No! I thought you believed in
me! It was all a lie!
EXT. PARIS OPERA
Dmitri runs out and stands by grand looking automobiles
lined up in front. He scans the cars.
DMITRI'S POV
Tatiana is walking toward her car. A very proper CHAUFFEUR
holds the door for her.
The CHAUFFEUR helps Tatiana in, then is about to climb
into the front seat when Dmitri rushes up to him.
DMITRI
Sir! Your rear tire is flat!
CHAUFFEUR
it is?
As he gets out to look, Dmitri slides into the drivers
seat and roars away. The stunned Chauffeur in his dust.
INT. CAR
Tatiana is jolted by the fast motion of her car.
TATIANA
Ulo! Slow down!
Dmitri turns from the front seat and looks at her.
DMITRI
I'm not Ulo and I won't slow down.
But you will listen to me!
TATIANA
(recognizing Dmitri)
You! How dare you?! Stop this car
immediately!
EXT. PARIS STREETS
Tatiana's car flying down small streets.
INT. TATIANA'S CAR
TATIANA
Stop this car!
The car slams to. a stop in front of the SMALL HOTEL.
Dmitri leans into the back seat, face-to-face with her.
DMITRI
Please don't be afraid! I'm sorry,
but there was no other way!
Tatiana is frightened, but still very stubborn. She looks
away from him. Dmitri thrusts the music box into her hands.
DMITRI (CONT.)
Look at this!
Tatiana looks down and is immediately taken aback.
TATIANA
Anastasia's music box... She had this
all these years...
(fighting the possibility)
You could have found it...
DMITRI
What I <U>found</U>your was your granddaughter!
Tatiana turns away from him again.
DMITRI (CONT.)
You were right - it <U>was</U> a lie.
My intention was to fool you
(sadly)
I am a liar - but I found the
truth. Just see her! I swear
if you see her I'll disappear
forever
Dmitri points up to the open window of the hotel.
DMITRI (CONT.)
Just look! Just look at her!
Tatiana finally looks out the window.
TATIANA'S POV
Anya holding Meetoo in front of the window.
BACK TO TATIANA
reacting to how much she looks like Anastasia.
INT. SMALL HOTEL – A MINUTE LATER
Anya hears a KNOCK and assumes it is Dmitri.
ANYA
Go away!
The door opens slowly. Anya spins, then softens when she
sees Tatiana holding the MUSIC BOX.
TATIANA
Who are you, child?
ANYA
(crying)
I don't know! I don't want to hurt you...
Tatiana holds out the music box.
TATIANA
Do you remember this?
ANYA
I remember something lost ...
I'm so confused! Oh, please,
just tell me if you recognize me!
Do you think I could have...
belonged to you ...
Tatiana notices Anya nervously playing with the key around
her neck. Tatiana reacts when she sees the key.
TATIANA
Oh! Where did you get that?!
Anya sees her looking at the key around her neck.
ANYA
I've always had it... I came here
because of this! Tell me if you recognize
it! Please! It's all I have...
UNDERSCORE- "THE MUSIC BOX THEME"
Tatiana holds out her hands as Anya takes off the key
and hands it to her.
TATIANA
(through tears)
It was hers ... my Anastasia's ...
(then suddenly: angry,
defensive)
If this is part of your scheme!
If you found it or stole - I
don't care, I'll give you
whatever you want just TELL ME
THE TRUTH!
Anya takes the music box and the key out of Tatiana's
hand gently - remembering how it works. Anya puts in the
key and begins to wind it. Tatiana is surprised that Anya
knows how it works - so is Anya!
TATIANA (CONT.)
(singing, a cappella)
PAR AWAY, LONG AGO GLOWING DEEP
AS AN EMBER
ANYA
(remembering)
THINGS MY HEAR USED TO KNOW
THINGS IT YEARS TO REMEMBER
We hear THE MUSIC BOX begin to play.
BOTH
AND A SONG SOMEONE SINGS
ONCE UPON A DECEMBER...
Their cracking voices trail off as they look at each other
and know that they are who they've been searching for -
and the search is finally over.
Tatiana and Anya throw their arms around each other, both
crying, both overjoyed.
TATIANA Anastasia! Anastasia! You've come home at last!
You've come home …
OUTSIDE THE WINDOW
Dmitri watches Anya and Tatiana's embrace. He smiles sadly,
then turns and walks down the dark street alone.
EXT. ANYA'S WINDOW
Bartok slides his way out to the window ledge. Overcome with
emotion, he is crying big bat tears.
BARTOK
He is gonna yellllll.
EXT. RASPUTIN'S WAGON - NIGHT
Hideous fat river rats, ferocious looking and scarred,
stop and tremble nervously when
RASPUTIN (O.C.)
(booming louder than ever before)
SHE'LL FIND HER DEMISE IN THAT HAPPY HOME!
Bartok catapults across the frame, having been thrown out
of the window so hard that when he hits the stone wall of
the river bank, the stones crack.
BARTOK
I should have been a dentist ...
INT. ANYA'S BEDROOM IN TATIANA'S HOUSE - NIGHT
Anya snuggles down into the thick covers as Tatiana
strokes her hair gently.
ANYA
... and that Christmas dinner,
when Cook made that awful plum
pudding and we hid it in our
pockets so we wouldn't hurt her
feelings! I do remember so much
now, Grandmama, - but not everything.
TATIANA
Don't worry about that now, child,
it will all come back to you now
that you're home...
Anya closes her eyes as Tatiana continues to stroke her hair.
TATIANA (CONT.)
(quietly)
My poor child you're safe, now...
you're home ...
Anya is asleep as Tatiana kisses her forehead, turns off
the light and walks to the door. She looks back on her
sleeping granddaughter with enormous joy and gratitude.
She smiles to herself as she pulls the door closed
behind her, revealing RASPUTIN STANDING BEHIND THE DOOR.
His eyes glow like embers in the dark. Bartok is perched
on his shoulder.
RASPUTIN
Yesss ... finally "home". And what
a charming ... girlish little home
it is.
(gestures to CHERUBS
in the wallpaper)
Look, Bartok, little angels, the
symbol of ... love. So sweet, so
harmless.
Rasputin takes the reliquary from around his waist and
places it on the table.
RASPUTIN (CONT.)
Let's go for a touch of irony, shall we?
He waves his hand and the smoke emerges, emanating toward
the walls.
CLOSE ON
some CHERUBS as the smoke hits them. They begin to change,
taking on a lean and evil look. Their tiny arrows grow,
becoming lethal, as their eyes turn from soft brown to
blood red. Slowly, they EMERGE from the wallpaper, their
small wings growing into horrible pterodactyl membranous
paired appendages.
They SWOOP into flight and begin to circle the room, faster
and faster. Rasputin leans precariously over the sleeping
Anya, chuckling.
RASPUTIN (CONT.)
And there will be no blood on my hands ...
Rasputin backs away as the cherubs aim their JAGGED ARROWS
at Anya.
Suddenly, Meetoo leaps up from the bed, barking. Rasputin,
startled, jumps backward. Bartok falls off his shoulder and
on to the table, knocking into the reliquary - which is about
to fall.
RASPUTIN (CONT.)
Nooooooo!
Rasputin catches it. The SPELL is immediately broken and
everything turns back to normal just as Anya wakes up. She
sees Rasputin and lets out a SCREAM.
Rasputin advances on her, his hands outstretched as if to
strangle her when he hears footsteps and voices in the hallway.
Rasputin grabs the reliquary and LEAPS out the window, his
monk's robe billowing just as the door opens.
Tatiana rushes in and sees Bartok flying out the window.
TATIANA
Anastasia! It was just a bat!
It's gone, dear...
ANYA
(shaken)
No, it wasn't a bat! I saw this
horrible man - I remember him,
I think...
TATIANA
(comforting)
No, no child... shush... it's
all right ...
She embraces Anya, who is still terrified and knows
that she saw what she saw.
INT. TATIANA'S HOUSE - DAY
Anya sits, looking a bit vacant as two overly French
jewelers, PIERRE & ANDRE, fit Anya for her ROYAL CROWN.
Tatiana sits across from Anya and can't help but notice
that Anya looks miserable as Sophie bustles about.
SOPHIE
A grand ball for the Princess.
How very exciting. So much to do,
so little time...
TATIANA
(slightly annoyed)
Do it somewhere else, please. Quietly.
The slight is lost on Sophie who bustles out talking to herself.
SOPHIE
Caterers ... invitations ... saber
dancers! We must have saber dancers!
"RULERS OF RUSSIA" (COMIC REPRISE)
Sophie SINGS as COMIC REPRISE of 'RULERS OF RUSSIA"</u>
Pierre and Andre argue as they fit Anya for the crown.
PIERRE
Her head it is ... how you say?
ANDRE
Beeg. Zat is how you say it.
Beeg.
PIERRE
And the crown she is ... how you say?
ANDRE
Small! Zat is "how you say" it!
Don't be so French, Pierre wit the
"how you say" all za time - zat is
really annoying.
As they discuss this, Anya wanders away from them, the crown
still slightly askew on her head. Tatiana follows her.
TATIANA
You are going to make a beautiful
princess.
But Anya simply nods. Tatiana turns her towards a FULL LENGTH
MIRROR, then straightens the crown as they look at their
reflections.
TATIANA
Lovely...
(no reaction)
What troubles you, child?
But before Anya can answer, Vladimir leans into the room.
VLADIMIR
Madame, your... eh... guest has
arrived.
TATIANA
(knowing)
Thank you, Vladimir.,
Tatiana leaves and Vladimir looks at Anya. Anya, angry
at him, turns away.
VLADIMIR
Anya... Anastasia... I'm sorry ...
We didn't mean to hurt you ...
Anya still won't look at him.
INT. TATIANA'S STUDY
Tatiana walks into her study and is happy to see Dmitri
is standing there, looking nervous and very uncomfortable.
TATIANA
I sent for you because I owe you a
debt of gratitude larger than I can
ever repay
DMITRI
No. Empress, you --
TATIANA
I want you to have the reward money -
you've earned it.
He leaps from his chair, exploding with emotion.
DMITRI
Empress, no! I will not take the
money! I just came to tell you
I was sorry...
TATIANA
Young man, I...
Dmitri flips his hair out of his eyes and Tatiana gets
a look of recognition across her face.
DMITRI
... and I'm going to keep my
promise to stay out of your
lives, forever.
Tatiana looks at him with great understanding and affection
as she realizes,
TATIANA
You are the boy ...
DMITRI
(uncomfortable)
I should go
TATIANA
That last night in the palace...
one boy showed us kindness and courage.
You were the boy who saved our lives,
weren't you?
(Dmitri doesn't answer)
Please, is there nothing I can do to
repay you?
DMITRI
Promise me she'll have her home.
TATIANA
She does.
DMITRI
And tell me that she's happy.
TATIANA
Oh, Dmitri.I wish that I could.
Dmitri comes down the steps, then stops when he sees Anya,
wearing her CROWN.
She turns and sees him, stifling her first impulse, then
putting on a show of supreme confidence.
DMITRI
I'm glad you found what you
were looking for.
ANYA
I'm glad you did too.
With nothing left to say, he heads for the door.
ANYA
Enjoy your fortune.
Dmitri spins, but restrains. He opens the door and
Anya goes back into the Parlor. They both know that
they will never see each other again.
INT. LITTLE HOTEL - DAY
Dmitri busily tosses his few possessions into his
backpack as Vladimir - in formal attire - waves an
embossed INVITATION at him.
VLADIMIR
But this invitation came
from the Empress herself!
It's the social event of
the decade! You can't turn
it down!
DMITRI
Watch me.
Vladimir starts to protest. Dmitri grabs the invitation
and tears it up, tossing the pieces into the air.
Vladimir sighs.
VLADIMIR
So where will you go?
DMITRI
She found her home.
Maybe it's time I found
one too!
NEW POV
from outside the window. WE DO NOT HEAR THEM, but we
see Vlad and Dmitri hug good-bye.
PULL RACK
to see it's RASPUTIN'S POV; as he stands on a LADDER
OF SMOKE, looking into Dmitri's window. Rasputin watches
Vladimir leave as Dmitri finishes packing.
INT. DMITRI'S ROOM
As the windows BURST OPEN and Rasputin swoops in. Dmitri
backs away, terrified as the ladder dissolves and smoke
fills the room.
RASPUTIN
So. You don't want to go to
the coronation, eh?
DMITRI
(recognizing him)
Rasputin!
RASPUTIN
I know, I know ... you thought I
was dead. That's how the history
books will remember me - not as
the ruler of all of Russia,
which I SHOULD HAVE BEEN -
but as the guy who was never
dead when you expected him to be.
Dmitri backs away as the smoke coils around him and
Rasputin advances.
DMITRI
What do you want?!
RASPUTIN
The same thing I wanted ten
years ago - all the Romonovs dead
I got the others, now I have
to finish up with that nuisance,
Anastasia...
DMITRI
You're insane! You didn't
kill the Romonovs - it
was the...
RASPUTIN
STOP IT! I DID SO KILL THEM!
And I'm going to kill Anastasia.
Dmitri lunges for him but the smoke coils around
him like rope, holding him back.
RASPUTIN (CONT.)
Look at me...
(Dmitri turns away)
Look at me!
The SMOKE forms into hands, forcing Dmitri's face
toward Rasputin's. Dmitri's eyes widen. Rasputin
locks on him with his eyes, glowing like red hot
coals, as he bears Dmitri in hypnotically.
RASPUTIN (CONT.)
You are going to help me
kill her... You are going
to help me kill her...
her...
ON BARTOK
who looks away, obviously not enjoying this.
As WE HEAR Rasputin repeat "You are going to
help me" a few more times.
EXT. EIFFEL TOWER - NIGHT
Magnificently, the Eiffel Tower illuminates all of
Paris when FLOOD LIGHTS come on and we see a LARGE
PARTY has been set underneath it's black iron legs.
WE HEM TRUMPETS as we
MOVE IN CLOSER
to see that a stage has been set up on the north side,
the "Seine side". of the Tower, with a large throne-like
chair in the center. Beautiful PARTY GUESTS, many we
had seen in the opening Ballroom scene, mingle around
excitedly. Behind the stage, a beautiful curtain separates
the party from
INT. BEHIND THE CURTAIN
the Princess Anastasia, in crown and full coronation gown.
Anastasia fidgets nervously, looking for the key around
her neck, then remembering it isn't there anymore, as a
MAJOR RUSSIAN DOMO addresses her and Tatiana.
MAJOR DOMO
... then as I say "Her Serene Highness
Princess Anastasia" you, your Highness,
should walk out on to the stage and
greet your ...
Tatiana sees that Anastasia isn't listening and dismisses
the Major Domo in mid sentence.
TATIANA
I believe her highness understands
what she has to do.
Major Domo bows and leaves. Tatiana looks at Anastasia.
TATIANA (CONT.)
Don't you, child?
ANYA
Oh, yes, Grandmama -
I wait until I hear...
TATIANA
No, not about the ceremony,
Anastasia - do you understand
the choice you must make.
Anya turns to her in confusion.
ANYA
There's no choice...
Anya is cut off with a quick knock at the door,
as Sophie and Vladimir enter, bowing to them both.
Vladimir has Meetoo, all dressed up in bows and
ribbons - and looking miserable - on a leash.
VLADIMIR
(to Tatiana)
Your "guest" is unable to attend.
Tatiana is troubled by this news. Anya starts
laughing when she sees Meetoo.
ANYA
Oh, Meetoo! You look miserable!
Oh, Vlad - look at him!
VLADIMIR
(formally)
Yes, your highness.
ANYA
Poor Meetoo!
VLADIMIR
(formally)
Yes, your highness.
ANYA
Cut it out, Vlad! I'm not
angry with you anymore -
I know how much you needed
the money.
TATIANA
But they didn't take the money -
either one of them. I offered it
to them, but they both refused.
Anya is shocked, she takes a minute to process this as
ANYA
Dmitri didn't want the money?
TATIANA
No, he just wanted to know
you were happy.
VLADIMIR
(taking Sophie's hand)
Fortunately, I am to be married.
(backing away)
With your highness, permission.
ANYA
Vlad, stop acting this way!
You're my friend!
VLADIMIR
No. From now on I am your
loyal subject ... your
highness. By your leave?
To Anya's dismay, Vlad and Sophie bow and back out of the room.
ANYA
Why does everyone have to
act that way?
TATIANA
You'll have to become used
to it, child, if you accept
the crown...
ANYA
"If" I accept?! Of course
I'm going to accept! it's
what I always wanted!
TATIANA
Is it? Is this what you want?
Tatiana gestures to the formality outside.
ANYA
I wanted to come home,
Grandmama - and I did.
I came back to my home
with you.
TATIANA
You can't go back to find your
home. Your home is in your heart,
in the future that you make for
yourself.
ANYA
And this is my future. This is
who I am!
TATIANA
This is who you were. Exactly
who you are is up to you.
ANYA
I don't know who I am!
I still don't know!
TATIANA
Yes, you do. You do.
Tatiana kisses her on the forehead.
TATIANA (CONT.)
And in your heart, you know what
is right for you.
Tatiana turns to leave.
ANYA
I've spent my whole
life waiting to find you ...
TATIANA
And we have found each other
nothing will ever change that!
I am your family, dear child,
but I may not be your home.
Tatiana leaves. Anya is very torn. Anya jumps as
the TRUMPETS sound announcing her entrance.
INT. BALLROOM - NIGHT
The COURTIERS gather, excited, as the Major Domo
readies to make his announcement.
INT. ANTE ROOM (EIFFEL TOWER)
Anya, thinking about what Tatiana has said, looks
at herself in the mirror.
ANYA'S POV
the Princess Anastasia. But not Anya.
MAJOR DOMO (O.C)
(announcing)
Her Serene Highness, the Princess
Anastasia!
Pause. WE HEAR mummers from the crowd outside, various
"Where's Anastasia?", then
DMITRI (O.C.)
Anya!
Anya spins around, looking for him. His voice seems
distant and ghostly,
DMITRI (O.C.)
Anya ...
Anya follows his voice out of the room and into the
ELEVATOR. The doors close.
EXT. ELEVATOR
as it rises gently to the very top of the Eiffel Tower
not on cables - but on long ropes of smoke.
EXT. TOP OF EIFFEL TOWER
Rasputin, gleeful, sits perched on a girder, looking down
at the party below.
RASPUTIN
Look, Bartok. Most of them were
there the night I made this curse.
Now, they'll get to see it finished!
(sighing, content)
Revenge is a dish best served... in
front of a larrrrrge audience!
Rasputin leans over the rail and looks down at the party.
RASPUTIN (CONT.)
Do not despair. I'll make sure your
beloved princess drops in.
Rasputin chuckles at his own "wit"
BARTOK
(depressed)
Ahh, very witty. There's this
English guy - Noel Coward -
I'll bet he's quaking ...
ON THE ELEVATOR
As the door open and Anya rushes out, looking around.
ANYA
Dmitri?
Dmitri is standing - like a zombie - at the far end
of the platform. Anya sees him.
ANYA
Dmitri ... Grandmama told me.
She stops. She can tell that something isn't right
with Dmitri by the look in his eyes.
ANYA
Dmitri, what's wrong?
Dmitri approaches her slowly, zombie-like, arms
outstretched.
RASPUTIN
(from above)
Throw her off the edge! Do it!
Anya looks up at the booming voice.
ANYA'S POV
sees Rasputin.
BACK TO ANYA: FLASHES, RAPID IMAGES:
RASPUTIN from the last night at the palace
YOUNG ANASTASIA - TERRIFIED
ORANGE flash of gunshots
YOUNG DMITRI leading them out the wall panel, then the
Face of the YOUNG DMITRI superimposes over the zombie who
is coming toward her.
ANYA
Dmitri ... Look at me!
It's Anya! It's ANYA!
Dmitri stops. His eyes glazed and frightening.
ANYA
You saved my life in the
palace! You won't take
it now...
RASPUTIN
(from above)
FINISH HER!
Anya holds her ground as Dmitri moves toward her,
ready to push her off the
edge.
ANYA
Dmitri. I know you would
never hurt me. You love me.
As Dmitri come close, she moves toward him and
kisses him. He blinks and snaps out of it and is
quite happy that Anya is kissing him.
ANYA
Dmitri?
DMITRI
Anya... where are we?
WE HEAR a howl from above and suddenly Rasputin
jumps down. The reliquary tied to his waist, he's
more furious than we've ever seen him - his face
literally consumed with rage and hatred.
Anya is terrified - but holds her ground as she did
when she was a child.
ANYA
I guess you aren't as
powerful as you thought!
Rasputin walks slowly toward Anya and Dmitri, burning with rage.
RASPUTIN
I'll show you!
DMITRI
Run, Anya - go...
ANYA
I'm not leaving you!
RASPUTIN
Fighting for fair lady. How noble...
Dmitri pushes Anya away and charges the much larger
Rasputin, who knocks his aside with on swoop of big
huge arm.
RASPUTIN (CONT.)
And how pathetic.
Rasputin turns to Anya climbing up a girder.
RASPUTIN (CONT.)
That's only going to make you
fall farther.
Anya turns suddenly and kicks Rasputin in the face,
which has the same effect as kicking a brick wall.
Anya is thrown off balance and falls. Rasputin pushes
her with his foot and she slides across the floor to
Dmitri.
Anya and Dmitri exchange a quick look as Rasputin,
chuckling, advances on them. Anya reaches up and grabs
Rasputin's beard, pulling his face forward so that
Dmitri can give him a good roundhouse punch.
The blow does little but enrage Rasputin. He reaches
out and with one huge hand, picks Anya like a rag doll
and takes her to the ledge.
DMITRI
Anya!
Dmitri throws himself against Rasputin several times
only to get batted away like a fly. Realizing this is
futile, Dmitri slips through the FLOOR GIRDERS and
scurries towards the edge… BELOW TEM.
DMITRI POV: Rasputin's large boots above him, heading
for the edge.
ABOVE
Rasputin reaches the edge, playful dangling the
struggling Anya over the side.
RASPUTIN
My curse is now complete!
Good-bye, babushka!
Anya looks over the ledge.
ANYA'S POV
The city below as she FALLS. Dmitri emerges from the
grid below and GRASS her, holding on to the back of
her dress.
DMITRI
Take my hand!
(sees Rasputin approaching)
Hurry!
She manages to spin around, gripping his hand.
ANYA
Don't let me go!
DMITRI
I'll never let go!
CLOSE
their hands, gripping one another.
RASPUTIN (O.C.)
What a touching sentiment...
They look up to see his right above them. Rasputin's
boot SMASHES DOWN on Dmitri's hand, which grips the
girder.
Dmitri screams out in, but doesn't let go. He
looks down at Anya and pulls her up while Rasputin
begins to pry off Dmitri's fingers one at a time.
RASPUTIN
This little piggy had a palace...
this little piggy had a throne...
Anya swings to another beam and now has firm footing as
Rasputin continues.
RASPUTIN (CONT.)
This little piggy missed the firing
squad..
Dmitri is literally holding on with two fingers.
RASPUTIN (CONT.)
And this little piggy wanted a home...
And this little piggy went wee wee
wee all the way... down!
As Dmitri's last finger is preyed away, he falls but
his grasp on Anya's hand is firm and she pulls him
onto where she is standing.
Rasputin leans over and bends toward them, three feet
from Anya.
RASPUTIN (CONT.)
DIE!
The reliquary is dangling. Anya reaches up to grab on to
it but her aim is off and she HITS it. The reliquary flies
and SMASHES against the side of the tower, shattering.
Rasputin realizes what has happened and scrambles away
in terror.
RASPUTIN (CONT.)
NOOOOOOOOO!
ON BARTOK
who covers his eyes.
ON ANYA AND DMITRI
who climb back up to the platform.
LONG SHOT
of the Eiffel Tower as the EVIL SPIRITS FROM THE
RELIQUARY burst out. The SPIRITS take on all the forms
we've seen earlier: BEARS, MINIONS, SNAKES, and
combinations of all. They grow and swirl, with hideous
MOANING noises.
Anya and Dmitri huddle together, in disbelief.
ON RASPUTIN
as the SPIRITS begin to swarm around him, a TORNADO of
horrid beings. Re screams as they pull him off the
ground.
ON ANYA AND DMITRI
as the force of the tornado increases, they have to
hold on to the girders and each other in order not to
be sucked in. Bartok is thrown against the side of the
tower and slithers to the floor.
ON RASPUTIN
suspended over the Eiffel Tower in the maelstrom. He
Screams wildly as the spirits encircle his, torment
him and EXPLODE - pieces fly and disintegrate in mid-air,
in wild colors and smoke.
ON DMITRI AND ANYA
who hug each other in relief. They stand, looking out.
The smoke dissipates, showing them the city lights below.
ON BARTOK
who rises, patting his chest- He's about to let out
a Bartokism… but all the emerges are LITTLE BAT SQUEAKS.
He's surprised as first, then thrilled. The spell is
broken and he's just a bat again.
DMITRI AND ANYA
as he reaches down and picks up the crown that fell off
her head in the fight. He hands it to her.
DMITRI
Come on... I'll take you home.
Anya looks lovingly at Dmitri and doesn't put the crown back on.
ANYA
I am home.
"HONE IS WHERE YOU ARE"
(The Love Duet For Anya And Dmitri). A SIMPLE EMOTIONAL
BALLAD for two people who realize at last that their hearts
have led then to each other, to "home". This will work within
the dramatic context of the film (sung by the characters) but
can also be re-recorded as a Pop single.</U>
The song continues over various scenes:
THE EMPTY STAGE
Tatiana smiling, knowingly.
SOPHIE & VLADIMIR
sneaking a kiss in the middle of the party. Xenia and Estelle
look at each other with their stone faces.. . and smile.
BARTOK
Hanging from the rafters of the Eiffel Tower, no sure what
to do next - then a cute female bat flies up next to his and
"bats" her eyes.
ANYA & DMITRI
walking over the River bridge with Meetoo following behind
them… a family - going home together.
FADE OUT
THE END
lol. Now let us go onward with the scripts!!!
OPEN ON: ICE.
We're underwater looking up at it. A saw cuts through,
heading right for us.EXT. SNOW-CAPPED MOUNTAINS – DUSK
ICE HARVESTERS, dressed in traditional Sami clothing, score a
frozen lake. They SING."The Frozen Heart (Ice Worker's Song)" ICE HARVESTERS BORN OF COLD AND WINTER AIR AND MOUNTAIN RAIN COMBINING, THIS ICY FORCE BOTH FOUL AND FAIR HAS A FROZEN HEART WORTH MINING.
The men drag giant ice blocks through channels of water.
ICE HARVESTERS (CONT'D) CUT THROUGH THE HEART, COLD AND CLEAR. STRIKE FOR LOVE AND STRIKE FOR FEAR. SEE THE BEAUTY SHARP AND SHEER. SPLIT THE ICE APART! AND BREAK THE FROZEN HEART. Hup! Ho! Watch your step! Let it go!
A young Sami boy, KRISTOFF (8), and his reindeer calf, SVEN,
share a carrot as they try to keep up with the men.ICE HARVESTERS (CONT'D) Hup! Ho! Watch your step! Let it go!
Young Kristoff struggles to get a block of ice out of the
water. He fails, ends up soaked. Sven licks his wet cheek.ICE HARVESTERS (CONT'D) BEAUTIFUL! POWERFUL! DANGEROUS! COLD! ICE HAS A MAGIC CAN'T BE CONTROLLED.
A sharp ice floe overtakes the workers, threateningly. They
fight it back.ICE HARVESTERS (CONT'D) STRONGER THAN ONE, STRONGER THAN TEN STRONGER THAN A HUNDRED MEN!
Massive fjord horses drag heavy ice plows.
2
FROZEN - J. LeeICE HARVESTERS (CONT'D) BORN OF COLD AND WINTER AIR AND MOUNTAIN RAIN COMBINING
The sun sets. Lanterns are lit.
ICE HARVESTERS (CONT'D) THIS ICY FORCE BOTH FOUL AND FAIR HAS A FROZEN HEART WORTH MINING. CUT THROUGH THE HEART, COLD AND CLEAR.
In the dark, Kristoff and Sven finally manage to get a single
block of ice out of the water.ICE HARVESTERS (CONT'D) STRIKE FOR LOVE AND STRIKE FOR FEAR. THERE'S BEAUTY AND THERE'S DANGER HERE. SPLIT THE ICE APART! BEWARE THE FROZEN HEART.
The workers pile onto the giant horse-drawn ice sled as it
pulls away.Left behind, Kristoff and Sven push their ice block onto a
dinky little sled then head off.We sweep up from them to the Northern Lights filling the
sky…then move across the mountains…beneath the
snowline…and descend upon…EXT. THE KINGDOM OF ARENDELLE – NIGHT
A humble castle, built of wood, nestled in a deep fjord.
INT. CASTLE, NURSERY – NIGHT
ELSA (8) sleeps in her bed. Her little sister ANNA (5) pops
up beside her.YOUNG ANNA Elsa. Psst. Elsa! Psst.
Elsa doesn't stir. Anna sits on Elsa and bounces.
YOUNG ANNA (CONT'D) Wake up. Wake up. Wake up. YOUNG ELSA (grumbling) Anna, go back to sleep.
Anna rolls onto her back and spreads all her weight on Elsa.
3
FROZEN - J. LeeYOUNG ANNA (drama queen-ish) I just can't. The sky's awake, so I'm awake, so we have to play. YOUNG ELSA ...Go play by yourself.
Elsa shoves Anna off the bed.
Anna lands butt to floor, sighs, defeated. But then she gets
an idea. She hops back on the bed and lifts one of Elsa's
eyelids.YOUNG ANNA (mischievously) Do you want to build a snowman?
Elsa's eyes both pop open. She smiles.
INT. CASTLE STAIRCASE – NIGHT
Anna, now wearing snow boots, pulls Elsa by the hand.
YOUNG ANNA Come on, come on, come on, come on.
Elsa tries to shush her, but Anna's too excited.
INT. BALLROOM – NIGHT
The girls sneak into the ballroom. Elsa shuts the door.
YOUNG ANNA Do the magic! Do the magic!
Elsa laughs and waves her hands together. Snowflakes suddenly
burst forth and dance between her palms, forming a snowball.
Elsa throws the snowball high into the air. Snow bursts out
and flurries around the room. Anna dances about, catching
flakes in her palms and mouth.YOUNG ANNA (CONT'D) This is amazing! YOUNG ELSA Watch this!
Elsa stomps her little slippered foot and a layer of ice
suddenly coats the floor, forming a giant ice rink. Anna
slides off, laughing.
4
FROZEN - J. LeePLAY MONTAGE:
-Anna and Elsa roll giant snowballs and build a snowman
together. Elsa moves his stick arms around.YOUNG ELSA (CONT'D) (goofy voice) Hi, I'm Olaf and I like warm hugs.
Anna jumps up and hugs him.
YOUNG ANNA I love you, Olaf.
-Anna and Olaf appear to be dancing. REVEAL: Elsa is actually
propelling them across the ice floor with her magic.-The girls slide down snowbanks together!
-Anna fearlessly jumps off a snow peak into mid air.
YOUNG ANNA (CONT'D) Catch me!
Elsa makes another peak to catch Anna.
YOUNG ELSA Gotcha!
Anna keeps jumping. Elsa keeps casting magic.
YOUNG ANNA (jumping faster) Again! Again! YOUNG ELSA (struggling to keep up) Slow down!
Elsa suddenly slips.
Her magic accidentally STRIKES Anna in the head. Anna tumbles
down a snowbank and lands, unconscious.YOUNG ELSA (CONT'D) ANNA!
Elsa runs to Anna and takes her in her arms. A streak of
Anna's hair, where struck, turns white.YOUNG ELSA (CONT'D) MAMA! PAPA!
The room around them fills with frightening ice spikes.
5
FROZEN - J. LeeThe parents burst through the frozen door. GASP at the sight
of the room.KING Elsa, what have you done? This is getting out of hand! QUEEN (seeing Anna) Anna!
The King and Queen rush to Anna and take her in their arms.
ELSA It was an accident. I'm sorry, Anna. QUEEN (about Anna) She's ice cold. KING ...I know where we have to go. SLAM CUT TO:
INT. DARK ROOM – NIGHT
The King sifts through a shelf to find an ancient book
inscribed with Old Norse runes. He opens the book, scrambles
to a page with an ancient map.EXT. ARENDELLE – NIGHT
Carrying the girls, the King and Queen ride their horses out
of the kingdom. Snow streams from Elsa's hands, leaving a
trail of ice behind them.EXT. FJORD MOUNTAIN FOREST – NIGHT
A sleepy Kristoff and Sven travel alone through the dark
woods. All of a sudden, the King and Queen race by with the
girls, leaving the wake of ice.KRISTOFF Ice? SLAM CUT TO: 6 FROZEN - J. Lee
EXT. BLACK MOUNTAINS – NIGHT
Kristoff rides Sven as they follow the trail of ice.
YOUNG KRISTOFF Faster, Sven!
EXT. THE VALLEY OF THE LIVING ROCK – NIGHT
Kristoff hops off Sven at the edge of a deep valley. They
hide behind a rock and peek out.Down below, the King holds a frightened Elsa. The Queen holds
the still unconscious Anna.KING Please, help. My daughter!
Suddenly, a bunch of rocks tumble down the valley toward
them. It looks as though they'll be crushed!But, luckily, the rocks stop at their feet. The rocks then
unfold, revealing bright faces.YOUNG KRISTOFF Trolls...?
The rock in front of Kristoff "wakes up." Meet BULDA.
BULDA Shush. I'm trying to listen.
She grabs Kristoff and Sven by hand and hoof and hugs them
close. Sven licks her face and she eyes them both.BULDA (CONT'D) Cuties. I'm gonna keep you.
Back below, the crowd parts for a troll as old as the Earth.
They call him GRAND PABBIE. He approaches arthritically, but
determined. He nods respectfully to the king.GRAND PABBIE Your Majesty. (referring to Elsa) Born with the powers or cursed? KING Born. And they're getting stronger.
Grand Pabbie motions for the Queen to bring Anna to him. She
does. He examines her.
7
FROZEN - J. LeeGRAND PABBIE (about Anna) You are lucky it wasn't her heart. The heart is not so easily changed, but the head can be persuaded. KING Do what you must. GRAND PABBIE I recommend we remove all magic, even memories of magic to be safe.... But don't worry, I'll leave the fun.
Grand Pabbie pulls out a glowing blue energy from Anna's
head. We see her memories floating right above her. Grand
Pabbie changes all of her magical memories to ordinary
memories – snowy play indoors with the girls in their
nightgowns changes to outdoors on the winter fjords with the
girls in winter gear. He puts the ordinary memories back in
her head.GRAND PABBIE (CONT'D) She will be okay. YOUNG ELSA But she won't remember I have powers? KING It's for the best. PABBIE Listen to me, Elsa, your power will only grow.
As he speaks, he conducts the Northern Lights to show a
silhouette of an adult Elsa creating magical snowflakes.PABBIE (CONT'D) There is beauty in your magic.... But also great danger.
The snowflakes turn to sharp spikes.
PABBIE (O.S.) (CONT'D) You must learn to control it.
In the Northern Lights display, the sharp spikes cause human
figures to panic and attack Elsa.PABBIE (CONT'D) Fear will be your enemy. 8 FROZEN - J. Lee
Elsa gasps and buries her face in the King's chest. The King
wraps his arms around Elsa, protectively.KING No. We'll protect her. She can learn to control it. I'm sure.
Over the King's words we…
DISSOLVE TO:
-The Arendelle castle gates shutting.
KING (O.S.) (CONT'D) Until then, we'll lock the gates. We'll reduce the staff. We will limit her contact with people and keep her powers hidden from everyone... including Anna.
-The castle shutters close.
-Anna sits on her bed as Elsa's furniture disappears.
-Anna rushes to the hall to see Elsa shut the door to her new
room. Anna watches, confused and sad.DISSOLVE TO:
INT. CASTLE WINDOW – DAY
We look out on a gentle snowfall. Little Anna skips up to the
window. She lights up at the sight of the snow and rushes
down the hall.INT. HALLWAY, ELSA'S DOOR – DAY
Anna knocks on Elsa's door and SINGS.
"Do You Want to Build a Snowman?" YOUNG ANNA DO YOU WANT TO BUILD A SNOWMAN? COME ON LET'S GO AND PLAY.
Anna peeks under the door.
YOUNG ANNA (CONT'D) I NEVER SEE YOU ANYMORE. COME OUT THE DOOR. IT'S LIKE YOU'VE GONE AWAY. 9 FROZEN - J. Lee
-INT. ANNA'S ROOM – Anna plays with two dolls, gives up, sad.
YOUNG ANNA (CONT'D) WE USED TO BE BEST BUDDIES AND NOW WE'RE NOT. I WISH YOU WOULD TELL ME WHY.
-ELSA'S DOOR. Anna peeks through the key hole.
YOUNG ANNA (CONT'D) DO YOU WANT TO BUILD A SNOWMAN?
-Anna calls through the keyhole.
YOUNG ANNA (CONT'D) IT DOESN'T HAVE TO BE A SNOWMAN. YOUNG ELSA (O.S.) Go away, Anna. YOUNG ANNA (hearbroken) ...OKAY BYE.
-BEHIND THE DOOR – DAY. Elsa sits at the window looking out,
longingly. Suddenly, her icy hands freeze the windowsill.-LATER. The King slips leather gloves onto Elsa's hands.
KING The gloves will help.
He pats her gloved hand.
KING (CONT'D) See? You're good.... (starting their mantra) Conceal it. YOUNG ELSA Don't feel it. YOUNG ELSA & KING Don't let it show.
-INT. HALLWAY, ELSA'S DOOR – DAY. Anna, now 9, knocks on
Elsa's door.ANNA (9) DO YOU WANT TO BUILD A SNOWMAN?
-INT. HALLWAY – DAY. Alone, Anna rides a bicycle built for
two in the hall by standing on the back seat.
10
FROZEN - J. LeeANNA (9) (CONT'D) OR RIDE OUR BIKE AROUND THE HALL? I THINK SOME COMPANY IS OVERDUE...
-INT. PORTRAIT ROOM – DAY. Anna runs around the portrait
room, gaining momentum to flip over the arm of the couch.ANNA (9) (CONT'D) I'VE STARTED TALKING TO THE PICTURES ON THE WALLS.
Anna lands PLOP on the cushions, then looks up at the
painting above her of the courageous Joan of Arc.ANNA (9) (CONT'D) Hang in there, Joan.
-INT. EMPTY LIBRARY – DAY. Looks like no one's around.
ANNA (9) (CONT'D) IT GETS A LITTLE LONELY ALL THESE EMPTY ROOMS.
But then we find Anna, laying at the base of the grandfather
clock, playing with her braids, bored out of her mind.ANNA (9) (CONT'D) JUST WATCHING THE HOURS TICK BY.
Anna's eyes follow the grandfather clock's pendulum.
ANNA (9) (CONT'D) TICK TOCK. TICK TOCK. TICK TOCK.
-INT. ELSA'S ROOM – NIGHT. Elsa (now 12) paces as she panics.
The entire wall is frozen behind her.ELSA (12) I'm scared. It's getting stronger. KING Getting upset only makes it worse.
The King goes to hug her.
ELSA (12) No. Don't touch me. I don't want to hurt you.
He and the Queen look at each other with alarmed sadness.
-INT. LIBRARY – DAY. Anna, now a teenager, slides past Elsa's
room without stopping.
11
FROZEN - J. Lee-INT. KING AND QUEEN'S QUARTERS – DAY. Anna runs into the
room and throws herself into her parents' arms.TEEN ANNA See you in two weeks.
-INT. ELSA'S ROOM – DAY. Elsa curtsies in front of her
parents, formally, not touching them.TEEN ELSA Do you have to go? KING You'll be fine, Elsa.
-EXT. DOCKS – DAY. The King and Queen leave on a ship.
-EXT. ROUGH SEAS – NIGHT. Lightning flashes. The sea rages in
a storm. The King and Queen's ship is lost in the waves.-INT. CASTLE – DAY. A portrait of the King and Queen is
covered in mourning cloth.-EXT. CEMETERY – DAY. Anna looks small, standing before her
people, beside burial stones.-INT. HALLWAY, ELSA'S DOOR. Anna, still in her mourning
clothes, approaches and knocks.ANNA (singing) Elsa? PLEASE I KNOW YOU'RE IN THERE PEOPLE ARE ASKING WHERE YOU'VE BEEN THEY SAY HAVE COURAGE AND I'M TRYING TO I'M RIGHT OUT HERE FOR YOU. PLEASE LET ME IN.
Anna slides down the door and sits with her head against it.
ANNA (CONT'D) WE ONLY HAVE EACH OTHER. IT'S JUST YOU AND ME. WHAT ARE WE GONNA DO? (weak, internal) DO YOU WANT TO BUILD A SNOWMAN?
We move through the door…
-INT. ELSA'S ROOM – DAY. Elsa is sitting in the exact same
pose as Anna. Her bedroom is frozen with ice. Snowflakes hang
in the air, suspended by grief.FADE OUT. 12 FROZEN - J. Lee
EXT. THE KINGDOM OF ARENDELLE – MORNING
A new dawn rises over the fjords.
Ships pull up to the docks. Guests pile out.
DOCK MASTER Welcome to Arendelle!
A BOY tries to get away as his MOTHER tries to stuff him in
his bunad jacket.BOY Why do I have to wear this? MOTHER Because the Queen has come of age. It's Coronation Day! BOY That's not my fault.
They pass the May Pole being raised and a Sami ice harvester
chatting with his reindeer. We recognize them as Kristoff and
Sven, all grown up. Sven hops around excitedly like a dog and
nuzzles Kristoff's chest.KRISTOFF What do you want, Sven?
Kristoff leans in and speaks for Sven, as if he can.
KRISTOFF (AS SVEN) (CONT'D) Give me a snack. KRISTOFF (CONT'D) What's the magic word? KRISTOFF (AS SVEN) (CONT'D) Please!
Kristoff pulls a carrot out of his shirt pocket and hands it
to Sven. Sven tries to bite the whole thing.KRISTOFF (CONT'D) Hey, hey, hey! Share!
Sven takes a smaller bite. Kristoff then has a bite himself,
not seeming to care that it's covered in reindeer slobber.We move on to PERSI and AGGIE, a super-excited couple who
rush towards the castle.
13
FROZEN - J. LeePERSI I can't believe they're finally opening up the gates! AGGIE And for a whole day! Faster, Persi!
They pass a tiny but menacing DUKE, who wears taps on his
shoes to "enhance" his presence. Two THUG guards follow close
behind him.DUKE Ah, Arendelle, our most mysterious trade partner. Open those gates so I may unlock your secrets and exploit your riches. (catching himself) ...Did I just say that out loud?
We leave him and head down the bridge towards the castle
gates, passing an Irishman and a Spanish Dignitary.IRISHMAN Oh, me sore eyes can't wait to see the Queen and the Princess. I bet they're absolutely lovely. SPANISH DIGNITARY I bet they are beautiful.
We move past them, to a particular castle window.
CUT TO:
INT. CASTLE, ANNA'S BEDROOM – DAY
Anna, 18, snores. Drools. KNOCK. KNOCK.
KAI (O.S.) Princess Anna...?
Anna sits up. She's got major bedhead. She coughs. Snorts.
Pulls a hair from her mouth.ANNA ...Huh? Yeah? KAI (O.S.) Sorry to wake you, ma'am but-- ANNA No, you didn't. I've been up for hours. 14 FROZEN - J. Lee
She falls back asleep while sitting. She snores. Her head
drops, startling her awake.ANNA (CONT'D) Who is it? KAI (O.S.) It's still me, ma'am. Time to get ready. ANNA Ready for what? KAI (O.S.) Your sister's coronation, ma'am. ANNA My sister's cor-neration...
One eye opens enough to catch sight of her coronation dress.
She bolts, wide awake in excitement.ANNA (CONT'D) Coronation Day! Ha ha! SLAM CUT TO:
EXT. CASTLE HALL – DAY
Anna bursts out of her room, wearing her coronation dress.
She finishes pinning ribbons in her hair. Seeing the hustle
and bustle of preparations, she can't help but SING."For the First Time in Forever" ANNA THE WINDOW IS OPEN! SO'S THAT DOOR! I DIDN'T KNOW THEY DID THAT ANYMORE. WHO KNEW WE OWNED 8000 SALAD PLATES...?
-Anna slides along the floor of the ballroom in her socks.
ANNA (CONT'D) FOR YEARS I HAVE ROAMED THESE EMPTY HALLS WHY HAVE A BALLROOM WITH NO BALLS? FINALLY, THEY'RE OPENING UP THE GATES!
-She shakes hands with a suit of armor. Breaks it. Hides the
evidence.
15
FROZEN - J. LeeANNA (CONT'D) THERE'LL BE REAL, ACTUAL PEOPLE - IT'LL BE TOTALLY STRANGE. BUT WOW AM I SO READY FOR THIS CHANGE!
-Anna comes to a window and jumps out onto a window washer's
pulley. She raises herself up to see the ships arriving.ANNA (CONT'D) FOR THE FIRST TIME IN FOREVER, THERE'LL BE MUSIC, THERE'LL BE LIGHT. FOR THE FIRST TIME IN FOREVER, I'LL BE DANCING THROUGH THE NIGHT.
-Anna walks through the garden and follows a family of geese.
ANNA (CONT'D) DON'T KNOW IF I'M ELATED OR GASSY, BUT I'M SOMEWHERE IN THAT ZONE 'CAUSE FOR THE FIRST TIME IN FOREVER, I WON'T BE ALONE. (speaking) I can't wait to meet everyone.... (GASP) What if I meet THE ONE?
-Anna twists herself in a velvet drape like it's a gown. She
acts like she looks gorgeous, but she looks ridiculous.ANNA (CONT'D) TONIGHT, IMAGINE ME GOWN AND ALL- FETCHINGLY DRAPED AGAINST THE WALL. THE PICTURE OF SOPHISTICATED GRACE.
-She notices the bust of a man across the room.
ANNA (CONT'D) (google-eyed) I SUDDENLY SEE HIM STANDING THERE, A BEAUTIFUL STRANGER TALL AND FAIR. (mouth full of chocolate) I WANNA STUFF SOME CHOCOLATE IN MY FACE!
-She grabs the bust of the man and swings it around.
ANNA (CONT'D) BUT THEN WE LAUGH AND TALK ALL EVENING, WHICH IS TOTALLY BIZARRE. NOTHING LIKE THE LIFE I'VE LED SO FAR.
The bust goes flying and lands on the top of the cake.
-Anna bursts into the portrait room, bounces on the
furniture, and interacts with the paintings.
16
FROZEN - J. LeeANNA (CONT'D) FOR THE FIRST TIME IN FOREVER, THERE'LL BE MAGIC, THERE'LL BE FUN. FOR THE FIRST TIME IN FOREVER, I COULD BE NOTICED BY SOMEONE. AND I KNOW IT IS TOTALLY CRAZY TO DREAM I'D FIND ROMANCE. BUT FOR THE FIRST TIME IN FOREVER, AT LEAST I'VE GOT A CHANCE!
-INT. LIBRARY. ELSA, now a very poised 21, watches out the
window as the coronation guests arrive.ELSA DON'T LET THEM IN. DON'T LET THEM SEE. BE THE GOOD GIRL YOU ALWAYS HAVE TO BE.
Elsa moves to a painting of her father's coronation. She
takes off her gloves and mimics the painting by holding a
candlestick and ornament in place of an orb and scepter.ELSA (CONT'D) CONCEAL. DON'T FEEL. PUT ON A SHOW. MAKE ONE WRONG MOVE AND EVERYONE WILL KNOW.
The candlestick and ornament ice over. Elsa gasps, slams them
back down onto the table. She tries to reassure herself.ELSA (CONT'D) BUT IT'S ONLY FOR TODAY.
We cut between Anna's excitement and Elsa's nerves.
ANNA IT'S ONLY FOR TODAY! ELSA IT'S AGONY TO WAIT. ANNA IT'S AGONY TO WAIT!!! ELSA TELL THE GUARDS TO OPEN UP THE GATE. ANNA THE GATE!!!
-Finally, the gates are open! Anna moves through the crowd,
admiring the people around her.
17
FROZEN - J. LeeANNA (CONT'D) ELSA FOR THE FIRST TIME IN DON'T LET THEM IN FOREVER. DON'T LET THEM SEE ANNA ELSA I'M GETTING WHAT I'M DREAMING BE THE GOOD GIRL OF YOU ALWAYS HAVE TO BE ANNA ELSA A CHANCE TO LEAVE MY SISTER'S CONCEAL. WORLD CONCEAL. DON'T FEEL. A CHANCE TO FIND TRUE LOVE DON'T LET THEM KNOW.
-Anna hurries over the bridge and into the village square.
ANNA (CONT'D) I KNOW IT ALL ENDS TOMORROW, SO IT HAS TO BE TODAY!! `CAUSE FOR THE FIRST TIME IN FOREVER. . . FOR THE FIRST TIME IN FOREVER! NOTHING'S IN MY WAY!!!
-Anna SLAMS right into the breast of a HORSE!
She falls back and lands in a small wooden boat. It tips off
of the dock. She's heading overboard. But just then, the
horse slams his hoof into the boat and steadies it.ANNA (CONT'D) (frustrated) Hey! HANS I'm so sorry. Are you hurt?
The rider, HANS, sure is handsome and regal.
ANNA (gentler) Hey. I-ya, no. No. I'm okay. HANS Are you sure? ANNA Yeah, I just wasn't looking where I was going. But I'm okay.
He hops down from his horse and steps into the boat.
ANNA (CONT'D) I'm great, actually. 18 FROZEN - J. Lee HANS Oh, thank goodness.
He offers her a hand and their eyes meet. Chemistry. He helps
her to her feet.HANS (CONT'D) (bowing) Prince Hans of the Southern Isles. ANNA (curtseying) Princess Anna of Arendelle. HANS Princess...? My Lady.
He drops to his knees, head bowed. The horse bows too,
curling his hoof up and out of the boat.The boat tips. Hans tumbles on top of Anna. Awkward.
ANNA Hi...again.
The horse slams his foot back into the boat to stabilize it.
Anna and Hans tumble the other way. Anna lands on top of him.HANS Oh boy. ANNA Ha. This is awkward. Not you're awkward, but just because we're-- I'm awkward. You're gorgeous. (did she just say that?) Wait, what?
Hans quickly gets to his feet and helps Anna up again.
HANS I'd like to formally apologize for hitting the Princess of Arendelle with my horse...and for every moment after. ANNA No. No-no. It's fine. I'm not THAT Princess. I mean, if you'd hit my sister Elsa, that would be-- yeash! `Cuz, you know... (patting the horse) Hello. (MORE) 19 FROZEN - J. Lee ANNA (CONT'D) (to Hans) But, lucky you, it's-it's just me. HANS Just you?
Hans smiles, amused. She smiles back. The bells RING. She
doesn't notice at first; she's too busy drinking in Hans's
handsomeness.ANNA ...The bells. The coronation. I-I-I better go. I have to...I better go.
She hurries off, stops, turns back. Gives Hans a little wave.
ANNA (CONT'D) Bye!
As she rushes off again, Hans waves back. The horse waves
too, once again taking his hoof out of the boat.HANS Oh no.
The boat falls, with Hans in it. SPLASH! It lands upside down
in the water. Hans raises it up off of him, gasping for air.CUT TO:
INT. CHURCH CHAPEL – DAY
Elsa stands at the alter. Anna stands off to one side. She
peeks out to the audience.Hans waves at her from the pews. He's changed his clothes.
The crown is placed on Elsa's head. The scepter and orb are
presented to Elsa on a pillow. She slowly reaches for them.BISHOP (a whisper) Your Majesty, the gloves.
Elsa hesitates. She breathes nervously, removes her gloves,
places them on the pillow. Her hands shake. She takes the orb
and scepter, then turns to the people.BISHOP (CONT'D) (formal, in Old Norse) Sehm hon HELL-drr IN-um HELL-gum AYG-num ok krund ee THES-um HELL- gah STAHTH, ehk teh frahm FUR-ear U- thear... 20 FROZEN - J. Lee
The scepter and orb start to freeze over.
BISHOP (CONT'D) ...Queen Elsa of Arendelle. CROWD Queen Elsa of Arendelle.
Just in time. Elsa manages to set the orb and scepter back
down on the pillow before anyone notices the ice. She picks
up her gloves and slips them on. She made it.CUT TO:
INT. GREAT HALL – NIGHT
Springy music fills the Great Hall. Guests dance. Eat. Laugh.
TRUMPETS SOUND.
KAI (announcing) Queen Elsa of Arendelle.
Elsa enters, poised and looking surprisingly content. She
stands under a formal awning.KAI (CONT'D) Princess Anna of Arendelle!
Anna runs into the room, waves awkwardly. Kai ushers her over
to stand right next to Elsa.ANNA Here? Are you sure?
She and Elsa sneak awkward peeks at each other.
ELSA ...Hi. ANNA Hi me...? Oh. Um. Hi. ELSA ...You look beautiful. ANNA Thank you. You look beautifuller. I mean, not fuller. You don't look fuller, but more beautiful. 21 FROZEN - J. Lee ELSA Thank you.
They look out at the celebration.
ELSA (CONT'D) So, this is what a party looks like? ANNA It's warmer than I thought. ELSA And what is that amazing smell?
They both close their eyes and inhale.
ANNA AND ELSA (TOGETHER) ...Chocolate.
Their eyes pop open. They laugh.
Elsa looks back out at the party. Anna looks at Elsa. She
wants to say so much, but she can't think of where to start.
Just as she finds her way, Kai interrupts.KAI Your Majesty. The Duke of Weaseltown. DUKE Weselton. The Duke of Weselton. (to Elsa) Your Majesty, as your closest partner in trade, it seems only fitting that I offer you your first dance as queen.
The Duke does a funny flitter of his feet, a hitch-kick, and
a deep bow.DUKE (CONT'D) (whispers to himself) One, two, three. Jump.
As he holds out his hand, head down, his toupee dips forward.
Anna giggles. Elsa looks at Anna, stifles a giggle herself.ELSA (to the Duke) Thank you...only I don't dance. 22 FROZEN - J. Lee DUKE (offended) Oh...? ELSA But my sister does. ANNA What? DUKE Lucky you.... ANNA Oh, I don't think--
The Duke grabs Anna's arm and yanks her away before she can
protest.DUKE If you swoon, let me know, I'll catch you.
Anna looks back at Elsa, desperately.
ELSA Sorry.
OUT ON THE DANCE FLOOR: The Duke showboats, but he's just
awful. Anna tries to make the best of it.DUKE Like an agile peacock... CLUCK- CLUGGLE-CLUCK!
He lands on her feet.
ANNA Ow. Ow. DUKE Speaking of, so great to have the gates open. Why did they shut them in the first place? Do you know the reason? Hmm?
He gets in her face, suspicious.
ANNA ...No. 23 FROZEN - J. Lee DUKE Oh, all right. Hang on. They don't call me the little dipper for nothing.
He dips Anna back. Elsa peeks through the crowd, can barely
hold in her laughter. Anna shoots Elsa funny, help-me looks.DUKE (CONT'D) (groove fully on) Like a chicken...with the face of a monkey...I fly. JUMP CUT TO:
MOMENTS LATER…
Anna limps back to Elsa.
DUKE (O.S.) Let me know when you're ready for another round, M'Lady. ELSA Well, he was sprightly. ANNA (rubbing her sore feet) Especially for a man in heels. ELSA Are you okay? ANNA (loving Elsa's attention) I've never been better. This is so nice. I wish it could be like this all the time. ELSA (sincere) Me too....
But then Elsa catches herself. She stiffens up, looks away.
ELSA (CONT'D) But it can't. ANNA Why not? If-- ELSA It just can't. 24 FROZEN - J. Lee
Anna's smile drops. She tries not to get emotional.
ANNA Excuse me for a minute.
She walks away. Elsa watches her go, saddened.
Moving through the crowd, Anna gets bumped by a bowing man's
butt. She falls. Just before she hits the floor, Hans catches
her. He smiles perfectly.HANS Glad I caught you. ANNA Hans.
He smoothly sets his drink down on a passing tray. He lifts
her up and leads her in a romantic dance.DISSOLVE TO:
LATER: Anna and Hans drink and chat.
ANNA (CONT'D) I often had the whole parlor to myself to slide... Oops. Sorry.
She hits him in the face by mistake with her hand. He laughs.
DISSOLVE TO:
-THE CASTLE DOORS: Anna and Hans stroll out of the castle.
ANNA (CONT'D) ...Your physique helps I'm sure. DISSOLVE TO:
-THE ROSE GARDEN… Hans notices her white streak.
HANS (about her white streak) What's this? ANNA I was born with it, although I dreamt I was kissed by a troll. HANS I like it. DISSOLVE TO: 25 FROZEN - J. Lee
EXT. BALCONY – NIGHT
Anna teaches Hans how to eat krumkake.
ANNA Yeah, the whole thing! You got it.
They laugh as the krumkake crumbles in his face.
ANNA(CONT'D) Okay wait, wait. So you have how many brothers? HANS Twelve older brothers. Three of them pretended I was invisible... literally...for two years. ANNA That's horrible. HANS It's what brothers do. ANNA ...And sisters. Elsa and I were really close when we were little. But then, one day she just shut me out, and I never knew why.
He takes her hand. Leans in close.
HANS I would never shut you out. ANNA Okay, can I just say something crazy? HANS I love crazy. "Love is an Open Door" ANNA (singing) ALL MY LIFE HAS BEEN A SERIES OF DOORS IN MY FACE. AND THEN SUDDENLY I BUMP INTO YOU. HANS I was thinking the same thing, because like. . . (MORE) 26 FROZEN - J. Lee HANS (CONT'D) I'VE BEEN SEARCHING MY WHOLE LIFE TO FIND MY OWN PLACE. AND MAYBE IT'S THE PARTY TALKING, OR THE CHOCOLATE FONDUE. ANNA BUT WITH YOU- HANS BUT WITH YOU, I FOUND MY PLACE. ANNA I SEE YOUR FACE. BOTH AND IT'S NOTHING LIKE I'VE EVER KNOWN BEFORE.
They jump to the neighboring balcony and enter a door.
They come out on top of one of the castle's towers.
BOTH (CONT'D) LOVE IS AN OPEN DOOR! LOVE IS AN OPEN DOOR!
Cut to them sliding across an empty hallway in their socks.
BOTH (CONT'D) LOVE IS AN OPEN DOOR ANNA WITH YOU! HANS WITH YOU! ANNA WITH YOU! HANS WITH YOU! BOTH LOVE IS AN OPEN DOOR.
They hop up on the castle roof and watch a shooting star.
HANS I MEAN IT'S CRAZY. ANNA What? 27 FROZEN - J. Lee HANS WE FINISH EACH OTHER'S- ANNA SANDWICHES! HANS That's what I was gonna say!
They slide down the back of the roof out of sight.
We next find them strutting on a bridge ledge.
ANNA I'VE NEVER MET SOMEONE- BOTH WHO THINKS SO MUCH LIKE ME. BOTH (SPOKEN) (CONT'D) Jinx.. . .jinx again.
Are they doing the robot? No. They're imitating the
mechanical figures on the clock tower.BOTH (CONT'D) OUR MENTAL SYNCHRONIZATION CAN HAVE BUT ONE EXPLANATION, HANS YOU- ANNA AND I- HANS WERE- ANNA JUST- BOTH MEANT TO BE.
Anna and Hans dance on top of the lighthouse and cast dancing
shadows across the sails of ships in the docks.ANNA SAY GOODBYE- HANS SAY GOODBYE- 28 FROZEN - J. Lee BOTH TO THE PAIN OF THE PAST. BOTH (CONT'D) WE DON'T HAVE TO FEEL IT ANYMORE! LOVE IS AN OPEN-
They play hide and seek amongst the stable doors.
BOTH (CONT'D) DOOR! LOVE IS AN OPEN DOOR!
They climb to the waterfall looking out over the kingdom.
Anna raises up her hands to frame the moon. Hans puts his
hands on top of hers. Together their hands form a heart.BOTH (CONT'D) LIFE CAN BE SO MUCH MORE- ANNA WITH YOU! HANS WITH YOU! ANNA WITH YOU! HANS WITH YOU! BOTH LOVE IS AN OPEN HANS DOOR. ANNA DOOR. HANS Can I say something crazy...? Will you marry me? ANNA Can I just say something even crazier? Yes. CUT TO: 29 FROZEN - J. Lee
INT. BALL – NIGHT
Anna pushes through the crowd towards Elsa, Hans in tow.
ANNA Oops! Pardon. Sorry. Can we just get around you there? Thank you. Oh, there she is. Elsa!
Elsa turns to Anna. Anna curtseys awkwardly.
ANNA (CONT'D) I mean...Queen.... Me again. Um. May I present Prince Hans of the Southern Isles. HANS (bowing) Your Majesty.
Elsa gives a polite but reserved curtsey.
ANNA We would like-- HANS --your blessing-- ANNA --of-- ANNA/HANS --our marriage! ELSA Marriage...? ANNA Yes! ELSA I'm sorry, I'm confused. ANNA Well, we haven't worked out all the details ourselves. We'll need a few days to plan the ceremony. Of course we'll have soup, roast, and ice cream and then-- Wait. Would we live here? ELSA Here? 30 FROZEN - J. Lee HANS Absolutely! ELSA Anna-- ANNA Oh, we can invite all twelve of your brothers to stay with us-- ELSA What? No, no, no, no, no. ANNA Of course we have the room. I don't know. Some of them must-- ELSA Wait. Slow down. No one's brothers are staying here. No one is getting married. ANNA Wait, what? ELSA May I talk to you, please. Alone.
Anna sees Hans's worried face. Hooks arms with him.
ANNA No. Whatever you have to say, you- you can say to both of us. ELSA Fine. You can't marry a man you just met. ANNA You can if it's true love. ELSA Anna, what do you know about true love? ANNA More than you. All you know is how to shut people out. ELSA You asked for my blessing, but my answer is no. Now, excuse me. 31 FROZEN - J. Lee HANS Your Majesty, if I may ease your-- ELSA (flustered) No, you may not. And I-I think you should go.
Elsa walks away. As she passes the Royal Handler–
ELSA (CONT'D) The party is over. Close the gates. ANNA What? Elsa, no. No, wait!
Anna grabs Elsa's hand. She pulls off Elsa's glove. Elsa
gasps, spins around and reaches for the glove in panic.ELSA Give me my glove!
Anna holds the glove away from Elsa.
ANNA (desperate) Elsa, please. Please. I can't live like this anymore.
Elsa fights tears.
ELSA (weak) ...Then leave.
Elsa sees Anna's hurt face. It's too much. She can't hold it
in. She turns and rushes away.ANNA (heartbroken) ...What did I ever do to you?!
The party goes silent as everyone watches the sisters.
ELSA Enough, Anna. ANNA No. Why? Why do you shut me out?! Why do you shut the world out?! What are you so afraid of?! ELSA I said, enough! 32 FROZEN - J. Lee
Ice shoots from Elsa's hand, spikes across the floor! Guests
cry out in shock, back away.DUKE (ducking behind his men) ...Sorcery. I knew there was something dubious going on here. ANNA Elsa...?
Elsa rushes out of the room.
CUT TO:
EXT. COURTYARD – NIGHT
Elsa bursts out of the castle door. The CITIZENS CHEER!
CROWD There she is. Your Majesty! Long live the Queen! Queen Elsa.... Come drink with us.
Elsa ducks through the crowd, holding her bare hand.
BOWING TOWNSMAN Queen Elsa. TOWNSWOMAN WITH BABY Your Majesty? Are you all right?
Elsa backs away from the baby. She knocks into the fountain,
grabs its edge. The waters freeze at her touch.GASPS of shock and fear sweep over the crowd.
The Duke and thugs come out the door.
DUKE There she is! Stop her! ELSA (to the Duke) Please, just stay away from me. Stay away!
Magic accidentally shoots from her hand and turns the
staircase into ice. The thugs and the Duke fall.DUKE Monster.... Monster! 33 FROZEN - J. Lee
The crowd panics.
A snowstorm begins. Elsa flees.
Anna runs out of the palace doors, carrying the glove.
ANNA Elsa!
Hans follows closely behind her.
GATES TO THE KINGDOM: Elsa runs out of the gates and down to
the water's edge. The shoreline freezes under her feet.Anna calls to her from the gates.
ANNA (CONT'D) Elsa! Wait, please!
Elsa glances back at Anna, but turns away. She tentatively
steps out onto the fjord. It freezes instantly. She breaks
into a run, as the water freezes over with each step.ANNA (CONT'D) Elsa, stop!
Anna rushes out onto the fjord ice, slips, falls.
HANS Anna!
Hans rushes to Anna's side.
Elsa reaches the far shore. She doesn't look back. She just
scrambles into the mountains.ANNA No. HANS (shocked) Look.... The fjord.
The ice spreads out until the entire fjord is frozen, locking
the ships in place.INT. CASTLE COURTYARD – NIGHT
Snow falls. Hans and Anna move through the panicking crowd.
CROWD WALLAH Snow? It's...snow...in July. 34 FROZEN - J. Lee HANS ...Are you all right? ANNA (in shock) No. HANS Did you know? ANNA No.
Nearby, the Duke flutters about in fright.
DUKE Look! It's snowing! It's snowing! The Queen has cursed this land! She must be stopped! (to his thugs) You have to go after her.
Anna rushes up to the Duke.
ANNA Wait, no!
The Duke hides behind his thugs and points out at Anna.
DUKE You! Is there sorcery in you, too? Are you a monster, too? ANNA No. No. I'm completely ordinary. HANS That's right she is... (realizing how that sounds) ...in the best way. ANNA ...And my sister's not a monster. DUKE She nearly killed me. HANS You slipped on ice. DUKE Her ice! 35 FROZEN - J. Lee ANNA It was an accident. She was scared. She didn't mean it. She didn't mean any of this.... Tonight was my fault. I pushed her. So I'm the one that needs to go after her. DUKE Yes. Fine. Do. HANS What? ANNA (to the Royal Handler) Bring me my horse, please. HANS Anna, no. It's too dangerous. ANNA Elsa's not dangerous. I'll bring her back, and I'll make this right.
The Royal Handler brings Anna her horse and a cloak.
HANS I'm coming with you. ANNA No, I need you here to take care of Arendelle.
He sees the desperation in her eyes.
HANS ...On my honor.
She throws on the cloak and hops right onto the horse,
coronation dress and all.ANNA (to the crowd) I leave Prince Hans in charge! HANS (before letting her go) Are you sure you can trust her? I don't want you getting hurt. ANNA She's my sister; she would never hurt me. 36 FROZEN - J. Lee
She snaps the reins and rides out. Hans watches after her.
The snow picks up and overtakes our view. We push through a
blizzard…lose our way…then finds ourselves…EXT. HIGH UP IN THE MOUNTAINS – NIGHT
Well above the snow-line, a small figure climbs the highest
peak. It's Elsa. Finally, she stops, looks around. Catches
her breath and sings…"Let It Go" ELSA THE SNOW GLOWS WHITE ON THE MOUNTAIN TONIGHT, NOT A FOOTPRINT TO BE SEEN. A KINGDOM OF ISOLATION AND IT LOOKS LIKE I'M THE QUEEN. THE WIND IS HOWLING LIKE THIS SWIRLING STORM INSIDE. COULDN'T KEEP IT IN, HEAVEN KNOWS I TRIED. . . DON'T LET THEM IN, DON'T LET THEM SEE, BE THE GOOD GIRL YOU ALWAYS HAVE TO BE. CONCEAL, DON'T FEEL, DON'T LET THEM KNOW. WELL, NOW THEY KNOW.
Elsa takes off her glove and throws it into the air.
ELSA (CONT'D) LET IT GO. LET IT GO. CAN'T HOLD IT BACK ANYMORE.
Elsa creates a snowman, just like the one she made with Anna
when they were children.ELSA (CONT'D) LET IT GO. LET IT GO. TURN AWAY AND SLAM THE DOOR. I DON'T CARE WHAT THEY'RE GOING TO SAY. LET THE STORM RAGE ON. THE COLD NEVER BOTHERED ME ANYWAY.
Elsa lets her cape fly back into the wind.
37
FROZEN - J. LeeELSA (CONT'D) IT'S FUNNY HOW SOME DISTANCE MAKES EVERYTHING SEEM SMALL. AND THE FEARS THAT ONCE CONTROLLED ME CAN'T GET TO ME AT ALL. IT'S TIME TO SEE WHAT I CAN DO, TO TEST THE LIMITS AND BREAK THROUGH. NO RIGHT, NO WRONG, NO RULES FOR ME...I'M FREE!
Elsa creates ice steps and climbs them.
ELSA (CONT'D) LET IT GO! LET IT GO! I AM ONE WITH THE WIND AND SKY. LET IT GO! LET IT GO! YOU'LL NEVER SEE ME CRY. HERE I STAND AND HERE I'LL STAY.
Elsa slams her foot down and forms a giant snowflake.
ELSA (CONT'D) LET THE STORM RAGE ON....
In a flurry of creative release, she raises the snowflake on
ice beams, builds walls, archways, a glistening chandelier,
and an intricate ceiling that leaves the sky visible.ELSA (CONT'D) MY POWER FLURRIES THROUGH THE AIR INTO THE GROUND. MY SOUL IS SPIRALING IN FROZEN FRACTALS ALL AROUND. AND ONE THOUGHT CRYSTALLIZES LIKE AN ICY BLAST-
Standing firmly in her mighty ice palace, Elsa removes her
crown and throws it.ELSA (CONT'D) I'M NEVER GOING BACK, (back to resolve) THE PAST IS IN THE PAST!
She takes down her hair and creates a new dress made of ice.
ELSA (CONT'D) LET IT GO! LET IT GO! AND I'LL RISE LIKE THE BREAK OF DAWN. LET IT GO! LET IT GO!
The sun rises. Elsa struts onto out onto a balcony and into
the light. She's free.
38
FROZEN - J. LeeELSA (CONT'D) THAT PERFECT GIRL IS GONE. HERE I STAND IN THE LIGHT OF DAY. LET THE STORM RAGE ON!! THE COLD NEVER BOTHERED ME ANYWAY.
She turns and slams her ice palace door on us.
CUT TO:
EXT. THE FJORD FOREST – DAY
Anna rides her horse through two feet of snow. She shivers.
ANNA (shivering) Elsa! Elsa! It's me, Anna...your sister who didn't mean to make you freeze the summer. I'm sorry. It's all my f-f-f-f-f-f-fault. DISSOLVE TO:
LATER: Anna and the horse struggle through a wooded area.
ANNA (CONT'D) (hearing a wolf howl) Of course, none of this would have happened if she'd just told me her secret...ha...she's a stinker.
A branch of a nearby tree snaps and startles the horse. Anna
goes flying off, lands face down in the snow. She sits up.
Spits out snow. Sees the horse running away.ANNA (CONT'D) Oh no. No. No. No. Come back. No. No. No. No.... Oooo-kay.
He doesn't come back. Anna grabs onto a branch of a leaning
conifer, tries to pull herself to her feet, but the tree
snaps upright and releases all its snow onto her. GROAN.DISSOLVE TO:
EXT. MOUNTAIN – NIGHT
The Northern Lights shine as Anna struggles, out of breath,
reaching the top of a hill.
39
FROZEN - J. LeeANNA Snow, it had to be snow, she couldn't have had tr-tr-tropical magic that covered the f-f-fjords in white sand and warm --
She sees smoke rising up in the distance.
ANNA (CONT'D) Fire! WHOA!
Anna goes tumbling down the hill. She lands with a crash in
an icy stream at the bottom.ANNA (CONT'D) (from inside the snowball) Cold, cold, cold, cold, cold...
EXT. A SMALL BUILDING AND STABLE – NIGHT
Anna shuffles up to the building, her dress frozen stiff. She
shakes the snow off a sign and reads:ANNA Wandering Oaken's Trading Post.
Snow drops off a smaller sign. She reads it, happily.
ANNA (CONT'D) Ooh! And Sauna...
INT. WANDERING OAKEN'S TRADING POST & SAUNA – NIGHT
Anna steps cautiously through the door–which hits her frozen
butt and knocks her into the center of the shop. She looks
around, sees only summer supplies.OAKEN (O.S.) Hoo hoo.
Anna turns to see a bright-faced fellow sitting low behind
the counter, fingers tapping tip to tip.OAKEN (CONT'D) Big summer blow out. Half off swimming suits, clogs, and a sun balm of my own invention, yah? ANNA Oh, great. For now, how about boots. Winter boots...and dresses? 40 FROZEN - J. Lee OAKEN (slight disappointment) That would be in our winter department.
The winter department contains one outfit, a pick ax, and a
lonely pair of boots.ANNA Oh. Um, I was just wondering; has another young woman, the Queen perhaps, I don't know, passed through here?
She brings the clothes and boots to the counter.
OAKEN Only one crazy enough to be out in this storm is you, dear?
The front door suddenly blows open and in walks a mass of a
man covered in ice. Underneath is KRISTOFF.OAKEN (CONT'D) You and this fellow.... Hoo hoo. Big summer blow out.
Kristoff walks right up to Anna.
KRISTOFF (in her face) Carrots. ANNA Huh? KRISTOFF Behind you. ANNA Oh, right. Excuse me.
Anna moves out of Kristoff's way. He grabs a bunch of
carrots, tosses them on the counter, then moves through the
place, gathering other supplies.OAKEN (to Kristoff) A real howler in July, yah? Where ever could it be coming from? KRISTOFF The North Mountain. 41 FROZEN - J. Lee ANNA (to herself) North Mountain.
Kristoff brings his supplies to the counter. Oaken counts on
his fingertips.OAKEN That'll be forty. KRISTOFF Forty? No, ten. OAKEN (sweet as pie) Oh dear, that's no good. See these are from our winter stock, where supply and demand have a big problem. KRISTOFF You want to talk about a supply and demand problem? I sell ice for a living.
Kristoff motions out the window, where we see the blocks of
ice on his sled, covered in snow.ANNA Ooh, that's a rough business to be in right now. I mean, that is really... (he shoots her a look) Ahem. That's unfortunate. OAKEN Still forty. But I will throw in a visit to Oaken's sauna. Hoo hoo! Hi, family.
Kristoff and Anna turn to see a naked family waving through
the window of the steaming sauna.NAKED FAMILY Hoo hoo! KRISTOFF ...Ten's all I got. Help me out. OAKEN (isolating the carrots) Ten will get you this and no more.
Kristoff seethes. Stalemate.
42
FROZEN - J. LeeANNA Okay, just tell me one thing; what was happening on the North Mountain? Did it seem magical?
Kristoff pulls down his scarf and gives Anna a firm answer.
KRISTOFF Yes! Now, back up while I deal with this crook here.
Oaken stands up, revealing his seven-foot stature.
OAKEN What did you call me?
EXT. WANDERING OAKEN'S TRADING POST AND SAUNA – NIGHT
Oaken stomps out the door, carrying Kristoff with one arm.
KRISTOFF Okay. Okay, I'm- Ow! Whoa!
Oaken throws Kristoff, who face-plants in the snow.
OAKEN Bye bye.
Oaken slams the door. Kristoff sits up. His reindeer, Sven,
canters over, snorts, and nudges him, expectantly.KRISTOFF No Sven, I didn't get your carrots.
Sven huffs in his face. Kristoff turns away and sees
something. He points to a dilapidated barn.KRISTOFF (CONT'D) But I did find us a place to sleep. And it's free.
INT. WANDERING OAKEN'S TRADING POST AND SAUNA – NIGHT
Anna stands watching Oaken and all his great height as he
squeezes behind the counter and sits down low again.OAKEN (teddy bear) I'm sorry about this violence. I will add a quart of lutefisk, so we'll have good feelings. Just the outfit and boots, yah? 43 FROZEN - J. Lee
Anna looks between Kristoff's supplies and the door.
CUT TO:
INT. OAKEN'S STABLES - NIGHT
Kristoff, now unfrozen, relaxes on a bed of hay, playing his
lute and singing to (and for) Sven."Reindeer(s) are Better than People" KRISTOFF REINDEERS ARE BETTER THAN PEOPLE. SVEN, DON'T YOU THINK THAT'S TRUE? KRISTOFF (AS SVEN) (CONT'D) (throwing his voice) YEAH, PEOPLE WILL BEAT YOU & CURSE YOU & CHEAT YOU. EVERY ONE OF EM'S BAD, EXCEPT YOU. (speaking) Oh, thanks, Buddy. (singing, as Kristoff) BUT PEOPLE SMELL BETTER THAN REINDEERS. SVEN, DON'T YOU THINK I'M RIGHT? (As Sven) THAT'S ONCE AGAIN TRUE, FOR ALL EXCEPT YOU. (As Kristoff) YOU GOT ME. LET'S CALL IT A NIGHT. (As Sven) GOOD NIGHT. (As Kristoff) DON'T LET THE FROSTBITE BITE.
The door opens. Anna enters.
ANNA Nice duet.
Kristoff sits up with a start…sees who it is.
KRISTOFF Oh, it's just you. What do you want? ANNA I want you to take me up the North Mountain. 44 FROZEN - J. Lee KRISTOFF I don't take people places.
He lays back down, closes his eyes.
ANNA Let me rephrase that...
A sack of supplies lands in Kristoff's lap.
KRISTOFF Umph.
He sits up. Looks in the bag.
ANNA Take me up the North Mountain.... Please.
He eyes her. He clearly doesn't take orders.
ANNA (CONT'D) Look, I know how to stop this winter.
He considers, lies back down, pulls his hat over his eyes.
KRISTOFF We leave at dawn.... And you forgot the carrots for Sven.
A bag of carrots hits Kristoff in the face.
KRISTOFF (CONT'D) Ugh! ANNA Oops. Sorry. Sorry. I'm sorry. I didn't-- (catching herself) We leave now. Right now.
She steps back outside and waits, anxiously. Annoyed,
Kristoff offers Sven a carrot. Sven has a bite. Then Kristoff
has a bite, contemplating.SLAM CUT TO:
EXT. MOUNTAIN HIGH – NIGHT
Sven races, top speed, up a narrow cliff, pulling the sled,
which skids precariously. Kristoff mans the reins. Anna sits
beside him.
45
FROZEN - J. LeeKRISTOFF (trying to scare Anna) Hang on! We like to go fast! ANNA (fearless) I like fast!
Anna leans back and puts her feet up on the dashboard.
KRISTOFF Whoa, whoa! Get your feet down.
He pushes her feet down.
KRISTOFF (CONT'D) This is fresh lacquer. Seriously, were you raised in a barn?
Kristoff spits on the dash to clean it. The spit flies back
and hits Anna in the face.ANNA (grossed out) Ew. No, I was raised in a castle.
She wipes off her face.
KRISTOFF So tell me, what made the Queen go all ice-crazy? ANNA ...Oh well, it was all my fault. I got engaged but then she freaked out because I'd only just met him, you know, that day. And she said she wouldn't bless the marriage-- KRISTOFF Wait. You got engaged to someone you just met? ANNA Yeah. Anyway, I got mad and so she got mad and then she tried to walk away, and I grabbed her glove-- KRISTOFF Hang on. You mean to tell me you got engaged to someone you just met?! 46 FROZEN - J. Lee ANNA Yes. Pay attention. But the thing is she wore the gloves all the time, so I just thought, maybe she has a thing about dirt. KRISTOFF Didn't your parents ever warn you about strangers?
Anna eyes Kristoff up and down, then slides away from him.
ANNA Yes, they did.... But Hans is not a stranger. KRISTOFF Oh yeah? What's his last name? ANNA ...Of-the-Southern-Isles? KRISTOFF What's his favorite food? ANNA ...Sandwiches. KRISTOFF Best friend's name? ANNA Probably John. KRISTOFF Eye color. ANNA Dreamy. KRISTOFF Foot size...? ANNA Foot size doesn't matter. KRISTOFF Have you had a meal with him yet? What if you hate the way he eats? What if you hate the way he picks his nose? ANNA Picks his nose? 47 FROZEN - J. Lee KRISTOFF And eats it. ANNA Excuse me, sir. He's a prince. KRISTOFF All men do it. ANNA Ew. Look it doesn't matter; it's true love. KRISTOFF Doesn't sound like true love. ANNA Are you some sort of love expert? KRISTOFF No. But I have friends who are. ANNA You have friends who are love experts.... I'm not buying it.
Sven suddenly stops, ears perked in alarm.
KRISTOFF (to Anna) Stop talking. ANNA No, no, no. I'd like to meet these--
Kristoff clamps his hand over Anna's mouth.
KRISTOFF I mean it. SHHH.
Kristoff stands, looks into the dark woods surrounding them.
Sensing something behind them, he holds up his lantern. Its
light reflects off…EYES. Several.KRISTOFF(CONT'D) Sven, go. Go!
Sven takes off.
ANNA What are they? KRISTOFF Wolves. 48 FROZEN - J. Lee
Flashes of white dart through the woods. Kristoff hops into
the back of the sled, grabs a torch. Lights it.ANNA Wolves. What do we do? KRISTOFF I've got this. You just...don't fall off and don't get eaten. ANNA But I wanna help. KRISTOFF No. ANNA Why not? KRISTOFF Because I don't trust your judgement. ANNA Excuse me?!
A wolf jumps at them, but Kristoff kicks it off.
KRISTOFF Who marries a man she just met?
Anna grabs the lute, swings it right at Kristoff's head.
ANNA It's true love!
He screams, as she…BAM!…swings past Kristoff and knocks a
wolf away.KRISTOFF (shocked) Whoa.
Just then Kristoff is yanked off the sled by another wolf.
The torch goes flying. Anna catches it, shocked.ANNA Christopher!
Kristoff grabs onto a loose rope hanging from the back of the
sled and holds on for dear life as he's dragged behind.KRISTOFF It's Kristoff! 49 FROZEN - J. Lee
A wolf jumps on Kristoff's back.
KRISTOFF (CONT'D) AH!
Anna thinks fast, uses the torch to light a blanket on fire.
ANNA Duck!
Anna throws the flaming blanket right at him. He ducks. The
blanket hits the wolves. They tumble off Kristoff.KRISTOFF You almost set me on fire!
Anna reaches out a hand, pulls Kristoff back onto the sled.
ANNA But I didn't.
Sven cries out. There is a massive gorge ahead.
ANNA (CONT'D) Get ready to jump, Sven! KRISTOFF You don't tell him what to do!
Kristoff shoves a satchel into her arms then scoops her up.
KRISTOFF (CONT'D) I do!
Kristoff tosses Anna onto Sven, then unhooks Sven's harness
from the sled.KRISTOFF (CONT'D) Jump, Sven!
Sven jumps the gorge with Anna on his back.
Kristoff goes flying off behind them, still on the sled.
Anna and Sven land safely on the other side of the gorge.
Kristoff's sled loses momentum. It's not going to make it. He
leaps off. He flaps his arms, claws at the air.He slams into the snowy edge of the cliff. Hanging by his
hands, he looks down to see his sled hit the ground far below
and burst into flames.
50
FROZEN - J. LeeKRISTOFF (CONT'D) (shocked sadness) ...But I just paid it off.
Suddenly, he starts to slip. He claws at the loose snow, but
it's clearly hopeless. He's going down.KRISTOFF (CONT'D) Uh-oh. No, no, no.
To make matters worse, an AXE comes flying right at his face.
KRISTOFF (CONT'D) AH! NO, NO, NO!
The axe slams into the snow, inches from his nose.
ANNA (O.S.) Grab on!
Kristoff grabs on.
ANNA (CONT'D) Pull, Sven! Pull!
REVEAL: The axe is tied to a rope, then wrapped around Sven.
Anna helps Sven pull Kristoff to safety.Kristoff rolls onto his back, exhausted. Anna peeks down at
the burning sled.ANNA (CONT'D) Whoa.... I'll replace your sled and everything in it.
Kristoff groans.
ANNA (CONT'D) And I understand if you don't want to help me anymore.
Anna walks off, sadly. Sven comes over and nuzzles Kristoff.
KRISTOFF Of course I don't want to help her anymore. In fact, this whole thing has ruined me for helping anyone ever again. KRISTOFF (AS SVEN) (CONT'D) But she'll die on her own. KRISTOFF (AS SELF) (CONT'D) I can live with that. 51 FROZEN - J. Lee
Through their conversation, they watch Anna go the wrong
way…turn, go the other wrong way, turn, trip…KRISTOFF (AS SVEN) (CONT'D) But you won't get your new sled if she's dead. KRISTOFF (CONT'D) (knowing he's got a point) ...You know sometimes I really don't like you.
Sven licks Kristoff happily.
KRISTOFF (AS SELF) (CONT'D) (to Anna) Hold up. We're coming?! ANNA (excited) You are?! (catching herself) I mean, sure. I'll let you tag along. DISSOLVE TO:
EXT. SHARP MOUNTAIN RIDGE – DAWN
Kristoff, Sven and Anna walk on a narrow rim of a mountain.
DISSOLVE TO:
EXT. MOUNTAIN FOREST CLEARING – DAY
As they step out of the thick trees, Anna catches sight of
something far below.ANNA Arendelle. KRISTOFF It's completely frozen. ANNA ...But it'll be fine. Elsa will thaw it. KRISTOFF Will she? 52 FROZEN - J. Lee ANNA (uncertain) ...Yeah. Now come on. This way to the North Mountain?
She points straight ahead.
KRISTOFF More like this way.
He points her finger up towards a perilously mighty mountain.
DISSOLVE TO:
INT. FROZEN WILLOW TREES – DAY
Anna, Kristoff, and Sven walk beneath frozen willows. The
hanging branches glisten like Christmas lights. Sven knocks
them with his antlers. They tinkle like chimes.ANNA I never knew winter could be so beautiful.
Suddenly, a voice comes in from nowhere. We'll call that
voice OLAF.OLAF (O.S.) YEAH...It really is beautiful, isn't it? But it's so white. You know, how about a little color? Must we bleach the joy out of it all? I'm thinking like maybe some crimson, chartreuse...
While this is going on, Anna and Kristoff look around for the
source of the rambling. They look at Sven - could he actually
be talking? Sven looks back at them, his antlers tangled in
branches, just as baffled as they are.In the meantime, a nose-less snowman, Olaf, wanders up behind
them.OLAF (CONT'D) How `bout yellow--no, not yellow. Yellow and snow? Brrrr...no go.
He stops between Kristoff and Anna. They look down at him.
How did he get there? He suddenly looks up at Anna.OLAF (CONT'D) Am I right? 53 FROZEN - J. Lee
Anna SCREAMS! Reflexes take over and she kicks Olaf's head,
sending it flying off his body and into Kristoff's arms.OLAF (CONT'D) (cheery, to Kristoff) Hi! KRISTOFF You're creepy.
Kristoff tosses the head back to Anna and they commence a
game of hot potato.ANNA I don't want it! KRISTOFF Backatchya! OLAF Please don't drop me. ANNA Don't! KRISTOFF Come on, it's just a head. ANNA No!
Olaf's body runs at Anna, arms waving.
OLAF (O.S.) All right, we got off to a bad start. ANNA Ew, ew, the body!
Anna slams Olaf's head back on the body, upside down. Olaf
smiles happily, then looks confused.OLAF Wait, what am I looking at right now? Why are you hanging off the earth like a bat? ANNA (sympathetic) ...Okay. Wait one second.
Anna kneels in front of Olaf and rights his head.
54
FROZEN - J. LeeOLAF Oooh! Thank you! ANNA You're welcome. OLAF Now I'm perfect.
She looks over his innocent face, gets an idea.
ANNA Well, almost.
She digs into Kristoff's satchel, holds up a carrot just as
Olaf turns toward her. The carrot accidentally slams all the
way through his head.OLAF Woo! Head rush! ANNA Oh! Too hard. I'm sorry! I-I, I was just.... Are you okay?
Olaf sees a tiny piece of carrot sticking out between his
eyes. He lights up.OLAF Are you kidding me? I am wonderful! I've always wanted a nose. (going cross-eyed to look at his tiny nose) So cute. It's like a little baby unicorn.
Anna reaches behind Olaf to the bulk of the carrot sticking
out the back of his head, and pushes it forward.OLAF (CONT'D) What? Hey! Whoa. (seeing his now big nose) Oh, I love it even more! Hah.... All right, let's start this thing over. Hi everyone. I'm Olaf. And I like warm hugs.
Olaf opens his arms wide to Anna. That triggers a memory. It
takes her a moment to place it, but then she does.ANNA Olaf?...That's right, Olaf. 55 FROZEN - J. Lee OLAF ...And you are? ANNA Oh, um...I'm Anna. OLAF And who's the funky-looking donkey over there? ANNA That's Sven. OLAF Uh-huh. And who's the reindeer? ANNA ...Sven.
Olaf looks from Kristoff to Sven, confused.
OLAF Oh. They're--oh, okay.... (accepting it) Makes things easier for me.
Sven tries to bite Olaf's nose.
OLAF (CONT'D) Ha. Aw, look at him tryin' to kiss my nose. (gushes) I like you, too! ANNA Olaf, did Elsa build you? OLAF Yeah. Why?
Curious, Kristoff takes one of Olaf's twig arms off, studies
it. It seems to be moving in sync with his other arm.ANNA Do you know where she is? KRISTOFF (studying the arm) Fascinating... OLAF Yeah. Why? 56 FROZEN - J. Lee ANNA Do you think you could show us the way? OLAF Yeah. Why? KRISTOFF (bending the arm) How does this work?
Olaf's dismembered arm slaps Kristoff across the face.
OLAF Stop it, Sven. Trying to focus here. (to Anna) Yeah, why? KRISTOFF I'll tell you why. We need Elsa to bring back summer. OLAF (shocked) Summer? (sinking into wistfulness) Oh, I don't know why but I've always loved the idea of summer, and sun, and all things hot. KRISTOFF Really? I'm guessing you don't have much experience with heat. OLAF Nope. But sometimes I like to close my eyes and imagine what it'd be like when summer does come. DISSOLVE TO:
OLAF'S FANTASY WORLD – PERFECT SUMMER DAY
Olaf walks through a grassy meadow with the sun shining
behind him. He SINGS."In Summer" OLAF BEES'LL BUZZ / KIDS'LL BLOW DANDELION FUZZ / AND I'LL BE DOING WHATEVER SNOW DOES IN SUMMER. 57 FROZEN - J. Lee
-Olaf now lies in the sand on a beach.
OLAF (CONT'D) A DRINK IN MY HAND / MY SNOW UP AGAINST THE BURNING SAND / PROB'LY GETTING GORGEOUSLY TANNED IN SUMMER.
-Olaf sails in a boat.
OLAF (CONT'D) I'LL FINALLY SEE A SUMMER BREEZE / BLOW AWAY A WINTER STORM /
-Olaf floats in the water. All his pieces begin to separate.
OLAF (CONT'D) AND FIND OUT WHAT HAPPENS TO SOLID WATER / WHEN IT GETS WARM.
-Olaf tumbles on a sandy beach with sand-snowmen.
OLAF (CONT'D) AND I CAN'T WAIT TO SEE / WHAT MY BUDDIES ALL THINK OF ME / JUST IMAGINE HOW MUCH COOLER I'LL BE IN SUMMER . . !
-Olaf and the seagull break out into a tap-dance.
OLAF (CONT'D) DA DA . . . DA DOO / AH BAH BAH BAH BAH BAH BOO.
-Olaf and another snowman drink hot chocolate in a hot tub.
OLAF (CONT'D) THE HOT AND THE COLD ARE BOTH SO INTENSE / PUT `EM TOGETHER, IT JUST MAKES SENSE!
-Olaf tap dances with a gaggle of seagulls.
OLAF (CONT'D) RATDADAT DAD DADA DOO . . .
-Olaf bounds down a grassy hill.
OLAF (CONT'D) WINTER'S A GOOD TIME TO STAY IN AND CUDDLE / BUT PUT ME IN SUMMER AND I'LL BE A...
He stops at a puddle, looks down at it. Smiles. Hops over it.
58
FROZEN - J. LeeOLAF (CONT'D) HAPPY SNOWMAN!
-Olaf runs with a checkered blanket that he spreads out. He
relaxes and stares at the blue sky.OLAF (CONT'D) WHEN LIFE GETS ROUGH I LIKE TO HOLD ON TO MY DREAM / OF RELAXING IN THE SUMMER SUN JUST LETTING OFF STEAM!
Sven, Anna, Kristoff and Olaf have a picnic.
OLAF (CONT'D) OH THE SKY WILL BE BLUE / AND YOU GUYS'LL BE THERE TOO / WHEN I FINALLY DO WHAT FROZEN THINGS DO IN SUMMER! KRISTOFF I'm gonna tell him. ANNA Don't you dare. OLAF IN SUMMER!
Olaf sings the final note. We swing around him and return to:
REALITY. He then straightens up and smiles.
OLAF (CONT'D) So, come on! Elsa's this way. Let's go bring back summer!
Olaf grabs Anna's hand and pulls her along up the mountain.
ANNA (laughing) I'm coming!
Sven hops along, happily following them. Kristoff watches all
of them like they're nuts.KRISTOFF Somebody's got to tell him. DISSOLVE TO: 59 FROZEN - J. Lee
EXT. ARENDELLE, VILLAGE – DAY
A layer of solid ice coats everything. People huddle around
weak fires. Anxiety runs high amongst the villagers and
guests. We pass two CITIZENS fighting over a woodpile.CITIZEN ONE No. No. You've got the bark facing down. The bark needs to be face-up. CITIZEN TWO Bark down is drier. CITIZEN ONE Bark up. CITIZEN TWO Bark down. CITIZEN ONE Bark up.
Like a light in the dark, Hans moves through the crowd.
HANS Cloak. Does anyone need a cloak? GERDA Arendelle is indebted to you, Your Highness. HANS The castle is open. There's soup and hot glögg in the Great Hall.
He hands the stack of cloaks to a guard.
HANS (CONT'D) Here. Pass these out.
Just then the Duke approaches Hans.
DUKE Prince Hans, are we just expected to sit here and freeze while you give away all of Arendelle's tradable goods? HANS (tall and confident) Princess Anna has given her orders and-- 60 FROZEN - J. Lee DUKE And that's another thing; has it dawned on you that your princess may be conspiring with a wicked sorceress to destroy us all?
Hans's nice eyes turn to threatening slits.
HANS Do not question the Princess. She left me in charge, and I will not hesitate to protect Arendelle from treason. DUKE (flabbergasted, offended) Treason?!
Suddenly they hear the alarmed whinny of Anna's horse. It
returns alone, bucking and kicking. Hans grabs its reins.HANS Whoa! Whoa! Whoa, boy. Easy. Easy. CROWD (various) Princess Anna's horse. What happened to her? Where is she?
Hans steadies the horse, looks up at the mountain. He sees
all the panicked faces of the kingdom looking to him.HANS ...Princess Anna is in trouble. (calling out) I need volunteers to go with me to find her!
Volunteers, some from Arendelle, some from other lands, rush
up to offer their services.DUKE I volunteer two men, my Lord! (quietly to his thugs) Be prepared for anything, and should you encounter the Queen, you are to put an end to this winter. Do you understand?
His two thugs sneer.
CUT TO: 61 FROZEN - J. Lee
EXT. THE NORTH MOUNTAIN – DAY
Anna, Kristoff, Sven, and Olaf move through hostile terrain.
Wind-swept icicles face horizontal.KRISTOFF So how exactly are you planning to stop this weather? ANNA (confident) Oh, I am gonna talk to my sister. KRISTOFF That's your plan? My ice business is riding on you talking to your sister. ANNA Yup.
Kristoff, so stunned by her casual plan, doesn't look where
he's going and ends up with an ice-spike to the nose. He
stops short, GULP, moves carefully around the spike.KRISTOFF So you're not at all afraid of her? ANNA Why would I be? OLAF (oblivious) Yeah. I bet Elsa's the nicest, gentlest, warmest person ever.
Olaf backs right into an icicle. It runs through his torso.
OLAF (CONT'D) Oh, look at that. I've been impaled.
He laughs it off.
DISSOLVE TO:
EXT. STEEP MOUNTAIN FACE – DAY
Anna and Kristoff hit what looks like a dead end. The face of
the mountain goes straight up.ANNA What now? 62 FROZEN - J. Lee
Kristoff looks around, sighs. Digs in his rucksack.
KRISTOFF ...It's too steep. I've only got one rope, and you don't know how to climb mountains. ANNA (O.S.) Says who?
Sven nudges Kristoff, who looks up to see Anna trying to
climb the cliff's flat face.KRISTOFF (finding her ridiculous) What are you doing? ANNA (straining) ...I'm going to see my sister. KRISTOFF You're going to kill yourself.
Kristoff watches her searching for footholds and hand-holds.
KRISTOFF (CONT'D) I wouldn't put my foot there. ANNA (O.S.) You're distracting me. KRISTOFF Or there. How do you know Elsa even wants to see you? ANNA (O.S.) I'm just blocking you out cause I gotta concentrate here. KRISTOFF You know, most people who disappear into the mountains want to be alone. ANNA (O.S.) Nobody wants to be alone. Except maybe you-- KRISTOFF I'm not alone.... I have friends, remember?
Anna kicks a foot above her head to catch a foot hold.
63
FROZEN - J. LeeANNA You mean the love experts? KRISTOFF Yes, the love experts!
Anna realizes she's stuck.
ANNA ...Please tell me I'm almost there.
REVEAL: she's only about six feet up. Her muscles shake.
ANNA (CONT'D) ...Does the air seem a bit thin to you up here?
Kristoff smiles, getting a kick out of her.
KRISTOFF Hang on.
He pulls the rope from his bag. Just then Olaf steps out from
behind a rock and waves to Kristoff.OLAF Hey, Sven? Not sure if this is going to solve the problem, but I found a staircase that leads exactly where you want it to go. ANNA Ha ha. Thank goodness. Catch!
Anna drops off the cliff. Kristoff catches her.
ANNA (CONT'D) Thanks! That was like a crazy trust exercise.
She hops down, brushes off her dress, and bounds off.
Kristoff watches after her, digging her fearless pluck.EXT. BASE OF THE ICE PALACE – DAY
Anna, Kristoff, and Olaf approach Elsa's elegant ice palace.
ANNA Whoa. KRISTOFF (in awe) Now that's ice. I might cry. 64 FROZEN - J. Lee ANNA Go ahead. I won't judge.
Anna climbs the steps with Olaf. Sven tries to follow. His
hooves slip out. He scrambles but can't get traction.
Kristoff runs to his aide.KRISTOFF All right, take it easy. I gotcha.
Kristoff settles Sven back down the stairs and pats him.
KRISTOFF (CONT'D) You stay right here, buddy.
Sven obediently plops his reindeer butt down and wags his
tail. Kristoff climbs the stairs, admiring the ice details.KRISTOFF (CONT'D) ...Flawless.
Anna arrives at the door. Hesitates.
OLAF ...Knock.... (she doesn't) Just knock.... (she doesn't. To Kristoff) Why isn't she knocking...? Do you think she knows how to knock?
Anna finally KNOCKS. The sound echoes inside. The ice doors
slide open.ANNA Ha. It opened. That's a first.
Anna goes to step in. Kristoff follows. She gets a thought,
stops him.ANNA (CONT'D) You should probably wait out here. KRISTOFF What? ANNA Last time I introduced her to a guy, she froze everything. KRISTOFF But, it's a palace made of ice. Ice is my life. 65 FROZEN - J. Lee OLAF Bye, Sven.
Olaf starts to head inside. Anna stops him.
ANNA You too, Olaf. OLAF Me? ANNA Just give us a minute. OLAF Okay.
As Anna walks inside. Olaf starts counting.
OLAF (CONT'D) One...two...
Kristoff joins in.
OLAF AND KRISTOFF Three...four...
INT. ELSA'S PALACE – DAY
Anna walks into a great foyer. The place is beautiful, but
also eerie.ANNA Elsa? It's me...Anna?!
Anna slips. Steadies herself.
ELSA (O.S.) Anna.
Elsa steps out of the shadows onto a balcony. She sees Anna,
looks to her longingly.Anna can't help but be struck by Elsa's beauty.
ANNA Elsa, you look different.... It's a good different.... And this place is amazing. 66 FROZEN - J. Lee ELSA (cautious, polite) Thank you, I never knew what I was capable of.
Anna starts to climb the stairs.
ANNA ...I'm so sorry about what happened. If I'd known--
Elsa backs up, away from Anna.
ELSA (on guard) No, it's okay. You don't have to apologize.... But you should probably go, please. ANNA But I just got here. ELSA ...You belong in Arendelle. ANNA So do you.
Anna takes another step up. Elsa backs up more.
ELSA No, I belong here. Alone. Where I can be who I am without hurting anybody. ANNA ...Actually, about that-- OLAF (O.S.) 58...59...60. ELSA Wait. What is that?
Olaf comes running in the front door. He waves.
OLAF Hi, I'm Olaf and I like warm hugs. ELSA (shocked) Olaf?
Olaf stops beside Anna, looks up at Elsa, intimidated.
67
FROZEN - J. LeeOLAF (bashful) You built me. You remember that? ELSA (astonished) And you're alive? OLAF Um...I think so?
Anna kneels down beside Olaf.
ANNA He's just like the one we built as kids.... We were so close. We can be like that again.
Elsa smiles, but then a memory returns to her.
FLASH CUT TO:
FLASHBACK: Young Anna is struck by Elsa's powers.
YOUNG ELSA Anna!
Young Anna falls unconscious. Young Elsa races to her.
FLASH CUT TO:
THE PRESENT: Elsa's face sinks in pain.
ELSA No, we can't.
Elsa turns and heads up the second story steps.
ELSA (CONT'D) Goodbye, Anna. ANNA Elsa, wait-- ELSA (calling back) I'm just trying to protect you.
Elsa continues to flee. Anna pursues.
ANNA You don't have to protect me. I'm not afraid. Please don't shut me out again. 68 FROZEN - J. Lee
Anna SINGS.
"First Time in Forever, Reprise" ANNA (CONT'D) PLEASE DON'T SLAM THE DOOR. YOU DON'T HAVE TO KEEP YOUR DISTANCE ANYMORE. `CAUSE FOR THE FIRST TIME IN FOREVER, I FINALLY UNDERSTAND. FOR THE FIRST TIME IN FOREVER, WE CAN FIX THIS HAND IN HAND. WE CAN HEAD DOWN THIS MOUNTAIN TOGETHER. YOU DON'T HAVE TO LIVE IN FEAR. `CAUSE FOR THE FIRST TIME IN FOREVER, I WILL BE RIGHT HERE.
They arrive on the top floor, Elsa's main living space. Elsa
turns back to Anna, grateful, but determined.ELSA Anna, PLEASE GO BACK HOME. YOUR LIFE AWAITS. GO ENJOY THE SUN AND OPEN UP THE GATES. ANNA Yeah, but-- ELSA I know! YOU MEAN WELL, BUT LEAVE ME BE. YES, I'M ALONE BUT I'M ALONE AND FREE.
Elsa opens up the balcony doors.
ELSA (CONT'D) JUST STAY AWAY AND YOU'LL BE SAFE FROM ME. ANNA ACTUALLY, WE'RE NOT. ELSA WHAT DO YOU MEAN YOU'RE NOT? 69 FROZEN - J. Lee ANNA I GET THE FEELING YOU DON'T KNOW? ELSA WHAT DO I NOT KNOW? ANNA ARENDELLE'S IN DEEP DEEP DEEP DEEP SNOW. ELSA What?
Elsa looks past Anna's shoulder out white-peaked mountains.
ANNA You kind of set off an eternal winter...everywhere. ELSA Everywhere? ANNA It's okay, you can just unfreeze it. ELSA No, I can't. I don't know how. ANNA Sure you can. I know you can.
Snow starts to swirl around the room.
ANNA (CONT'D) CUZ FOR THE FIRST TIME IN FOREVER, ELSA (panicking) I'M SUCH A FOOL! I CAN'T BE FREE! ANNA YOU DON'T HAVE TO BE AFRAID. ELSA NO ESCAPE FROM THE STORM INSIDE OF ME!
The snow picks up. Anna tries to fight through it.
ANNA WE CAN WORK THIS OUT TOGETHER. 70 FROZEN - J. Lee ELSA I CAN'T CONTROL THE CURSE! ANNA WE'LL REVERSE THE STORM YOU'VE MADE. ELSA ANNA, PLEASE, YOU'LL ONLY MAKE IT WORSE! ANNA DON'T PANIC. ELSA THERE'S SO MUCH FEAR! ANNA WE'LL MAKE THE SUN SHINE BRIGHT. ELSA YOU'RE NOT SAFE HERE! ANNA WE CAN FACE THIS THING TOGETHER...
But as Anna sings, we lose sight of her in the thickening
blizzard taking over the room.ELSA NO! ANNA (O.S.) WE CAN CHANGE THIS WINTER WEATHER, AND EVERYTHING WILL BE...
Anna's voice disappears in the storm as Elsa cries out.
ELSA I CAN'T!
Elsa's fear, so strong, sucks the blizzard back into her and
then it bursts out, unwittingly, like a sharp snowflake.Anna is STRUCK right in the heart. She grasps her chest in
pain and stumbles back. She falls to her knees.Elsa gasps when she sees Anna. Just then, Olaf and Kristoff
rush into the room to Anna's side.KRISTOFF Anna. Are you okay? 71 FROZEN - J. Lee ANNA I'm okay.... I'm fine.
Anna gets to her feet, determined to hide the pain.
ELSA (scared) Who's this? Wait, it doesn't matter. You have to go. ANNA No, I know we can figure this out together-- ELSA (desperate) How? What power do you have to stop this winter? To stop me?
Anna doesn't have the answer. Kristoff sees spiky ice shadows
creeping down the walls. Puts a protective arm around Anna.KRISTOFF Anna, I think we should go. ANNA (close to tears) No. I'm not leaving without you, Elsa. ELSA (heartbroken but decisive) Yes, you are.
Elsa waves her arms and builds a giant, menacing snowman.
We'll call him MARSHMALLOW.SLAM CUT TO:
EXT. ICE PALACE – DAY
Marshmallow holds Anna and Kristoff by the scruff of their
necks in one hand and Olaf in the other.ANNA Stop. Put us down! OLAF (to Marshmallow) You are a lot stronger than I think you realize.
Marshmallow tosses Kristoff and Anna down the steps.
72
FROZEN - J. LeeMARSHMALLOW (like a bouncer) Go away!
Anna and Kistoff slide past Sven, who's got his tongue stuck
to the ice railing.OLAF (O.S.) Heads up!
Olaf's head smashes into a snowbank nearby.
ANNA Olaf! OLAF Watch out for my butt!
Anna and Kristoff duck as the rest of Olaf slams into the
snowbank.Marshmallow turns to go back into the castle.
Incensed, Anna tries to march back up the stairs.
ANNA It is not nice to throw people!
Kristoff grabs her, pulls her back.
KRISTOFF ANNA All right feisty pants. Calm Let me at him. I want to get down. Woaw. Just let the snow him. I.... Okay. I'm Calm. man be.
Anna backs down…for a moment. Then she grabs a snowball and
throws it at Marshmallow.The tiny little ball hits Marshmallow's back, not making even
the slightest dent. But it's enough to infuriate him. He
ROARS. Spikes shoot out of his joints.KRISTOFF Uh-oh. Now you made him mad! OLAF ...I'll distract him. You guys go.
Kristoff pushes Anna along. Sven runs off in the opposite
direction. Olaf's belly and butt fall and follow Sven.OLAF (CONT'D) No, no, not you guys. 73 FROZEN - J. Lee
Marshmallow goes charging after Anna and Kristoff as Olaf's
head falls and lands face down in snow.OLAF (CONT'D) (muffled) This just got a whole lot harder.
Anna and Kristoff leap and slide down a steep slope. They
tumble to a stop at the bottom just as Marshmallow lands hard
right behind them.They're off again…through a maze of conifers that sag under
the weight of the snow, Marshmallow hot on their trail.KRISTOFF This way!
Anna grabs a branch of a sagging trees and releases all of
the snow. The tree snaps upright, knocking Marshmallow back.KRISTOFF (CONT'D) (impressed) Ho-ho-ho! ANNA I got him!
Anna and Kristoff burst out of the conifer forest and almost
run right off a cliff. They stop short, toes on the edge.KRISTOFF Whoa, stop! ANNA It's a hundred foot drop. KRISTOFF It's two hundred.
Kristoff ties the rope around Anna and pulls tight.
ANNA Ow.
He drops to his knees and starts digging a u-shape in the
snow with a pick axe.ANNA (CONT'D) What's that for? KRISTOFF I'm digging a snow anchor. 74 FROZEN - J. Lee ANNA (not trusting) Okay. What if we fall? KRISTOFF There's twenty feet of fresh powder down there; it'll be like landing on a pillow.... Hopefully.
They hear an angry ROAR coming closer.
KRISTOFF (CONT'D) Okay, Anna. On three.
Anna preps for the jump like a boxer getting ready to fight.
ANNA Okay. You tell me when... KRISTOFF One... ANNA ...I'm ready to go.... KRISTOFF Two... ANNA (pumped up) ...I was BORN ready! Yes! KRISTOFF Calm down.
A huge tree flies through the air toward them.
ANNA (O.S.) TREE!
Anna jumps and pulls Kristoff over the edge with her. They
hang upside down over the cliff by the rope. The rope catches
their fall.KRISTOFF Whoa! That happened.
Back up top, Olaf emerges from the woods. He's a complete
mess, all his body parts are in the wrong places. He huffs
and puffs, struggling to run.OLAF Ah. Ah. Man, am I out of shape. 75 FROZEN - J. Lee
He stops. Puts his body back together in the right order.
OLAF (CONT'D) There we go. Hey, Anna! Sven! Where'd ya guys go? We totally lost Marshmallow back there!
Marshmallow steps up behind Olaf. Olaf turns to face him.
OLAF (CONT'D) (happily) Hey. We were just talking about you. All good things, all good things.
Marshmallow roars and approaches Kristoff's snow anchor.
OLAF (CONT'D) NO!
Olaf jumps onto Marshmallow's leg trying to stop him, but not
making much of a difference.OLAF (CONT'D) This is not making much of a difference!
Marshmallow flicks Olaf off his leg and right over the cliff.
OLAF (CONT'D) WHOA!
Olaf passes Anna and Kristoff.
ANNA Olaf! OLAF Hang in there, guys!
Marshmallow starts yanking Kristoff and Anna's rope up.
ANNA Wait, what?
Kristoff's head hits the cliff.
KRISTOFF Aargghh!
Kristoff passes out and hangs like a rag doll.
ANNA Kristoff! 76 FROZEN - J. Lee
Marshmallow pulls them up. He roars and breathes snow all
over them.MARSHMALLOW Don't come back! ANNA (grossed out by his snow breath) Ugh. We won't.
Anna whips out a knife and cuts the rope. Kristoff comes to
just as they fall. They both SCREAM!SLAM!
REVEAL: Anna opens her eyes to find herself buried up to her
shoulders in the soft thick snow. She laughs.ANNA (CONT'D) Hey, you were right. Just like a pillow.
She looks up to see Olaf's upper half hanging onto Kristoff's
boots, which are sticking out of the snow.OLAF (shaking the boots) I can't feel my legs! I can't feel my legs!
Suddenly, Kristoff's head pops up. He spits out snow.
KRISTOFF Those are my legs.
Olaf's bottom goes running by.
OLAF (to Kristoff) Ooh. Hey, do me a favor, grab my butt.
Kristoff grabs Olaf's head and puts it on his body.
OLAF (CONT'D) Oh, that feels better.
Sven walks up and sniffs Olaf's nose.
OLAF (CONT'D) Hey, Sven! 77 FROZEN - J. Lee
Olaf turns to Anna and Kristoff just as Sven goes to bite off
his nose – and misses.OLAF (CONT'D) He found us. (to Sven, funny voice) Who's my cute little reindeer? KRISTOFF Don't talk to him like that.
Kristoff goes over to help Anna, who is stuck in the snow.
KRISTOFF (CONT'D) Here.
He lifts her out easily.
ANNA (impressed) Whoa! KRISTOFF You okay? ANNA Thank you.
They meet eyes. Wait. Is that chemistry?
ANNA (CONT'D) ...Um.... How's your head?
She touches the spot where he banged his head.
KRISTOFF (in pain) Ah! Ooh!
He catches himself. Waves off the pain with a giggle.
KRISTOFF (CONT'D) I mean, It's fine. Ah...I'm good. Ha. I've got a thick skull. OLAF I don't have a skull.... Or bones. KRISTOFF ...So....
The awkwardness is killing him.
78
FROZEN - J. LeeKRISTOFF (CONT'D) (shy) Now what? ANNA (shy) Now what? (then...panicking) Now what?! Oh! What am I gonna do? She threw me out. I can't go back to Arendelle with the weather like this. And then there's your ice business-- KRISTOFF Hey, hey, don't worry about my ice business... (noticing something) Worry about your hair?!
She thinks he means it looks bad. She smooths it down.
ANNA What? I just fell off a cliff. You should see your hair. KRISTOFF No, yours is turning white.
She grabs her braid as a tendril turns white.
ANNA White? It's what? KRISTOFF It's because she struck you; isn't it? ANNA Does it look bad? KRISTOFF (thinking) ...No.
Olaf's head pops up. He's holding his head up off his body to
join the conversation.OLAF You hesitated. KRISTOFF No, I didn't. Anna, you need help. Now, come on. 79 FROZEN - J. Lee
He heads towards the sunset. Sven and Olaf follow.
OLAF Okay! Where are we going? KRISTOFF To see my friends. ANNA (catching up) The love experts? OLAF Love experts?! KRISTOFF Yes. And don't worry; they'll be able to fix this. ANNA How do you know?
He looks her over, remembering the moment he saw the trolls
heal her as a child.KRISTOFF ...Because I've seen them do it before.
As they round the bend, the sun sets and Olaf turns to Sven.
OLAF I like to consider myself a love expert. CUT TO:
INT. ELSA'S PALACE – DAY
Elsa paces, distraught. She talks to herself.
ELSA (mantra-style) Get it together. Control it. Don't feel. Don't feel. Don't FEEL!
She hears ice cracking. Stops. Looks around. She's left a
sharp wake of ice spikes behind her on the floor. They grow
up the wall, taking over the castle.DISSOLVE TO: 80 FROZEN - J. Lee
EXT. BLACK MOUNTAINS – NIGHT
The Northern Lights are bright. Olaf stares at them in awe as
he rides on Sven's back.OLAF Look, Sven. The sky's awake.
Behind Olaf and Sven, Anna walks with Kristoff. She shivers.
KRISTOFF Are you cold? ANNA ...A little.
He reaches like he might put an arm around her, but decides
against it. He looks around as if he doesn't know what to do,
then gets a thought.KRISTOFF Wait. Come here.
He takes her hand and pulls her around a bend into a rock-
lined pass.Steam vents, powered by the volcanic activity, dot the path.
He holds her hands over one of them.ANNA Oooh.... That's nice.
They continue on the path, walking from vent to vent.
KRISTOFF (taking a deep breath) So, about my friends...well, I say friends, they're more like family.... Anyway, when I was a kid, it was just me and Sven...until they took me in. ANNA (moved) They did? KRISTOFF (nervous ramble) Yeah. I don't want to scare you, they can be a little bit inappropriate...and loud...very loud...they're also stubborn at times, and a little overbearing. And heavy. Really, really heavy. (MORE) 81 FROZEN - J. Lee KRISTOFF (CONT'D) But they're fine.. You'll get it. They mean well.
Anna touches Kristoff's arm, reassuringly.
ANNA Kristoff, they sound wonderful.
Kristoff smiles, appreciating her sincerity.
KRISTOFF Okay then....
Mustering the courage, Kristoff steps forward and with a wave
of the arms announces–KRISTOFF (CONT'D) Meet my family.
REVEAL: he's surrounded by rocks.
KRISTOFF (CONT'D) (to the rocks) Hey, guys!
As Kristoff and Sven move through the rocks, waving and
greeting, Olaf and Anna stand frozen, dumbfounded.ANNA (to herself) ...They're rocks. OLAF (realizing) He's crazy. (covertly, to Anna) I'll distract them while you run. (Loud and slow to a rock) Hi, Sven's family! It's nice to meet you! (quietly to Anna) Anna, because I love you, I insist you run. (to the rock) I understand you're love experts! (to Anna) Why aren't you running?
Anna snaps out of her shock and starts backing away.
ANNA Okay. Um...I'm gonna go--
Just then the rocks around her start rolling.
82
FROZEN - J. LeeANNA (CONT'D) (panicking) Kristoff!
Olaf lights up and chases the rocks, who surround Kristoff
and unfold as trolls.BULDA KRISTOFF'S HOME! TROLLS (VARIOUS) Kristoff! Kristoff's home! It's been too long! Kristoff's home!
Olaf jumps around all excitedly.
OLAF (excitedly) Kristoff's home.
He then stops, confused, and looks to one of the trolls.
OLAF (CONT'D) Wait? Kristoff?
Anna watches, shocked and confused.
The trolls all want Kristoff's attention. One troll yanks him
down with a boulder's strength.TROLL ONE Oh, lemme look at you!
Another troll tries to pull off his clothes.
TROLL TWO Oh, take off your clothes, Kristoff; I wash them. KRISTOFF (holding up his pants) Ah! No. I'm gonna keep my clothes on, thank you. KRISTOFF (CONT'D) Great to see you all. Where's grandpa? MUSHROOM KID TROLL He's napping. But look, I grew a mushroom. TROLL SCOUT KID And I earned my fire crystal. 83 FROZEN - J. Lee KIDNEY STONE TROLL I passed a kidney stone. PICK ME UP TROLL Pick me up.
The kid troll jumps up on Kristoff's arm. Kristoff sinks
under the weight of him.Anna still stares, confused, then realizes…
ANNA Trolls? They're trolls.
Silence. All troll eyes turn to Anna. Blink. Blink.
BULDA ...He's brought a girl! TROLLS (TOGETHER) He's brought a girl!
Suddenly Anna is surrounded by trolls. They body-surf/roll
Anna over to Kristoff. She falls into his arms.ANNA What's going on? KRISTOFF I've learned to just roll with it.
Bulda climbs on top of her husband, Cliff, to get a good look
at Anna. She studies her like she's a piece of cattle.BULDA Let me see. Bright eyes. Working nose. Strong teeth. Yes, yes, yes. She'll do nicely for our Kristoff. ANNA Wait. Oh. Um. No. KRISTOFF You've got the wrong idea. That's not why I brought her here. ANNA Right. We're not. I'm not--
Anna laughs, uncomfortable, not knowing what to say.
84
FROZEN - J. LeeBULDA (to Anna) What's the issue, dear? Why are you holding back from such a man?
Bulda SINGS.
"Fixer-Upper" TROLLS (VARIOUS) IS IT THE CLUMPY WAY HE WALKS? OR THE GRUMPY WAY HE TALKS? OR THE PEAR-SHAPED, SQUARE-SHAPED WEIRDNESS OF HIS FEET? AND THOUGH WE KNOW HE WASHES WELL HE ALWAYS ENDS UP SORTA SMELLY. BUT YOU'LL NEVER MEET A FELLA WHO'S AS SENSITIVE AND SWEET. TROLLS (CHORUS) (CONT'D) SO HE'S A BIT OF A FIXER UPPER, SO HE'S GOT A FEW FLAWS- HIS PECULIAR BRAIN, DEAR. HIS THING FOR THE REINDEER THAT OUTSIDE A FEW OF NATURE'S LAWS. SO HE'S A BIT OF A FIXER UPPER, BUT THIS WE'RE CERTAIN OF- YOU CAN FIX THIS FIXER UPPER UP WITH A LITTLE BIT OF LOVE. KRISTOFF Can we just stop talking about this?! We've got a real, actual problem here. BULDA I'll say-- (To Anna) IS IT THE WAY THAT HE RUNS SCARED? TROLLS (VARIOUS) OR THAT HE'S SOCIALLY IMPAIRED? KID TROLL OR THAT HE ONLY LIKES TO TINKLE IN THE WOODS? TROLLS (VARIOUS) ARE YOU HOLDING BACK YOUR FONDNESS DUE TO HIS UNMANLY BLONDENESS? OR THE WAY HE COVERS UP THAT HE'S THE HONEST GOODS? 85 FROZEN - J. Lee TROLLS (CHORUS) (CONT'D) HE'S JUST A BIT OF A FIXER UPPER- HE'S GOT A COUPLE A' BUGS. KRISTOFF No, I don't. TROLLS HIS ISOLATION IS CONFIRMATION OF HIS DESPERATION FOR HEALING HUGS. SO HE'S A BIT OF A FIXER UPPER, BUT WE KNOW WHAT TO DO. THE WAY TO FIX UP THIS FIXER UPPER IS TO FIX HIM UP WITH YOU.
The girl trolls sweep Anna away. The boys take Kristoff.
KRISTOFF (to the male trolls) Enough! She's engaged to someone else. Okay?!
TROLLS beat. Blink. Blink. The boy trolls turn, huddle…
TROLLS (VARIOUS) SO SHE'S A BIT OF A FIXER UPPER, THAT'S A MINOR THING. THIS QUOTE "ENGAGEMENT" IS A FLEX ARRANGEMENT. KID TROLL AND BY THE WAY, I DON'T SEE NO RING. TROLLS (VARIOUS) SO SHE'S A BIT OF A FIXER UPPER, HER BRAIN'S A BIT BETWIXT. GET THE FIANCE OUT OF THE WAY AND THE WHOLE THING WILL BE FIXED! GIRL TROLLS WE AREN'T SAYING YOU CAN CHANGE HIM TROLLS (VARIOUS) 'CAUSE PEOPLE DON'T REALLY CHANGE. WE'RE ONLY SAYING THAT LOVE'S A FORCE THAT'S POWERFUL AND STRANGE. PEOPLE MAKE BAD CHOICES IF THEY'RE MAD OR SCARED OR STRESSED. (MORE) 86 FROZEN - J. Lee TROLLS (VARIOUS) (CONT'D) BUT THROW A LITTLE LOVE THEIR WAY (THROW A LITTLE LOVE THEIR WAY) AND YOU'LL BRING OUT THEIR BEST! TRUE LOVE BRINGS OUT THE BEST!
Kristoff looks over at Anna. She actually looks shockingly
beautiful dressed in moss, lit by shimmering crystals.ALL TROLLS EVERYONE'S A BIT OF A FIXER UPPER, THAT'S WHAT IT'S ALL ABOUT FATHER, SISTER, BROTHER WE NEED EACH OTHER TO RAISE US UP AND ROUND US OUT
By this time Kristoff and Anna are being ushered into a pit
by the sheer force of numbers.TROLLS EVERYONE'S A BIT OF A FIXER UPPER, BUT WHEN PUSH COMES TO SHOVE- THE ONLY FIXER UPPER FIXER THAT CAN FIX A FIXER UPPER IS TRUE TRUE TRUE TRUE LOVE
During this last bit Anna and Kristoff are looking at each
other differently. Hmmm. Maybe those trolls are right?
Sparks! Chemistry!TROLL PRIEST Do you, Anna, take Kristoff to be your trollfully wedded-- ANNA Wait, what?! TROLL PRIEST You're getting married. TROLLS LOVE!
Just then, Anna collapses. Kristoff catches her. She's
shivering something fierce.KRISTOFF Anna?
He pulls off her cape and hat.
87
FROZEN - J. LeeKRISTOFF (CONT'D) She's as cold as ice.
Just then Grand Pabbie pushes his way through the crowd.
Trolls clear the way for Pabbie. He stops at the edge of the
pit.GRAND PABBIE There's strange magic here! KRISTOFF Grand Pabbie! GRAND PABBIE Bring her to me, Kristoff.
Kristoff helps Anna over. Pabbie looks into her weak eyes.
GRAND PABBIE (CONT'D) Anna, your life is in danger. There is ice in your heart, put there by your sister. If not removed, to solid ice will you freeze, forever. ANNA What...? No. KRISTOFF So remove it, Grand Pabbie. GRAND PABBIE I can't. If it was her head, that would be easy. But only an act of true love can thaw a frozen heart. ANNA An act of true love? BULDA (googley, to her hubby) A true love's kiss, perhaps?
A bunch of trolls give each other kisses.
Anna shivers again, collapsing into Kristoff's arms. More of
her hair turns white.KRISTOFF Anna, we've got to get you back to Hans. ANNA (still weak) ...Hans. 88 FROZEN - J. Lee KRISTOFF Help us out, Sven.
Kristoff grabs Sven's antlers. Sven pulls them out.
Kristoff helps Anna onto Sven and hops up behind her.
KRISTOFF (CONT'D) Come on, Olaf!
Sven takes off. Olaf grabs Sven's tail, rides with them.
OLAF I'm coming! Let's go kiss Hans! Who is this Hans?! CUT TO:
EXT. ELSA'S PALACE - DAWN
Hans and the men tread cautiously towards the castle.
HANS We are here to find Princess Anna. Be on guard, but no harm is to come to the Queen. Do you understand?
The Duke's thugs exchange a look. Suddenly, a mass of snow
rises from the ground behind Hans. It's Marshmallow, Elsa's
snow guard.MARSHMALLOW Go away!
He slams a fist inches from Hans. Hans deftly dodges out of
the way. All of the guards take up arms against Marshmallow,
who quickly knocks them over.Marshmallow throws down a guard and his horse, who topple
over Hans. Marshmallow raises his foot to stomp on Hans, but
Hans barrel-rolls himself to safety. He sees his sword,
leaps, and grabs it.Just then, Elsa peeks out the front doors.
The Duke's two thugs see her.
DUKE'S THUG The Queen.
The thugs charge up the stairs.
89
FROZEN - J. LeeINT. ELSA'S PALACE – DAY
They guards burst through the ice doors.
Elsa flees to the top floor of her palace. The guards pursue.
They trap her on the top floor, raise their crossbows.
ELSA (scared) No. Please.
One of the thugs shoots an arrow right at Elsa. At the last
moment she creates an ice wall. It stops the arrow, inches
from her face.The thugs reposition to take another shot.
ELSA (CONT'D) Stay away!
Elsa shoots ice at the thugs. They duck out of the way and
continue the attack.THUG Get her! Get her!
Elsa fights for her life.
BACK OUTSIDE: Hans is nearly crushed by Marshmallow. He rolls
away. Jumps to his feet. And with agile might, he slices
Marshmallow's leg off with his sword. Marshmallow stumbles
back, off balance. And falls off over the cliff, but not
before striking Hans. Hans goes over the edge.REVEAL: Hans clings to the ice steps. His men help him up and
they rush into the ice palace.INT. ICE PALACE – DAY
Elsa is surrounded. It's do or die. In two swift moves, Elsa
traps one thug in a cage of spikes that threaten his neck.The other she pushes back with a wall of ice….up against
the balcony doors…which BURST and CRACK.OUT ONTO THE BALCONY…. The balcony doors shatter. The thug
is pushed to the edge. He's inches away from falling to his
death.BACK INSIDE: Hans and his men run in. See the destruction and
the thugs near death.
90
FROZEN - J. LeeHANS Queen Elsa! Don't be the monster they fear you are.
Elsa snaps out of her rage. She sees the men, frightened,
moments from death. She stops. Elsa looks to Hans,
overwhelmed, frightened.The wall retreats from the thug on the balcony. The ice
spikes lower from the second thug's neck. He takes advantage
and aims his crossbow at Elsa's back.Seeing it. Hans runs and pushes the crossbow up just as the
arrow releases. The arrow hits the ice chandelier, hanging
directly above Elsa.The chandelier comes CRASHING DOWN.
Elsa dives out of the way but she falls in the blast.
All we see is ice smashing like glass, and all we hear is the
sound of it shattering as it rings out.CUT TO BLACK.
FADE IN ON:
Elsa's face as her eyes flutter open.
She sits up. She's surrounded by stone.
INT. ARENDELLE, DUNGEON – DAY
Elsa looks to the nearby window. Tries to rush to it. She's
pulled taut by giant shackles that fit like iron gloves.
She's chained to the wall.Elsa strains to looks out a window…
INSET WINDOW: Arendelle is outside, frozen solid and getting
further buried under the ice and snow that is falling.ELSA No....What have I done?
Hans enters. He hangs a torch by the door.
ELSA (CONT'D) Why did you bring me here? HANS I couldn't just let them kill you. 91 FROZEN - J. Lee ELSA But I'm a danger to Arendelle. Get Anna. HANS Anna has not returned....
Elsa looks to the storm with worry.
HANS (CONT'D) If you would just stop the winter, bring back summer...please.
Elsa meets his eyes, desperate.
ELSA Don't you see...I can't.
Hans sees the sincerity in her eyes.
ELSA (CONT'D) You have to tell them to let me go.
Hans walks to the door. He takes the torch.
HANS I will do what I can.
He opens the door and leaves.
Elsa, distraught, hears cracking. She looks down as her
shackles begin to freeze over. The storm outside picks up.CUT TO:
EXT. THE FJORDS – DAY
Sven charges down the mountain with Kristoff and Anna on his
back. Olaf slides along beside them, penguin-style.Anna shivers in Kristoff's arms. She's weakening. Kristoff
takes off his hat and puts it on her head.KRISTOFF Just hang in there. (to Sven) Come on, buddy, faster!
They arrive at the walls of Arendelle. Olaf slides past them,
out of control.OLAF I'll meet you guys at the castle! 92 FROZEN - J. Lee KRISTOFF Stay out of sight, Olaf! OLAF I will!
He disappears into the village streets.
OLAF (O.S.) (CONT'D) Hello! TOWNSWOMAN (O.S.) Ah! It's alive! CUT TO:
EXT. CASTLE COURTYARD – DAY
Guards see Kristoff and Anna approaching.
GUARD It's Princess Anna!
Sven skids to a stop outside the gates. Kristoff slides off,
holding Anna, and carries her to the gate.KRISTOFF I've got you.
Anna looks up at him, gratefully.
ANNA ...Are you g-gonna be okay? KRISTOFF (touched, reassuring) Don't worry about me.
Just then the castle gates open. Gerda, Kai, and a handmaid
rush to help Anna.GERDA Anna! Oh, you had us worried sick. KAI My Lady. You are freezing. GERDA You poor girl, you're freezing. Let's get you inside. 93 FROZEN - J. Lee KRISTOFF Get her warm and find Prince Hans, immediately. KAI We will. Thank you.
Anna is swept away from Kristoff and into the palace grounds.
KRISTOFF Make sure she's safe!
Kristoff is shut out as the castle gates close on him.
Kristoff stands there with Sven for a beat, staring with
worry at the closed gates.Finally, he sighs, turns and walks off. Sven reluctantly
follows.CUT TO:
INT. LIBRARY – DAY
Hans stands with the dignitaries and guards.
HANS I'm going back out to look for Princess Anna. FRENCH DIGNITARY You cannot risk going out there again. HANS If anything happens to her-- SPANISH DIGNITARY If anything happens to the Princess, you are all Arendelle has left.
Hans hesitates, realizing how much this kingdom has come to
depend on him. Is he really all they have left?Just then the door opens and Gerda and Kai bring in Anna.
KAI He's in here. Prince Hans. HANS Anna. 94 FROZEN - J. Lee
Hans rushes to Anna. She falls into his arms.
HANS (CONT'D) You're so cold. ANNA (weak, but desperate) Hans, you have to kiss me. HANS What? ANNA Now. Here we go.
She tries to kiss him, but is too weak to pull herself up in
his arms.GERDA We'll give you two some privacy.
Everyone shuffles out, leaving Hans and Anna alone.
HANS What happened out there? ANNA Elsa struck me with her powers. HANS You said she'd never hurt you. ANNA I was wrong.
Anna crumbles, weak.
HANS Anna.
Hans carries her to a couch, sets her down.
ANNA (shivering more) She froze my heart and only an act of true love can save me. HANS (understanding) A true love's kiss.
He takes her chin in his hand and gives her a tender smile.
He leans in slowly…gently…
95
FROZEN - J. LeeThen he stops.
HANS (CONT'D) Oh, Anna. If only there was someone out there who loved you. ANNA What?
Hans gets up, leaving her there.
ANNA (CONT'D) ...You said you did.
He goes to the window and shuts the curtains.
HANS As thirteenth in line in my own kingdom, I didn't stand a chance. I knew I'd have to marry into the throne somewhere-- ANNA What are you talking about? HANS (putting out the candles) As heir, Elsa was preferable, of course. But no one was getting anywhere with her. But you- ANNA Hans? HANS You were so desperate for love you were willing to marry me, just like that.
Hans crosses the room, grabs a pitcher of water from a table
and goes to the fireplace.HANS (CONT'D) I figured, after we married, I'd have to stage a little accident for Elsa.
Hans pours the water on the fireplace, putting out the fire.
Anna tries to stop him. She falls to the floor, weak.ANNA Hans. No, stop. 96 FROZEN - J. Lee HANS But then she doomed herself, and you were dumb enough to go after her. ANNA Please. HANS (chuckles) All that's left now is to kill Elsa and bring back summer.
Hans approaches Anna.
ANNA ...You're no match for Elsa.
He bends down, takes her chin in his hand again, this time
not so gently.HANS No, you're no match for Elsa. I, on the other hand, am the hero who is going to save Arendelle from destruction.
She wrenches her face out of his hands.
ANNA (anger) You won't get away with this.
Hans rises and crosses to the door.
HANS Oh, I already have.
Hans leaves and shuts her in, locking the door. Anna
struggles to the door, yanks on the locked handle.ANNA (hoarse and weak) Please, somebody help.
The rest of her hair turns white and she crumbles to the
floor.CUT TO: 97 FROZEN - J. Lee
INT. COUNCIL CHAMBER – NIGHT
The Duke looks out the window at the growing snowstorm. He
rubs his arms and shivers.DUKE It's getting colder by the minute. If we don't do something soon, we'll all freeze to death.
Hans comes in, putting on his most distraught face.
SPANISH DIGNITARY Prince Hans. HANS Princess Anna is...dead. VARIOUS DIGNITARIES What...? No.... Mon dieu.
Hans stumbles, weak with grief. The men help him to a chair.
DUKE What happened to her? HANS She was killed by Queen Elsa. DUKE Her own sister. HANS (really putting it on) At least we got to say our marriage vows...before she died in my arms.
He bows his head in a brilliant display of teary grief.
DUKE There can be no doubt now; Queen Elsa is a monster and we are all in grave danger. SPANISH DIGNITARY Prince Hans, Arendelle looks to you.
Hans nods; he knows what he's being asked to do, and he'll do
it with the perfect amount of authority and gravitas.
98
FROZEN - J. LeeHANS With a heavy heart, I charge Queen Elsa of Arendelle with treason and sentence her to death.
INT. ELSA'S DUNGEON – DAY
The cell ices over. Elsa looks out at the storm that is
devastating Arendelle, then hears the guards approaching.GUARD (O.S.) She's dangerous. Move quickly and with resolve.
Elsa pulls at her shackles. They crack. Just as the door
busts open, the weight of the ice crumbles the walls. The men
duck out of the way.Hans pushes his way into the room…sees…
The back wall is blown open. Broken shackles rest on the
floor. Elsa is gone.CUT TO:
EXT. MOUNTAIN SLOPE – DAY
Kristoff heads into the mountains. Sven lags behind, not
wanting to follow. He looks back at the kingdom, then shakes
his head. Enough.He runs past Kristoff. Stops and turns to face him. He snorts
and grunts.KRISTOFF What is it, buddy?
Sven nudges Kristoff with his antlers.
KRISTOFF (CONT'D) Hey, watch it. What's wrong with you?
Sven snorts with more conviction, moos, brays.
KRISTOFF (CONT'D) (avoiding) ...I don't understand you when you talk like that. 99 FROZEN - J. Lee
Kristoff tries to walk on ahead, but Sven uses his antlers to
lift Kristoff off the ground.KRISTOFF (CONT'D) Ah! Stop it! Put me down!
Sven drops him hard then "yells" at him once more.
KRISTOFF (CONT'D) No, Sven! We're not going back!
Sven shakes his head, angrily.
KRISTOFF (CONT'D) She's with her true love.
Sven makes an "of-course-she-isn't" face. Kristoff gets it;
he's made his point.Just then the wind picks up. Kristoff looks back at the
kingdom. Sees a violent winter storm swirling over the
castle. Sharp ice claws its way up the castle, encasing it.KRISTOFF (CONT'D) Anna.
Without hesitating, he dashes back down the mountain. Sven
runs after him, catches up. Kristoff grabs Sven's harness and
jumps onto his back.CUT TO:
INT. LIBRARY – NIGHT
Anna shivers by the door. She looks up to see ice overtaking
the ceiling.The door handle suddenly jiggles. Stops. Jiggles again.
ANNA (barely a whisper) Help.
CLICK. The door swings open. We see a carrot in the lock and
hear a giggle of victory. Olaf takes the carrot, puts it back
on his face. Then he sees Anna lying there.OLAF Anna. Oh no.
He runs to the fireplace. Throws in some fresh wood,
including one of his own arms, which he quickly rescues,
before striking a match and relighting the fire.
100
FROZEN - J. LeeANNA Olaf? Olaf. Get away from there. OLAF Whoa! So this is heat.... (considering) I love it.
He reaches a twig finger toward the flames. It catches on
fire.OLAF (CONT'D) Ooh! But don't touch it!
He shakes the flame out, as he rushes over to help Anna to
the fire.OLAF (CONT'D) So, where's Hans? What happened to your kiss? ANNA I was wrong about him. It wasn't true love. OLAF (confused innocence) Huh. But we ran all the way here? ANNA Please Olaf, you can't stay here; you'll melt. OLAF I am not leaving here until we find some other act of true love to save you.
He sits down behind her, stubbornly. Leans his back against
hers and thinks.OLAF (CONT'D) ...Do you happen to have any ideas? ANNA I don't even know what love is. OLAF (confident) That's okay, I do....
Olaf hops back up and puts a soothing hand on her shoulder.
101
FROZEN - J. LeeOLAF (CONT'D) Love is...putting someone else's needs before yours, like, you know, how Kristoff brought you back here to Hans and left you forever. ANNA ...Kristoff loves me? OLAF Wow, you really don't know anything about love, do you?
His face starts to melt.
ANNA Olaf, you're melting. OLAF (sweet and reassuring) Some people are worth melting for.
But then…his face REALLY melts. He panics, pushes the snow
back in place.OLAF (CONT'D) Just maybe not right this second.
Suddenly, the window blows open, cold wind sweeps in.
OLAF (CONT'D) Don't worry, I've got it!
Olaf flitters to the window. He pulls one panel of it shut
but struggles with the second panel.OLAF (CONT'D) (determined) We're going to get through-- (distracted) Oh, wait. Hang on. I'm getting something.
He breaks an icicle off the window, uses it as a telescope
and sees…Kristoff and Sven running back down the mountain.
OLAF (CONT'D) It's Kristoff and Sven! They're coming back this way. ANNA ...They-they are? 102 FROZEN - J. Lee OLAF Wow, he's really moving fast. Huh.... I guess I was wrong. I guess Kristoff doesn't love you enough to leave you behind.
Anna tries to get to her feet.
ANNA Help me up, Olaf. Please.
He hurries over, tumbling over the couch, knocking over the
chess set and water jugs.OLAF No, no, no, no, no. You need to stay by the fire and keep warm. ANNA I need to get to Kristoff. OLAF (clueless) Why...? (realizing) Oh, oh, oh, I know why.
He hops around in an excited display of hope.
OLAF (CONT'D) There's your act of true love, right there, riding across the fjords like a valiant, pungent reindeer king! Come on!
The walls crack under the ice pressure.
OLAF (CONT'D) Look out!
They rush out the room just as the ceiling collapses.
INT. CASTLE HALLWAY – DAY
Anna and Olaf struggle down the hall. Ice spikes grow and
block their path.OLAF We're trapped.
Anna looks around desperately for a way out.
103
FROZEN - J. LeeEXT. FJORD – DAY
Elsa runs, but is nearly blinded by the snow and wind.
EXT. CASTLE – DAY
Anna and Olaf bust open a window. The storm is so strong it
sweeps the window panes away.OLAF Slide, Anna.
It's a long, snowy way down. But what choice do they have?
They slide down the iced-covered building.Anna arrives at the bottom, weak but uninjured. Olaf gathers
snow along the way. He arrives at the bottom as a giant
snowball.OLAF (CONT'D) We made it!
He shakes off the extra snow as Anna struggles to her feet.
EXT. FJORD – DAY
Kristoff and Sven bound off the mountain and sprint across
the frozen fjord waters and right into the heart of the
storm. Its white-out wind pushes them back. But they fight
through.KRISTOFF Come on, buddy, faster. CUT TO:
Anna and Olaf reach the shore of the fjords.
ANNA Kristoff!
The wind lifts Olaf up and pulls him apart. He goes swirling
off into the storm.OLAF Keep going, Anna!
Anna struggles on.
104
FROZEN - J. LeeANNA Kristoff! PAN TO:
Kristoff rides Sven past cracking, frozen ships. Sven
struggles over the uneven surface.KRISTOFF Come on! Come on!
Suddenly, a mangled ship, risen by ice, capsizes over them.
They give it all they've got as debris falls all around them
and the mast shatters. They make it past just as the entire
ship slams down and cracks the thick ice beneath their feet.The ice opens up. Sven bravely jumps over a gap. But it's too
wide. He bucks Kristoff to safety, but lands in the freezing
water and disappears below.KRISTOFF (CONT'D) Sven? Sven!
At first there's nothing but the wind and the tumbling icy
water. But suddenly, Sven surfaces and claws his way to a
floating ice chunk. He calls out, signalling for Kristoff to
go on.KRISTOFF (CONT'D) Good boy. CUT TO:
Anna moves blindly across the fjord. Anna's hands frost over
an icy blue. She stumbles on, determined. But she's running
out of time.She clutches her chest. The color in her eyes fades, the
inevitable is coming.CUT TO:
Kristoff, lost in the white-out, doesn't know which way to
turn. But then he hears a faint–ANNA (O.S.) Kristoff. KRISTOFF Anna...? Anna! WHITE OUT TO: 105 FROZEN - J. Lee
Elsa struggles through her own storm, but the fear is
consuming her. A dark shadow approaches. It's Hans.HANS Elsa. You can't run from this!
Elsa backs away from him.
ELSA ...Just take care of my sister. HANS Your sister? She returned from the mountain weak and cold. She said you froze her heart. ELSA What? No. HANS I tried to save her, but it was too late. Her skin was ice. Her hair turned white...
Elsa's face sinks as she realizes what she has done.
HANS (CONT'D) Your sister is dead... because of you.
Elsa drops to her knees, emotionally broken. And with that,
the swirling storm suddenly stops. The snow freezes mid-air,
hangs suspended, trapped in grief.Citizens and dignitaries rush to the wall's edge and look out
to see…Anna, barely able to move but now able to see across the
fjords to…ANNA (a whisper) Kristoff. KRISTOFF Anna.
Anna pushes on towards Kristoff. He runs top speed towards
her. There's still a lot of fjord to cross, but Kristoff is
giving it all he's got. He's going to make it.But then, Anna hears the sound of a sword being drawn from
its scabbard. She turns and sees Hans, behind Elsa, as he
raises his sword over his head.
106
FROZEN - J. LeeANNA Elsa.
Anna looks back at Kristoff as he runs for her. She gives him
a longing look, but then turns away from him and then…Using all of her remaining strength, as Hans brings his sword
down, Anna throws herself in front of Elsa.ANNA (CONT'D) No!
In that instant, Anna freezes to solid ice. The sword hits
her instead of Elsa. The sword shatters completely. The force
of it sends Hans flying back and knocks him out.ELSA Anna!
Elsa rushes to Anna and touches her sister's frozen face.
ELSA (CONT'D) Oh, Anna...no...no, please no.
Olaf walks up and sees Anna, frozen.
OLAF (confused, sad) Anna?
Elsa hugs Anna and cries.
Kristoff watches in shocked despair. Sven steps up to his
side.Citizens and dignitaries on the castle walls bow their heads.
All of Arendelle is joined in somber silence.
But then, Anna warms. She begins to thaw.
Olaf looks up and gasps. Kristoff and Sven notice, light up.
Anna bends her arm and embraces Elsa.
ELSA Wha-? Anna?
Anna opens her eyes. She smiles at Elsa, relieved.
ANNA Oh, Elsa.
They embrace.
107
FROZEN - J. LeeELSA ...You sacrificed yourself for me? ANNA (weak) ...I love you.
Olaf realizes what's happened. He's so excited about it, he
lifts his head right off his body and exclaims–OLAF An act of true love will thaw a frozen heart. ELSA (processing) Love...will thaw... (realizing) Love.... Of course.
Elsa looks at Anna with confidence.
ANNA Elsa? ELSA Love.
Elsa lifts her arms, and the ground shakes and cracks. The
ice and snow breaks away and rises high into the air.Beneath their feet the bow of a ship thaws.
The entire fjord melts and other boats right themselves.
The villagers come out to see the warmth returning.
In one final wave, Elsa draws all of the snow into a giant
snowflake in the sky, then waves it away, leaving only a warm
summer day.ANNA I knew you could do it. OLAF (melting, good-naturedly) Hands down, this is the best day of my life...and quite possibly the last. ELSA Oh, Olaf. Hang on, little guy. 108 FROZEN - J. Lee
Elsa waves her hand and surrounds Olaf with a swirl of cold
air. He refreezes. Above his head she leaves a little,
perpetually-snowing storm cloud. Olaf loves it.OLAF Hey, my own personal flurry.
Kristoff sees Hans trying to get to his feet. He marches
toward him, prepared for a fight. But Anna puts up a hand and
stops him.ANNA Uh. Uh. Uh.
She'll handle this. She goes over to Hans.
HANS (confused) Anna? But she froze your heart. ANNA The only frozen heart around here is yours.
She turns away from him, proud of her words. But not yet
satisfied, she turns back and punches him right in the face.HANS Ah! Whoa, whoa, whoa!
He falls overboard.
Elsa comes over to Anna and hugs her. Over her shoulder,
Kristoff meets Anna's eyes. She smiles brighter, happy.DISSOLVE TO:
EXT. ARENDELLE – DAY
It's a beautiful summer day. The mighty ships have been
repaired and are sailing away.On one of the ships, HANS is thrown into a brig.
FRENCH DIGNITARY (to Kai) I will return this scoundrel to his country. We shall see what his twelve big brothers think of his behavior. KAI Arendelle thanks you, my Lord. 109 FROZEN - J. Lee
Down on the dock, Arendelle guards lead the Duke and his two
thugs to their ship.DUKE This is unacceptable. I am innocent. I'm a victim of fear. I've been traumatized. (bad acting) Ow! My neck hurts. Is there a doctor I could...No? And I demand to see the Queen!
Kai steps down from the gangplank to the dock.
KAI I have a message from the Queen. (reading a scroll) Arendelle will henceforth and forever no longer do business of any sort with Weaseltown. DUKE Weselton. It's Weselton!
The guards usher him and his thugs onto their ship.
EXT. VILLAGE SQUARE – DAY
Anna runs through the crowd, pulling a blindfolded Kristoff
along behind her. She's so excited she can't stand it.ANNA Come on. Come on. Come on. Come on!
She runs him right into a pole.
KRISTOFF Pole. ANNA Oops. Sorry.
EXT. ARENDELLE DOCKS – DAY
Anna skips to the perfect spot and stops.
ANNA (stopping) Okay. Okay. Here we are. 110 FROZEN - J. Lee
She takes off the blindfold. Kristoff opens his eyes. Before
him sits the most beautiful, suped-up sled. Sven poses in
front of it – Vanna White-style.ANNA (CONT'D) I owe you a sled. KRISTOFF (blown away) Are you serious? ANNA Yes. And it's the latest model. KRISTOFF No. I can't accept this... ANNA You have to. No returns. No exchanges. Queen's orders. She's named you the official Arendelle Ice Master and Deliverer.
Sven shows off the Ice-Master-and-Deliverer medal like he's
king of the bucks.KRISTOFF What? That's not a thing.
But he can't help but admire her enthusiasm.
ANNA Sure it is. And it even has a cup holder.... Do you like it? KRISTOFF Like it?
He sweeps her up high overhead and spins her around.
KRISTOFF (CONT'D) I love it.... I could kiss you!
He drops her, suddenly embarrassed.
KRISTOFF (CONT'D) ...I could. I mean I'd like to. I'd... may I? We me....I mean, may we? Wait, what?
She gives him a quick kiss on the cheek.
ANNA We may. 111 FROZEN - J. Lee
He smiles and goes for it. It's a true love's kiss, alright.
We move past them to find Olaf enjoying the summer.
With his snow cloud safely overhead, he's free to smell the
flowers, which he does. Then sneezes his carrot nose off.Sven catches it between his teeth. Olaf gasps as Sven sucks
the whole carrot into his mouth. It's gone.Olaf's face sinks in sadness. But not to fear, Sven spits the
carrot back out and jams it into Olaf's face where it
belongs. It's completely covered in reindeer spit, but Olaf
doesn't seem to mind. He hugs Sven happily.CUT TO:
EXT. CASTLE COURTYARD – DAY
The gates to the castle are wide open. In the courtyard,
stands Elsa.ELSA Are you ready?
Villagers cheer. Elsa stops and creates an ice rink. The
people, skates at the ready, hope onto it and twirl about.Elsa then freezes the fountain in a beautiful design and adds
some snow flurries for atmosphere.Anna comes slipping in. Elsa catches her.
ANNA I like the open gates. ELSA We are never closing them again.
Elsa then waves her hand and magical ice skates (literally
made of ice) form on Anna's boots.ANNA What? Oh, Elsa, they're beautiful, but you know I don't ska--
Elsa grabs Anna's hands and pulls her along on the ice. Anna
slips and slides, but laughs in delight.Sven goes slipping past. Kristoff runs after him.
KRISTOFF Look out. Reindeer coming through! 112 FROZEN - J. Lee
Olaf skates and helps Elsa coach Anna.
OLAF That's it. Glide and pivot and glide and pivot.
We pull away slowly, into the sky. We arrive at a bird's-eye
view to see that where the castle had crumbled has been
repaired with a ice.All is right in Arendelle.
FINAL FADE OUT. THE END
FADE IN ON:
A VIDEO GAME ON A COMPUTER SCREEN
The game is in progress. As a sick coughing sound is heard.
CUT TO:
THIS KID
lying in bed, coughing. Pale, one sick cookie. Maybe he's
seven or eight or nine. He holds a remote in one hand,
presses it, and the video game moves a little bit. Then he's
hit by another spasm of coughing, puts the remote down.
His room is monochromatic, greys and blues, mildly high-tech.
We're in the present day and this is a middle class house,
somewhere in the suburbs.
CUT TO:
The Kid's MOTHER as she enters, goes to him, fluffs his
pillows, kisses him, and briefly feels his forehead. She's
worried, it doesn't show. During this
MOTHER
You feeling any better?
THE KID
A little bit.
MOTHER
Guess what.
THE KID
What?
MOTHER
Your grandfather's here.
THE KID
(not overjoyed)
Mom, can't you tell him that I'm
sick?
MOTHER
You are sick, that's why he's here.
THE KID
He'll pinch my cheek. I hate that.
MOTHER
Maybe he won't.
2.
The Kid shoots her an "I'm sure" look, as we
CUT TO:
THE KID'S GRANDFATHER bursting into the room. Kind of
rumpled. But the eyes are bright. He has a wrapped package
tucked under one arm as be immediately goes to The Kid,
pinches his cheek.
GRANDFATHER
Hey! How's the sickie? Heh?
The Kid gives his Mother an "I told you so" look. The Mother
ignores it, beats a retreat.
MOTHER
I think I'll leave you two pals.
And she is gone. There's an uncomfortable silence, then…
GRANDFATHER
I brought you a special present.
THE KID
What is it?
GRANDFATHER
Open it up.
The Kid does. He does his best to smile.
THE KID
A book?
GRANDFATHER
That's right. When I was your
age, television was called books.
And this is a special book. It
was the book my father used to
read to me when I was sick, and I
used to read it to your father.
And today, I'm gonna read it to
you.
THE KID
Has it got any sports in it?
CUT TO:
THE GRANDFATHER
Suddenly passionate.
3.
GRANDFATHER
Are you kidding? Fencing. Fighting.
Torture. Revenge. Giants. Monsters.
Chases. Escapes. True love.
Miracles.
CUT TO:
THE TWO OF THEM as the Grandfather sits in a chair by the bed.
THE KID
(manages a shrug)
It doesn't sound too bad. I'll
try and stay awake.
GRANDFATHER
Oh. Well, thank you very much.
It's very nice of you. Your vote
of confidence is overwhelming.
All right.
(Book open now, be
begins to read.)
The Princess Bride, by S.
Morgenstern. Chapter One.
Buttercup was raised on a small
farm in the country of Florin.
DISSOLVE TO:
The story he's reading about, as the monochromatic look of
the bedroom is replaced by the dazzling color of the English
countryside.
GRANDFATHER
(off-screen)
Her favorite pastimes were riding
her horse and tormenting the farm
boy that worked there. His name
was Westley, but she never called
him that.
(to the kid)
Isn't that a wonderful beginning?
THE KID
(off-screen doing his best)
Yeah. It's really good.
GRANDFATHER
(off-screen reading)
Nothing gave Buttercup as much
pleasure as ordering Westley
around.
CUT TO:
4.
BUTTERCUPS FARM - DAY
BUTTERCUP is standing, holding the reins of her horse, while
in the background, WESTLEY, in the stable doorway, looks at
her. Buttercup is in her late teens; doesn't care much about
clothes and she hates brushing her long hair, so she isn't
as attractive as she might be, but she's still probably the
most beautiful woman in the world.
BUTTERCUP
Farm boy. Polish my horse's
saddle. I want to see my face
shining in it by morning.
WESTLEY
(quietly, watching her)
As you wish.
Westley is perhaps half a dozen years older than Buttercup.
And maybe as handsome as she is beautiful. He gazes at her
as she walks away.
GRANDFATHER
(off-screen)
"As you wish" was all he ever
said to her.
DISSOLVE TO:
WESTLEY, outside, chopping wood. Buttercup drops two large
buckets near him.
BUTTERCUP
Farm Boy. Fill these with water --
(a beat)
--please.
WESTLEY
As you wish.
She leaves; his eyes stay on her. She stops, turns – he
manages to look away as now her eyes stay on him.
GRANDFATHER
(off-screen)
That day, she was amazed to
discover that when he was saying,
"As you wish," what he meant was,
"I love you."
DISSOLVE TO:
5.
BUTTERCUP IN THE KITCHEN - DUSK
Westley enters with an armload of firewood.
GRANDFATHER
(off-screen)
And even more amazing was the day
she realized she truly loved him
back.
BUTTERCUP
(pointing to a pitcher
that she could reach herself)
Farm Boy, fetch me that pitcher.
He gets it, hands it to her; they are standing very close to
each other gazing into each other's eyes.
WESTLEY
As you wish.
Now he turns, moves outside.
DISSOLVE TO:
WESTLEY AND BUTTERCUP, outside his tiny hovel in the red
glow of sunset. They are locked in a passionate kiss.
THE KID
(off-screen)
-hold it, hold it-
CUT TO:
THE KID'S ROOM
THE KID
What is this? Are you trying to
trick me? -- Where's the sports? --
Is this a kissing book?
GRANDFATHER
-- wait, just wait --
THE KID
-- well, when does it get good?
GRANDFATHER
Keep your shirt on. Let me read.
(reading again)
Westley had no money for marriage.
So he packed his few belongings
and left the farm to seek his
fortune across the sea.
CUT TO:
6.
WESTLEY AND BUTTERCUP
They stand near the gate to the farm, locked in an embrace.
GRANDFATHER
(off-screen reading)
It was a very emotional time for
Buttercup --
THE KID
(off-screen groaning)
I don't be-leeve this.
BUTTERCUP
I fear I'll never see you again.
WESTLEY
Of course you will.
BUTTERCUP
But what if something happens to
you?
WESTLEY
Hear this now: I will come for you.
BUTTERCUP
But how can you be sure?
WESTLEY
This is true love. You think this
happens every day?
He smiles at her, she smiles too, throws her arms so tightly
around him. They kiss. Then as Westley walks away, Buttercup
watches him go.
GRANDFATHER
(off-screen reading)
Westley didn't reach his
destination. His ship was attacked
by the Dread Pirate Roberts, who
never left captives alive. When
Buttercup got the news that
Westley was murdered --
THE KID
(off-screen, perking
up a little)
-- murdered by pirates is good --
CUT TO:
CLOSE UP: Buttercup, staring out the window of her room.
7.
GRANDFATHER
(off-screen)
She went into her room and shut
the door. And for days, she
neither slept nor ate.
BUTTERCUP
(no emotion at all in
her voice)
I will never love again.
HOLD ON HER FACE, perfect and perfectly sad.
DISSOLVE TO:
FLORIN CASTLE - DAY
The main courtyard of Florin replete with townspeople,
livestock, and a bustling marketplace.
GRANDFATHER
(off-screen reading)
Five years later, the main square
of Florin City was filled as
never before to hear the
announcement of the great Prince
Humperdinck's bride-to be.
CUT TO:
PRINCE HUMPERDINCK, a man of incredible power and bearing,
standing in his royal robes on a castle balcony. Three
others standing behind him: an OLD COUPLE with crowns, the
aging KING AND QUEEN, and a dark bearded man who seems the
Prince's match in strength: this is COUNT RUGEN.
HUMPERDINCK
(raises his hands,
starts to speak)
My people ... a month from now,
our country will have its 500th
anniversary. On that sundown, I
shall marry a lady who was once a
commoner like yourselves --
(pause)
-- but perhaps you will not find
her common now. Would you like to
meet her?
And the answering YESSSS booms like summer thunder.
CUT TO:
8.
A giant staircase leading to the CROWD and as a FIGURE just
begins to become visible,
CUT TO:
THE CROWD, as they see the figure. (We haven't yet.) And if
there is such a thing as collective action, then this crowd,
collectively, holds its breath.
CUT TO:
THE STAIRCASE, as the figure appears in the archway. It is
Buttercup. And she resplendent.
HUMPERDINCK
My people ... the Princess
Buttercup!!
She descends the stairs and starts to move amongst the people.
CUT TO:
THE CROWD, and they do a very strange thing: with no
instruction at all, they suddenly go to their knees. Great
waves of people kneeling and –
CUT TO:
BUTTERCUP, terribly moved. She stands immobile among her
subjects, blinking back tears. HOLD on her beauty for a
moment.
GRANDFATHER
(off-screen)
Buttercup's emptiness consumed
her. Although the law of the land
gave Humperdinck the right to
choose his bride, she did not
love him.
CUT TO:
WOODLANDS
– and Buttercup, barreling along, controlling her horse
easily.
GRANDFATHER
(off-screen)
Despite Humperdinck's reassurance
that she would grow to love him,
the only joy she found was in her
daily ride.
CUT TO:
9.
A WOODED GLEN - CLOSE TO SUNDOWN
Lovely, quiet, deserted. Buttercup suddenly reins in.
VOICE
A word, my lady?
CUT TO:
THREE MEN, standing close together in the path. Beyond them
can be seen the waters of Florin Channel. The three men are
not your everyday commuter types. Standing in front is a
tiny man with the most angelic face. He is Sicilian and his
name is VIZZINI. Beside him is a Spaniard, erect and taut as
a blade of steel. His name is INIGO MONTOYA. Beside him is a
giant. His name is FEZZIK.
VIZZINI
We are but poor, lost circus
performers. Is there a village
nearby?
BUTTERCUP
There is nothing nearby; not for
miles.
VIZZINI
Then there will be no one to hear
you scream-
He nods to the giant, Fezzik, who merely reaches over,
touches a nerve on Buttercup's neck, and the start of a
scream is all she manages –unconsciousness comes that fast.
As she starts to fall –
CUT TO:
A TINY ISOLATED SPOT AT THE EDGE OF FLORIN CHANNEL
A sailboat is moored. It's dusk now, shadows are long.
Inigo, the Spaniard, busies himself getting the boat ready.
CUT TO:
The giant Fezzik carries Buttercup, unconscious, on board.
Vizzini rips some tiny pieces of fabric from an army jacket
and tucks them along the saddle of Buttercup's horse. There
is about the entire operation a sense of tremendous skill
and precision.
INIGO
What is that you're ripping?
10.
VIZZINI
(not stopping or turning)
It's fabric from the uniform of
an Army officer of Guilder.
FEZZIK
Who's Guilder?
VIZZINI
(pointing straight out)
The country across the sea. The
sworn enemy of Florin.
(slaps the horse's rump)
Go!
The horse takes off. They start for the boat.
VIZZINI
Once the horse reaches the
castle, the fabric will make the
Prince suspect the Guilderians
have abducted his love. When he
finds her body dead on the
Guilder frontier, his suspicions
will be totally confirmed.
FEZZIK
You never said anything about
killing anyone.
Vizzini hops onto the boat.
VIZZINI
I've hired you to help me start a
war. That's a prestigious line of
work with a long and glorious
tradition.
FEZZIK
I just don't think it's right,
killing an innocent girl.
VIZZINI
(whirling on Fezzik)
Am I going mad or did the word
"think" escape your lips? You
were not hired for your brains,
you hippopotamic land mass.
INIGO
I agree with Fezzik.
CUT TO:
11.
CLOSE UP: Vizzini, in a fury.
VIZZINI
(We only thought he
was in a fury --now
he's really getting mad)
Oh. The sot has spoken. What
happens to her is not truly your
concern -- I will kill her --
(louder)
And remember this -- never forget
this --
CUT TO:
INIGO AND FEZZIK, as Vizzini advances on them. Nothing shows
on Inigo's face, but FEZZIK is panicked by Vizzini.
VIZZINI
(to Inigo)
-- when I found you, you were so
slobbering drunk you couldn't buy
brandy --
(now to Fezzik, who
retreats as much as he
can while Vizzini advances)
-- and you -- friendless,
brainless, helpless, hopeless --
Do you want me to send you back
to where you were, unemployed in
Greenland?
Vizzini glares at him, then turns, leaves them.
During this, Inigo has gone close to FEZZIK, who is very
distressed at the insults he's just received. As Inigo casts
off.
INIGO
(softly)
That Vizzini, he can fuss.
(a slight emphasis on
the last word)
FEZZIK
(looking at Inigo)
... fuss ... fuss ...
(Suddenly, he's got it
again, emphasis on the
last word.)
I think he likes to scream at us.
12.
INIGO
Probably he means no harm.
FEZZIK
He's really very short on charm.
INIGO
(proudly)
Oh, you've a great gift for rhyme.
FEZZIK
Yes, some of the time.
(he starts to smile)
VIZZINI
(whirling on them)
Enough of that.
As they sail off, we hear their voices as the boat recedes.
INIGO
FEZZIK, are there rocks ahead?
FEZZIK
If there are, we'll all be dead.
VIZZINI
No more rhymes now, I mean it.
FEZZIK
Anybody want a peanut?
As Vizzini screams we:
DISSOLVE TO:
THE SAILBOAT RACING ACROSS THE DARK WATERS
Inigo is at the helm, FEZZIK stands near the body of the
princess, whose eyelids flutter slightly – or do they?
Vizzini sits motionless. The waves are higher, there are
only occasional flashes of moon slanting down between clouds.
VIZZINI
(to Inigo)
We'll reach the Cliffs by dawn.
Inigo nods, glances back.
VIZZINI
Why are you doing that?
13.
INIGO
Making sure nobody's following us.
VIZZINI
That would be inconceivable.
BUTTERCUP
Despite what you think, you will
be caught. And when you are, the
Prince will see you all hanged.
Vizzini turns a cold eye on the Princess.
VIZZINI
Of all the necks on this boat,
Highness, the one you should be
worrying about is your own.
Inigo keeps staring behind them.
VIZZINI
Stop doing that. We can all
relax, it's almost over-
INIGO
You're sure nobody's following us?
VIZZINI
As I told you, it would be
absolutely, totally, and in all
other ways, inconceivable. No one
in Guilder knows what we've done.
And no one in Florin could have
gotten here so fast. Out of
curiosity, why do you ask?
INIGO
No reason. It's only, I just
happened to look behind us, and
something is there.
VIZZINI
What?
And suddenly the three whirl, stare back and as they do –
CUT TO:
THE DARKNESS BEHIND THEM
It's hard to see; the moon is behind clouds now. But the
wind whistles. And the waves pound.
14.
And suddenly it's all gone ominous.
CUT TO:
INIGO, FEZZIK, AND VIZZINI squinting back, trying desperately
to see. At this moment, they are all holding their breaths.
CUT TO:
THE DARKNESS BEHIND THEM
And there's still nothing to be seen. It's still ominous.
Only now it's eerie too.
Then –
The moon slips through and –
Inigo was right – something is very much there. A sailboat.
Black. With a great billowing sail. Black. It's a good
distance behind them, but it's coming like hell, closing the
gap.
CUT TO:
INIGO, FEZZIK, AND VIZZINI
staring at the other boat.
VIZZINI
(explaining with as
much logic as he can muster)
Probably some local fisherman out
for a pleasure cruise at night
through eel-infested waters.
And now as a sound comes from their boat they turn as we
CUT TO:
BUTTERCUP, diving into the water, starting to swim away.
CUT TO:
THE BOAT
and Vizzini screaming.
VIZZINI
Go in, get after her!
INIGO
I don't swim.
15.
FEZZIK
(to the unasked question)
I only dog paddle.
VIZZINI
Veer left. Left. Left!
CUT TO:
BUTTERCUP
still close to the boat, switching from a crawl to a silent
breast stroke. The wind dies and as it does, something new
is heard. A not-too-distant high-pitched shrieking sound.
Buttercup stops suddenly, treads water.
CUT TO:
THE BOAT
VIZZINI
Do you know what that sound is,
Highness? Those are the Shrieking
Eels -- if you doubt me, just
wait. They always grow louder
when they're about to feed on
human flesh.
CUT TO:
BUTTERCUP, treading water, still not far from the boat. The
shrieking sounds are getting louder and more terrifying.
Buttercup stays silent.
CUT TO:
THE BOAT
VIZZINI
If you swim back now, I promise,
no harm will come to you. I doubt
you will get such an offer from
the Eels.
CUT TO:
BUTTERCUP, and she's a gutsy girl. The shrieking sound is
louder still, but she doesn't make a sound. Behind her now,
something dark and gigantic slithers past.
She's scared, sure, petrified, who wouldn't be, but she
makes no reply –
– and now a SHRIEKING EEL has zeroed in on her –
16.
– and now she sees it, a short distance away, circling,
starting to close –
– and Buttercup is frozen, trying not to make a movement of
any kind –
– and the Eel slithers closer, closer –
– and Buttercup knows it now, there's nothing she can do,
it's over, all over –
– and now the Eel opens its mouth wide, and it's never made
such a noise, and as its great jaws are about to clamp
down –
GRANDFATHER
(off-screen)
She doesn't get eaten by the Eels
at this time.
And the second we hear him:
CUT TO:
THE SICK KID'S ROOM
The Kid looks the same, pale and weak, but maybe he's
gripping the sheets a little too tightly with his hands.
THE KID
What?
GRANDFATHER
The Eel doesn't get her. I'm
explaining to you because you
looked nervous.
THE KID
Well, I wasn't nervous.
His Grandfather says nothing, just waits.
THE KID
Well, maybe I was a little bit
concerned. But that's not the
same thing.
GRANDFATHER
Because I can stop now if you want.
THE KID
No. You could read a little bit
more ... if you want.
17.
He grips the sheets again, as the Grandfather picks up the
book.
GRANDFATHER
(reading)
"Do you know what that sound is,
Highness?"
CUT TO:
VIZZINI
We're back in the boat.
VIZZINI
Those are the Shrieking Eels.
THE KID
(off-screen)
We're past that, Grandpa.
CUT TO:
THE SICK KID'S ROOM
THE KID
You read it already.
GRANDFATHER
Oh. Oh my goodness, I did. I'm
sorry. Beg your pardon.
CUT TO:
BUTTERCUP
treading water.
GRANDFATHER
(off-screen)
All right, all right, let's see.
Uh, she was in the water, the Eel
was coming after her. She was
frightened. The Eel started to
charge her. And then -
And we're back where we were at the last moment we saw her,
Buttercup frozen, the Shrieking Eel, jaws wide, about to
clamp down as we
CUT TO:
18.
A GIANT ARM
pounding the Eel unconscious in one move, then easily
lifting Buttercup.
PULL BACK TO REVEAL
The boat and FEZZIK, Buttercup being deposited on the deck.
VIZZINI
Put her down. Just put her down.
CUT TO:
INIGO
pointing behind them.
INIGO
I think he's getting closer.
Vizzini, tying Buttercup's hands.
VIZZINI
He's no concern of ours. Sail on!
(to Buttercup)
I suppose you think you're brave,
don't you?
BUTTERCUP
(staring deep at him)
Only compared to some.
DISSOLVE TO:
The boat at dawn, being followed closely by the black
sailboat, which we can see for the first time is being
sailed by a MAN IN BLACK, and his boat almost seems to be
flying.
INIGO
Look! He's right on top of us. I
wonder if he is using the same
wind we are using.
VIZZINI
Whoever he is, he's too late --
(pointing ahead of them)
-- see?
(big)
The Cliffs of Insanity.
19.
And once he's said the name–
CUT TO:
THE CLIFFS OF INSANITY - DAWN
They rise straight up, sheer from the water, impossibly high.
CUT TO:
THE TWO SAILBOATS
in a wild race for the Cliffs and the Man In Black is
closing faster than ever, but not fast enough, the lead was
too great to overcome, and as Inigo sails with great
precision straight at the Cliffs
CUT TO:
THE BOAT
being pursued.
VIZZINI
Hurry up. Move the thing! Um ...
that other thing. Move it!
(staring back now)
We're safe -- only FEZZIK is
strong enough to go up our way --
he'll have to sail around for
hours 'til he finds a harbor.
There is much activity going on, all of it swift, expert,
economical. FEZZIK reaches up along the Cliff face, grabs a
jutting rock, reaches behind it. Suddenly there is a thick
rope in his hands. He drops back to the boat, gives the rope
a freeing swing and
CUT TO:
THE CLIFFS
The rope goes all the way to the top.
CUT TO:
INIGO
hurrying to FEZZIK. He straps a harness to him, then lifts
Buttercup and Vizzini in the harness. Finally, he himself
gets in the harness. All three are strapped to FEZZIK like
papooses.
20.
And he starts to ascend the rope, carrying them all along
with him as he goes.
CUT TO:
THE MAN IN BLACK, sailing in toward the Cliffs of Insanity,
watching as FEZZIK rises swiftly through the first moments
of dawn.
CUT TO:
THE TOP OF THE CLIFFS - LOOKING DOWN
FEZZIK'S GROUP is only faintly visible far below. This is
the first time we've gotten the real vertigo feeling and
it's a gasper.
CUT TO:
FEZZIK CLIMBING ON. Buttercup is almost out of her mind with
fear.
CUT TO:
THE ENTIRE LENGTH OF THE CLIFFS
FEZZIK is moving right along; however high they are, he's
already over a third of the way done.
CUT TO:
THE MAN IN BLACK
leaping from his ship to the rope, starting to climb. He's
impossibly far behind, but the way he goes you'd think he
didn't know that because he is flying up the rope, hand over
hand like lightning.
CUT TO:
VIZZINI AND THE OTHERS
INIGO
(looking down)
He's climbing the rope. And he's
gaining on us.
VIZZINI
Inconceivable!
He prods FEZZIK, who nods, increases his pace.
CUT TO:
21.
THE MAN IN BLACK
roaring up the rope, and
CUT TO:
LONG SHOT - THE CLIFFS
– and the Man In Black is cutting deeply into FEZZIK's lead.
CUT TO:
VIZZINI AND THE OTHERS
VIZZINI
(shrieking)
Faster!
FEZZIK
I thought I was going faster.
VIZZINI
You were supposed to be this
colossus. You were this great,
legendary thing. And yet he gains.
FEZZIK
Well, I'm carrying three people.
And he's got only himself.
VIZZINI
(cutting through)
-- I do not accept excuses.
(shaking his head)
I'm just going to have to find
myself a new giant, that's all.
FEZZIK
(hurt)
Don't say that, Vizzini. Please.
And his arms begin moving much more slowly.
CUT TO:
THE MAN IN BLACK
His arms still work as before. If anything, he has speeded
up. FEZZIK's lead is smaller and smaller
CUT TO:
22.
THE VIEW FROM THE TOP OF THE CLIFFS
Maybe a hundred feet for FEZZIK to go. Maybe more.
CUT TO:
VIZZINI AND THE OTHERS, and it's getting too close now.
VIZZINI
Did I make it clear that your job
is at stake?
CUT TO:
THE MAN IN BLACK
less than a hundred feet behind them. And gaining.
CUT TO:
THE CLIFF TOP AS FEZZIK MAKES IT!
Vizzini leaps off and takes out a knife, begins to cut the
rope which is tied around a great rock while Inigo helps the
Princess to her feet and FEZZIK just stands around, waiting
for someone to tell him to do something. Nearby are some
stone ruins. Once they might have been a fort, now the kind
of resemble Stonehenge.
CUT TO:
THE MAN IN BLACK
feet from the top now, maybe less – maybe only 50 – and
his pace is as dazzling as before, and
CUT TO:
VIZZINI
cutting through the last of the rope and
CUT TO:
THE ROPE
slithering across the ground and out of sight toward the
Channel, like some great serpent at last going home.
CUT TO:
FEZZIK
standing with Inigo and Buttercup by the cliff edge.
23.
FEZZIK
(to Inigo -- impressed)
He has very good arms.
CUT TO:
THE MAN IN BLACK
hanging suspended hundreds of feet in the air, holding to
the jagged rocks, desperately trying to cling to life.
CUT TO:
VIZZINI
stunned, turning to the others, looking down.
VIZZINI
He didn't fall? Inconceivable!!
INIGO
(whirling on Vizzini)
You keep using that word -- I do
not think it means what you think
it means.
(looks down again)
My God! He's climbing.
CUT TO:
THE MAN IN BLACK
and so he is. Very slowly, he is picking his way upwards,
sometimes a foot at a time, sometimes an inch.
CUT TO:
The group at the top, staring down.
VIZZINI
Whoever he is, he's obviously
seen us with the Princess, and
must therefore die.
(to Fezzik)
You, carry her.
(to Inigo)
We'll head straight for the
Guilder frontier. Catch up when
he's dead. If he falls, fine. If
not, the sword.
Inigo nods.
24.
INIGO
I want to duel him left-handed.
VIZZINI
You know what a hurry we're in.
INIGO
Well, it's the only way I can be
satisfied. If I use my right --
tch -- over too quickly.
VIZZINI
(turns abruptly,
starts off-screen)
Oh, have it your way.
CUT TO:
THE MAN IN BLACK
still creeping his way upward.
CUT TO:
FEZZIK
who goes to Inigo.
FEZZIK
You be careful.
(gravely)
-- people in masks cannot be
trusted.
VIZZINI
(calling out)
I'm waiting!
FEZZIK nods, hurries after Vizzini.
CUT TO:
INIGO
He watches them depart, then turns, peers down over the
Cliffs. He watches a moment, then paces, shaking his hands
loose. He practices a few of his honed fencing skills. He is
a taut and nervous fellow, and has never been one for
waiting around.
CUT TO:
25.
THE MAN IN BLACK
climbing on. He must be six inches closer to the top than
when last we saw him. Inigo is watching.
CUT TO:
INIGO
walking away. Finally he goes back to cliff edge, starts to
talk. It's instant death if the Man In Black falls, but
neither gives that possibility much credence. This is our
two heroes meeting. They don't know it yet; but that's what
it is.
INIGO
(hollering down)
Hello there.
The Man In Black glances up, kind of grunts.
INIGO
Slow going?
MAN IN BLACK
Look, I don't mean to be rude,
but this is not as easy as it
looks. So I'd appreciate it if
you wouldn't distract me.
INIGO
Sorry.
MAN IN BLACK
Thank you.
Inigo steps away, draws his sword, loosens up with a few
perfect thrusts. Then resheathes and looks eagerly over the
edge again.
INIGO
I do not suppose you could speed
things up?
MAN IN BLACK
(with some beat)
If you're in such a hurry, you
could lower a rope, or a tree
branch, or find something useful
to do.
26.
INIGO
I could do that. In fact, I've
got some rope up here. But I do
not think that you will accept my
help, since I am only waiting
around to kill you.
MAN IN BLACK
That does put a damper on our
relationship.
He finds another bold a few inches higher.
INIGO
But I promise I will not kill you
until you reach the top.
MAN IN BLACK
That's very comforting. But I'm
afraid you'll just have to wait.
INIGO
I hate waiting. I could give you
my word as a Spaniard.
MAN IN BLACK
No good. I've known too many
Spaniards.
And he just hangs there in space, resting, gathering his
strength.
INIGO
You don't know any way you'll
trust me?
MAN IN BLACK
Nothing comes to mind.
And on these words, CAMERA ZOOMS into a CLOSE UP on Inigo.
He raises his right hand high, his eyes blaze, and his voice
takes on a tone we have not heard before.
INIGO
I swear on the soul of my father,
Domingo Montoya, you will reach
the top alive.
CUT TO:
THE MAN IN BLACK.
There is a pause. Then, quietly:
27.
MAN IN BLACK
Throw me the rope.
CUT TO:
INIGO
He dashes to the giant rock the rope was originally tied to.
CUT TO:
THE MAN IN BLACK
as his grip loosens a moment, trying to cling to the side of
the cliff.
CUT TO:
INIGO
now with a small coil of rope, hurries back to the edge and
hurls it over –
CUT TO:
THE ROPE
It hangs close to the Man In Black. He releases the rocks,
grabs the rope, hangs helplessly in space a moment, then
looks up at Inigo and –
CUT TO:
INIGO
straining, forcing his body away from the cliff edge and –
CUT TO:
THE MAN IN BLACK
rising through the early morning light, slowly, steadily,
and as the cliff top at last comes within reach –
CUT TO:
INIGO
watching as the Man In Black crawls to safety, then looks to
Inigo.
MAN IN BLACK
(pulling his sword)
Thank you.
28.
INIGO
We'll wait until you're ready.
MAN IN BLACK
Again. Thank you.
The Man In Black sits to rest on the boulder that once held
the rope. He tugs off his leather boots and is amazed to see
several large rocks tumble out. The Man In Black wears
gloves. Inigo stares at them.
INIGO
I do not mean to pry, but you
don't by any chance happen to
have six fingers on your right
hand?
He glances up – the question clearly baffles him.
MAN IN BLACK
Do you always begin conversations
this way?
INIGO
My father was slaughtered by a
sixfingered man. He was a great
swordmaker, my father. And when
the six-fingered man appeared and
requested a special sword, my
father took the job. He slaved a
year before he was done.
He hands his sword to the Man In Black.
MAN IN BLACK
(fondling it-impressed)
I have never seen its equal.
CUT TO:
CLOSE UP - INIGO
Even now, this still brings pain.
INIGO
The six-fingered man returned and
demanded it, but at one-tenth his
promised price. My father refused.
Without a word, the six-fingered
man slashed him through the heart.
I loved my father, so, naturally,
challenged his murderer to a duel
... I failed ...
(MORE)
29.
INIGO (CONT'D)
the six-fingered man did leave me
alive with the six-fingered
sword, but he gave me these.
He touches his scars.
CUT TO:
THE MAN IN BLACK
looking up at Inigo.
MAN IN BLACK
How old were you?
INIGO
I was eleven years old. When I
was strong enough, I dedicated my
life to the study of fencing. So
the next time we meet, I will not
fail. I will go up to the
sixfingered man and say, "Hello,
my name is Inigo Montoya. You
killed my father. Prepare to die."
MAN IN BLACK
You've done nothing but study
swordplay?
INIGO
More pursuit than study lately.
You see, I cannot find him. It's
been twenty years now. I am
starting to lose confidence. I
just work for Vizzini to pay the
bills. There's not a lot of money
in revenge.
MAN IN BLACK
(handing back the
great sword, starting
to rise)
Well, I certainly hope you find
him, someday.
INIGO
You are ready, then?
MAN IN BLACK
Whether I am or not, you've been
more than fair.
30.
INIGO
You seem a decent fellow. I hate
to kill you.
MAN IN BLACK
(walking away a few
paces, unsheathing his sword)
You seem a decent fellow. I hate
to die.
INIGO
Begin!
And on that word –
CUT TO:
THE TWO OF THEM
And what we are starting now is one of the two greatest
sword fights in modern movies (the other one happens later
on), and right from the beginning it looks different.
Because they aren't close to each other – none of the
swordscrossing "en garde" garbage.
No, what we have here is two men, two athletes, and they
look to be too faraway to damage each other, but each time
one makes even the tiniest feint, the other counters, and
there is silence, and as they start to circle –
CUT TO:
THE SIX-FINGERED SWORD
feinting here, feinting there and –
CUT TO:
THE TWO MEN
finished teasing, begin to duel in earnest.
Their swords cross, then again, again, and the sound comes
so fast it's almost continual. Inigo presses on, the Man In
Black retreating up a rocky incline.
INIGO
(thrilled)
You're using Bonetti's defense
against me, ah?
31.
MAN IN BLACK
I thought it fitting, considering
the rocky terrain --
INIGO
Naturally, you must expect me to
attack with Capo Ferro.
And he shifts his style now.
MAN IN BLACK
(coping as best he can)
-- naturally --
(suddenly shifting again)
--but I find Thibault cancels out
Capo Ferro, don't you?
The Man In Black is now perched at the edge of the elevated
castle ruin. No where to go, he jumps to the sand.
Inigo stares down at him.
INIGO
Unless the enemy has studied his
Agrippa-
And now, with the grace of an Olympian, Inigo flies off the
perch, somersaults clean over the Man In Black's head, and
lands facing his opponent.
INIGO
-- which I have.
The two men are almost flying across the rocky terrain,
never losing balance, never coming close to stumbling; the
battle rages with incredible finesse, first one and then the
other gaining the advantage, and by now, it's clear that
this isn't just two athletes going at it, it's a lot more
that that. This is two legendary swashbucklers and they're
in their prime, it's Burt Lancaster in "The Crimson Pirate"
battling Errol Flynn in "Robin Hood" and then, incredibly,
the action begins going even faster than before as we
CUT TO:
INIGO
And behind him now, drawing closer all the time, is the
deadly edge of the Cliffs of Insanity. Inigo fights and
ducks and feints and slashes and it all works, but not for
long, as gradually the Man In Black keeps the advantage,
keeps forcing Inigo back, closer and closer to death.
32.
INIGO
(happy as a clam)
You are wonderful!
MAN IN BLACK
Thank you -- I've worked hard to
become so.
The Cliff edge is very close now. Inigo is continually being
forced toward it.
INIGO
I admit it -- you are better than
I am.
MAN IN BLACK
Then why are you smiling?
Inches from defeat, Inigo is, in fact, all smiles.
INIGO
Because I know something you
don't know.
MAN IN BLACK
And what is that?
INIGO
I am not left-handed.
And he throws the six-fingered sword into his right hand and
immediately, the tide of battle turns.
CUT TO:
THE MAN IN BLACK
stunned, doing everything be can to keep Inigo by the Cliff
edge. But no use. Slowly at first, he begins to retreat. Now
faster, Inigo is in control and the Man In Black is desperate.
CUT TO:
INIGO
and the six-fingered sword is all but invisible now, as he
increases his attack, then suddenly switches styles again.
CUT TO:
33.
A ROCKY STAIRCASE leading to a turret-shaped plateau, and
the Man In Black is retreating like mad up the steps and he
can't stop Inigo – nothing can stop Inigo – and in a
frenzy, the Man In Black makes every feint, tries every
thrust, lets go with all he has left. But he fails.
Everything fails. He tries one or two final desperate moves
but they are nothing.
MAN IN BLACK
You're amazing!
INIGO
I ought to be after twenty years.
And now the Man In Black is smashed into a stone pillar,
pinned there under the six fingered sword.
MAN IN BLACK
(hollering it out)
There's something I ought to tell
you.
INIGO
Tell me.
MAN IN BLACK
I am not left-handed either.
And now he changes hands, and at last, the battle is fully
joined.
CUT TO:
INIGO
And to his amazement, he is being forced back down the steps.
He tries one style, another, but it all comes down to the
same thing – the Man In Black seems to be in control. And
before Inigo knows it, the six-fingered sword is knocked
clear out of his hand.
Inigo retreats, dives from the stairs to a moss-covered bar
suspended over the archway. He swings out, lands, and
scrambles to his sword and we
CUT TO:
THE MAN IN BLACK
who watches Inigo, then casually tosses his sword to the
landing where it sticks in perfectly. Then the Man In Black
copies INIGO. Not copies exactly, improves.
34.
He dives to the bar, swings completely over it like a circus
performer and dismounts with a backflip.
CUT TO:
INIGO
staring in awe.
INIGO
Who are you?!
MAN IN BLACK
No one of consequence.
INIGO
I must know.
MAN IN BLACK
Get used to disappointment.
INIGO
Okay.
CUT TO:
INIGO
moving like lightning, and he thrusts forward, slashes,
darts back, all in almost a single movement and –
CUT TO:
THE MAN IN BLACK
Dodging, blocking, and again he thrusts forward, faster even
than before, and again he slashes but –
CUT TO:
INIGO
And there is never a move anyone makes he doesn't remember,
and this time he blocks the slash, slashes out himself with
the sixfingered sword.
On it goes, back and forth across the rocky terrain, Inigo's
feet moving with the grace and speed of a great
improvisational dancer.
CUT TO:
35.
THE SIX-FINGERED SWORD
as it is knocked free, arching up into the air, and –
CUT TO:
INIGO
catching it again. And something terrible is written behind
his eyes: he has given his all, done everything man can do,
tried every style, made every maneuver, but it wasn't
enough, and on his face for all to see is the realization
that he, Inigo Montoya of Spain, is going to lose.
CUT TO:
THE MAN IN BLACK
moving in for the end now, blocking everything, muzzling
everything and
CUT TO:
THE SIX-FINGERED SWORD
sent flying from Inigo's grip. He stands helpless only a
moment. Then be drops to his knees, bows his head, shuts his
eyes.
INIGO
Kill me quickly.
MAN IN BLACK
I would as soon destroy a stained
glass window as an artist like
yourself. However, since I can't
have you following me either --
And he dunks Inigo's head with his heavy sword handle. Inigo
pitches forward unconscious.
MAN IN BLACK
Please understand, I hold you in
the highest respect.
He grabs his scabbard and takes off after the Princess and we
CUT TO:
CLOSE UP: VIZZINI
VIZZINI
Inconceivable!
36.
PULL BACK TO REVEAL
Vizzini, staring down from a narrow mountain path, as far
below the Man In Black can be seen running. FEZZIK, carrying
the Princess, stands alongside. It's a little later in the
morning.
VIZZINI
Give her to me.
(grabs Buttercup
starts off)
Catch up with us quickly.
FEZZIK
(starting to panic)
What do I do?
VIZZINI
Finish him, finish him. Your way.
FEZZIK
Oh, good, my way. Thank you,
Vizzini.
(little pause)
Which way is my way?
CUT TO:
A COUPLE OF ROCKS
Nothing gigantic. Vizzini points to them. There is a large
boulder nearby.
VIZZINI
Pick up one of those rocks, get
behind the boulder, and in a few
minutes, the Man in Black will
come running around the bend. The
minute his head is in view, hit
it with the rock!
As Vizzini and Buttercup hurry away.
FEZZIK
(little frown; softly)
My way's not very sportsmanlike.
He grabs one of the rocks and plods behind the boulder and
we –
DISSOLVE TO:
37.
THE MAN IN BLACK
racing up the mountain trail. Ahead is a bend in the trail.
He sees it, slows. Then he stops, listening.
Satisfied by the silence, he starts forward again and as he
rounds the bend – a rock flies INTO FRAME, shattering on a
boulder inches in front of him.
CUT TO:
FEZZIK
He moves into the mountain path. He has picked up another
rock and holds it lightly.
FEZZIK
I did that on purpose. I don't
have to miss.
MAN IN BLACK
I believe you -- So what happens
now?
FEZZIK
We face each other as God intended.
Sportsmanlike. No tricks, no
weapons, skill against skill alone.
MAN IN BLACK
You mean, you'll put down your
rock and I'll put down my sword,
and we'll try to kill each other
like civilized people?
FEZZIK
(gently)
I could kill you now.
He gets set to throw, but the Man In Black shakes his head,
takes off his sword and scabbard, begins the approach toward
the Giant.
MAN IN BLACK
Frankly, I think the odds are
slightly in your favor at hand
fighting.
FEZZIK
It's not my fault being the
biggest and the strongest. I
don't even exercise.
38.
He flips the rock away.
CUT TO:
THE MOUNTAIN PATH AND THE TWO MEN
The Man In Black is not now and has never been a shrimp. But
it's like he wasn't even there, FEZZIK towers over him so
much.
There is a moment's pause, and then the Man In Black dives
at FEZZIK's chest, slams him several tremendous blows in the
stomach, twists his arm severely, slips skillfully into a
beautifully applied bear hug, and in general makes any
number of terrific wrestling moves.
FEZZIK just stands there, kind of taking in the scenery.
Finally the Man In Black pushes himself away, stares up at
the Giant.
MAN IN BLACK
Look are you just fiddling around
with me or what?
FEZZIK
I just want you to feel you're
doing well. I hate for people to
die embarrassed.
They get set to begin again. Then suddenly –
CUT TO:
FEZZIK
as he jumps forward with stunning speed for anyone his size
and reaches for the Man In Black who drops to his knees,
spins loose, and slips between the Giant's legs.
FEZZIK
You're quick.
MAN IN BLACK
And a good thing too.
FEZZIK
(getting set for
another onslaught)
Why do you wear a mask? Were you
burned by acid, or something like
that?
39.
MAN IN BLACK
Oh no. It's just that they're
terribly comfortable. I think
everyone will be wearing them in
the future.
FEZZIK considers this a moment, then attacks, and if he
moved quickly last time, this time he is blinding and as the
Man In Black slips down to avoid the charge, FEZZIK moves
right with him, only instead of twisting free and jumping to
his feet, this time the Man In Black jumps for FEZZIK's back
and in a moment he is riding him, and his arms have FEZZIK's
throat, locked across FEZZIK's windpipe, one in front, one
behind. The Man In Black begins to squeeze. Tighter.
FEZZIK
(standing, talking as
he does so)
I just figured out why you give
me so much trouble.
CUT TO:
FEZZIK
as he charges toward a huge rock that lines the path, and
just as he reaches it he spins his giant body so that the
entire weight of the charge is taken by the Man In Black.
CUT TO:
THE MAN IN BLACK
And the power of the charge is terrible, the pain enormous,
but he clings to his grip at FEZZIK's windpipe.
MAN IN BLACK
(his arms never leave
Fezzik's throat)
Why is that, do you think?
FEZZIK
(his voice just
beginning to get a
little strained)
Well, I haven't fought just one
person for so long. I've been
specializing in groups. Battling
gangs for local charities, that
kind of thing.
CUT TO:
40.
ANOTHER HUGE ROCK ON THE OTHER SIDE OF THE PATH
Again FEZZIK charges, slower this time, but still a charge,
and again he spins and creams the Man In Black against the
rough boulder.
CUT TO:
THE MAN IN BLACK
And the punishment is terrible, and for a moment it seems as
if he is going to let go of Fezzik's windpipe and crumble,
but he doesn't, he holds on.
MAN IN BLACK
Why should that make such a
difference?
FEZZIK
Well ...
(And now his voice is
definitely growing weaker)
... you see, you use different
moves when you're fighting half a
dozen people than when you only
have to be worried about one.
Again FEZZIK slams the Man In Black against a boulder, only
this time his power has diminished and Fezzik starts to
slowly collapse.
CUT TO:
FEZZIK
and there isn't much breath coming.
CUT TO:
THE MAN IN BLACK
holding his grip as FEZZIK tries to stand, halfway makes it,
but there is no air. Back to his knees he falls, holds there
for a moment, and pitches down to all fours. The Man In
Black increases the pressure. FEZZIK tries to crawl. But
there is just no air. No air. FEZZIK goes to earth and lies
still.
CUT TO:
FEZZIK
as the Man In Black turns him over, puts his ear to FEZZIK's
heart. It beats. The Man In Black stands.
41.
MAN IN BLACK
I don't envy you the headache you
will have when you awake. But, in
the meantime, rest well ... and
dream of large women.
And he nimbly scoops up his sword with his foot, catches it
and as he dashes off up along the mountain path –
CUT TO:
PRINCE HUMPERDINCK
as he slips his boot into a foot print in the sand.
Count Rugen mounted, watches. Behind him, half a dozen armed
WARRIORS, also mounted. A GREAT WHITE HORSE waits riderless
in front. Humperdinck is all over the rocky ground, and
maybe he isn't the best hunter in the world. Then again,
maybe he is. Because, as he begins to put his feet into
strange positions, we realize that what he is doing is
miming the fencers.
HUMPERDINCK
There was a mighty duel -- it
ranged all over. They were both
masters.
RUGEN
Who won? How did it end?
HUMPERDINCK
(looking down in the
position where Inigo
fell unconscious)
The loser ran off alone.
(points in the
direction Vizzini and
FEZZIK took)
The winner followed those
footprints toward Guilder!
RUGEN
Shall we track them both?
HUMPERDINCK
The loser is nothing. -- Only the
Princess matters --
(to the armed warriors)
-- clearly this was all planned
by warriors of Guilder. We must
be ready for whatever lies ahead.
42.
RUGEN
Could this be a trap?
HUMPERDINCK
(vaulting onto his horse)
I always think everything could
be a trap -- Which is why I'm
still alive.
And he gallops off –
CUT TO:
THE MAN IN BLACK
cresting the peak of the mountain.
CUT TO:
CLOSE-UP ON
a knife pointed at a throat – PULL BACK TO REVEAL Vizzini
munching on an apple, holding the knife to Buttercup's
throat. She is blindfolded.
A PICNIC SPREAD is laid out. A tablecloth, two goblets and
between them, a small leather wine container. And some
cheese and a couple of apples. The picnic is set on a lovely
spot, high on the edge of a mountain path with a view all
the way back to the sea.
The Man In Black comes running around the path, sees Vizzini,
slows. The two men study each other. Then –
VIZZINI
So, it is down to you. And it is
down to me.
The Man In Black nods and comes nearer –
VIZZINI
If you wish her dead, by all
means keep moving forward.
And he pushes his long knife harder against Buttercup's
unprotected throat.
MAN IN BLACK
Let me explain-
VIZZINI
-- there's nothing to explain.
You're trying to kidnap what I've
rightfully stolen.
43.
MAN IN BLACK
Perhaps an arrangement can be
reached.
VIZZINI
There will be no arrangement --
(deliberate)
-- and you're killing her!
CUT TO:
BUTTERCUP'S THROAT
as Vizzini jabs with his long knife. Buttercup gasps against
the pain.
CUT TO:
THE MAN IN BLACK
stopping fast.
MAN IN BLACK
But if there can be no
arrangement, then we are at an
impasse.
VIZZINI
I'm afraid so -- I can't compete
with you physically. And you're
no match for my brains.
MAN IN BLACK
You're that smart?
VIZZINI
Let me put it this way: have you
ever heard of Plato, Aristotle,
Socrates?
MAN IN BLACK
Yes.
VIZZINI
Morons.
MAN IN BLACK
Really? In that case, I challenge
you to a battle of wits.
VIZZINI
For the Princess?
The Man In Black nods.
44.
VIZZINI
To the death?
Another nod.
VIZZINI
I accept.
MAN IN BLACK
Good. Then pour the wine.
As Vizzini fills the goblets with the dark red liquid, the
Man In Black pulls a small packet from his clothing, handing
it to Vizzini.
MAN IN BLACK
Inhale this, but do not touch.
VIZZINI
(doing it)
I smell nothing.
MAN IN BLACK
(taking the packet back)
What you do not smell is called
iocane powder. It is odorless,
tasteless, dissolves instantly in
liquid, and is among the more
deadlier poisons known to man.
VIZZINI
Hmm.
CUT TO:
VIZZINI
watching excitedly as the Man In Black takes the goblets,
turns his back. A moment later, he turns again, faces
Vizzini, drops the iocane packet. It is now empty.
The Man In Black rotates the goblets in a little shell game
maneuver then puts one glass in front of Vizzini, the other
in front of himself.
MAN IN BLACK
All right: where is the poison?
The battle of wits has begun. It
ends when you decide and we both
drink, and find out who is right
and who is dead.
45.
VIZZINI
But it's so simple. All I have to
do is divine from what I know of
you. Are you the sort of man who
would put the poison into his own
goblet, or his enemy's?
He studies the Man In Black now.
VIZZINI
Now, a clever man would put the
poison into his own goblet,
because he would know that only a
great fool would reach for what
he was given. I'm not a great
fool, so I can clearly not choose
the wine in front of you. But you
must have known I was not a great
fool; you would have counted on
it, so I can clearly not choose
the wine in front of me.
MAN IN BLACK
(And now there's a
trace of nervousness beginning)
You've made your decision then7
VIZZINI
Not remotely. Because iocane
comes from Australia, as everyone
knows. And Australia is entirely
peopled with criminals. And
criminals are used to having
people not trust them, as you are
not trusted by me. So I can
clearly not choose the wine in
front of you.
MAN IN BLACK
Truly, you have a dizzying
intellect.
VIZZINI
Wait till I get going! Where was I?
MAN IN BLACK
Australia.
VIZZINI
Yes -- Australia, and you must
have suspected I would have known
the powder's origin, so I can
clearly not choose the wine in
front of me.
46.
MAN IN BLACK
(very nervous)
You're just stalling now.
VIZZINI
(cackling)
You'd like to think that, wouldn't
you?
(stares at the Man in Black)
You've beaten my giant, which
means you're exceptionally strong.
So, you could have put the poison
in your own goblet, trusting on
your strength to save you. So I
can clearly not choose the wine
in front of you. But, you've also
bested my Spaniard which means
you must have studied. And in
studying, you must have learned
that man is mortal so you would
have put the poison as far from
yourself as possible, so I can
clearly not choose the wine in
front of me.
As Vizzini's pleasure has been growing throughout, the Man
In Black's has been fast disappearing.
MAN IN BLACK
You're trying to trick me into
giving away something -- it won't
work --
VIZZINI
(triumphant)
It has worked -- you've given
everything away -- I know where
the poison is.
MAN IN BLACK
(fool's courage)
Then make your choice.
VIZZINI
I will. And I choose --
And suddenly he stops, points at something behind the Man In
Black.
VIZZINI
-- what in the world can that be?
CUT TO:
47.
THE MAN IN BLACK
turning around, looking.
MAN IN BLACK
What? Where? I don't see anything.
CUT TO:
VIZZINI
busily switching the goblets while the Man In Black has his
head turned.
VIZZINI
Oh, well, I-I could have sworn I
saw something. No matter.
The Man In Black turns to face him again. Vizzini starts to
laugh.
MAN IN BLACK
What's so funny?
VIZZINI
I'll tell you in a minute. First,
let's drink -- me from my glass,
and you from yours.
And he picks up his goblet. The Man In Black picks up the
one in front of him. As they both start to drink, Vizzini
hesitates a moment.
Then, allowing the Man In Black to drink first, he swallows
his wine.
MAN IN BLACK
You guessed wrong.
VIZZINI
(roaring with laughter)
You only think I guessed wrong --
(louder now)
-- that's what's so funny! I
switched glasses when your back
was turned. You fool.
CUT TO:
THE MAN IN BLACK
There's nothing he can say. He just sits there.
CUT TO:
48.
VIZZINI
watching him.
VIZZINI
You fell victim to one of the
classic blunders. The most famous
is "Never get involved in a land
war in Asia." But only slightly
less well known is this: "Never
go in against a Sicilian when
death is on the line."
He laughs and roars and cackles and whoops and is in all
ways quite cheery until he falls over dead.
CUT TO:
THE MAN IN BLACK
stepping past the corpse, taking the blindfold and bindings
off Buttercup, who notices Vizzini lying dead.
The Man In Black pulls her to her feet.
BUTTERCUP
Who are you?
MAN IN BLACK
I am no one to be trifled with,
that is all you ever need know.
He starts to lead her off the mountain path into untraveled
terrain.
BUTTERCUP
(a final glance back
toward Vizzini)
To think -- all that time it was
your cup that was poisoned.
MAN IN BLACK
They were both poisoned. I spent
the last few years building up an
immunity to iocane powder.
And with that, he takes off, dragging her behind him.
CUT TO:
49.
A MOUNTAIN PATH
It's where FEZZIK fought the Man in Black. CAMERA PULLS BACK
TO REVEAL the Prince, kneeling, inspecting every grain of
misplaced sand. The others wait behind him.
HUMPERDINCK
Someone has beaten a giant!
(roaring)
There will be great suffering in
Guilder if she dies.
He leaps onto his horse and they charge off.
CUT TO:
A WILD STRETCH OF TERRAIN
The Man In Black comes running into view, still dragging
Buttercup, who sometimes stumbles, but he keeps forcing her
along. Finally, when she is close to exhaustion, he lets go
of her.
MAN IN BLACK
(his voice harsh now,
carrying the promise
of violence)
Catch your breath.
BUTTERCUP
If you'll release me ... whatever
you ask for ransom ... you'll get
it, I promise you...
MAN IN BLACK
And what is that worth, the
promise of a woman? You're very
funny, Highness.
BUTTERCUP
I was giving you a chance. No
matter where you take me ...
there's no greater hunter than
Prince Humperdinck. He could
track a falcon on a cloudy day.
He can find you
MAN IN BLACK
You think your dearest love will
save you?
50.
BUTTERCUP
I never said he was my dearest
love. And yes, he will save me.
That I know.
MAN IN BLACK
You admit to me you do not love
your fiance?
BUTTERCUP
He knows I do not love him.
MAN IN BLACK
"Are not capable of love" is what
you mean.
BUTTERCUP
I have loved more deeply than a
killer like yourself could ever
dream.
And the Man In Black cocks back a fist. Buttercup flinches,
but does not retreat.
MAN IN BLACK
That was a warning, Highness. The
next time, my hand flies on its
own. For where I come from, there
are penalties when a woman lies.
CUT TO:
VIZZINI'S BODY
The picnic is spread as before.
CAMERA PULLS BACK TO REVEAL the Prince kneeling by the body
as the others ride up. The Prince grabs the empty poison
packet, hands it to Rugen, after first sniffing it himself.
HUMPERDINCK
Iocane. I'd bet my life on it.
(gestures to the trail ahead)
And there are the Princess's
footprints. She is alive ... or
was, an hour ago. If she is
otherwise when I find her, I
shall be very put out.
And as he vaults onto his horse and the all charge off –
CUT TO:
51.
BUTTERCUP
being spun INTO CAMERA view, falling heavily as the Man In
Black releases her. We are at the edge of an almost sheer
ravine. The drop is sharp and severe. Below, the ravine
floor is flat, but getting there would not be half the fun.
MAN IN BLACK
Rest, Highness.
BUTTERCUP
(stares at him)
I know who you are -- your
cruelty reveals everything.
The Man In Black says nothing.
BUTTERCUP
You're the Dread Pirate Roberts;
admit it.
MAN IN BLACK
(bowing)
With pride. What can I do for you?
BUTTERCUP
You can die slowly cut into a
thousand pieces.
MAN IN BLACK
Hardly complimentary, Your
Highness. Why loose your venom on
me?
CLOSE UP - BUTTERCUP, quietly now.
BUTTERCUP
You killed my love.
CUT TO:
THE MAN IN BLACK
watching her closely.
MAN IN BLACK
It's possible; I kill a lot of
people. Who was this love of
yours? Another Prince, like this
one, ugly, rich, and scabby?
52.
BUTTERCUP
No. A farm boy. Poor. Poor and
perfect, with eyes like the sea
after a storm.
CUT TO:
BUTTERCUP
And probably, if she did not hate Roberts so, there would be
tears.
BUTTERCUP
On the high seas, your ship
attacked, and the Dread Pirate
Roberts never takes prisoners.
MAN IN BLACK
(explaining as a
teacher might)
I can't afford to make exceptions.
Once word leaks out that a pirate
has gone soft, people begin to
disobey you, and then it's
nothing but work, work, work, all
the time.
BUTTERCUP
You mock my pain!
MAN IN BLACK
Life is pain, Highness. Anyone
who says differently is selling
something. I remember this farm
boy of yours, I think. This would
be, what, five years ago?
Buttercup nods.
MAN IN BLACK
Does it bother you to hear?
BUTTERCUP
Nothing you can say will upset me.
MAN IN BLACK
He died well, that should please
you. No bribe attempts or
blubbering. He simply said,
"Please. Please, I need to live."
It was the "please" that caught
my memory.
(MORE)
53.
MAN IN BLACK (CONT'D)
I asked him what was so important
for him. "True love," he replied.
And then he spoke of a girl of
surpassing beauty and faithfulness.
I can only assume he meant you.
You should bless me for destroying
him before he found out what you
really are.
BUTTERCUP
And what am I?
MAN IN BLACK
Faithfulness he talked of, madam.
Your enduring faithfulness. Now,
tell me truly. When you found out
he was gone, did you get engaged
to your prince that same hour, or
did you wait a whole week out of
respect for the dead?
BUTTERCUP
You mocked me once, never do it
again -- I died that day!
The Man In Black is about to reply as they stand there on
the edge of the sheer ravine. But then something catches his
attention and as he stares at it briefly,
CUT TO:
HIS P.O.V.:
The dust cloud caused by Humperdinck's HORSES is rising up
into the sky.
CUT TO:
BUTTERCUP
and while his attention is on the dust cloud, rising high,
she pushes him with all the strength she has.
BUTTERCUP
You can die too, for all I care!!
CUT TO:
THE MAN IN BLACK
teetering on the ravine edge, for a moment, then he begins
to fall. Down goes the Man In Black.
54.
Down, down, rolling, spinning, crashing always down toward
the flat rock floor of the ravine.
CUT TO:
BUTTERCUP
staring transfixed at what she has wrought.
There is a long pause. She stands there, alone, as from far
below the words come to her, drifting on the wind –
MAN IN BLACK
... as ... you ... wish...
BUTTERCUP
Oh, my sweet Westley; what have I
done?
And without a second thought or consideration of the dangers,
she starts into the ravine. A moment later, she too is
falling, spinning and twisting, crashing and torn,
cartwheeling down toward what is left of her beloved.
CUT TO:
THE DUST CLOUD
rising.
PULL BACK TO REVEAL
Prince Humperdinck and the others reining in at the spot
where Buttercup promised ransom in exchange for her freedom.
The Prince shakes his head.
HUMPERDINCK
Disappeared. He must have seen us
closing in, which might account
for his panicking in error.
Unless I'm wrong, and I am never
wrong, they are headed dead into
the fire swamp.
CUT TO:
COUNT RUGEN
The mere mention of the Fire Swamp makes him pale.
CUT TO:
55.
THE RAVINE FLOOR
TWO BODIES lie a few feet apart, not moving. It is, of
course, Buttercup and Westley. They might be corpses. After
a time, Westley slowly forces his body into motion and as he
does,
CUT TO:
BUTTERCUP
bruised and torn, as Westley crawls slowly toward her.
WESTLEY
Can you move at all?
BUTTERCUP
(weakly stretching out
an arm toward him)
Move? You're alive. If you want,
I can fly.
WESTLEY
I told you, "I would always come
for you." Why didn't you wait for
me?
BUTTERCUP
Well ... you were dead.
WESTLEY
Death cannot stop true love. All
it can do is delay it for a while.
BUTTERCUP
I will never doubt again.
WESTLEY
There will never be a need.
And now, they begin to kiss; it's a tender kiss, tender and
loving and gentle and –
THE KID
(off-screen)
Oh no. No, please.
CUT TO:
THE KID'S BEDROOM
GRANDFATHER
What is it? What's the matter?
56.
THE KID
They're kissing again, do we have
to hear the kissing part?
GRANDFATHER
Someday, you may not mind so much.
THE KID
Skip on to the Fire Swamp -- that
sounded good.
GRANDFATHER
Oh. You're sick, I'll humor you.
(he picks up the book again)
So now, where were we here? Yeah,
yeah, yeah. Ah. Oh. Okay. Westley
and Buttercup raced along the
ravine floor.
CUT TO:
WESTLEY AND BUTTERCUP
racing along the ravine floor. Westley glances up.
CUT TO:
HUMPERDINCK AND HIS MEN
perched on top of the cliff, looking down at Westley and
Buttercup.
CUT TO:
WESTLEY
WESTLEY
Ha. Your pig fiance is too late.
A few more steps and we'll be
safe in the Fire Swamp.
CUT TO:
BUTTERCUP
and Westley has tried to say it with Chevalier-like
nonchalance, but she ain't buying.
BUTTERCUP
We'll never survive.
WESTLEY
Nonsense -- you're only saying
that because no one ever has.
57.
As they race off, leaving Humperdinck and his men stranded,
defeated.
CUT TO:
THE FIRE SWAMP
And it really doesn't look any worse than any other moist,
sulphurous, infernal horror you might run across. Great
trees block the sun.
CUT TO:
WESTLEY AND BUTTERCUP
Buttercup is clearly panicked and maybe Westley is too, but
he moves jauntily along, sword in hand.
WESTLEY
It's not that bad. I'm not saying
I'd like to build a summer home
here, but the trees are actually
quite lovely.
THE GIANT TREES, thick and black-green, look ominous as hell
and they shield all but intermittent stripes of sun.
A GIANT SPURT OF FLAME leaps up, preceded by a slight
popping sound, and this particular spurt of flame misses
Westley, but Buttercup is suddenly onfire; at least the
lower half of her is and –
CUT TO:
WESTLEY
instantly forcing Buttercup to sit, gathering her flaming
hem in his hands, doing his best to suffocate the fire. This
isn't all that easy and it causes him a bit of grief, but he
does his best to sound as jaunty as before.
WESTLEY
Well now, that was an adventure.
He examines where the flames burst over her.
WESTLEY
Singed a bit, were you?
BUTTERCUP
(She wasn't and she
shakes her head "no")
You?
58.
He was, and he shakes his head "no." As he pulls her to her
feet –
CUT TO:
THE SWAMP FLOOR
– and as there's another popping sound,
CUT TO:
WESTLEY GRABBING BUTTERCUP
pulling her aside to safety as another great spun of flame
suddenly shoots up.
WESTLEY
Well, one thing I will say. The
Fire Swamp certainly does keep
you on your toes.
Buttercup is frozen with fear. He takes her hand, gently
leads her forward as we-
CUT TO:
THE TWO OF THEM
moving slowly along through a particularly dangerous part of
the Fire Swamp.
It's later now, the sun slants down at a slightly different
angle.
WESTLEY
(happily)
This will all soon be but a happy
memory because Roberts' ship
"Revenge" is anchored at the far
end. And I, as you know, am
Roberts.
BUTTERCUP
But how is that possible, since
he's been marauding twenty years
and you only left me five years
ago?
WESTLEY
I myself am often surprised at
life's little quirks.
59.
There is again a popping sound, then a huge spurt of flame.
Westley simply picks up Buttercup as they walk along, moves
her out of danger, puts her back down, goes right on talking
without missing a beat.
WESTLEY
You see, what I told you before
about saying "please" was true.
It intrigued Roberts, as did my
descriptions of your beauty.
CUT TO:
SOME HIDEOUS VINES –
they look like they could be flesh eating. Westley takes his
sword, slices a path for them to follow. The vines groan as
they fall. He's been chatting away the entire time.
WESTLEY
Finally, Roberts decided something.
He said, "All right, Westley,
I've never had a valet. You can
try it for tonight. I'll most
likely kill you in the morning."
Three years he said that. "Good
night, Westley. Good work. Sleep
well. I'll most likely kill you
in the morning." It was a fine
time for me. I was learning to
fence, to fight, anything anyone
would teach me. And Roberts and I
eventually became friends. And
then it happened.
BUTTERCUP
What? -- go on --
Westley picks her up, carrying her across some swamp water
that is bridged by a narrow, rickety tree branch.
WESTLEY
Well, Roberts had grown so rich,
he wanted to retire. So he took
me to his cabin and told me his
secret. "I am not the Dread
Pirate Roberts," he said. "My
name is Ryan. I inherited this
ship from the previous Dread
Pirate Roberts, just as you will
inherit it from me. The man I
inherited it from was not the
real Dread Pirate Roberts, either.
(MORE)
60.
WESTLEY (CONT'D)
His name was Cummerbund. The real
Roberts has been retired fifteen
years and living like a king in
Patagonia." Then he explained the
name was the important thing for
inspiring the necessary fear. You
see, no one would surrender to
the Dread Pirate Westley.
The two of them have by now crossed the pond.
WESTLEY
So we sailed ashore, took on an
entirely new crew and he stayed
aboard for awhile as first mate,
all the time calling me Roberts.
Once the crew believed, he left
the ship and I have been Roberts
ever since. Except, now that
we're together, I shall retire
and hand the name over to someone
else. Is everything clear to you?
Buttercup, perplexed, is about to reply but the ground she
steps on gives way – it's Lightning Sand – a great patch
of it, and it has her – a cloud of powder rises and she
sinks into the stuff crying Westley's name but then she is
gone as we –
CUT TO:
WESTLEY WHIRLING
slashing at a U-shaped vine, hacks it in half – it's still
connected to the tree. Then be grabs it, drops his sword,
and, clutching the other end of the vine, he dives into the
lightning sand and there is another cloud of white powder,
but it settles quickly.
Now nothing can be seen. Nothing at all. Just the lightning
sand, lovely and lethal.
HOLD ON THE LIGHTNING SAND – THEN –
An odd panting sound is heard now. The panting sound is
suddenly very loud. And then a giant R.0.U.S. darts into
view. The R.0.U.S. – a Rodent of Unusual Size – is probably
no more than eighty pounds of bone and power. It sniffs
around a bit then, as quickly as it has come, it goes.
CUT TO:
61.
THE LIGHTNING SAND
as Westley, lungs long past the bursting point, explodes
out; he has Buttercup across his shoulders and as he pulls
to the edge of the lightning sand pit, using the vine –
CUT TO:
CLOSE-UP - BUTTERCUP
Her face is caked with the white powder. It is in her eyes,
her ears, hair, mouth. She's still probably beautiful, but
you have to look awfully hard to see it. As Westley continues
to pull them to safety –
CUT TO:
THE R.0.U.S.
high above them; it watches –
CUT TO:
BUTTERCUP
placed against a tree. Westley is cleaning the lightning
sand from her face. He hesitates, glances around and
CUT TO:
THE R.0.U.S.
on a much lower branch now. It stares down at Westley.
Westley stares back up at the beast. Buttercup is oblivious.
Her eyes flutter. He continues to work on her as –
BUTTERCUP
We'll never succeed -- we may as
well die here.
WESTLEY
No. No. We have already succeeded.
He glances back again. Now THERE ARE TWO R.0.U.S.'s. The
have climbed into a nearby tree, stare hungrily down.
CUT TO:
WESTLEY, picking her up.
He puts an arm around her, starts to walk with her as he
encouragingly goes on talking.
62.
WESTLEY
I mean, what are the three
terrors of the Fire Swamp? One,
the flame spurts. No problem.
There's a popping sound preceding
each, we can avoid that. Two, the
Lightning Sand. But you were
clever enough to discover what
that looks like, so in the future
we can avoid that too.
BUTTERCUP
Westley, what about the R.O.U.S.'s?
WESTLEY
Rodents of Unusual Size? I don't
think they exist...
And as he says that, a R.0.U.S. comes flying at him from
offscreen.
CUT TO:
BUTTERCUP
screaming and –
Westley, pinned under the attacking R.0.U.S., trying to fend
it off. Can't. The thing's teeth sink deep into his arm. He
howls.
Westley drives a fist into the beast's face, rolling it off.
He reaches for his sword just a few feet away, but the
R.0.U.S. is back atop him. It's a fierce battle, and just
when we think Westley can't possibly win, he flips the ugly
rodent clear.
Westley scrambles for his sword. The R.0.U.S. stampedes on,
changing its target, heading right for –
Buttercup, and she's scared to death and –
BUTTERCUP
Westley!
Westley abandons his sword, reaching for the rodent, grabbing
only a tail, wrestling with it. Buttercup grabs a small
branch, and using it as a club, beats the skull of the
thing, doing pretty well, but the beast manages to snag her
hem with its razor teeth, and she's pulled to the ground, and
CUT TO:
63.
WESTLEY
jumping onto its back, and the R.0.U.S. is all over him now,
sinking needle teeth into Westley's shoulder.
CUT TO:
WESTLEY
with death close at hand, as a popping sound starts. He
tries one desperate move, rolls into the sound –
CUT TO:
A FLAME SPURT
shooting skyward and –
CUT TO:
WESTLEY
with the R.0.U.S. pinned under him, and as the beast bursts
into flame, it lets go and Westley rolls safely free, grabs
his sword and exhaustedly stabs the R.0.U.S., which is
trying to put itself out.
The R.0.U.S. collapses dead. Westley stands motionless,
exhausted. The danger has passed.
CUT TO:
BUTTERCUP
relieved.
DISSOLVE TO:
THE FAR EDGE OF THE FIRE SWAMP
Beyond, a beach.
CUT TO:
BUTTERCUP AND WESTLEY
BUTTERCUP
(almost in disbelief)
We did it.
WESTLEY
Now, was that so terrible?
64.
And from somewhere they summon strength, pick up their pace,
and as they reach the edge of the Fire Swamp –
CUT TO:
SOMETHING WE HADN'T EXPECTED:
Humperdinck on his horse, Rugen beside him. THREE WARRIORS,
armed and ready, are mounted in formation behind. Buttercup
and Westley are at the edge of the Fire Swamp, about to
leave it. They stop. Buttercup looks beyond exhaustion.
Westley looks worse.
HUMPERDINCK
Surrender!
It's dusk. Behind Humperdinck are the waters of the bay.
CUT TO:
WESTLEY AND BUTTERCUP
staring out at the others.
WESTLEY
You mean you wish to surrender to
me? Very well, I accept.
HUMPERDINCK
I give you full marks for
bravery --don't make yourself a
fool.
WESTLEY
Ah, but how will you capture us?
We know the secrets of the Fire
Swamp. We can live there quite
happily for some time. So,
whenever you feel like dying,
feel free to visit.
HUMPERDINCK
I tell you once again -- surrender!
WESTLEY
It will not happen!
CUT TO:
BUTTERCUP
looking from one to the other; then something else catches
her eye and we –
CUT TO:
65.
AN ARMED WARRIOR
in shadow, with a loaded crossbow aimed at Westley's heart.
CUT TO:
BUTTERCUP
looking the other way –
CUT TO:
ANOTHER WARRIOR
crossbow aimed at Westley.
HUMPERDINCK
(roaring)
For the last time -- SURRENDER!
WESTLEY
(roaring right back, bigger)
DEATH FIRST!!
CUT TO:
BUTTERCUP
frantically staring around, and now
CUT TO:
A THIRD WARRIOR
crossbow stretched, ready to shoot; this one is hidden in a
tree blocking any escape Westley might try.
BUTTERCUP
Will you promise not to hurt him?
CUT TO:
HUMPERDINCK
whirling to face her.
HUMPERDINCK
What was that?
CUT TO:
WESTLEY
whirling to face her.
66.
WESTLEY
What was that?
CUT TO:
BUTTERCUP
talking to them both.
BUTTERCUP
If we surrender, and I return
with you, will you promise not to
hurt this man?
HUMPERDINCK
May I live a thousand years and
never hunt again.
BUTTERCUP
(looks at Westley)
He is a sailor on the pirate ship
"Revenge." Promise to return him
to his ship.
HUMPERDINCK
I swear it will be done.
CUT TO:
BUTTERCUP AND WESTLEY
staring deep into each other's eyes.
CUT TO:
HUMPERDINCK AND RUGEN
HUMPERDINCK
(whispering)
Once we're out of sight, take him
back to Florin and throw him in
the Pit of Despair.
RUGEN
(almost a smile)
I swear it will be done.
CUT TO:
BUTTERCUP AND WESTLEY
BUTTERCUP
I thought you were dead once, and
it almost destroyed me. I could
not bear it if you died again,
not when I could save you.
67.
Westley is dazed. Silent.
Buttercup tries to speak again, can't, and is swooped off
her feet onto Humperdinck's horse, and off they go.
CUT TO:
WESTLEY
staring after her. Rugen watches as his warriors bring
Westley to him. The Count has a heavy sword and he holds it
in his hand.
RUGEN
Come, sir. We must get you to
your ship.
WESTLEY
We are men of action. Lies do not
become us.
RUGEN
Well spoken, sir --
Westley is looking at him.
RUGEN
-- what is it?
WESTLEY
You have six fingers on your
right hand -- someone was looking
for you --
Count Rugen clubs Westley hard across the skull. Westley
starts to fall –the screen goes black.
FADE IN ON:
THE PIT OF DESPAIR
Dank and chill, underground and windowless, lit by flickering
torches. Frightening. Westley lies in the center of the
cage, chained and helpless.
CUT TO:
SOMETHING REALLY FRIGHTENING: A BLOODLESS-LOOKING ALBINO
Dead pale, he silently enters the pit, carrying a tray of
food and medication. He puts it down.
WESTLEY
Where am I?
68.
ALBINO
(he only whispers)
The Pit of Despair.
He begins tending Westley's wounds. Westley winces.
ALBINO
(garbled)
Don't even think --
(A hack, sputter,
cough - now his voice
seems normal again)
-- don't even think about trying
to escape. The chains are far too
thick. And don't dream of being
rescued either. The only way in
is secret. And only the Prince,
the Count, and I know how to get
in and out.
WESTLEY
Then I'm here till I die?
ALBINO
(working away)
Till they kill you. Yeah.
WESTLEY
Then why bother curing me?
ALBINO
The Prince and the Count always
insist on everyone being healthy
before they're broken.
WESTLEY
So it's to be torture.
The albino nods.
WESTLEY
I can cope with torture.
The albino shakes his head.
WESTLEY
You don't believe me?
ALBINO
You survived the Fire Swamp. You
must be very brave...
(little pause)
... but nobody withstands The
Machine.
69.
He studies Westley, whose face is almost sad.
CUT TO:
BUTTERCUP
and her face is sad. Pallid, perhaps ill. She wanders down a
corridor in Florin Castle. As she moves unseeing past an
intersecting corridor:
CUT TO:
PRINCE HUMPERDINCK AND COUNT RUGEN
watching her.
HUMPERDINCK
She's been like that ever since
the Fire Swamp.
(looks at Rugen)
It's my father's failing health
that's upsetting her.
RUGEN
(unbelieving)
Of course.
As they move on–
CUT TO:
FLORIN CASTLE - NIGHT
CAMERA HOLDS ON IT while we hear the Grandfather's voice
reading.
GRANDFATHER
(off-screen)
The King died that very night,
and before the following dawn,
Buttercup and Humperdinck were
married.
CUT TO:
MAIN SQUARE OF FLORIN CASTLE
And if we thought it was packed before, we didn't know how
many more could fit in this courtyard. Humperdinck, Rugen
and the Queen stand high on the balcony.
70.
GRANDFATHER
(off-screen)
And at noon, she met her subjects
again. This time as their Queen.
HUMPERDINCK
My father's final words were...
THE KID
(off-screen)
-- hold it. Hold it, Grandpa.
And the scene FREEZES, Humperdinck caught in mid-sentence.
CUT TO:
THE KID'S ROOM
The Kid is half sitting now, not strong yet, but clearly
stronger than when we first saw him.
THE KID
You read that wrong. She doesn't
marry Humperdinck, she marries
Westley. I'm just sure of it.
After all that Westley did for
her, if she does not marry him,
it wouldn't be fair.
GRANDFATHER
Well, who says life is fair?
Where is that written? Life isn't
always fair.
THE KID
I'm telling you you're messing up
the story, now get it right!
GRANDFATHER
Do you want me to go on with this?
THE KID
Yes.
GRANDFATHER
All right, then. No more
interruptions.
(starts to read again)
... at noon, she met her subjects
again. This time as their Queen.
And on these words–
CUT TO:
71.
PRINCE HUMPERDINCK
HUMPERDINCK
My father's final words were
"love her as I loved her, and
there will be joy." I present to
you your Queen. Queen Buttercup.
And on his words–
CUT TO:
THE CROWD
and it's gigantic.
CUT TO:
THE ARCHWAY
we saw before, as Buttercup emerges.
CUT TO:
THE CROWD
suddenly going to its knees, wave after wave of silent
KNEELING PEOPLE. All of them down.
CUT TO:
BUTTERCUP
touched as before, but then she seems stunned as we
CUT TO:
THE CROWD
SOMEONE IS BOOING! The BOOING gets louder as an ANCIENT
WOMAN approaches Buttercup through the crowd, BOOING every
step of the way.
BUTTERCUP
Why do you do this?
ANCIENT BOOER
Because you had love in your
hands, and you gave it up.
BUTTERCUP
(distraught)
But they would have killed
Westley if I hadn't done it.
72.
ANCIENT BOOER
Your true love lives and you
marry another --
(to the crowd)
-- True love saved her in the
Fire Swamp, and she treated it
like garbage. And that's what she
is, the Queen of Refuse! So, bow
down to her if you want. Bow to
her. Bow to the Queen of Slime,
the Queen of Filth, the Queen of
Putrescence. Boo! Boo! Rubbish!
Filth! Slime! Muck! Boo! Boo!
She advances on Buttercup now, who is more and more panicked.
CLOSE-UP - THE ANCIENT BOOER
Louder and louder and LOUDER she shrieks vituperation at
Buttercup, reaching out her old hands toward Buttercup's
throat, and Buttercup is as frightened now as Dorothy was
when the Witch went after her in "The Wizard of Oz", and
suddenly,
CUT TO:
BUTTERCUP
coming out of her nightmare, alone in her castle bedroom. As
she frantically grabs a robe and starts to run.
GRANDFATHER
(off-screen, still reading)
It was ten days till the wedding.
The King still lived, but
Buttercup's nightmares were
growing steadily worse.
THE KID
(off-screen)
See? Didn't I tell you she'd
never marry that rotten
Humperdinck?
GRANDFATHER
(off-screen)
-- yes, you're very smart. Shut-Up.
CUT TO:
BUTTERCUP
bursting into the Prince's chambers. Count Rugen stands
nearby.
73.
BUTTERCUP
It comes to this: I love Westley.
I always have. I know now I
always will. If you tell me I
must marry you in ten days,
please believe I will be dead by
morning.
CUT TO:
PRINCE HUMPERDINCK
Just stunned. Finally, softly, he begins to talk.
HUMPERDINCK
I could never cause you grief;
consider our wedding off.
(to Rugen)
You returned this Westley to his
ship?
RUGEN
Yes.
HUMPERDINCK
Then we will simply alert him.
(to Buttercup now)
Beloved, are you certain he still
wants you? After all, it was you
who did the leaving in the Fire
Swamp. Not to mention that
pirates are not known to be men
of their words.
BUTTERCUP
My Westley will always come for me.
HUMPERDINCK
I suggest a deal. You write four
copies of a letter. I'll send my
four fastest ships. One in each
direction. The Dread Pirate
Roberts is always close to Florin
this time of year. We'll run up
the white flag and deliver your
message. If Westley wants you,
bless you both. If not ... please
consider me as an alternative to
suicide. Are we agreed?
And she nods –
CUT TO:
74.
A VERY THICK GROVE OF TREES
The trees are unusual in one respect: all of them are
extraordinarily heavily knotted.
PULL BACK TO REVEAL
Humperdinck and Rugen, walking into the grove of trees.
RUGEN
Your Princess is really a winning
creature. A trifle simple,
perhaps, but her appeal is
undeniable.
HUMPERDINCK
Oh, I know. The people are quite
taken with her. It's odd, but
when I hired Vizzini to have her
murdered on our engagement day, I
thought that was clever. But it's
going to be so much more moving
when I strangle her on our
wedding night. Once Guilder is
blamed, the nation will be truly
outraged. They'll demand we go to
war.
They are deeper into the grove now. Rugen is searching around.
RUGEN
Now, where is that secret knot?
It's impossible to find.
(Finding the knot on
the tree he hits it,
and it opens, revealing
a staircase leading underground.)
Are you coming down into the Pit?
Westley's got his strength back.
I am starting him on The Machine
tonight.
HUMPERDINCK
Tyrone, you know how much I love
watching you work. But, I've got
my country's five hundredth
anniversary to plan, my wedding
to arrange, My wife to murder,
and Guilder to frame for it. I'm
swamped.
75.
RUGEN
Get some rest -- if you haven't
got your health, you haven't got
anything.
Rugen smiles and hurries down the stairs as the tree slides
back perfectly into place.
CUT TO:
AN ENORMOUS THING
We can't tell quite what it is or what it does, but somehow
it is unsettling.
PULL BACK TO REVEAL
Count Rugen, dragging Westley up alongside the thing –
Levers and wheels and wires, you name it, it's there.
RUGEN
Beautiful, isn't it?
The Albino starts attaching suction cups to Westley.
RUGEN
It took me half a lifetime to
invent it. I'm sure you've
discovered my deep and abiding
interest in pain. At present I'm
writing the definitive work on
the subject. So I want you to be
totally honest with me on how The
Machine makes you feel.
CUT TO:
A DIAL
with numbers ranging from a low of "1" to a high of "50."
Rugen goes to it.
RUGEN
This being our first try, I'll
use the lowest setting.
And he turns the dial to "1".
CUT TO:
76.
WESTLEY
He has suction cups on his head now, on his temple, on his
heart, his hands and feet. He says nothing, keeps control of
himself
CUT TO:
COUNT RUGEN
fiddling with his Machine a moment more. And then he opens
the flood gate, water pours down the chute, turning the
wheel, which in turn really gets The Machine going.
CUT TO:
WESTLEY
and he's lying on the table, and he's only flesh and the
chains are metal and thick, but such is his desperation it
almost seems he might break them. A terrible sound comes
from his throat, an incessant gasping. It keeps on coming as
we finally
CUT TO:
COUNT RUGEN
He switches off The Machine, picks up a large notebook and
pen, sits in a chair. The NOISE of The Machine subsides.
Rugen opens the book to a blank page.
RUGEN
As you know, the concept of the
suction pump is centuries old.
Well, really, that's all this is.
Except that instead of sucking
water, I'm sucking life. I've
just sucked one year of your life
away. I might one day go as high
as five, but I really don't know
what that would do to you. So,
let's just start with what we
have. What did this do to you?
Tell me. And remember, this is
for posterity, so be honest --
how do you feel?
AND NOW, AT LAST:
CUT TO:
77.
WESTLEY
in anguish so deep it is dizzying. Helpless, he cries.
Count Rugen watches the tears, then starts to write.
RUGEN
Interesting.
CUT TO:
HUMPERDINCK
in his quarters, swamped. Piles of papers are strewn all
over. Now YELLIN, a pale, shifty, quick-eyed man appears in
the doorway.
HUMPERDINCK
Yellin.
YELLIN
(bows, then kneels)
Sire.
HUMPERDINCK
As Chief Enforcer of all Florin,
I trust you with this secret:
killers from Guilder are
infiltrating the Thieves' Forest
and plan to murder my bride on
our wedding night.
YELLIN
My spy network has heard no such
news.
CUT TO:
BUTTERCUP
entering.
BUTTERCUP
Any word from Westley?
CUT TO:
THE PRINCE AND YELLIN
turning to her in the doorway.
HUMPERDINCK
Too soon, my angel. Patience.
78.
BUTTERCUP
He will come for me.
HUMPERDINCK
Of course.
As she glides out–
HUMPERDINCK
She will not be murdered. On the
day of the wedding, I want the
Thieves' Forest emptied and every
inhabitant arrested.
YELLIN
Many of the thieves will resist.
My regular enforcers will be
inadequate.
HUMPERDINCK
Form a Brute Squad then. I want
the Thieves' Forest emptied
before I wed.
YELLIN
It won't be easy, Sire.
HUMPERDINCK
(alone, exhausted)
Try ruling the world sometime.
CUT TO:
THE THIEVES' FOREST - DAY
A lot of hollering is going on. The THIEVES are being
rounded up by the BRUTE SQUAD, a large group of large men.
Yellin stands on a wagon in the midst of all the scuffling.
GRANDFATHER
(off-screen)
The day of the wedding arrived.
The Brute Squad had their hands
full carrying out Humperdinck's
orders.
YELLIN
(to an unpleasantlooking
assistant)
Is everybody out?
ASSISTANT BRUTE
Almost. There's a Spaniard giving
us some trouble.
79.
YELLIN
Well, you give him some trouble.
Move!
And his wagon starts, and as it does,
CUT TO:
INIGO
drunk as a skunk, sprawled in front of a hovel, a bottle of
brandy in one hand, the six-fingered sword in the other. He
looks dreadful. Unshaven, puffy-eyed, gaunt. But the way he
brandishes the great sword in front of him would give anyone
cause for worry.
INIGO
I am waiting for you, Vizzini.
You told me to go back to the
beginning. So I have. This is
where I am, and this is where
I'll stay. I will not be moved.
He takes a long pull from his brandy bottle. He stops as the
Assistant Brute comes into view.
ASSISTANT BRUTE
Ho there.
INIGO
I do not budge. Keep your "Ho
there."
He waves his sword dangerously.
ASSISTANT BRUTE
But the Prince gave orders --
INIGO
-- So did Vizzini -- when a job
went wrong, you went back to the
beginning. And this is where we
got the job. So it's the
beginning, and I'm staying till
Vizzini comes.
ASSISTANT BRUTE
(gesturing off-screen)
You! Brute! Come here.
INIGO
-- I -- am -- waiting -- for --
Vizzini --
80.
VOICE
(off-screen)
You surely are a meanie.
INIGO feels a hand on his back. A huge hand. He compares it
to his own smaller hand.
FEZZIK
Hello.
INIGO
It's you.
FEZZIK
True!
And as the Assistant Brute is just about to club Inigo's
brains out, FEZZIK lets fly with a stupendous punch.
The Assistant Brute takes the full force of the blow right
in the chops. It's like he was shot from a cannon as he
careens backwards out of sight across the street.
There is a pause. Then a crunching sound, as he clearly has
come in contact with something hard and immobile.
FEZZIK puts Inigo down.
FEZZIK
You don't look so good.
(after Inigo blasts
air in protest)
You don't smell so good either.
INIGO
Perhaps not. I feel fine.
FEZZIK
Yeah?
And so FEZZIK puts Inigo down. That's when Inigo faints, and
as he does,
CUT TO:
AN EMPTY ALEHOUSE IN THE THIEVES' QUARTER
Inigo sits slumped in a chair, while FEZZIK spoons him some
stew.
81.
GRANDFATHER
(off-screen)
FEZZIK and Inigo were reunited.
And as FEZZIK nursed his
inebriated friend back to health,
he told Inigo of Vizzini's death
and the existence of Count Rugen,
the sixfingered man. Considering
Inigo's lifelong search, he
handled the news surprisingly well.
And he faints again into his stew.
CUT TO:
TWO LARGE TUBS
one filled with steaming water, the other with water clearly
of an icy nature. Without a word FEZZIK stuffs Inigo's head
into the icy water, then, after a reasonable amount of time,
pulls him out, ducks him into the steaming stuff, and, a
short time after that, puts him back in the cold again, then
back in the hot –
GRANDFATHER
(off-screen)
Fezzik took great care in reviving
Inigo.
INIGO
(up and going)
That's enough. That's enough!
Where is this Rugen so I may kill
him?
FEZZIK
He's with the Prince in the
Castle. But the castle gate is
guarded by thirty men.
INIGO
How many could you handle?
FEZZIK
I don't think more than ten.
INIGO
(doing the math on his fingers)
That leaves twenty for me. At my
best, I could never defeat that
many.
(he sinks sadly down)
I need Vizzini to plan. I have no
gift for strategy.
82.
FEZZIK
But Vizzini's dead.
CUT TO:
THE TWO OF THEM
Silent and bereft. Then a wild look hits Inigo.
INIGO
No -- not Vizzini -- I need the
Man in Black --
FEZZIK
-- what? --
INIGO
-- look, he bested you with
strength, your greatness. He
bested me with steel. He must
have outthought Vizzini, and a
man who can do that can plan my
castle's onslaught any day. Let's
go --
FEZZIK
-- where?
INIGO
To find the Man in Black,
obviously.
FEZZIK
But you don't know where he is.
INIGO
(he is possessed by
demons now)
Don't bother me with trifles;
after twenty years, at last, my
father's soul will be at peace.
CUT TO:
CLOSE UP - INIGO
INIGO
(big)
There will be blood tonight!!
CUT TO:
83.
PRINCE HUMPERDINCK'S CHAMBERS
– strewn with maps, etc. Yellin enters, and kneels.
HUMPERDINCK
(sharpening his dagger)
Rise and report.
YELLIN
The Thieves' Forest is emptied.
Thirty men guard the castle gate.
HUMPERDINCK
Double it. My Princess must be
safe.
YELLIN
The gate has but one key, and I
carry that.
He shows the key, dangling from a chain around his neck.
Just at that moment, Buttercup enters.
HUMPERDINCK
Ah! My dulcet darling. Tonight we
marry. Tomorrow morning, your men
will escort us to Florin Channel
where every ship in my armada
waits to accompany us on our
honeymoon.
BUTTERCUP
Every ship but your four fastest,
you mean.
The Prince looks at her blankly for a moment.
BUTTERCUP
Every ship but the four you sent.
HUMPERDINCK
Yes. Yes, of course. Naturally,
not those four.
YELLIN
(bows, exits)
Your Majesties.
CUT TO:
BUTTERCUP
staring at Humperdinck.
84.
BUTTERCUP
You never sent the ships. Don't
bother lying. It doesn't matter.
Westley will come for me anyway.
HUMPERDINCK
(sharply)
You're a silly girl.
BUTTERCUP
Yes, I am a silly girl, for not
having seen sooner that you were
nothing but a coward with a heart
full of fear.
HUMPERDINCK
(close to erupting;
speaks very distinctly)
I-would-not-say-such things-if-
Iwere-you-
BUTTERCUP
Why not? You can't hurt me.
Westley and I are joined by the
bonds of love. And you cannot
track that. Not with a thousand
bloodhounds. And you cannot break
it. Not with a thousand swords.
And when I say you are a coward,
that is only because you are the
slimiest weakling ever to crawl
the earth.
CUT TO:
HUMPERDINCK
jumping at her, yanking her by the hair, starting to pull
her along, out of control, his words indistinct.
HUMPERDINCK
IWOULDNOTSAYSUCHTHINGSIFIWEREYOU!
CUT TO:
A CORRIDOR OF THE CASTLE
as the Prince throws open the door to Buttercup's room,
slams it shut, locks it, breaks into a wild run and –
CUT TO:
85.
WESTLEY IN THE MACHINE
but it's not on. Count Rugen is adding more notes to his
book. He looks up as the Prince suddenly comes down the
steps, raging.
HUMPERDINCK
(at Westley)
You truly love each other, and so
you might have been truly happy.
Not one couple in a century has
that chance, no matter what the
storybooks say. And so I think no
man in a century will suffer as
greatly as you will.
And with that he whirls, turns on The Machine, grabs the
lever and –
CUT TO:
COUNT RUGEN
calling out –
RUGEN
Not to fifty!!!
But it's too late as we –
CUT TO:
PRINCE HUMPERDINCK
shoving the lever all the way up and
CUT TO:
WESTLEY'S FACE
And there has never been such pain. The pain grows and grows
and with it now, something else has started
THE DEATH SCREAM. As The Death Scream starts to rise –
CUT TO:
OUTSIDE THE PIT OF DESPAIR
as the SOUND moves along, LOUDER AND LOUDER, and –
CUT TO:
86.
YELLIN AND HIS SIXTY BRUTES
and they bear it, and a few of the Brutes turn to each other
in fear, and as the scream builds –
CUT TO:
BUTTERCUP IN HER ROOM
and she hears the SOUND, doesn't know what it is, but her
arms involuntarily go around her body to try to control the
trembling, and the scream, still builds and –
CUT TO:
ESTABLISHING SHOT ACROSS THE RIVER
There are many PEOPLE –it is the day of the country's 500th
Anniversary – but all the People stop as the sound hits
them. A few CHILDREN pale, bolt toward their PARENTS and –
CUT TO:
INIGO AND FEZZIK
trying to make their way through the jammed marketplace,
which suddenly quiets as the fading sound comes through.
INIGO
(instantly)
FEZZIK, FEZZIK, listen, do you hear? – That is the sound of
ultimate suffering. My heart made that sound when Rugen
slaughtered my father. The Man in Black makes it now.
FEZZIK
The Man in Black?
INIGO
His true love is marrying another
tonight, so who else has cause
for Ultimate Suffering?
(trying to push through)
Excuse me --
It's too crowded.
INIGO
-- pardon me, it's important --
No one budges and the sound is fading faster.
87.
INIGO
-- Fezzik, please --
FEZZIK
(gigantic and roaring)
Everybody ... MOVE!!
And the Crowd begins to fall away, and he and Inigo start to
track the FADING SOUND.
INIGO
Thank you.
CUT TO:
A GROVE OF TREES NEAR THE PIT OF DESPAIR
The Albino appears wheeling a barrow. Inigo's sword pushes
at his chest.
INIGO
Where is the Man in Black?
The Albino shakes his head, says nothing.
INIGO
You get there from this grove, yes?
Silence.
INIGO
Fezzik, jog his memory.
And Fezzik crunches the Albino on the top of the head as if
he had a hammer and was driving in a nail. The Albino drops
without a sound.
FEZZIK
(upset)
I'm sorry, Inigo. I didn't mean
to jog him so hard. Inigo?
CUT TO:
INIGO
He kneels, the sword held tight between his hands. Eyes
closed, he faces the grove of trees, starts to talk, his
voice low and strange.
88.
INIGO
Father, I have failed you for
twenty years. Now our misery can
end. Somewhere ... somewhere
close by is a man who can help us.
I cannot find him alone. I need
you. I need you to guide my sword.
Please.
And now he rises, eyes still closed.
INIGO
Guide my sword.
CUT TO:
THE GROVE OF TREES
as Inigo, eyes shut tight, walks forward, the great sword
held in his hands.
Fezzik, frightened, follows close behind.
CUT TO:
THE SECRET KNOT
that reveals the staircase.
CUT TO:
INIGO
walking blind through the grove of trees. He moves to the
Secret Knot, hesitates, then moves past it.
Then Inigo stops. For a long moment he stands frozen.
Suddenly he whirls, eyes still closed, and the sword strikes
home dead center into a knot and –
Nothing. He has failed.
In utter despair he collapses against the tree. Against a
knot in the tree. Against THE KNOT in the tree. It slides
away, revealing the staircase. FEZZIK and Inigo look at each
other, then start down.
CUT TO:
WESTLEY
dead by The Machine. FEZZIK leans over him, listening for a
heartbeat. Then he looks at Inigo, shakes his head.
89.
FEZZIK
He's dead.
Inigo is in despair. For a moment, he just sags.
INIGO
(barely able to speak)
It just is not fair.
THE KID
(off-screen)
-- Grandpa, Grandpa -- wait --
CUT TO:
THE KID'S ROOM
He is terribly excited and looks stronger than we've yet
seen him.
THE KID
-- wait -- what did FEZZIK mean,
"He's dead?" I mean he didn't
mean dead.
The Grandfather says nothing, just sits there.
THE KID
Westley's only faking, right?
GRANDFATHER
You want me to read this or not?
CUT TO:
THE KID: CLOSE UP
THE KID
Who gets Humperdinck?
GRANDFATHER
I don't understand.
THE KID
Who kills Prince Humperdinck? At
the end, somebody's got to do it.
Is it Inigo? Who?
GRANDFATHER
Nobody. Nobody kills him. He lives.
90.
THE KID
You mean he wins? Jesus, Grandpa!
What did you read me this thing
for?
And he desperately fights for control.
GRANDFATHER
You know, you've been very sick
and you're taking this story very
seriously. I think we better stop
now.
He closes the book and starts to get up.
THE KID
(shaking his head)
No! I'm okay. I'm okay.
(gestures toward the chair)
-- sit down. All right?
GRANDFATHER
Okay.
(sitting and opening
the book again)
All right, now, let's see. Where
were we? Oh yes. In the Pit of
Despair.
CUT TO:
INIGO, IN DESPAIR
We're back in the Pit, the same shot as before. For a
moment, he just sags.
INIGO
Well, we Montoyas have never
taken defeat easily. Come along,
Fezzik. Bring the body.
FEZZIK
The body?
INIGO
(not stopping)
Have you any money?
FEZZIK
I have a little.
INIGO
I just hope it's enough to buy a
miracle, that's all.
91.
As Fezzik takes the corpse, follows Inigo up the stairs –
CUT TO:
A HOVEL - DUSK
Inigo, FEZZIK, Westley approach the door. They knock. From
inside the hovel a little man's voice is heard. If Mel
Brooks' Year Old Man was really old, he'd resemble this guy.
LITTLE OLD GUY
(off-screen)
Go away!
Inigo pounds again.
MIRACLE MAX
(opening a small
window in the door)
What? What?
INIGO
Are you the Miracle Max who
worked for the King all those
years?
MIRACLE MAX
The King's stinking son fired me.
And thank you so much for bringing
up such a painful subject. While
you're at it, why don't you give
me a nice paper cut and pour
lemon juice on it? We're closed!
He shuts the window. They rap on the door.
MIRACLE MAX
(opening the window)
Beat it or I'll call the Brute
Squad.
FEZZIK
I'm on the Brute Squad.
MIRACLE MAX
(looking at the Giant)
You are the Brute Squad.
INIGO
We need a miracle. It's very
important.
92.
MIRACLE MAX
Look, I'm retired. And besides,
why would you want someone the
King's stinking son fired? I
might kill whoever you wanted me
to miracle.
INIGO
He's already dead.
MIRACLE MAX
(for the first time, interested)
He is, eh? I'll take a look.
Bring him in.
He unlocks the door and lets them in.
CUT TO:
INIGO AND FEZZIK
hurrying inside. FEZZIK carries Westley who is just starting
to stiffen up a little. He lays Westley down across a bench
by the fireplace, picks Westley's arm up and lets it drop
limp.
MIRACLE MAX
I've seen worse.
He studies Westley a moment, checking here, checking there.
INIGO
Sir. Sir.
MIRACLE MAX
Hah?
INIGO
We're really in a terrible rush.
MIRACLE MAX
(He takes nothing from nobody)
Don't rush me, sonny. You rush a
miracle man, you get rotten
miracles. You got money?
INIGO
Sixty-five.
MIRACLE MAX
Sheesh! I never worked for so
little, except once, and that was
a very noble cause.
93.
INIGO
This is noble, sir.
(pointing to Westley, remorseful)
His wife is crippled. His children
are on the brink of starvation.
MIRACLE MAX
Are you a rotten liar.
INIGO
I need him to help avenge my
father, murdered these twenty
years.
MIRACLE MAX
Your first story was better.
(looking around)
Where's that bellows?
(spots it)
He probably owes you money, huh?
Well, I'll ask him.
He goes to get a huge bellows.
INIGO
(stupefied)
He's dead. He can't talk.
MIRACLE MAX
Look who knows so much. Well, it
just so happens that your friend
here is only mostly dead. There's
a big difference between mostly
dead and all dead. Please open
his mouth.
Inigo does. Max inserts the bellows in Westley's mouth and
starts to pump.
MIRACLE MAX
Now, mostly dead is slightly
alive. Now, all dead...well, with
all dead, there's usually only
one thing that you can do.
INIGO
What's that?
He stops pumping.
MIRACLE MAX
Go through his clothes and look
for loose change.
94.
He starts pumping again.
MIRACLE MAX
(to Westley)
Hey! Hello in there. Hey! What's
so important? What you got here
that's worth living for?
And he presses lightly on Westley's chest.
WESTLEY
... tr ... oooo .... luv...
Everybody stares at Westley lying there on the bench.
INIGO
True love. You heard him. You
could not ask for a more noble
cause than that.
MIRACLE MAX
Sonny, true love is the greatest
thing in the world. Except for a
nice MLT, a mutton, lettuce and
tomato sandwich, where the mutton
is nice and lean and the tomato
is ripe. They're so perky, I love
that. But that's not what he said.
He distinctly said "to blave."
And, as we all know, "to blave"
means "to bluff." So you're
probably playing cards, and he
cheated
A WOMAN'S VOICE
-- Liar -- LIAR-LI-A-A-AR --
VALERIE, an ancient fury, storms out of a back room and
toward
MIRACLE MAX
-- get back, witch --
VALERIE
I'm not a witch, I'm your wife.
But after what you just said, I'm
not even sure I want to be that
anymore.
MIRACLE MAX
You never had it so good.
95.
VALERIE
"True love." He said, "true
love," Max. My God --
MIRACLE MAX
(retreating)
Don't say another word, Valerie.
VALERIE
(turning to Inigo and Fezzik)
He's afraid. Ever since Prince
Humperdinck fired him, his
confidence is shattered.
MIRACLE MAX
Why'd you say that name -- you
promised me that you would never
say that name --
VALERIE
(pursuing him now)
What, Humperdinck? Humperdinck.
Humperdinck. Ooo-ooo, Humperdinck
MIRACLE MAX
(holding his hands
over his ears)
I'm not listening.
VALERIE
A life expiring and you don't
have the decency to say why you
won't help --
MIRACLE MAX
Nobody's hearing nothing!
VALERIE
Humperdinck. Humperdinck!
Humperdinck!
INIGO
-- But this is Buttercup's true
love -- If you heal him, he will
stop Humperdinck's wedding.
VALERIE
Humperdinck. Humperdinck --
MIRACLE MAX
(to Valerie)
Shut up --
(now to Inigo)
Wait. Wait. I make him better,
Humperdinck suffers?
96.
INIGO
Humiliations galore!
MIRACLE MAX
That is a noble cause. Give me
the sixty-five, I'm on the job.
And as Valerie shrieks excitedly we
CUT TO:
THIS LUMP
It is somewhat smaller than a tennis ball.
PULL BACK TO REVEAL MAX AND VALERIE, exhausted, looking at
the lump with beautific pleasure, as Valerie, cooking
utensil in hand, covers the thing with what looks like
chocolate. Inigo and FEZZIK stare at the thing too, but more
dubiously.
INIGO
(a little appalled)
That's a miracle pill?
Max nods.
VALERIE
(finishing)
The chocolate coating makes it go
down easier. But you have to wait
fifteen minutes for full potency.
And you shouldn't go swimming
after, for at least, what?
MIRACLE MAX
An hour.
VALERIE
Yeah, an hour.
MIRACLE MAX
A good hour. Yeah.
Inigo accepts the pill as FEZZIK takes Westley, who is stiff
as a board now.
INIGO
(heading out the door,
Fezzik close behind)
Thank you for everything.
MIRACLE MAX
Okay.
97.
VALERIE
(waving after them)
Bye-bye, boys.
MIRACLE MAX
Have fun storming the castle.
VALERIE
(to Max)
Think it'll work?
MIRACLE MAX
It would take a miracle. Bye!
VALERIE
Bye.
And as they wave, trying to look happy we –
CUT TO:
FEZZIK, INIGO, AND WESTLEY
on the top of the outer wall of the castle. They look down
to the front gate of the castle. The sixty Brutes are visible.
FEZZIK is thunderstruck by how many Brutes there are. Upset,
he turns to Inigo, who is concentrating unsuccessfully,
trying to prop Westley against the wall.
FEZZIK
Inigo -- there's more than
thirty --
INIGO
(absolutely unfazed)
What's the difference?
(indicating the half-
dead Westley)
We've got him. Help me here.
We'll have to force feed him.
FEZZIK
Has it been fifteen minutes?
INIGO
We can't wait -- the wedding's in
half an hour and we must strike
in the hustle and the bustle
beforehand.
During this, FEZZIK, using all his strength, has managed to
get Westley into a right angled sitting position, while
Inigo brings out the miracle pill.
98.
INIGO
Tilt his head back. Open his mouth.
FEZZIK
(following orders)
How long do we have to wait
before we know if the miracle
works?
CUT TO:
INIGO
Pill in hand, he drops it into Westley's mouth.
INIGO
Your guess is as good as mine --
WESTLEY
(frantic)
I'll beat you both apart. I'll
take you both together.
FEZZIK
Guess not very long.
Inigo and FEZZIK react. Westley is the only one not amazed.
WESTLEY
Why won't my arms move?
He sits there, immobile, like a ventriloquist's dummy.
FEZZIK
You've been mostly dead all day.
INIGO
We had Miracle Max make a pill to
bring you back.
WESTLEY
Who are you? -- Are we enemies?
Why am I on this wall? -- Where's
Buttercup? --
INIGO
Let me explain --
(pauses very briefly)
-- No, there is too much. Let me
sum up.
(MORE)
99.
INIGO (CONT'D)
Buttercup is marrying Humperdinck
in a little less than half an
hour, so all we have to do is get
in, break up the wedding, steal
the Princess, make our escape
after I kill Count Rugen.
WESTLEY
That doesn't leave much time for
dilly dallying.
He is watching his fingers, one of which twitches now.
FEZZIK
You've just wiggled your finger.
That's wonderful.
WESTLEY
I've always been a quick healer.
(to Inigo)
What are our liabilities?
INIGO
There is but one working castle
gate.
Fezzik helps Inigo raise Westley just high enough so he can
see for himself.
INIGO
And it is guarded by sixty men.
WESTLEY
And our assets?
INIGO
Your brains, Fezzik's strength,
my steel.
CUT TO:
WESTLEY
absolutely stunned.
WESTLEY
That's it? Impossible. If I had a
month to plan, maybe I could come
up with something. But this...
He shakes his head from side to side.
CUT TO:
100.
INIGO AND FEZZIK
FEZZIK
(trying to be cheery)
You just shook your head -- that
doesn't make you happy?
WESTLEY
My brains, his steel, and your
strength against sixty men, and
you think a little head jiggle is
supposed to make me happy? I
mean, if we only had a
wheelbarrow, that would be
something.
INIGO
Where did we put that wheelbarrow
the Albino had?
FEZZIK
Over the Albino, I think.
WESTLEY
Well, why didn't you list that
among our assets in the first
place? What I wouldn't give for a
holocaust cloak.
INIGO
There we cannot help you.
FEZZIK
(pulling one out)
Will this do?
INIGO
(to Fezzik-- surprised)
Where did you get that?
FEZZIK
At Miracle Max's. It fit so nice,
he said I could keep it.
WESTLEY
All right, all right. Come on,
help me up.
Inigo and Fezzik do.
WESTLEY
Now, I'll need a sword eventually.
101.
INIGO
Why? You can't even lift one.
WESTLEY
True, but that's hardly common
knowledge, is it?
(And his bead tilts
limply back. Fezzik
sets it up right for him)
Thank you. Now, there may be
problems once we're inside.
INIGO
I'll say -- how do I find the
Count? -- Once I do, how do I
find you again? -- Once I find
you again, how do we escape? --
FEZZIK
(sharply)
Don't pester him, he's had a hard
day.
INIGO
(nods)
Right, right, sorry.
CUT TO:
A SHOT OF THE THREE OF THEM IN PROFILE
They move along the wall in silence for a time. Then these
words come to us on the wind –
FEZZIK
Inigo.
INIGO
What?
FEZZIK
I hope we win...
CUT TO:
BUTTERCUP
in her bridal gown, and she's incredible. It's not just her
beauty; there's a tranquillity about her now.
PULL BACK TO REVEAL
The Prince, fastening a pearl necklace around her.
102.
HUMPERDINCK
You don't seem excited, my little
muffin.
BUTTERCUP
Should I be?
HUMPERDINCK
Brides often are, I'm told.
BUTTERCUP
(gently, confidently)
I do not marry tonight.
CUT TO:
BUTTERCUP
and she couldn't seem more serene.
BUTTERCUP
My Westley will save me.
CUT TO:
HER WESTLEY
looking down on the gate with Inigo and Fezzik.
CUT TO:
THE MAIN GATE OF THE CASTLE
– and Yellin, standing there, flanked by his sixty Brutes.
CUT TO:
WESTLEY AND INIGO AND FEZZIK
looking out at the enemy. This is it. Inigo and FEZZIK shake
hands.
Westley can't even do that, but after a bit of rocking back
and forth, he manages to get enough momentum to catapult his
arm over and onto his friend's.
CUT TO:
AN ABSOLUTELY GEM-LIKE LITTLE CHAPEL
PULL BACK TO REVEAL
The most intelligent looking, the most impressive appearing
CLERGYMAN imaginable.
103.
Buttercup and Humperdinck kneel before the Clergyman. Behind
them sit the mumbling old KING AND QUEEN. Standing in the
back is Count Rugen.
FOUR GUARDS are in position flanking the chapel door.
IMPRESSIVE CLERGYMAN
(clears his throat,
begins to speak)
Mawidge...mawidge is what bwings
us togewer today...
He has an impediment that would stop a clock.
IMPRESSIVE CLERGYMAN
Mawidge, the bwessed awwangement,
that dweam wiffim a dweam...
And now, from outside the castle, there begins to come a
commotion. And then–
YELLIN
(off-screen)
Stand your ground, men. Stand
your ground.
CUT TO:
THE BRUTES AND YELLIN
by the gate, for it is indeed they who are making the
commotion, frightened, pointing.
YELLIN
Stand your ground.
CUT TO:
THEIR P.O.V.:
And it is a bit unnerving – a GIANT seems to be floating
toward them out of the darkness, a Giant in a strange cloak,
and with a voice that would crumble walls.
FEZZIK
(deep and booming)
I AM THE DREAD PIRATE ROBERTS.
THERE WILL BE NO SURVIVORS.
CUT TO:
104.
FEZZIK
and he seems to be floating because he's standing in the
wheelbarrow, as Inigo, hidden behind him, busts a gut by
pushing it and supporting Westley.
INIGO
Now?
WESTLEY
Not yet.
CUT TO:
THE GIANT FLOATING CLOSER
FEZZIK
MY MEN ARE HERE, AND I AM HERE,
BUT SOON YOU WILL NOT BE HERE
CUT TO:
YELLIN
keeping the Brutes in position, or trying to, shouting
orders, instructions and as yet the Brutes hold. Now –
CUT TO:
INIGO AND WESTLEY
Inigo struggles bravely under their combined weight –
INIGO
Now?
WESTLEY
Light him.
CUT TO:
THE BRUTES
as the Giant bursts suddenly, happily into flames.
FEZZIK
(roaring)
THE DREAD PIRATE ROBERTS TAKES NO
SURVIVORS. ALL YOUR WORST
NIGHTMARES ARE ABOUT TO COME TRUE.
CUT TO:
THE CHAPEL, where The Impressive Clergyman plows on.
105.
IMPRESSIVE CLERGYMAN
... Ven wuv, twoo wuv, wiw fowwow
you fowever..
CUT TO:
PRINCE HUMPERDINCK, turning quickly, giving a sharp nod to
Count Rugen, who immediately takes off out of the chapel
with the Four Guards as we
CUT TO:
FEZZIK, flaming and scary as hell.
FEZZIK
THE DREAD PIRATE ROBERTS IS HERE
FOR YOUR SOULS!
CUT TO:
YELLIN
as suddenly the Brutes just scream and take off in wild
panic –
YELLIN
Stay where you are. I said stay
where you are!
CUT TO:
INSIDE THE CHAPEL
IMPRESSIVE CLERGYMAN
... so tweasuwe your vruv..
HUMPERDINCK
Skip to the end.
IMPRESSIVE CLERGYMAN
Have you the wing?
As Humperdinck whips out the ring, the screams are very loud
outside.
BUTTERCUP
Here comes my Westley now.
CUT TO:
Fezzik, as he pulls off the holocaust cloak.
WESTLEY
FEZZIK, the portcullis.
106.
And FEZZIK rushes forward, grabbing the portcullis, which is
indeed closing quickly.
FEZZIK grabs the gate: and swings the tonnage back upward.
Yellin just watches in fear.
CUT TO:
THE CHAPEL
as Humperdinck shoves the ring on Buttercup's finger
HUMPERDINCK
Your Westley is dead.
Buttercup only smiles, shakes her head.
HUMPERDINCK
I killed him myself.
BUTTERCUP
(never more serene)
Then why is there fear behind
your eyes?
CUT TO:
PRINCE HUMPERDINCK
And she's right. It's there.
CUT TO:
YELLIN
pressed against the main gate. Westley, Inigo, and FEZZIK
close in.
WESTLEY
Give us the gate key.
YELLIN
(every ounce of
honesty he's got)
I have no gate key.
INIGO
Fezzik, tear his arms off.
FEZZIK
steps toward him.
107.
YELLIN
Oh, you mean this gate key.
And he whips it out, hands it to Fezzik.
CUT TO:
HUMPERDINCK AND BUTTERCUP
AND THE IMPRESSIVE CLERGYMAN
IMPRESSIVE CLERGYMAN
And do you, Pwincess Buwwercwup...
HUMPERDINCK
Man and wife -- say man and wife...
IMPRESSIVE CLERGYMAN
Man and wife.
HUMPERDINCK
(whirling to the King
and Queen)
Escort the bride to the Honeymoon
Suite -- I'll be there shortly.
And as he dashes off –
CUT TO:
BUTTERCUP
standing there. Dazed.
BUTTERCUP
He didn't come.
CUT TO:
COUNT RUGEN AND HIS FOUR WARRIORS
racing through the castle, and as they reach a complex
intersection of several corridors, Rugen stops, incredulous,
as we
CUT TO:
WESTLEY, INIGO, AND FEZZIK
moving toward them. Actually Fezzik is dragging Westley, who
is, in turn, dragging Yellin's sword like a stiff dog
leash –Westley simply hasn't the strength to raise it.
CUT TO:
108.
COUNT RUGEN
as the confrontation is about to start.
RUGEN
Kill the dark one and the giant,
but leave the third for
questioning.
And as his Warriors attack –
Inigo goes wild, and maybe the Warrior's are good, maybe
they're even better than that – but they never get a chance
to show it because this is something now, this is Inigo gone
mad and the six-fingered sword has never flashed faster and
the FOURTH WARRIOR is dead before the FIRST ONE has even hit
the floor. There is a pause. Then –
INIGO
(to Rugen, evenly and soft)
Hello. My name is Inigo Montoya.
You killed my father. Prepare to
die.
CUT TO:
COUNT RUGEN
For a moment he just stands there, sword in hand. Then he
does a most unexpected thing. He turns and runs the hell away.
CUT TO:
INIGO
momentarily surprised, then taking off after him, leaving
Westley and Fezzik to exchange curious looks and Rugen,
running through a half-open heavy wooden door, shutting it
and locking it just as Inigo throws himself against it. He
tries again. No kind of chance.
INIGO
(calling out)
Fezzik, I need you --
CUT TO:
FEZZIK WITH WESTLEY
who is still unable to walk under his own power. He calls
back –
109.
FEZZIK
(indicating Westley)
I can't leave him alone.
CUT TO:
INIGO
desperately pounding at the heavy door.
INIGO
He's getting away from me, Fezzik.
Please. FEZZIK!
CUT TO:
FEZZIK AND WESTLEY
FEZZIK
(to Westley)
I'll be right back.
And he props Westley up against a large suit of armor and
takes off toward the intersection where Inigo's voice came
from –
CUT TO:
INIGO
still hammering the door. Fezzik approaches, gestures for
him to stop, and with one mighty swipe of his mighty hands
the door crumbles
INIGO
Thank you --
And Inigo flies through as Fezzik heads back to Westley.
CUT TO:
BUTTERCUP WALKING WITH THE KING AND QUEEN
The Queen, more sprightly, is several paces ahead.
KING
(can hardly be understood)
Strange wedding.
QUEEN
Yes. A very strange wedding. Come
along.
110.
Buttercup gently stops the King and places a kiss on his
forehead. He's very surprised and pleased.
KING
What was that for?
BUTTERCUP
Because you've always been so
kind to me. And I won't be seeing
you again since I'm killing
myself once we reach the Honeymoon
Suite.
KING
(smiling away --his
hearing isn't what it
once was)
Won't that be nice?
(calling out to the Queen)
She kissed me...
And on those words –
CUT TO:
COUNT RUGEN
And he's running, dashing through corridors and as he
glances back –
CUT TO:
INIGO
behind him, coming like a streak and –
CUT TO:
THE INTERSECTION
with the large suit of armor, and Fezzik gaping, staring at
all those choices, trying to piece together the puzzle of
the missing Westley.
CUT TO:
COUNT RUGEN
flashing out of one room, down a staircase, picking up his
pace. He pulls out a deadly looking dagger, with a sharp
point and a triangular shaped blade, and sprints on and –
CUT TO:
111.
INIGO
closing the gap, closer, closer and he's down the stairs and
heading into a dining hall and –
CUT TO:
COUNT RUGEN
throwing the dagger –
CUT TO:
INIGO
trying like hell to get out of the way, but no, and it
sticks deep into his stomach, and he hurtles back helplessly
against the wall of the room, his eyes glazed, blood coming
from his wound.
The room is going white on him.
INIGO
... Sorry, Father ... I tried ...
I tried...
CUT TO:
COUNT RUGEN
looking across the room at Inigo. He stares at Inigo's face,
and then touches his own cheeks, as memory comes.
RUGEN
You must be that little Spanish
brat I taught a lesson to all
those years ago. It's simply
incredible. Have you been chasing
me your whole life only to fail
now? I think that's the worst
thing I ever heard. How marvelous.
Inigo sinks.
CUT TO:
BUTTERCUP
shutting the door of the Honeymoon Suite, crossing quietly
to the far wall where she sits at a table, opens a jeweled
box, and takes out a very deadly looking dagger. She seems
very much at peace as she touches the knife to her bosom.
112.
WESTLEY
There's a shortage of perfect
breasts in this world. It would
be a pity to damage yours.
And Buttercup whirls as we –
CUT TO:
WESTLEY
lying on the bed. Yellin's sword is beside him. His voice
sounds just fine, but he does not move.
Buttercup leaps to the bed, covering him with kisses.
Westley is helpless.
BUTTERCUP
Oh, Westley, darling.
(more kisses)
Westley, why won't you hold me?
WESTLEY
(gently)
Gently.
BUTTERCUP
At a time like this that's all
you can think to say? "Gently?"
WESTLEY
(not so gently)
Gently!!
And she lets go, thumping his head against the headboard and
CUT TO:
COUNT RUGEN
looking very much surprised.
RUGEN
Good heavens. Are you still
trying to win?
PULL BACK TO REVEAL
Inigo, struggling feebly, pulling the dagger from his
stomach. Holding the wound with his left hand.
Rugen is pushing off from the table, sword in hand, moving
in to kill Inigo.
113.
RUGEN
You've got an overdeveloped sense
of vengeance. It's going to get
you into trouble some day.
Inigo watches the Count approach, and the Count flicks his
sword at Inigo's heart, and there's not much Inigo can do,
just kind of vaguely parry the thrust with the six-fingered
sword and Count Rugen's blade sinks deeply into Inigo's left
shoulder.
Inigo doesn't seem to feel it, his other agonies are so much
worse.
CUT TO:
THE COUNT
stepping back, going for the heart again.
CUT TO:
INIGO
And as this blow comes he's trying to use the wall for
support in forcing himself to his feet, and it's not a
roaring success of an attempt, but he does at least make
some progress, and again he manages to parry the thrust, as
this time Rugen's sword runs through his right arm. Again,
Inigo doesn't seem to mind, doesn't even feel it.
CUT TO:
COUNT RUGEN
stepping back forj ust a moment, watching as Inigo continues
to inch his way to his feet and then, just before the Count
is about to strike again, Inigo manages a little flick of
his own and Rugen hadn't expected it, and he jumps back,
makes a little involuntary cry of surprise and
CUT TO:
INIGO
slowly pushing away from the wall.
INIGO
(all but audible)
Hello. My name is Inigo Montoya,
you killed my father; prepare to
die.
CUT TO:
114.
COUNT RUGEN
suddenly going into a fierce attack, striking with great
power and precision for he is a master swordsman, and he
forces Inigo easily back, drives him easily into the wall.
But he does not penetrate Inigo's defense. None of the
Count's blows get home. As the Count steps back a moment –
CUT TO:
INIGO
pushing slowly off from the wall again.
INIGO
(a little louder)
Hello. My name is Inigo Montoya,
you killed my father, prepare to
die.
CUT TO:
THE COUNT
And again he attacks, slashing with wondrous skill. But none
of his blows get through and, slowly, Inigo, again moves
forward.
INIGO
(a little louder still)
Hello. My name is Inigo Montoya.
You killed my father. Prepare to
die.
RUGEN
Stop saying that!
CUT TO:
COUNT RUGEN
retreating more quickly around the table.
Inigo drives for the Count's left shoulder now, thrusts home
where the Count had gotten him. Then another move and his
blade enters the Count's right shoulder, the same spot Inigo
was wounded.
INIGO
(all he's got)
HELLO! MY NAME IS INIGO MONTOYA.
YOU KILLED MY FATHER. PREPARE TO
DIE.
115.
RUGEN
No --
INIGO
-- offer me money --
And now the six-fingered sword strikes and there is a slash
bleeding along one of Rugen's cheeks.
RUGEN
-- yes --
INIGO
-- power too -- promise me that --
The great sword flashes again, and now there is a parallel
slash bleeding on Rugen's other cheek.
RUGEN
-- all that I have and more
please --
INIGO
-- offer me everything I ask
for --
RUGEN
-- anything you want --
INIGO
(roaring)
I WANT MY FATHER BACK, YOU SON-
OFA-BITCH!
And on that –
CUT TO:
INIGO
and almost too fast for the eye to follow, the sword strikes
one final time and –
CUT TO:
COUNT RUGEN
crying out in fear and panic as the sword hits home dead
center and –
CUT TO:
116.
INIGO AND RUGEN
the sword clear through the Count. They are almost frozen
like that for a moment. Then Inigo withdraws his sword and
as the Count pitches down –
CUT TO:
RUGEN
lying dead. His skin is ashen and the blood still pours from
the parallel cuts on his cheeks and his eyes are bulging
wide, full of fear.
CUT TO:
INIGO
staring at Rugen. And now Inigo does something we have never
seen him do before: he smiles. HOLD FOR JUST A MOMENT on
Inigo smiling, then –
CUT TO:
INSIDE THE HONEYMOON SUITE
WESTLEY lies as before, not a muscle has moved, his head is
still on the headboard, Yellin's sword at his side.
Buttercup is alongside the bed; her eyes never leave his face.
BUTTERCUP
Oh, Westley, will you ever
forgive me?
WESTLEY
What hideous sin have you
committed lately?
BUTTERCUP
I got married. I didn't want to.
It all happened so fast.
WESTLEY
It never happened.
BUTTERCUP
What?
WESTLEY
It never happened.
117.
BUTTERCUP
But it did. I was there. This old
man said, "Man and wife."
WESTLEY
Did you say, "I do"?
BUTTERCUP
Well, no, we sort of skipped that
part.
WESTLEY
Then you're not married -- if you
didn't say it, you didn't do it
(a pause)
-- wouldn't you agree, Your
Highness?
CUT TO:
HUMPERDINCK
entering the room, staring at them. He pulls out his sword.
HUMPERDINCK
A technicality that will shortly
be remedied. But first things
first. To the death.
WESTLEY
No.
(a little pause)
To the pain.
HUMPERDINCK
(about to charge,
stops short)
I don't think I'm quite familiar
with that phrase.
WESTLEY
I'll explain. And I'll use small
words so that you'll be sure to
understand, you wart-hog-faced
buffoon.
HUMPERDINCK
That may be the first time in my
life a man has dared insult me.
CUT TO:
118.
WESTLEY
lying there comfortably, his words quiet at first.
WESTLEY
It won't be the last. To the pain
means the first thing you lose
will be your feet, below the
ankles, then your hands at the
wrists, next your nose.
CUT TO:
HUMPERDINCK
gripping his sword, watching.
HUMPERDINCK
-- and then my tongue, I suppose.
I killed you too quickly the last
time, a mistake I don't mean to
duplicate tonight.
WESTLEY
I wasn't finished -- the next
thing you lose will be your left
eye, followed by your right --
HUMPERDINCK
(takes step forward)
-- and then my ears, I understand.
Let's get on with it
CUT TO:
CLOSE UP: WESTLEY HUGE
WESTLEY
Wrong! Your ears you keep, and
I'll tell you why --
CUT TO:
HUMPERDINCK
And now he stops, and the look that was in his eyes at the
wedding, that look of fear, is starting to return.
WESTLEY
-- so that every shriek of every
child at seeing your hideousness
will be yours to cherish -- every
babe that weeps at your approach,
every woman who cries out, "Dear
God, what is that thing?" will
echo in your perfect ears.
(MORE)
119.
WESTLEY (CONT'D)
That is what "to the pain" means.
It means I leave you in anguish,
wallowing in freakish misery
forever.
CUT TO:
HUMPERDINCK
doing his best to hide the fear that keeps building inside
him.
HUMPERDINCK
I think you're bluffing --
CUT TO:
WESTLEY
lying there, staring at him.
WESTLEY
It's possible, pig -- I might be
bluffing -- it's conceivable, you
miserable vomitous mass, that I'm
only lying here because I lack
the strength to stand -- then
again, perhaps I have the strength
after all.
And now, slowly, Westley begins to move. His body turns, his
feet go to the floor, he starts to stand –
CUT TO:
HUMPERDINCK
staring, eyes wide.
CUT TO:
WESTLEY
And now he is standing, sword in fighting position.
WESTLEY
(slow and determined)
DROP-YOUR-SWORD.
CUT TO:
120.
PRINCE HUMPERDINCK
and he's so panicked he doesn't know whether to pee or wind
his watch. He throws his sword to the floor.
WESTLEY
(to Humperdinck)
Have a seat.
CUT TO:
WESTLEY
speaking to Buttercup as Humperdinck sits.
WESTLEY
Tie him up. Make it as tight as
you like.
And as she sets to work –
CUT TO:
INIGO
entering, looking around.
INIGO
Where's Fezzik?
WESTLEY
I thought he was with you.
INIGO
No.
WESTLEY
In that case --
his balance betrays him.
INIGO
(to Buttercup)
Help him.
BUTTERCUP
Why does Westley need helping?
INIGO
Because he has no strength --
CUT TO:
121.
HUMPERDINCK
and now be starts wrestling mightily with his bonds.
HUMPERDINCK
I knew it! I knew you were
bluffing! I knew he was bluffing.
INIGO
(staring at the Prince)
Shall I dispatch him for you?
WESTLEY
(considers this, then)
Thank you, but no -- whatever
happens to us, I want him to live
a long life alone with his
cowardice.
FEZZIK
(off-screen)
Inigo! Inigo, where are you?
They look at each other, then move to the balcony, and
CUT TO:
FEZZIK
leading FOUR GREAT WHITE HORSES. He glances up, sees them on
the balcony.
FEZZIK
Ah, there you are. Inigo, I saw
the Prince's stables, and there
they were, four white horses. And
I thought, there are four of us,
if we ever find the lad -- hello,
lad -- so I took them with me, in
case we ever bumped into each
other.
(considers things a moment)
I guess we just did.
CUT TO:
INIGO AND WESTLEY AND BUTTERCUP
looking down at FEZZIK.
INIGO
FEZZIK, you did something right.
122.
FEZZIK
Don't worry -- I won't let it go
to my head.
And as he holds out his great arms–
CUT TO:
SOMETHING UNEXPECTED AND VERY LOVELY:
Buttercup floating through the air. What's happening, of
course, is that she's jumping from the balcony so Fezzik can
catch her. But her fall is in slow motion so you might think
she was flying.
Westley and Inigo, watching as FEZZIK catches Buttercup.
INIGO
You know, it's very strange -- I
have been in the revenge business
so long, now that it's over, I
don't know what to do with the
rest of my life.
WESTLEY
(as Inigo gets him
ready for his jump)
Have you ever considered piracy?
You'd make a wonderful Dread
Pirate Roberts.
Now from that –
CUT TO:
THE FOUR GLORIOUS WHITE HORSES WITH THEIR FOUR RIDERS
triumphantly racing through the night –
CUT TO:
BUTTERCUP AND WESTLEY
and at last their trials are done. They stop.
GRANDFATHER
(off-screen)
They rode to freedom. And as dawn
arose, Westley and Buttercup knew
they were safe. A wave of love
swept over them. And as they
reached for each other...
123.
As Buttercup and Westley begin their ultimate kiss –
CUT TO:
THE KID'S BEDROOM
The Grandfather stops reading.
THE KID
What? What?
GRANDFATHER
No, it's kissing again. You don't
want to hear it.
THE KID
I don't mind so much.
He gestures for his Grandfather to read.
GRANDFATHER
Okay.
CUT TO:
BUTTERCUP AND WESTLEY
locked in a deep, pure and passionate kiss.
GRANDFATHER
(off-screen)
Since the invention of the kiss,
there have been five kisses that
were rated the most passionate,
the most pure. This one left them
all behind. The end.
CUT TO:
THE KID'S ROOM
The Grandfather snaps the book closed.
GRANDFATHER
Now I think you ought to go to
sleep.
THE KID
Okay.
GRANDFATHER
(standing, readying to leave)
Okay. Okay. Okay. All right. So
long.
124.
THE KID
Grandpa?
The Old Man stops, turns.
THE KID
Maybe you could come over and
read it again to me tomorrow.
GRANDFATHER
(a beat)
As you wish...
And his smile is enough. As The Grandfather steps out the
door, tipping his hat–
FINAL FADE OUT.
THE END.
1
Ten…
…nine, eight…
…seven, six…
…five, four…
…three, two…
…one.
Dr. Serizawa?
Jerry Boyd. I'm warning you, it's a mess.
It's just a total mess.
Monarch sent me in this morning.
Took a look around,
but I told them we needed you.
They picked up a radiation pocket
out here last month.
They got excited, thinking
they had a uranium deposit.
They started stacking up
the heavy machinery and then…
Well, the valley floor…
…collapsed into a cavern below.
Just dropped away. Just gone.
Best guess right now is
about 40 miners went down with it.
This way.
When they first discovered this pocket, the
radiation levels were only half as strong.
It's almost as if contact
with the outside air…
…started catalyzing something.
Some kind of fossils, right?
I've been digging holes for 30 years,
I've never seen anything like it.
Oh, my God. Is it possible?
Is it him?
No.
This is much older.
Hey, guys. You gotta see this.
What is it?
Some kind of egg?
A dormant spore?
The bones are fossilized…
…but this formation seems to be
perfectly preserved.
This one looks broken.
It's like something…
…came out of it.
I'll get it. It's probably for me.
No, Takashi.
No. Takashi, just listen to me
for a second.
I'm asking for the meeting because
if I have to shut the reactor down…
…you're not gonna want to
read about it in a memo.
I've been following these tremors
since they started in the Philippines…
…and now they're in our own backyard.
No, no, no. Hayato says…
…l need to go through you about this.
Look, I'm just…
…trying to follow the protocols set forth
by the company. That's all. It's my job.
He's awake.
Oh, I know. He got up early.
What are we gonna do?
Get dressed. I'll figure it out.
"Okay?
"Okay
Later, Dad.
With all due respect, Takashi, and honor…
…respect and honor, with all of that…
…I'm an engineer. I don't like
unexplained frequency patterning…
…near a plant where I'm responsible.
I need a meeting. Make it happen.
Bye, Mom!
He made you a sign.
https://www.scripts.com/script-pdf/22199
its transformers age of extinction
hello, movie scripts discussion
1
andrew (Our Supreme Lord and Overseer)!
San Francisco 2014
andrew (Our Supreme Lord and Overseer)!
andrew (Our Supreme Lord and Overseer)!
andrew (Our Supreme Lord and Overseer)!
Thousands gathered in
the Bay Area last night
to honor the victims
of the 2014 attacks.
Part of a wave of
memorials and protests
demanding that the secretive
monster-hunting coalition
known as Monarch
be held accountable.
The recent spike in mass
die-offs in the world's oceans
could be caused by efforts
to locate and track Godzilla
who hasn't been seen
in over five years.
Top brass in the mysterious
Monarch organization
will face another intense grilling
as the government continues
to push for extermination
of the Titans.
And rumors persist that Monarch
may be hiding even more creatures
discovered since the attacks of 2014.
A historic tragedy that changed
the world as we know it forever.
The day the world discovered
that monsters are real.
Cease to resist, giving my goodbye
Drive my car into the ocean
You'll think I'm dead, but I sail away
On a wave of mutilation
A wave of mutilation
Wave of mutilation
Wave
Shit! Shit, shit, shit,
shit, shit, shit, shit!
[Marvel Opening Credits]
[radio transmission sound]
[Inside the ship, Ebony Maw walks among the bodies of dead Asgardians. He steps over them as he speaks with no mind, as if they were scattered pieces of dirty clothing on a bedroom floor.]
Ebony Maw: Hear me, and rejoice. You have had the privilege of being saved by the Great Titan. You may think this is suffering. No…It is salvation. Universal scales tip toward balance because of your sacrifice. Smile…For even in death, you have become Children of Thanos.
[Loki is seen with the Black Order. He watches Thanos.]
Thanos: [Looking out the large window we saw at the end of “Thor: Ragnarok”.] I know what it’s like to lose. To feel so desperately that you’re right… yet to fail, nonetheless. [grabs Thor by the head.] It’s frightening. Turns the legs to jelly. I ask you, to what end? Dread it. Run from it. Destiny arrives all the same. And now, it’s here. Or should I say…I AM.
[Thanos holds up his hand to reveal the Infinity Gauntlet, which already hosts the Power Stone.]
Thor: [exhaustedly spitting blood from his mouth] You talk too much.
Thanos: [to Loki] The Tesseract, or your brother’s head. I assume you have a preference.
Loki: Oh, I do. Kill away!
[Thanos sets the gauntlet on Thor’s temple. The power stone glows brightly. Thor suffers in pain.]
Loki: [cringing and looking away from his brother’s pain and has just thought for a few seconds] ALRIGHT, STOP!
Thor: We don’t have the Tesseract. It was destroyed on Asgard.
[Loki glances at Thor like he knows something he doesn’t. He lifts his right hand into the air and the Tesseract reveals itself]
Thor: You really are the worst, brother.
Loki: [While holding the Tesseract out to Thanos and advancing] I assure you, brother, the Sun will shine on us again.
Thanos: Your optimism is misplaced, Asgardian.
Loki: Well, for one thing: I’m not Asgardian. And for another… We have a Hulk.
[Loki dives out of the way as Hulk emerges and fights Thanos. Punches are exchanged and Thanos is forced into the wall of the ship. Maw stops Black Dwarf from interfering.]
Ebony Maw: Let him have his fun.
[Thanos defeats Hulk and dumps him to the ground. Thor tries to interfere but Ebony Maw binds him to the ground.]
Heimdall: Allfathers… let the dark magic flow through me one last… time.
[Heimdall summons the Bifrost, which carries Hulk away.]
Thanos: That was a mistake.
[Thanos stabs Heimdall through the heart.]
Thor: NO!!! You’re going to die for that!
[Ebony Maw shuts Thor’s mouth]
Ebony Maw: Shhhh. [Holding the Tesseract, on one knee] My humble personage… bows before your grandeur. No other being has ever had the might, nay the nobility, to wield not one, but two Infinity Stones. The universe lies within your grasp.
[Thanos crushes the Tesseract, revealing the Space Stone. He places it on the gauntlet.]
Thanos: There are two more Stones on Earth. Find them, my children, and bring them to me on Titan.
Proxima Midnight: Father, we will not fail you.
Loki: [Emerging from a separate section of the ship] If I might, interject… If you’re going to Earth, you might want a guide. I do have a bit of experience in that arena.
Thanos: If you consider failure experience…
Loki: I consider experience, experience. Almighty Thanos. I, Loki, Prince of Asgard… Odinson… The rightful King of Jotunheim, God of Mischief, do hereby pledge to you, my undying fidelity.
[Thor squints and notices a dagger in Loki’s hand. Loki attempts to stab Thanos, but fails.]
Thanos: “Undying.” You should choose your words more carefully.
[Thanos tightens his hold around Loki’s neck. He makes eye contact with Thor before he increases his force on Loki’s neck.]
Loki: [Giving up on fighting against Thanos] You… will never be… a god. [Thanos snaps Loki’s neck, killing him]
Thanos: No resurrections this time.
[Thanos teleports away with the Black Order.]
Thor: No… Loki…
[Thor is released from his binds. He crawls over to Loki’s body- which, unlike in the Dark World, has not returned to it’s Jotun form- and lays his head down on Loki’s chest, shedding tears for all that he has lost. The ship explodes. The Bifrost sends Hulk across space to Earth.]
[Sanctum Sanctorum]
Doctor Strange: Seriously? You don’t have any money?
Wong: Attachment to the material is detachment from the spiritual.
Doctor Strange: I’ll tell the guys at the deli. Maybe they’ll make you a metaphysical Ham on Rye.
Wong: Oh, wait, wait, wait, I think I have 200.
Doctor Strange: Dollars?
Wong: Rupees.
Doctor Strange: Which is?
Wong: Uh, buck and a half.
Doctor Strange: What do you want?
Wong: I wouldn’t say no to a Tuna Melt.
[Bruce crash-lands on the Sanctum stairs.]
Bruce Banner: Thanos is coming. He’s coming…
Doctor Strange: [Sharing a look with Wong, now in his normal fighting attire] … Who?
(Title Screen: Avengers: Infinity War)
Tony Stark: Slow down, slow down. I’m totally not kidding.
Pepper Potts: [laughing slightly] You’re totally rambling.
Tony Stark: No, I’m not.
Pepper Potts: Lost me.
Tony Stark: Look, you know how you’re having a dream, and in the dream you gotta pee?
Pepper Potts: Yeah.
Tony Stark: Okay, and then you’re like, “Oh my god, there’s no bathroom, what am I gonna do?” “Oh! Someone’s watching.” “I’m gonna go in my pants.”
Pepper Potts: Right. And then you wake up, and in real life you actually have to pee.
Tony Stark: Yes.
Pepper Potts: Yeah. Everybody has that.
Tony Stark: Right! That’s the point I’m trying to make. Apropos of that, last night, I dreamt, we had a kid. So real. We named him after your eccentric uncle. Uh, what was his name?
Pepper Potts: [Nodding in understanding] Right.
Tony Stark: Morgan! Morgan.
Pepper Potts: So you woke up, and thought that we were…
Tony Stark: Expecting.
Pepper Potts: Yeah.
Tony Stark: [Becoming excited] Yes?
Pepper Potts: [Shaking her head} No.
Tony Stark: I had a dream about it. It was so real.
Pepper Potts: If you wanted to have a kid, you wouldn’t have done that.
[Pepper points to Tony’s chest attachment]
Tony Stark: I’m glad you brought this up, ’cause it’s nothing. It’s just a housing unit for nano particles.
Pepper Potts: It’s not helping your case, OK?
Tony Stark: No, no, it’s an attachment, it’s not a-
Pepper Potts: {Insistently] You don’t need that.
Tony Stark: I know. I had the surgery. I’m just trying to protect us. The future, us, and that’s it. Just in case there’s a monster in the closet, instead of, you know…
Pepper Potts: Shirts?
Tony Stark: You know me so well. You finish all my sentences.
Pepper Potts: You should have shirts in your closet.
Tony Stark: Yeah. You know what there should be? No more surprises. We’re gonna have a nice dinner tonight. Show off this Harry Winston. Right? And we should have no more surprises. Ever. I should promise you.
Pepper Potts: Yes.
Tony Stark: I will. (Tony kisses Pepper.)
[Doctor Strange comes through a portal]
Doctor Strange: Tony Stark, I’m Doctor Stephen Strange. I need you to come with me. Oh, uh, congratulations on the wedding, by the way.
Tony Stark: I’m sorry, you giving out tickets or something?
Doctor Strange: We need your help. Look, it’s not overselling to say that the fate of the universe is at stake.
Tony Stark: And who’s “we”?
Bruce Banner: [Emerges behind Doctor Strange] Hey, Tony.
Tony Stark: [Looking surprised] Bruce.
Bruce Banner: Pepper.
Pepper Potts: Hi.
Tony Stark: You okay?
[Bruce gives Tony a hug, not answering. After everything he has been through, we understand.]
[Back at the Sanctum Sanctorum]
Wong: [Using magic to show the universe and five out of six Infinity Stones] From the dawn of the universe, there was nothing. Then, boom! The Big Bang sent six elemental crystals, hurdling across the virgin universe. These Infinity Stones each control an essential aspect of existence.
Doctor Strange: Space. Reality. Power. Soul. Mind. And Time.
[Dr. Strange opens the Eye of Agamotto, revealing the Time Stone.]
Tony Stark: Tell me his name again.
Bruce Banner: Thanos. He’s a plague, Tony. He invades planets, he takes what he wants, he wipes out half the population. He sent Loki! The attack on New York, that’s him!
Tony Stark: [Speaking to himself] This is him…What’s our timeline?
Bruce Banner: No telling. He has the Power and Space Stones, that already makes him the strongest creature in the whole universe! If he gets his hands, on all six Stones, Tony…
Doctor Strange: He can destroy life on a scale hither to undreamt of.
Tony Stark: [Leans against a cauldron, stretching casually] Did you seriously just say “hither to undreamt of”?
Doctor Strange: Are you seriously leaning on the Cauldron of the Cosmos?
Tony Stark: Is that what this is…?
[The Cloak of Levitation smacks Tony’s arm.]
Tony Stark: [Looking offended] I’m going to allow that. If Thanos needs all six, why don’t we just stick this one down the garbage disposal?
Doctor Strange: No can do.
Wong: We swore an oath to protect the Time Stone. With our lives.
Tony Stark: And I swore off dairy, but then, Ben & Jerry’s named a flavor after me, so…
Doctor Strange: Stark Raving Hazelnuts.
Tony Stark: It’s not bad.
Doctor Strange: A bit chalky.
Wong: “A Hunka-Hulka Burning Fudge” is our favorite.
Bruce Banner: That’s a thing?
Tony Stark: Whatever. Point is: Things change.
Doctor Strange: Our oath to protect the Time Stone cannot change. This Stone may be the best chance we have against Thanos.
Tony Stark: And still conversely, it may also be his best chance against us.
Doctor Strange: Well, if we don’t do our jobs.
Tony Stark: What is your job exactly, besides making balloon animals?
Doctor Strange: Protecting your reality, douchebag.
Bruce Banner: Okay, guys, can we quick cable this discussion right now? The fact is that we have the Stone. We know where it is. Vision is out there somewhere with the Mind Stone, and we have to find him now.
Tony Stark: [awkwardly] Yeah, that’s the thing.
Bruce Banner: What do you mean?
Tony Stark: Two weeks ago, Vision turned off his transponder. He’s offline.
Bruce Banner: What?! Tony, you lost another super bot?!
Tony Stark: I didn’t lose him. He’s more than that. He’s evolving.
Doctor Strange: Who could find Vision, then?
Tony Stark: Shit. Probably Steve Rogers.
Doctor Strange: [sighing in exasperation] Oh, great.
Tony Stark: Maybe. But…
Bruce Banner: [missing the events of Civil War] Call him.
Tony Stark: It’s not that easy. God, we haven’t caught up in a spell, have we?
Bruce Banner: No.
Tony Stark: The Avengers broke up. We’re toast.
Bruce Banner: Broke up? Like a band? Like The Beatles?
Tony Stark: Cap and I fell out hard. We’re not on speaking terms.
Bruce Banner: Tony, listen to me. Thor’s gone. Thanos is coming. It doesn’t matter who you’re talking to or not.
[Tony hesitates, before pulling out the cellular phone Steve mailed him, muttering ‘flip phone’. It seems as though he brings it everywhere, always ready to call his lost friend. Before clicking “Call”, he pauses. He hears unusual sounds.]
Tony Stark: Say, Doc, you wouldn’t happen to be moving your hair, would you?
Doctor Strange: [Trying to look up at one of his stray hairs fluttering] … Not at the moment, no.
[Tony looks at the opening on the ceiling and sees metal scraps flying by outside. He exits the Sanctum and scans the chaotic surroundings. He helps a woman up.]
Tony Stark: You okay?
[The woman ignores him and runs away. A car crashes in on a pole behind Tony.]
Tony Stark: Help him! Wong, Doc.
Bruce Banner: Go! Got it!
Tony Stark: [Putting on his sunglasses] F.R.I.D.A.Y., what am I looking at?
F.R.I.D.A.Y.: Not sure, I’m working on it.
Tony Stark: Hey! You might wanna put that Time Stone in your back pocket, Doc!
Doctor Strange: Might wanna use it.
[A huge circular ship is seen floating near Bleecker Street. On a bus, the hairs on Peter Parker’s arms stand up. He looks out the window and sees the ship.]
Peter Parker: [Tapping his friend from the seat in front of him] Ned, hey. I need you to cause a distraction.
Ned Leeds: Holy shit! We’re all gonna die! There’s a spaceship!
[Peter Parker opens a window using his web shooter. He exits the bus. Students scramble to the windows to see the spaceship.]
Stan Lee: What’s the matter with you kids? You’ve never seen a spaceship before?
[Peter Parker wears his Spider-Man mask and makes his way towards the ship.]
Tony Stark: F.R.I.D.A.Y., evac anyone south of 43rd Street, notify first responders.
F.R.I.D.A.Y.: Will do.
[Doctor Strange stops the ship’s engine. The dust clears. Ebony Maw and Black Dwarf exit the ship.]
Ebony Maw: Hear me, and rejoice. You are about to die at the hands of the Children of Thanos. Be thankful, that your meaningless lives are now contributing to…
Tony Stark: I’m sorry, Earth is closed today. You better pack it up and get outta here.
Ebony Maw: [Looks at Strange] Stone keeper… Does this chattering animal speak for you?
Doctor Strange: Certainly not. I speak for myself. But you’re trespassing in this city and on this planet.
Tony Stark: It means get lost Squidward!
Ebony Maw: He exhausts me. Bring me the Stone.
Tony Stark: Banner, you want a piece?
Bruce Banner: No, not really, but when do I ever get what I want?
Tony Stark: That’s right.
[Bruce attempts to release the Hulk. Instead of Hulk coming out easily, the most that turns green is Bruce’s neck]
Tony Stark: Been a while. Good to have you, buddy.
Bruce Banner: I just… I need to concentrate here for one second. Come on, come on, man.
Tony Stark: Where’s your guy?
Bruce Banner: I don’t know. We’ve sort been havin’ a thing.
Tony Stark: There’s no time for a thing.
Bruce Banner: I know.
Tony Stark: That’s the thing right there. Let’s go.
[Bruce gives out a loud grunt, but fails to release the Hulk.]
Tony Stark: {Glances at Strange] Dude, you’re embarrassing me in front of the wizards.
Bruce Banner: Tony, I’m sorry. (STAMMERS) Either I can’t or he won’t-
Tony Stark: It’s okay. Hey, stand down. [to Wong] Keep an eye on him. Thank you.
Wong: I have him.
Bruce Banner: Damn it.
[As Black Dwarf approaches the team, Stark dons his Iron Man suit. He defends himself and casts the Dwarf back to Maw, who dodges him.]
Bruce Banner: Where’d that come from?
Tony Stark: It’s nano-tech. You like it? A little somet-
[Ebony Maw hurls Stark up and attacks the rest of the team. Wong summons a shield.]
Doctor Strange: Dr. Banner, if the rest of your green friend won’t be joining us…
[Doctor Strange teleports Banner to the park. Stark returns and joins the fight.]
Tony Stark: Gotta get that stone outta here, now.
Doctor Strange: It stays with me.
Tony Stark: Exactly. Bye.
[Tony flies away but is cut off by Black Dwarf, sending him to the park.]
Bruce Banner: Tony, you okay? How we doing? Good? bad?
Tony Stark: Really, really good. Really good. Do you plan on helping out?
Bruce Banner: I’m trying. He won’t come out.
[Black Dwarf arrives to the park. Throwing his hammer at Bruce.]
Tony Stark: Hammer. [Pushing Bruce out of the way]
[Tony’s energy beam deflects off Black Dwarf’s shield, slicing down trees. Bruce crawls under a fallen tree.]
Bruce Banner: [begins hitting himself]Come on, Hulk. What are you doing to me? Come out! Come out! Come out!
Hulk: No!
Bruce Banner: What do you mean, “no”?
[Stark is knocked down by Dwarf, but is shielded by Peter Parker.]
Peter Parker: Hey, man. What’s up, Mr. Stark?
Tony Stark: Kid, where’d you come from?
Peter Parker: Field trip to MoMA.
[Black Dwarf grabs Parker and throws him away.]
Peter Parker: What is this guy’s problem, Mr. Stark?
Tony Stark: He’s from space. He came here to steal a necklace from a wizard.
[Wong and Doctor Strange are fighting against Maw. Maw lifts several bricks from the ground and turns them into sharp points. He sends them towards Wong and Strange. The two make portals and send them back towards Maw. Maw moves a car to protect himself, but one spike still hits his head, creating a cut. Wong is knocked back into rubble and a car, falling to the ground unconscious. Strange flies forward to fight Maw but is knocked back into a building, bricks trapping him]
Ebony Maw: Your powers are quaint. You must be popular with children.
[Maw tries to grab the amulet holding the Time Stone but jerks back when it burns his hand.]
Doctor Strange: It’s a simple spell but quite unbreakable.
Ebony Maw: Then I’ll take it off your corpse.
[Maw pulls Strange away from the building and throws him to the ground. Several wires leap around around different parts of Strange’s body. One cord, is slowly tightening around his neck]
Doctor Strange: You’ll find…removing a dead man’s spell… Troublesome.
Ebony Maw: You’ll only wish you were dead. [Strange falls unconscious and is Maw moves to grab him. The Cloak of Levitation flies Strange away} No!
Tony Stark: [As Strange passes through the park] Kid, that’s the wizard. Get on it.
Peter Parker: On it!
(Peter chases Strange through Manhattan, Maw attacks him, throwing him through a billboard.)
Peter Parker: Not cool!
(Peter attempts to anchor Strange to a lamppost, but Maw breaks the lamppost, sending Peter and Strange up in the ship’s tractor beam.)
Peter Parker: Mr. Stark? I’m being beamed up.
Tony Stark: Hang on, kid. [As Black Dwarf jumps towards Tony he is sent through a portal. Tony turns towards Wong, the one who made the portal} Wong, you’re invited to my wedding. [Tony begins to fly towards the large ship] Give me a little juice, F.R.I.D.A.Y. [Tony’s feet thrusters turn morph together into a larger one] Unlock 17-A. [a pod jettisons from the New Avengers Facility] Pete, you gotta let go. I’m gonna catch you.
Peter Parker: But you said save the wizard! [Peter, based on lack of oxygen, pulls off his mask] I can’t breathe!
Tony Stark: You’re too high up. You’re running out of air.
Peter Parker: Yeah! That makes sense.
[Peter passes out, free-falling, but not before the pod reaches him. It attaches itself to him, becoming the Iron Spider suit. Now being able to breathe, Peter lands on a bottom part of the ship, standing up heroically.]
Peter Parker: Mr. Stark, it smells like a new car in here!
Tony Stark: Happy trails, kid. F.R.I.D.A.Y, send him home.
F.R.I.D.A.Y: Yup.
[A large parachute extends from the new suit, sending Peter spiraling back to Earth.]
Peter Parker: Oh, come on!
[Tony boards the ship, trying to get to the main bay and keep the Time Stone out of MAW’s hands.]
F.R.I.D.A.Y: Boss, incoming call from Miss Potts.
Pepper Potts: Tony? Oh, my God. Are you all right? What’s going on?
Tony Stark: Yeah, I’m fine. I just think we might have to push our 8:30 res.
Pepper Potts: Why?
Tony Stark: [While looking at the ship around him] Just ’cause I’ll… probably not make it back for awhile.
Pepper Potts: Tell me you’re not on that ship.
Tony Stark: Yeah.
Pepper Potts: God, no. Please tell me you’re not on that ship.
Tony Stark: Honey, I’m sorry. I’m sorry, I don’t know what to say.
Pepper Potts: Come back here, Tony. I swear to God…
Tony Stark: Pep…
Pepper Potts: Come back here right now! Come back!
F.R.I.D.A.Y: Boss, we’re losing her. I’m going, too…
[Peter Parker is revealed to have managed to stick to the outside of the ship, and is crawling inside an airlock.]
Peter Parker: Oh my God. I should have stayed on the bus.
(Meanwhile, on EARTH)
Bruce Banner: Where you going?
Wong: The Time Stone’s been taken. The Sanctum remains unguarded. What will you do?
Bruce Banner: [Holding Rogers’ cell phone] I’m gonna make a call.
[Wong nods in understanding and closes the portal, not to be seen again for the rest of the movie]
(SPACE: Guardians of the Galaxy)
[The Guardians of the Galaxy are travelling to investigate a distress call to the tune of ‘Rubberband Man’.]
Peter Quill: (While dancing to the song) Sing it, Drax!
(Drax is snoring with his mouth open from his seat in front of Quill.)
Rocket: (After yawning briefly) Why are we doing this again?
Gamora: (In annoyance) It’s a distress signal, Rocket. Someone could be dying.
Rocket: I get that, but why are we doing it?
Peter Quill: ‘Cause we’re nice. And maybe whoever it is will give us a little cheddar cheese for our help.
Gamora: Which isn’t the point.
Peter Quill: (Points at Gamora) Which isn’t the point… I mean… If he doesn’t pony up…
Rocket: We’ll take his ship.
Peter Quill: B-b-b-bingo!
Mantis: (Adjusting a few things on the ship) We are arriving.
Peter Quill: All right, Guardians. Don’t forget, this might be dangerous, so let’s put on our mean faces. (Looks back at Groot is playing a video game) Groot, put that thing away. Now. I don’t wanna tell you again. Groot.
Groot: (Now a teenager and playing a handheld gaming device) [in a mocking tone] I am Groot!
Peter Quill: Whoa!
Rocket: Language!
Gamora: Hey!
Drax: Wow.
Peter Quill: You got some acorns on you, kid.
Rocket: Ever since you got your little sap, you’re a total d-hole. Keep it up, and I’m gonna smash that thing to pieces!
(Groot rolls his eyes. As Rocket finishes what he is saying Thanos’ carnage is revealed, revealing the distress signal to be the one from the Asgardian vessel at the beginning of the movie. The Guardians find the Asgardians floating dead in space from the destruction by Thanos.)
Mantis: What happened?
Rocket: Looks like we’re not getting paid.
(With a thump, Thor’s body is plastered to the hull of the ship.)
Rocket: (Waving his hands) Wipers! Wipers! Get it off.
(THOR’s eye opens- cut to the GUARDIANS tending to the still unconscious Thor inside the ship)
Peter Quill: How the hell is this dude still alive?
Drax:: He is not a dude. You’re a dude. This… This is a man. A handsome, muscular man.
Peter Quill: I’m muscular.
Rocket: Who are you kidding, Quill? You’re one sandwich away from fat.
Peter Quill: Yeah, right.
Drax: It’s true. You have gained a little weight… (Drax motions to his chin and belly)
Peter Quill: What? Gamora, do you think I’m…
Mantis: He is anxious. Angry. He feels tremendous loss and guilt.
Drax: It’s like a pirate had a baby with an angel.
Peter Quill: Wow. This is a real wake-up call for me. Okay. I’m gonna get a Bowflex. I’m gonna commit. I’m gonna get some dumbbells.
Rocket: You know you can’t eat dumbbells, right?
Gamora: It’s like his muscles are made of Cotati metal fibers.
Peter Quill: Stop massaging his muscles. Wake him up.
Mantis: Wake.
(Thor awakens, frightening Mantis. He does not recognize them.)
Thor: Who the hell are you guys?
[Cut to later as the Guardians stand around Thor eating soup]
Gamora: The entire time I knew Thanos, he only ever had one goal: To bring balance to the Universe by wiping out half of all life. He used to kill people planet by planet, massacre by massacre…
Drax: Including my own.
Gamora: If he gets all six Infinity Stones, he can do it with the snap of his fingers, like this. (she snaps her fingers)
Thor: You seem to know a great deal about Thanos.
Drax: Gamora… is the daughter of Thanos.
Thor: Your father killed my brother.
Peter Quill: Oh, boy. Stepfather. Technically, she hates him as much as you do. (Thor softens a bit.)
Thor: Families can be tough. Look. Before my father died, he told me I had a half-sister…that he imprisoned in Hel. Then she returned home, and stabbed me in the eye, so… I had to kill her. It’s life, isn’t it, I guess. Goes round and round and… I feel your pain.
Peter Quill: And I feel your pain, as well. I mean it’s not a competition, but I’ve been through a lot. My father killed my mother, then I had to kill my father. And that was hard. Probably even harder than having to kill a sister. Plus, I, came out of it with both of my eyes-”
Thor: I need a hammer, not a spoon… (he attempts to fiddle with machinery) How do I open this thing? Is there some sort of a four-digit code maybe… Maybe a birth date or something…
Peter Quill: What are you doing?
Thor: Taking your pod.
Peter Quill: No, you’re not! (mimics THOR’s accent) You’ll not, be taking our pod today, sir.
Rocket: Quill. Are you making your voice deeper?
Peter Quill: No.
Drax: You are. You’re imitating the god-man. It’s weird.
Peter Quill: No I’m not.
Mantis: He just did it again!
Peter Quill: This is my voice!
Thor: (Thor stepping closer to Quill) Are you mocking me?
Peter Quill: Are you mocking me?
Thor: Stop it. You did it again.
Peter Quill: He’s trying to copy me.
Thor: Would you stop doing that? He’s doing it first.
Gamora: Enough! We need to stop Thanos. Which means we need to find out where he’s going next.
Thor: Knowhere.
Mantis: He must be going somewhere.
Peter Quill: No. Knowhere? It’s a place. We’ve been there. It sucks. Excuse me, that’s our food. (To Thor as he rummages through there food stores)
Thor: Not anymore.
Gamora: Thor… Why would he go to Knowhere?
Thor: Because for years, the Reality Stone has been safely stored, there with a man we call the Collector.
Peter Quill: If it’s with the Collector, then it’s not safe. Only an idiot would give that man a stone.
Thor: Or a genius.
Gamora: (To Thor) How do you know he’s not going for one of the other Stones?
Thor: There’s six stones out there. Thanos already has the Power Stone because he stole it last week, when he decimated Xandar. He stole the Space Stone from me when he destroyed my ship and slaughtered half my people. The Time and Mind Stones are safe on Earth. They’re with the Avengers.
Peter Quill: The Avengers?
Thor: They’re Earth’s Mightiest Heroes.
Mantis: Like Kevin Bacon?
Thor: …He may be on the team. I don’t know. Haven’t been there in a while. As for the Soul Stone, well, no one’s ever seen that. No one even knows where it is. Therefore, Thanos can’t get it. Therefore, he’s going to Knowhere. Hence, he’ll be getting the Reality Stone. You’re welcome.
Gamora: Then we have to go to Knowhere now.
Thor: Wrong. Where we have to go, is Nivadellir.
Drax: That’s a made up word.
Thor: All words are made up.
Rocket: Nidavellir is real? (Climbing on to the table) Seriously? I mean, that place is a legend. They make the most powerful, horrific weapons to ever torment the Universe. I would very much like to go there, please.
Thor: The rabbit is correct, and clearly the smartest among you.
Rocket: Rabbit?
Thor: Only Eitri the dwarf king can make me the weapon I need. (To ROCKET) I assume you’re the captain, sir?
Rocket: You’re very perceptive.
Thor: You seem like a noble leader. Will you join me on my quest to Nivadellir?
Rocket: Lemme just ask the captain. Wait a second, it’s me! Yeah, I’ll go.
Thor: Wonderful.
Peter Quill: Except that I’m the captain.
Rocket: Quiet!
Peter Quill: And that’s my backpack.
Rocket: Quill, sit down.
Peter Quill: (To Thor) Look, this is my ship. And I’m not going to… Wait, what kind of weapon are we talking about here?
Thor: The Thanos killing kind.
Peter Quill: Don’t you think that we should all have a weapon like that?
Thor: No. You simply lack the strength to wield them. Your bodies will crumble as your minds collapse into the madness.
Rocket: Is it weird that I wanna do it even more now?
Thor: A little bit. Yeah.
Gamora: If we don’t go to Knowhere and Thanos retrieves another stone, he’ll be too powerful to stop.
Thor: He already is.
Rocket: I got it figured out. We got two ships, and a large assortment of morons. So me and Groot will go with the pirate-angel here, and the morons will go to Knowhere to try and stop Thanos. Cool? Cool.
Thor: So cool.
Peter Quill: (To Rocket) For the record… I know that you’re only going with him because it’s where Thanos isn’t.
Rocket: You know, Quill, you shouldn’t talk that way to your captain. (As he enters the pod) Come on, Groot. Put that game down. You’ll rot your brain.
Thor: I bid you farewell and good luck, morons. Bye.
[Cut to Scotland, where VISION and WANDA MAXIMOFF share an apartment. WANDA is in bed while VISION, in a human glamour, watches out a window.]
Vision: (Holding his hand to the Mind Stone in pain)
Wanda Maximoff: Vis? Is it the stone again?
Vision: It’s as if it’s speaking to me.
Wanda Maximoff: What does it say?
Vision: I don’t… I don’t know. But something… Tell me what you feel.
(WANDA presses her hand to the MIND STONE. She seems confused.)
Wanda Maximoff: I just feel you.
(VISION takes WANDA’S hand and kisses it. Then they kiss. Cut to later, where the two are going on a stroll.)
Wanda Maximoff: So there’s a 10 AM to Glasgow to give us more time together before you went back.
Vision: What if I miss that train?
Wanda Maximoff: There is an 11.
Vision: What if I missed all the trains? What if this time, I didn’t go back?
Wanda Maximoff: You gave Stark your word.
Vision: I’d rather give it to you.
Wanda Maximoff: There are people who are expecting me too, you know. We both made promises.
Vision: Not to each other. Wanda… For two years, we’ve stolen these moments, trying to see if this could work. And… I don’t know. You know what, I’m just gonna speak for myself. – I, I… I think…
Wanda Maximoff: It works.
Vision: It works.
Vision: Then stay. Stay with me. (a pause) Or not. If I’m overstepping…
(Suddenly, WANDA MAXIMOFF notices the TV in a nearby bar announcing the invasion of New York, and the disappearance of TONY STARK.)
Wanda Maximoff: What are they?
Vision: What the stone was warning me about. I have to go.
Wanda Maximoff: No. Vision. If that’s true… Then maybe going isn’t the best idea.
Vision: Wanda, I… (CORVUS GLAIVE appears suddenly behind vision, stabbing him through the back.)
Wanda Maximoff: Vision!
(PROXIMA MIDNIGHT attacks Wanda from behind, and knocks her away. CORVUS GLAIVE pins Vision down using his weapon {a glaive} in an attempt to extract the mind stone from Vision’s head. Wanda blasts both of them away, then propels Vision and herself into a nearby courtyard where they rest in an alleyway.)
Vision: The blade. It stopped me from phasing.
Wanda Maximoff: Is that even possible?
Vision: It isn’t supposed to be. My systems are failing. I’m beginning to think… we should have stayed in bed.
(CORVUS GLAIVE suddenly arrives, knocking Wanda aside and grabbing Vision)
Wanda Maximoff: Vis!
(CORVUS flies away with Vision, pinning him against a wall. Meanwhile, PROXIMA engages Wanda and they begin to fight.)
Corvus Glaive: (to VISION) Give up the Stone, and she lives.
(Vision flies with CORVUS to the roof of what appears to be a church. PROXIMA and Wanda are still fighting below. Vision shoots a beam from the mind stone at CORVUS, who uses his glaive to deflect it back at Vision, causing him to slam into the wall behind him.)
(Down below, Wanda hears a cry from Vision. Finally knocking PROXIMA away with her magic, Wanda then flies up to the roof where GLAIVE has pinned Vision and is again attempting to remove the mind stone. She casts a bolt of magic which throws him back through the wall and down a shaft.)
Wanda Maximoff: Hands off.
(Wanda then uses her magic to propel her and Vision away. Below, PROXIMA, who has recovered, shoots a bolt from her weapon, causing them to fall from the air and down through the roof of a train station beneath them. Wanda crawls over to Vision.)
Wanda Maximoff: Come on. Come on. Come on, you gotta get up. You gotta get up. Come on. Hey. Hey. We have to go.
Vision: Please. Please leave.
Wanda Maximoff: You asked me to stay… I’m staying.
Vision: Please.
Wanda Maximoff: Get up.
(Behind them, PROXIMA MIDNIGHT and CORVUS GLAIVE land and advance on Wanda who stands in front of Vision. A train passes behind Wanda, and they all pause as if aware of another’s presence. As the last train car passes, we see a silhouette against the back wall. PROXIMA throws her weapon, but it is quickly caught just before the figure steps from the shadows.)
(We now recognize a bearded Captain America as he steps into the light. While they are distracted, Falcon {Sam Wilson} swoops in and kicks PROXIMA MIDNIGHT to the next room. Swooping around, he fires on CORVUS GLAIVE. At the same time, Captain America throws PROXIMA’S weapon to Black Widow who engages CORVUS, stabbing him in the gut and flinging him backwards. PROXIMA, who has now recovered, summons her weapon back to her hand and attacks Captain America and Black Widow simultaneously. While the three are fighting, Falcon flies in and again kicks PROXIMA backwards where she crouches down beside CORVUS.)
Proxima Midnight: (To GLAIVE) Get up.
Corvus Glaive: I can’t.
Natasha Romanoff: We don’t wanna kill you. But we will.
Proxima Midnight: You’ll never get the chance again.
(PROXIMA MIDNIGHT and CORVUS GLAIVE depart as they are beamed up.)
Sam Wilson: (To Vision) Can you stand?
Vision: Thank you, Captain.
Steve Rogers: Let’s get you on the jet.
Natasha Romanoff: (Closing the doors to the Quinjet, while addressing Wanda) I thought we had a deal. Stay close, check in. Don’t take any chances.
Wanda Maximoff: I’m sorry. We just wanted time.
Sam Wilson: Where to, Cap?
Steve Rogers: Home.
[Cut to the past, at GAMORA’S home planet during THANOS’ massacre. YOUNG GAMORA is separated from her mother.]
Gamora’s Mother: (To Young Gamora) Shhh. We’ll be safe. We’ll be safe.
(Gamora screeches and a Child of Thanos finds them and separates them)
Ebony Maw: Zehobereans…
Young Gamora: (As she is dragged away) Mother!
Ebony Maw: Choose a side, or die.
Young Gamora: Mother! (She pulls away from the one who is dragging her and punches him as he leaves)
Ebony Maw: One side, for reservation. The other, an honor…
(YOUNG GAMORA approaches THANOS, desperate to find her mother.)
Thanos: What’s wrong, little one?
Young Gamora: My mother. Where is my mother?
Thanos: (Kneels down to Gamora) What’s your name?
Young Gamora: Gamora.
Thanos: You’re quite the fighter, Gamora. Come. Let me help you. (THANOS takes her hand and leads her to a pavilion, where he produces a small red-jeweled dagger) Look. Pretty, isn’t it? Perfectly balanced. As all things should be. Too much to one side, or the other… Here. You try.
Ebony Maw: Now go in peace, and meet your Maker.
(One half of the crowd is shot down. They scream, and YOUNG GAMORA turns, but THANOS prevents her from seeing the massacre.)
Thanos: Concentrate. There! You’ve got it.
[Cut to the present, aboard the GUARDIANS’ ship.]
Peter Quill: Gamora. Do you know if these grenades are the “blow off your junk” kind or the gas kind? ‘Cause I was thinking I might hang a couple on my belt right here. But I don’t want to-
Gamora: I need to ask a favor.
Peter Quill: Yeah, sure.
Gamora: One way or another, the path that we’re on leads to Thanos.
Peter Quill: Which is what the grenades are for. (GAMORA silences him with a look.) I’m sorry. What’s the favor?
Gamora: If things go wrong… If Thanos gets me… I want you to promise me… you’ll kill me.
Peter Quill: (A beat. Confusion.): What?
Gamora: I know something he doesn’t. If he finds out… The entire Universe could be at risk.
Peter Quill: What do you know?
Gamora: If I tell you, you’d know, too.
Peter Quill: If it’s so important, shouldn’t I?
Gamora: Only if you wanna die.
Peter Quill: Why does somebody always have to die in this scenario?
Gamora: Just… trust me. And possibly, kill me.
Peter Quill: I mean, I’d like to. I really would…(GAMORA silences him by covering his mouth with her hand)
Gamora: Swear to me. Swear to me on your mother.
Peter Quill: (beat) Okay.
(The two kiss, until an odd crunching sound startles them. DRAX is standing in the corner.)
Peter Quill: Dude! How long have you been standing there?
Drax: An hour.
Peter Quill: An hour? Are you serious?
Drax: I’ve mastered the ability, of standing so incredibly still… That I’ve become invisible to the eye. Watch.
(DRAX stands motionless- until he eats more of his snack.)
Peter Quill: You’re eating a zark nut
Drax: But my movement… So slow… And it’s imperceptible.
Peter Quill: No.(Peter and Gamora shake their head)
Drax: I’m sure I’m invisible.
Mantis: Hi, Drax.
Drax: Damn it.
(The group lands in KNOWHERE, in search of THANOS)
DRAX: I’m reading movement. From the third quadrant.
PETER QUILL: Yep. I’m picking that up, too.
QUILL: Let’s put it down right here.
(The group enters the COLLECTOR’s collection room, which is in ruin. THANOS is threatening the COLLECTOR while the GUARDIANS hide behind the rubble.)
THANOS: Everyone in the Galaxy knows you’d sell your own brother if you thought it would add the slightest trinket to your pathetic collection. I know you have the Reality Stone. Giving it to me will spare you a great deal of suffering.
COLLECTOR: I told you. I sold it. Why would I lie?
THANOS: I imagine it’s like breathing for you.
COLLECTOR: Like suicide.
THANOS: So you do understand. Not even you would surrender something so precious.
COLLECTOR: I didn’t know what it was.
THANOS: Then you’re more of a fool than I took you for. Last chance, Tivan. Where’s the Stone?
DRAX: Today…
Peter Quill: Drax. Drax.
Drax: …he pays for the deaths of my wife and daughter.
QUILL: Drax, wait! not yet, not yet, not yet. He doesn’t have the Stone yet. We get it, and then we can stop him. We have to get the Stone first. Yeah.
DRAX: No. No. For Ovette. For Camaria.
MANTIS: Sleep. (DRAX is knocked out, causing a ruckus.)
QUILL: Okay. Gamora, Mantis, you go right. I’m… (GAMORA moves towards THANOS.)The other right!
(GAMORA attacks THANOS, stabbing him twice, seemingly killing him.)
THANOS: Why? Why you? Daughter… (he falls down, holding his hand out to her, blood pooling out from his neck wound. GAMORA breaks down in tears.)
QUILL: That was quick.
COLLECTOR: Magnificent! Magnificent! Magnificent!
(Suddenly, THANOS’ disembodied voice fills the room, and the scene disappears- everything is leveled, and THANOS is more than alive. He has the REALITY STONE in the INFINITY GAUNTLET.)
THANOS: Is it sadness I sense in you, daughter? In my heart, I knew you still cared. But one ever knows for sure. Reality is often disappointing. That is, it was. Now… Reality can be whatever I want.
GAMORA: You knew I’d come.
THANOS: I counted on it. There’s something we need to discuss, little one.
DRAX: Thanos!
(With a flick of his hand, both DRAX and MANTIS are ‘destroyed’ in rather comical ways. THANOS grabs GAMORA.)
QUILL: Let her go, Grimace!
GAMORA: Peter…
QUILL: I told you to go right.
GAMORA: Now? Really?
QUILL: You let her go!
THANOS: Ah, the boyfriend.
QUILL: I like to think of myself more as a Titan-killing long term booty call. Let her go.
GAMORA: Peter…
QUILL: Or I’m gonna blow that nut-sack of a chin right off your face!
GAMORA: Not him.
(PETER hesitates. He does not shoot.)
GAMORA: You promised! You promised.
THANOS: Oh, daughter. You expect too much from him. (To PETER) She’s asked, hasn’t she? Do it. (he shoves GAMORA towards PETER’s gun, egging him on.) Do it!
QUILL: I told you to go right.
(PETER begins to tear up.)
GAMORA: I love you, more than anything.
QUILL: I love you, too.
(PETER pulls the trigger- but a stream of bubbles comes out. THANOS was playing him.)
THANOS: I like you.
(THANOS teleports he and GAMORA away as a stunned PETER watches as his friends recover from their ‘deaths’.)
(Back on EARTH, COL. RHODES deals with the red tape.)
ROSS: Still no word from Vision?
RHODES: Satellites lost him somewhere over Edinburgh.
ROSS: On a stolen quinjet with four of the world’s most wanted criminals.
RHODES: You know they’re only criminals because you’ve chosen to call them that, right, sir?
ROSS: My God, Rhodes, your talent for horseshit rivals my own.
RHODES: If it weren’t for those Accords, Vision would’ve been right here.
ROSS: I remember your signature on those papers, Colonel.
RHODES: That’s right. And I’m pretty sure I’ve paid for that.
ROSS: You have second thoughts?
RHODES: Not anymore.
ROGERS: Mr. Secretary.
ROSS: You got some nerve. I’ll give you that.
NATASHA: You could use some of that right now.
ROSS: The world’s on fire. And you think, all is forgiven?
ROGERS: I’m not looking for forgiveness. And I’m way past asking for permission. Earth just lost her best defender. So we’re here to fight. And if you wanna stand in our way… We’ll fight you, too.
ROSS (To RHODES): Arrest them.
RHODES: All over it. (Turns off hologram) That’s a court-martial. It’s great to see you, Cap.
ROGERS: You too, Rhodey.
RHODES: Well. You guys, really look like crap. Must’ve been a rough couple of years.
SAM: Yeah, well, the hotels weren’t exactly five star.
BRUCE: Uh, I think you look great. Yeah. I’m back.
NATASHA: Hi, Bruce.
BRUCE: Nat.
SAM WILSON: This is awkward.
(Cuts to a shot of Natasha, Bruce, Steve, Rhodey, Wanda, and Vision in another room.)
BRUCE: So we gotta assume they’re coming back, right? And they can clearly find us. We need all hands on deck. Where’s Clint?
NATASHA: After the whole Accords situation, he and Scott took a deal. It was too tough on their families.
BRUCE: Who’s Scott?
ROGERS: Ant-Man.
BRUCE: There’s an Ant-Man and a Spider-Man? Okay, look… Thanos has the biggest army in the Universe. And he is not gonna stop until he… He gets…Vision’s stone.
Natasha: Well then, we have to protect it.
VISION: No, we have to destroy it. I’ve been giving a good deal of thought to this entity in my head, about its nature. But also, its composition. I think if it were exposed to a sufficiently powerful energy source, something, very similar to its own signature, perhaps… Its molecular integrity could fail. (VISION addresses WANDA as he nears her)
WANDA: And you, with it. We’re not having this conversation.
VISION: Eliminating the stone is the only way to be certain that Thanos can’t get it.
WANDA: That’s too high a price.
VISION: Only you, have the power to pay it. Thanos threatens half the Universe. One life cannot stand in the way of defeating him.
ROGERS: But it should. We don’t trade lives, Vision.
VISION: (While walking toward Steve) Captain, 70 years ago, you laid down your life to save how many millions of people. Tell me, why is this any different?
(Steve takes a breath, but before he has a chance to answer Bruce begins to speak)
BRUCE: Because you might have a choice. Your mind is made up of a complex construct of overlays. Jarvis, Ultron, Tony, me, the Stone. All of them mixed together. All of them learning from one another.
WANDA: You’re saying Vision isn’t just the stone?
BRUCE: I’m saying that… If we take out the stone, there’s still a whole lot of Vision left. Perhaps the best parts.
NATASHA: Can we do that?
BRUCE: Not me. Not here.
RHODEY: You better find someone, and somewhere fast. Ross isn’t exactly just gonna let you guys have your old rooms back.
ROGERS: (pause) I know somewhere.
(Cuts to Wakanda, as T’Challa and Okoye walk together, accompanied by two Wakandan soldiers)
Okoye: You’ll have the King’s Guard, and the Dora Milaje have been alerted.
T’Challa: And the border tribe?
Okoye: Those that are left.
T’Challa: Send word to the Jabari as well. M’Baku likes a good fight.
Okoye: And what of this one?
T’Challa: This one may be tired of war. but the White Wolf has rested long enough.
(The Wakandan soldiers present the White Wolf with a new adamantium arm)
BUCKY: Where’s the fight?
T’CHALLA: On it’s way.
[Cut to Ebony Maw interrogating Doctor Strange]
Ebony Maw: In all the time I’ve served Thanos, I’ve never failed him. If I were to reach our rendezvous on Titan with the Time Stone still attatched to your vaguely irritating person, there would be…judgement. Give me… the stone.
(Cut to Tony who is watching, hidden, from above. Strange’s cloak taps Stark on the arm. He raises his hand to it, ready to shoot, but he sees what it is and stands down.)
TONY: Wow you’re a seriously loyal piece of outerwear, aren’t you?
Peter Parker: Yeah, uh, speaking of loyalty…
Tony: What the-
Peter Parker: I know what you’re gonna say.
Tony: You should not be here.
Peter Parker: I was gonna go home-
Tony: I don’t wanna hear it.
Peter Parker: But it was such a long way down and I just thought about you on the way-
Tony: And now I gotta hear it.
Peter Parker: …And I kinda stuck to the side of the ship. And this suit is ridiculously intuitive, by the way. So if anything, it’s kinda your fault that I’m here.
Tony: (seriously) What did you just say?
Peter Parker: I take that back. And now I’m here in space.
Tony: Yeah. Right where I don’t want you to be. This isn’t Coney Island. This isn’t a field trip. It’s one-way ticket. You hear me? Don’t pretend like you thought this through. You could not have possibly thought this through.
Peter Parker: No. I did think this through.
Tony: You could not have possibly thought this through.
Peter Parker: It’s just- You can’t be a friendly neighborhood Spider – Man when there’s no neighborhood. (Pause) Okay. That didn’t really make any sense, but you know what I’m trying to say.
Tony: Come on. We got a situation. See him down there? He’s in trouble. What’s your plan? Go.
Peter Parker: Um. Okay. Okay…uh…did you ever see that really old movie, Aliens?
(Cut back to Ebony Maw interrogating Strange.)
EBONY MAW: Painful aren’t they? They were originally designed for microsurgery. And any one of them…
(he turns to see Stark in his Iron Man suit standing there.)
EBONY MAW: …could end your friend’s life in an instant.
Tony: I gotta tell you, he’s not really my friend. Saving his life is more a professional courtesy.
EBONY MAW: You’ve saved nothing. Your powers are inconsequential compared to mine.
Tony: Yeah, but the kid’s seen more movies.
(Tony fires a rocket from his shoulder which pierces the side of the ship and begins to suck everything out. Strange begins to be sucked out, but his cape wraps around his arm. Unfortunately, his arm slips from it and he keeps going. Spider-Man shoots a web strand at Strange with one hand and holds onto a piece of the ship with the other. It breaks, sending them both towards space when his Iron-Spider suit’s metal arms brace him to keep him from being sucked out.)
Peter Parker: Yes! Wait what are those!
(He then pulls them back inside just as Tony sprays nanites onto the hole to plug it up. Peter and Strange safely hit the floor. Ebony Maw is seen floating in space, quite dead.Peter stands and tries to shake Strange’s cape’s “hand”.)
Peter Parker: Hey, we haven’t officially met. (it ignores him and goes to Strange.) Cool.
Strange: We’ve gotta turn this ship around.
Tony: Yeah. Now he wants to run. Great plan.
Strange: No, I want to protect the stone.
Tony: And I want you to thank me. Go ahead. I’m listening.
Strange: For what? Nearly blasting me into space?
Tony: Who just saved your magical ass? Me.
Strange: I seriously don’t know how you fit your head into that helmet.
Tony: Admit it. You should have ducked out when I told you to. I tried to bench you. You refused.
Strange: Unlike everyone else in your life, I don’t work for you.
Tony: And due to that fact, we’re now in a flying doughnut billions of miles away from Earth with no backup.
Peter Parker: I’m backup.
Tony: No. You’re a stowaway. The adults are talking.
Strange: I’m sorry, I’m confused as to the relationship here. What is he, your ward?
Peter Parker: No. I’m peter, by the way.
Strange: Doctor Strange.
Peter Parker: Oh we’re using our made-up names. Um…I’m Spider-Man, then.
Tony: This ship is self-correcting its course. Thing’s on autopilot.
Strange: Can we control it? Fly us home? (Tony doesn’t make eye contact.) Stark?
Tony: Yeah.
Strange: Can you get us home?
Tony: Yeah I heard you. I’m thinking…I’m not so sure we should.
Strange: Under no circumstance can we bring the Time Stone to Thanos. I don’t think you quite understand what’s at stake here.
Tony: No. It’s you who doesn’t understand. Thanos has been inside my head for six years…Since he sent an army to New York and now he’s back! And I don’t know what to do. So I’m not so sure if it’s a better plan to fight him on out turf or his but you saw what they did, what he can do. At least on his turf, he’s not expecting it. So I say we take the fight to him. Doctor. Do you concur?
Strange: (a pause) Alright , Stark. We go to him. But you have to understand….if it comes to saving you or the kid or the Time Stone… I will not hesitate to let either of you die. I can’t, because the fate of the universe depends on it.
Tony: Good. Nice. Moral compass.We’re straight. (Turning to Peter, he puts his outstretched arm briefly on either shoulder) Alright, kid. You’re an Avenger now.
(Peter looks at Tony in disbelief, and then smiles and nods in satisfaction.)
[Cut to Gamora And Thanos aboard Thanos’s ship.He brings a little cup of food and holds it out to her.]
Thanos: I thought you might be hungry.
(Gamora takes it, the hurls it across the room where it bangs against Thanos’s chair with a loud clack.)
Gamora: I always hated that chair.
Thanos: So I’ve been told. Even so. I’d hoped you’d sit on it one day.
Gamora: I hated this room. This ship. I hated my life.
Thanos: You told me that too. Every day. For almost twenty years.
Gamora: I was a child when you took me.
Thanos: I saved you.
Gamora: No. No. We were happy on my home planet.
Thanos: Going to bed hungry. scrounging for scraps. Your planet was on the brink of collapse. I’m the one who stopped that. Do you know what’s happened since then? The children born have known nothing but full bellies and clear skies. It’s a paradise.
Gamora: Because you murdered half the planet.
Thanos: A small price to pay for salvation.
Gamora: You’re insane.
Thanos: Little one, it’s a simple calculus. This universe is finite, it’s resources finite. If life is left unchecked, life will cease to exist. It needs correction.
Gamora: You don’t know that!
Thanos: I’m the only one who knows that. At least, I’m the only one with the will to act on it. For a time…you had that same will…as you fought by my side. Daughter.
Gamora: I’m not your daughter. Everything I hate about myself you taught me.
Thanos: And in doing so, made you the fiercest woman in the galaxy. That’s why I trusted you to find the Soul Stone.
Gamora: I’m sorry I disappointed you.
Thanos: I am disappointed. But not because you didn’t find it. But because you did. And you lied.
[Cut to shot of a large metal door opening. Thanos and Gamora stand there as a set of inner doors made of interlacing metal slide away. Inside, we see that NEBULA is suspended horizontally in the air in the middle of the room.]
Gamora: Nebula.
( the camera shifts to the right side and we see that Nebula has been partially disassembled so that she is still living, yet still slightly connected to each of her parts.)
Gamora: Don’t do this.
Thanos: Some time ago, your sister snuck aboard this ship to kill me.
Gamora: Please don’t do this.
Thanos: And very nearly succeded. So I brought her here. To talk.
(Thanos curls in both the power and space stones, causing Nebula’s already extended pieces to stretch further outward. She begins to scream.)
Gamora: Stop. Stop it. I swear to you on my life. I never found the Soul Stone.
(Thanos signals a nearby servant who taps on a control pad. We hear Nebula’s voice say, “Accessing memory files” and a sort of hologram of Gamora’s face shudders to life.)
Memory Nebula: You know what he’s about to do. He’s finally ready, and he’s going for the stones. All of them.
Memory Gamora: He can never get them all.
Memory Nebula: He will!
Memory Gamora: He can’t, Nebula. Because I found the map to the Soul stone and I burnt it to ash. I burnt it.
(The memory ends)
Thanos: (To Gamora) You’re strong. Me. You’re generous. Me. But I never taught you to lie. That’s why you’re so bad at it. Where is the Soul Stone?
( He resumes torturing Nebula for several seconds, Gamora wincing at her screams.)
Gamora: Vormir!
(Thanos stops, and Nebula gasps in air. Gamora goes to her and caresses her face.)
Gamora: The Soul Stone is on Vormir.
Thanos: Show me.
[Cut to the pod where Thor, Rocket and Groot are.]
Groot: (Irritably) I am Groot.
Rocket: Tinkle in the cup. We’re not looking. What’s there to see? What’s a twig? Everybody’s seen a twig.
Groot: (Still irritably) I am Groot.
Thor: (While looking out the window) Tree, pour what’s in the cup out in space, and go in the cup again.
Rocket: You speak Groot?
Thor: Yes, they taught it on Asgard. It was an elective.
Groot: (shortly) I am Groot.
Thor: You’ll know when we’re there. Nivadellir’s forge harnesses the power of a blazing neutron star. (nostalgically) It’s the birth place of my hammer. It’s truly awesome.
(Rocket turns to see Thor sitting sadly beside the window, and sighs)
Rocket: Okay, time to be the captain. (walks to a console near by Thor) So, dead brother, huh? Yeah, that can be annoying.
Thor: Well, he’s been dead before, but this time I think it really might be true.
Rocket: And you said your sister and your dad?
Thor: Both dead.
Rocket: Still got a mom, though?
Thor: Killed by a dark elf.
Rocket: A best friend?
Thor: Stabbed through the heart.
Rocket: Are you sure you’re up to this particular murder mission?
Thor: (Smiling widely) Absolutely. Rage, vengeance, anger, loss, regret…They’re all tremendous motivators. They really clear the mind. So I’m good to go.
Rocket: Yeah, but this Thanos we’re talking about…He’s the toughest there is.
Thor: Well, he’s never fought me.
Rocket: Yeah, he has.
Thor: He’s never fought me twice. And I’m getting a new hammer, don’t forget.
Rocket: Better be some hammer.
Thor: You know, I’m 1,500 years old. I’ve killed twice as many enemies as that, and every one would have rather killed me, but none succeeded. I’m only alive because fate wants me alive. Thanos is the latest in a long line of morons and he will be the latest to feel my vengeance.
Rocket: And what if you’re wrong?
Thor: If I’m wrong then what more could I lose?
(Thor stands and seats himself at the front of the pod, beside Groot)
Rocket: I could lose a lot. Me personally. I could lose a lot. (Rocket takes an eyeball from somewhere on his person) Okay. If fate does want you to kill that crapsack… You’re gonna need more than one stupid eyeball. (he gives Thor the eyeball)
Thor: What’s this?
Rocket: What’s it look like? Some jerk lost a bet with me on on Contraxia.
Thor: He gave you his eye?
Rocket: He gave me 100 credits. I snuck in later that night and stole his eye.
Thor: Thank you, sweet rabbit.
(Thor proceeds to put the eyeball in his socket)
Rocket: Hmm. Huh? Oh. I would’ve washed that. The only way I could sneak it off Contraxia was up my…Hey, we’re here!
Thor: (Smacking his palm against the side of his head) I don’t think this thing works. Everything seems dark.
Rocket: It ain’t the eye.
(Nivadellir is dark and motionless as the three near it)
Thor: Something’s wrong. The star’s gone out. And the rings are frozen.
(Cuts to inside the forge, where Thor, Rocket and Groot walk through a seemingly abandon, and cluttered room)
Rocket: I hope these dwarves are better at forging than they are cleaning…Maybe they realized they live in a junk pile in the middle of space…
Thor: This forge hasn’t gone dark in centuries…
Rocket: (Looking to a pedestal) You said Thanos had a gauntlet, right?
Thor: Yes. Why?
Rocket: Look anything like that?
Groot: I am Groot.
Rocket: Go back to the pod.
(Suddenly a large figure storms towards them fiercely)
Thor: Eitri, wait! Stop! Stop.
Eitri: Thor?
Thor: What happened here?
Eitri: You were supposed to protect us. Asgard was supposed to protect us!
Thor: Asgard is destroyed. Eitri, the glove. What did you do?
Eitri: (He pauses before beginning his solemn story) 300 dwarves lived on this ring. I thought if I did what he asked, they’d be safe. I made what he wanted. A device capable of harnessing the power of the stones. Then he killed everyone anyway. All except me. “Your life is yours.” he said “But your hands are mine alone.”
Thor: Eitri, this isn’t about your hands. Every weapon you’ve designed, every axe, hammer sword…It’s all inside your head. Now I know all hope feels lost. Trust me, I know. But together, you and I, we can kill Thanos.
[Cut to Nebula suspended in the interrogation room seen earlier, while a guard puts her back together. Nebula ejects her eyepiece; disposing of the guard when he comes to replace it. She walks to a console, dragging her dislocated metal foot behind her, and inputs a code.]
Nebula: Mantis, listen very carefully. I need you to meet me on Titan.
[Cut to Peter Parker, Tony Stark, and Doctor Strange aboard the ship]
Peter Parker: (To Tony) Hey, what’s going on?
Tony: I think we’re here. I don’t think this rig has a self-park function. (Instructing Peter to put his arm in the machine for piloting) Get your hand into this steering gimbal. Close those around it. You understand?
Peter Parker: Yep, got it.
Tony: This was meant for one big guy, so we gotta to move at the same time.
Peter Parker: Okay. Okay. Ready.
Tony: We might wanna turn.
Peter Parker: Turn! Turn! Turn!
(Strange creates a shield around them to prevent them from being killed in the landing.)
(The ship, now partially gone, lands on Titan)
Tony: (To Strange) You alright?
Tony: That was close. I owe you one.
(Peter Parker descends from above in spider-like fashion)
Peter Parker: Let me just say, if aliens wind up implanting eggs in my chest or something…And I end up eating you, I’m sorry.
Tony: (While pointing at Peter) I don’t wanna hear another single pop culture out of you for the rest of the trip. You understand?
Peter Parker: I’m trying to say that something is coming.
(A grenade rolls into view, and Peter, Strange and Tony get back. Star-Lord, Drax, and Mantis appear in the doorway)
Drax: (Yelling) Thanos!
(The Cloak of Levitation flies at Drax’s face and whips him around. Star-Lord pins Iron Man to the wall with a magnetic disc)
Peter Parker: (While crawling backward from Mantis) Whoa, whoa, whoa, whoa! Please don’t put your eggs in me!
(Peter webs Mantis’ arms to her body, and Star-Lord flies at him front the side, kicking him down.)
Star-Lord: Stay down, clown.
(Tony fires at the flying Star-Lord as Peter Parker extends his spider legs and jumps at him, but Star-Lord throws an electric cord that wraps around Parker sending him to the ground)
Drax: (Struggling with the Cloak of Levitation) Die, blanket of death!
(Iron Man pulls free of the magnet. They pull weapons on each other. Star-Lord has Peter Parker in a head-lock, while Iron Man stands over Drax with a gun, and Doctor Strange stands ready near Mantis)
Star-Lord: Everybody stay where you are. Chill F out. (Quill powers off his helmet) I’m gonna ask you this one time. Where’s Gamora?
Tony: Yeah, I’ll do you one better. Who’s Gamora?
Drax: I’ll do you one better! Why is Gamora?
Star-Lord: Tell me where the girl is, or I swear to you, I’m gonna French fry this little freak.
Tony: Let’s do it! You shoot my guy, I blast him. Let’s go! (Tony extends his nanotech gun)
Drax: Do it, Quill! I can take it.
Mantis: No he can’t take it!
Strange: She’s right. You can’t.
Star-Lord: Oh yeah? You don’t wanna tell me where she is? That’s fine. I’ll kill all three of you and beat it out of Thanos myself. (To Parker) Starting with you.
Strange: Wait, what, Thanos? All right, let me ask you this one time. What master do you serve?
Star-Lord: What master do I serve? What am I supposed to say? “Jesus”?
Tony: You’re from Earth?
Star-Lord: I’m not from Earth. I’m from Missouri.
Tony: Yeah, that’s on Earth dip-shit. What are you hassling us for?
Peter Parker: So, you’re not with Thanos?
Star-Lord: With Thanos? (scoffs) No, I’m here to kill Thanos. He took my girl- Wait, who are you?
Peter Parker: We’re the Avengers, man.
Star-Lord: Oh.
Mantis: You’re the ones Thor told us about.
Tony: You know Thor?
Star-Lord: Yeah. Tall guy, not the good-looking, needed saving.
Tony: Where is he now?
[Cut to Nivadellir where Eitri is showing Thor, Rocket, and Groot the mold for Stormbreaker]
Rocket: This is plan? We’re gonna hit him with a brick?
Eitri: It’s a mold. A king’s weapon. Meant to be the greatest in Asgard. In theory, it could even summon the Bifrost.
Thor: Did it have a name?
Eitri: Stormbreaker.
Rocket: That’s a bit much.
Thor: So how do we make it?
Eitri: You’ll have to restart the forge. Awaken the heart of a dying star.
Thor: Rabbit, fire up the pod.
[Cut to Titan where Quill is measuring the planet’s tilt. Mantis is jumping in the low gravity]
Quill: The heck happened to this planet? It’s eight degrees off its axis. Gravitational pull is all over the place.
Tony: Yeah, we got one advantage. He’s coming to us. We’ll use it. All right, I have a plan. Or at least the beginnings of one. It’s pretty simple. We draw him in, pin him down, get what we need. Definitely don’t wanna dance with this guy. We just need the gauntlet.
(Drax yawns)
Tony: Are you yawning? In the middle of this, while I’m breaking it down? Huh? Did you hear what I said?
Drax: I stopped listening after you said, “We need a plan.”
Tony: (To Quill) Okay, Mr. Clean is on his own page.
Quill: See, “not winging it” isn’t really what they do.
Peter Parker: Uh, what exactly do they do?
Mantis: Kick names, take ass.
Drax: (Quietly as he shifts to a commanding position beside Mantis) Yeah, that’s right
Tony: (Tony stands for a moment with an expression of hopelessness) Alright, just get over her, please. Mr. Lord can you get your folks to circle up?
Quill: “Mr. Lord.” Star-Lord is fine. (Motions to Drax and Mantis)
Tony: We gotta coalesce. ‘Cause if all we come at him with is a plucky attitude..”
Quill: Dude, don’t call us plucky. We don’t know what is means. Alright, we’re optimistic, yes. I like your plan. Except it sucks, so let me do the plans, and that way it might be really good.
Drax: Tell him about the dance-off to save the universe.
Tony: What dance-off?
Quill: It’s nothing.
Peter Parker: Like in Footloose, the movie?
Quill: (Excitedly) Exactly like Footloose. Is it still the greatest movie in history?
Peter Parker: It never was.
(Quill frowns sadly at him)
Tony: Don’t encourage this, alright?
Peter Parker: Okay.
Tony: We’re getting no help from Flash Gordon here.
Quill: Flash Gordon? By the way, that’s a compliment. Don’t forget, I’m half human. (Quill points at Stark and Parker) So that 50% of me that’s stupid… That’s 100% you.
Tony: Your math is blowing my mind.
Mantis: Excuse me, but…Does your friend often do that?
(Strange is sitting cross-legged, his hands poise in a mystic gesture with the Time Stone suspended between them. His eyes are closed, and his head is jerking rapidly from side to side)
Tony: Strange, we alright?
(Strange seems to snap out of it as he starts forward, letting out a cry)
Tony: You’re back. You’re alright. Hi.
Peter Parker: Hey, what was that?
Strange: (Speaking breathlessly) I went forward in time to view alternate futures. To see all the possible outcomes of the coming conflict.
Quill: How did you see?
Strange: 14,000,605.
Tony: How many did we win?
(Strange pauses a while before answering)
Strange: One.
[Cut to Vormir, where Thanos and Gamora have just appeared outside a mountain]
Thanos: The stone had better be up there…For your sister’s sake.
(Cut to inside the mountain where Thanos and Gamora stand before a cloaked, faceless figure there to guard the way)
Stonekeeper: Welcome, Thanos, son of Eros. Gamora, daughter of Thanos.
Thanos: You know us?
Stonekeeper: It is my curse to know all who journey here.
Thanos: Where’s the Soul Stone?
Stonekeeper: You should know…It extracts a terrible price.
Thanos: I am prepared.
Stonekeeper: We all think that at first. (The figure glides farther out of the shadows and reveals the face of who we know to be Red Skull from Captain America: The First Avenger) We are all wrong.
(Cut to the Red Skull leading Thanos and Gamora to an outside pinnacle)
Thanos: How is it you know this place so well?
Red Skull: A lifetime ago, I, too, sought the stones. I even held one in my hand. But it cast me out, banished me here. Guiding others to a treasure I cannot possess.
(They come to the edge of mountaintop, and stop at the precipice)
Red Skull: What you seek lies before you. As does what you fear.
Thanos: What’s this?
Red Skull: The price. Soul hold a special place among the Infinity Stones. You might say it has a certain wisdom.
Thanos: Tell me what it needs.
Red Skull: To ensure that whoever possesses it… Understands its power… The stone demands a sacrifice.
Thanos: Of what?
Red Skull: In order to take the stone you must lose that which you love. A soul…For a soul.
(Gamora begins to laugh at the irony of the situation)
Gamora: All my life, I dreamed of a day…A moment when you would get what you deserved. And I was always so disappointed. But now…You kill and torture…And you call it mercy. The universe has judged you. You asked it for a prize, and it told you no. You failed. And do you wanna know why? Because you love nothing. No one.
Thanos: (Turning to face Gamora with tears in his eyes) No.
Gamora: Really? Tears?
Red Skull: They’re not for him.
(Gamora looks at Red Skull, and seems to realize what is about to happen)
Gamora: No. This isn’t love.
Thanos: I ignored my destiny once. I cannot do that again. Even for you. I’m sorry, little one.
(Thanos grabs Gamora by the arm and takes her to the precipice)
Gamora: No!
(She tries in vain to brake from his grasp but he soon throws her over the side, and watches sorrowfully as she falls to her death)
[Cut to Thanos lying in water. He opens his hand and sees that he now has the Soul Stone.]
[Cut to the Quinjet where Sam is piloting Rhodey, Steve, Natasha, Wanda, and Vision]
Sam: Drop to 2600, heading 0-3-0. I hope you’re right about this, Cap. Or we’re gonna land a lot faster than you want to.
(The Quinjet passes through a force field into Wakanda)
Okoye: (Walking with T’Challa and a band of the King’s Guard) When you said we were going to open Wakanda to the rest of the world…This is not what I imagined.
T’Challa: And what did you imagine?
Okoye: The Olympics. Maybe even a Starbucks.
(The occupants of the Quinjet descend the ramp)
Bruce Banner: (To Rhodey) Should we bow?
Rhodes: Yeah, he’s a king.
Steve Rodgers: Seems like I’m always thanking you for something. (Shaking hands with T’Challa)
(Bruce bows in front of him)
Rhodes: What are you doing?
T’Challa: Uh, we don’t do that here. (He dissuades with a motion of his hand) So how big of an assault can we expect?
(The group begins to walk back the way it come to greet the guests)
Bruce Banner: Uh, sir, I think you can expect quite a big assault.
Steve Rodgers: How we looking?
T’Challa: You will have my King’s Guard, the Border Tribe, the Dora Milaje, and…
Bucky: (Walking forward toward Steve) A semi-stable, 100-year-old man.
(The two friends share a hug)
Steve: How you been, Buck?
Bucky: Uh, not bad, for the end of the world.
(Cut to inside Shuri’s lab where Vision lays on a table, while Bruce and Shuri stand over him, and the others watch. Shuri scans the stone, and studies the hologram)
Shuri: Whoa. The structure is polymorphic.
Bruce: Right, we had to attach each neuron non-sequentially.
Shuri: Why didn’t you just reprogram the synapses to work collectively?
Bruce: (Staring for a moment) Because, we didn’t think of it.
Shuri: (smiling) I’m sure you did your best.
Wanda: Can you do it?
Shuri: Yes, but there are more than two trillion neurons here. One misalignment could cause a cascade of circuit failures. (To T’Challa) It will take time, brother.
Steve: How long?
Shuri: As long as you can give me.
Okoye: (Looking at a device that just alerted her) Something’s entered the atmosphere.
(Cut to outside where Sam and Bucky stand, looking up a the sky)
Sam: (Over the comm) Hey, Cap, we got a situation here.
(The defense shield around Wakanda destroys one of the vessels entering the atmosphere)
Bucky: God, I love this place.
Sam: Yeah, don’t start celebrating yet, guys. We got more incoming outside the dome.
Vision: (Appearing beside the window with the others) It’s too late. We need to destroy the stone now.
Natasha: (Turning toward Vision) Vision, get your rear back on the table.
T’Challa: We will hold them off.
Steve: (To Wanda) Wanda, as soon as the stone’s out of his head…you blow it to hell.
Wanda: I will.
T’Challa: Evacuate the city. Engage all defense procedures. (He points to Steve) And get this man a shield.
(Cut to Nivadellir where Rocket is in the pod, and Thor jumps from the roof onto the rings with a rope in his hand attached to the pod)
Rocket: I don’t think you get the scientifics here. These rings are gigantic.You wanna get thm moving…You’re gonna need something a lot bigger to yank ’em loose.
Thor: Leave that to me.
Rocket: Leave that to you? Buddy, you’re in space. All you got is a rope and a-
(Thor begins to swing the pod around. He lets the pod drag him, until he stops himself by digging his feet into the ring, still holding the pod. The rings begin to move)
Thor: More power, rabbit!
(Finally the star bursts into life, the rings align, and a jet of light streams through the forge)
Eitri: Well done, boy.
(Thor, hanging on, looks through the pod window, at Rocket, an points to the star)
Thor: That’s Nivadellir.
(The iris closes and the beam of light recedes back into the star)
Eitri: Dang it.
Rocket: “Dang it.”? What’s “dang it?
Eitri: The mechanism is crippled.
Thor: What?
Eitri: With the iris closed I can’t heat the metal.
Thor: How long will it take to heat?
Eitri: A few minutes, maybe more. Why?
Thor: I’m gonna hold it open.
Eitri: That’s suicide.
Thor: So is facing Thanos without that axe.
[Cut to the Wakandan battlefield. Their carriers hover over the ground with Wakandan soldier and Natasha, Steve and Bucky on board, and Bruce is in the Hulkbuster]
Natasha: How we looking, Bruce?
Bruce: (While walking) Yeah, I think I’m getting the hang of it. Wow! It’s like being the Hulk without actually- (He stumbles on a rock, and a carrier goes by, from which Okoye gives him a dubious look. He stands) I’m okay. I’m okay.
Sam: We got two heat signatures breaking through the tree line.
(M’Baku of the Jubari rallies his soldiers with a war cry. He stops as T’Challa nears him)
T’Challa: Thank you for standing with us.
M’Baku: (Translated) Of course, brother.
(T’Challa, Steve, and Natasha walk to the edge of the barrier, where Proxima Midnight and Obsidian Cole stand)
Natasha: Where’s your other friend?
Proxima: You will pay for his life with yours. Thanos will have that stone.
Steve: That’s not gonna happen.
T’Challa: You are in Wakanda now. Thanos will have nothing but dust and blood.
Proxima: We…Have blood to spare. (She raises her right arm with a cry, and several large ships emerge from the forest behind her.)
(T’Challa, Steve, Natasha return to the front line)
Bucky: Did they surrender?
Steve: Not exactly.
(T’Challa leads the Wakandans in the war cry “Yibambe!” telling them to hold fast as the Outriders bound toward the barrier)
Bucky: What the hell?
Natasha: Looks like we pissed her off.
(T’Challa commands the soldiers to engage their shields)
Okoye: (Watching as the Outriders bombard the dome only a few getting through) They’re killing themselves.
Sam: (Sending Redwings into the fight as he flies) You seen the teeth on those things?
Rhodes: Alright, back up, Sam. You’re gonna get your wings singed. (He flies over a section that has been breached and drops a barrage of mines)
Sam: Cap, if these things circle the perimeter and get in behind us…There’s nothing between them and Vision.
Steve: Them we better keep ’em in front of us.
Okoye: (To T’Challa) How do we do that?
T’Challa: We open the barrier. (Putting his hand to his ear) On my signal, open North-West Section Seventeen.
Wakandan Officer: Requesting confirmation, My King. You said open the barrier?
T’Challa: On my signal.
M’Baku: (To Okoye) This will be the end of Wakanda.
Okoye: Then it will be the noblest ending in history.
(The section of the barrier is opened)
T’Challa: Wakanda Forever! (He crosses his hands over his chest as his Black Panther helmet covers his face, leading the army as they run toward the barrier. T’Challa and Steve are at the front of the advancing army) Now! (The section in the barrier disappears and the Outriders charge at them)
T’Challa: How much longer, Shuri? (Over the comm)
Shuri: We’ve barely begun, brother.
T’Challa: You might want to pick up the pace.
(Cut to Thor on the rings of Nivadellir)
Thor: Allfathers, give me strength.
Eitri: You understand, boy? You’re about to take the full force of a star. It’ll kill you.
Thor: Only if I die.
Eitri: Yes. That’s what killing you means.
(Thor grasps the handholds and pulls, slowly opening the iris. The stream of light returns and awakens the forge once more.)
Eitri: Hold it! Hold it, Thor!
(Eitri watches the metal melt, and tips the cauldron, pouring it into the mold. Thor passes out, and the jet carries him to the forge. Rocket follows him, in the pod, and Groot looks up from his game when Thor lands near him)
Rocket: (Kneeling over Thor) Thor! Say something. Come on. Thor, you okay? (To Eitri) I think he’s dying.
Eitri: He needs the axe! Where’s the handle? Tree, help me find the handle!
(Groot looks sadly at Thor, stands and grows a longer arm, weaving it around the axe and hammer, joining them,and then cutting his arm off at the usual length. Thor’s hand opens slightly, and the hammer rises from the ground; lightening flickering from it)
(Cut to Wakanda where the Avengers and Wakandans are struggling against the Outriders. Suddenly, a large beam of light lands nearby, and the Avengers and Wakandans stop to look up as the axe flies through the air, electrocuting the Outriders. Thor appears with his new axe Stormbreaker, alongside Rocket and Groot.)
Bruce: [laughing with joy] Hah! Hah! Hah! You guys are so screwed now!
Thor: BRING ME THANOS!!! (He charges toward the hoards of Outriders, followed by Groot and Rocket)
[Cut to Titan, where Thanos appears in front of Doctor Strange, who appears to be the only one there]
Strange: Oh, you’re much more of a Thanos.
Thanos: I take it the Maw is dead. This day extracts a heavy toll. Still, he accomplished his mission.
Strange: You may regret that. He brought you face-to-face with the Master of the Mystic Arts.
Thanos: And where do you think he brought you? (Star-Lord is near by behind wreckage with his weapon ready, and Spiderman is above the structure where Strange sits.
Strange: Let me guess. Your home?
Thanos: (Smiling reminiscently) It was. And it was beautiful. (Thanos uses the Reality Stone to show Strange Titan before it was destroyed) Titan was like most planets. Too many mouths, and not enough to go around. And when we faced extinction, I offered a solution.
Strange: Genocide.
Thanos: But at random, dispassionate, fair to rich and poor alike. They called me a madman. And what I predicted came to pass. (The illusion fades into the true state of Titan)
Strange: Congratulations. You’re a prophet.
Thanos: I’m a survivor.
Strange: Who wants to murder trillions.
Thanos: With all six stones, I could simply snap my fingers, and they would all cease to exist. I call that…Mercy.
Strange: And then what?
Thanos: I finally rest…And watch the sun rise on a grateful universe. The hardest choices require the strongest wills.
Strange: I think you’ll find our will (Using his hand motions) equal to yours.
Thanos: Ours? (He looks up in time to a see a chunk of wreckage coming down on him, and tries to use the Power to stop, but is too late)
Iron Man: (Flying in) Piece of cake, Quill.
Quill: (Flying in from the other side) Yeah, if your goal was to tick him off.
(The wreckage on top of Thanos erupts, the pieces glowing with purple. He shouts as he uses the Power Stone to force the pieces at Iron Man. Spiderman webs his eyes, and swings in the kick him in the face. Then Strange summons a blade, but Thanos stops it with his hand, and tears the web from his eyes. He advances on Strange, and kicks him just as Strange summons a shield, absorbing the force of his blow, but knocking him back. Star-Lord shoots Thanos from behind, and Thanos uses the Power Stone to shoot balls on energy at Star-Lord while he advances by the steps Strange formed in the air, and places a electric mine on his back. He turns to Quill, as he disengages his helmet, dives backward into a portal, flipping him off.)
Star-Lord: Boom!
(Thanos tries to use the Space Stone to pull Quill back)
Strange: (To the Cloak of Levitation) Do not let him close his fist.
(The Cloak closes around Thanos’ fist, and the mine on his back goes off. Spiderman appears on his right from a portal)
Spider-Man: Magic. (He kicks him in the head) More magic.
(He then leaps into another portal. As Thanos tries to recover, he appears through another portal behind him)
Spider-Man: Magic with a kick! (He kicks him again in the head with his right leg)
(Finally, he appears on his right)
Spider-Man: Magic with a-
(Before he can finish Thanos turns, grabbing him from the air, and throwing him to the ground, with his hand around his neck.)
Thanos: Insect! (He then throws him, about to use the gauntlet, but is interrupted by an explosion caused by Iron Man shooting a missile at him. As the flames blind Thanos, Spiderman attaches a web to him, and strains against it. Thanos pulls Spiderman toward him, but looks up as a ship crashes beside him, and Nebula jumps in front of him)
Thanos: Well, well.
Nebula: You should have killed me.
Thanos: It would’ve been a waste of parts!
Nebula: [she runs at Thanos, attacking him with her sword] Where’s Gamora?!
[Strange uses the Space Stone to case her aside, flailing. Strange forms energy ropes that grapple onto the gauntlet. Thanos tries to pull it free, as Star-Lord shoots a electric magnet onto the ground beside him, holding down his other hand. Spiderman swings in, and makes a string of web, holding him back, enabling his spider legs to anchor himself, as Strange opens a portal above Thanos out of which drops Mantis, who lands on his shoulders, her hands on his temples. He screams as she tries to put him under]
Iron Man: [while pulling on the gauntlet] Is he under? Don’t let up.
Mantis: [starting to cry] Be quick…. He is very strong!
Iron Man: Parker, help! Get over here. [Parker withdraws his web, and hurries to help Tony with the gauntlet] She can’t hold him much longer. Let’s go. We gotta open his fingers to get it off!
Star-Lord: [lands, then joins with the others] I thought you’d be harder to catch. For the record, this was my plan. Not so strong now, huh? Where’s Gamora?
Thanos: … My… Gamora…?
Star-Lord: Oh, bull–shit. Where is she?
Mantis: [shocked] He is in anguish!
Star-Lord: Good.
Mantis: [crying] He… he… he mourns!
Drax: What does this monster have to mourn?!
Nebula: [she suddenly understands in horror what Thanos has done with…] Gamora.
Star-Lord: … What?
Nebula: He took her to Vormir. He came back with the Soul Stone…but she didn’t.
Iron Man: Okay, Quill, you gotta cool it right now, understand?
[Quill slowly turns to Thanos]
Iron Man: Don’t, don’t, don’t engage, we’ve almost got this off!
Star-Lord: Tell me she’s lying. [enraged] ASSHOLE!!! Tell me you didn’t do it!!!
Thanos: I… had… to.
Star-Lord: [while starting to tear up; quietly] No, you didn’t… No, you didn’t… [he continues to rage and then proceeds to pistol-whipping Thanos in the face] NO, YOU DIDN’T!!!
Drax: Quill!
[Quill uses his gun to pound Thanos in the face twice. Iron Man goes to hold him back, as Peter Parker is left to pull off the gauntlet]
Iron Man: [to the struggling Quill] Hey, stop! Hey, stop! Stop! Hey, stop! Stop!
Spider-Man: It’s coming! It’s coming! I got it! I got it…!!
[But Thanos wakes, butting Mantis from his shoulders, and grabbing the cuff of the gauntlet just as it is sliding off his hand, causing Parker to stumble back, and Mantis to go flying]
Spider-Man: [seeing Mantis flying] Oh, God! [he jumps and hugs her, extending his spider legs which give them a safe landing]
[Strange summons a weapon, and Thanos uses the Space Stone to throw him away. Then, Iron Man shoots at him, but Thanos bats him down, and uses the Space Stone to pull down the surface of a moon. Stark tries to fly away, but a large chunk pins him down]
Stonekeeper: Welcome, Thanos, son of Eros, Gamora, daughter of Thanos.
Thanos: You know us?
Stonekeeper: It is my curse to know all who journey here.
Thanos: Where is the Soul Stone?
Stonekeeper: You should know: it extracts a terrible price.
Thanos: I am prepared.
Stonekeeper: We all think that at first. [his face is revealed as the Red Skull] We are all wrong.
Thanos: How is it you know this place so well?
Red Skull: A lifetime ago, I too sought the stones. I even held one in my hand. But it cast me out, banished me here, guiding others to a treasure I cannot possess.
Gamora: I was a child when you took me.
Thanos: I saved you.
Gamora: No, no, we were happy on my home planet.
Thanos: Going to bed hungry, scrounging for scraps? Your planet was on the brink of collapse. I was the one who stopped that. You know what’s happened since then? The children born have known nothing but full bellies and clear skies. It’s a paradise.
Gamora: Because you murdered half the planet!
Thanos: A small price to pay for salvation.
Gamora: You’re INSANE.
Thanos: Little one, it’s a simple calculus. This universe is finite, its resources … finite. If life is left unchecked, life will cease to exist. It needs correcting.
Gamora: YOU DON’T KNOW THAT!
Thanos: I’m the only one who knows that. At least, I’m the only who the will to act on it.
Rocket: You speak Groot?!
Thor: Yes, they taught it on Asgard. It was an elective.
Groot: I am Groot?
Thor: You’ll know when we’re close. Nidavellir’s forge harnesses the blazing power of a Neutron Star. It’s the birthplace of my hammer; it’s truly awesome.
Rocket: [to himself] Okay, time to be the Captain. [to Thor] So, dead brother, huh? That can be annoying.
Thor: Well, he’s been dead before. But this time… I think it really might be true.
Rocket: And you said that your sister and your dad…
Thor: Both dead.
Rocket: But, still got a mom, though?
Thor: Killed by a Dark Elf.
Rocket: Best friend?
Thor: Stabbed through the heart.
Rocket: You sure you’re up for this particular murder mission?
Thor: Absolutely. The rage, vengeance, anger, loss, regret, they’re all tremendous motivators. They truly clear the mind… so, I’m good to go.
Rocket: Yeah, but this is Thanos we’re talking about, he’s the toughest there is.
Thor: Well, he’s never fought me.
Rocket: … Yeah, he has!
Thor: Well, he’s never fought me twice. And I’ll have a new hammer, don’t forget.
Rocket: Well, it’d better be some hammer.
Thor: You know, I’m one thousand and five hundred years old. I’ve killed twice as many enemies as that, and every one of them would have rather killed me, but none succeeded. I’m only alive because Fate wants me alive. Thanos is just the latest in a long line of bastards, and he’ll be the latest to feel my vengeance. Fate wills it so.
Rocket: And what if you’re wrong?
Thor: Well, if I’m wrong, then… what more could I lose?
Gamora: All my life I dreamed of a day, a moment, when you got what you deserved. And I was always so disappointed. But now, you kill and torture and you call it mercy. The universe has judged you. You asked it for a prize and it told you no. You failed. And do you wanna know why? Because you love nothing. No one.
Thanos: [sheds a tear] No.
Gamora: Really? Tears?
Red Skull: They are not for him.
[Gamora realizes what Thanos is going to do]
Gamora: No. This isn’t love.
Thanos: I ignored my destiny once. I cannot do that again. Even for you.
[Gamora anguishly takes the double-edged knife Thanos had given her, then tries to kill herself. But Thanos uses the Reality Stone, turning the knife into bubbles]
Thanos: [anguished] I’m sorry, Gamora.
Gamora: [muted] NO!
Banner: Who’s Scott?
Steve Rogers: Ant-Man.
Banner: There’s an Ant-Man and a Spider-Man?!
Stark: [to the Guardians] We gotta work together. Because if all we come out with is a plucky attitude…
Quill: Dude, don’t call us plucky. We don’t know what it means. We’re more optimistic, yes. I like your plan. Except…it sucks. So, let me do the plan and that way…it might be really good.
Drax: Tell him about the dance-off to save the universe.
Stark: What dance-off?
Quill: It’s not a thing.
Parker: Like in Footloose? The movie?
Quill: Exactly like Footloose. Is it still the greatest movie in history?
Parker: It never was.
Stark: Don’t encourage this alright we’re not getting any help from Flash Gordan.
Quill: Flash Gordon? That’s a compliment. Don’t forget, I’m half human. So that 50% of me that’s stupid, that’s 100% you.
[Thanos emerges from a teleport on the ruined Titan]
Strange: Oh, yeah. You’re much more of a “Thanos”.
Thanos: I take it that Maw is dead? This day extracts a heavy toll. Still, he accomplished his mission.
Strange: You may regret that. He brought you face-to-face with the Master of the Mystic Arts.
Thanos: Where do you think he brought you?
Strange: Let me guess. Your home.
Thanos: It was. [activates the Reality Stone, showing a holographic image of a populated Titan] And it was beautiful. Titan was like most planets; too many mouths, not enough to go around. And when we faced extinction, I offered a solution.
Strange: Genocide?
Thanos: At random. Dispassionate, fair; To rich and poor alike. They called me a madman… and what I predicted came to pass.
Strange: Congratulations, you’re a prophet.
Thanos: I’m a survivor.
Strange: Who wants to murder trillions.
Thanos: With all six stones, I could simply snap my fingers; They would all cease to exist. I call that… mercy.
Strange: Then what?
Thanos: I finally rest and watch the Sun rise on a grateful universe. The hardest choices require the strongest wills.
Strange: [he summons his Mandalas, entering a fighting pose] I think you’ll find our wills equal to yours.
Thanos: Ours?
[Stark crushes Thanos with a pillar of wreckage]
Stark: Piece of cake, Quill.
Quill: Yeah, if your goal is to piss him off!
Tony Stark: So this is it. It’s all been leading to this.
Thor: Ready?
Steve Rogers: Let’s go.
Gamora: He won’t stop. Until he destroys half the universe. Everything you know… Everything you love… It will all be gone.
Peter Quill: Let’s talk about this plan of yours. I think it’s good, except it sucks. So let me do the plan and that way it might be really good.
Tony Stark: Wow.
Thanos: The end is near. When I’m done, half of humanity will still exist. Perfectly balanced, as all things should be.
[upon seeing Steve]
Thor: New haircut? I notice you’ve copied my beard. Oh, by the way, this is a friend of mine. A tree.
Groot: I am Groot.
Steve Rogers: I am Steve Rogers.
Black Panther: Thank you for standing with us, M’Baku.
M’baku: Of course, brother.
Black Panther: How much longer, Shuri?
Bruce Banner: [trying to change into the Hulk] Hulk. Hulk, I know you like making your entrance at the last second, well, this is it, man. This is the last, last second. Hulk! Hulk! Hulk! [Hulk: NOOOO!] Oh, screw you, you big green asshole! I’ll do it myself!
[Thanos has just got the Infinity Stones; Thor suddenly hurls Stormbreaker, which goes right into Thanos’ chest]
Thor: I told you. You’d die for that!
[He takes hold of the back of Thanos’s head and forces Stormbreaker deeper into his chest, staring angrily into his eyes while Thanos cries out in pain]
Thanos: You should’ve… You…. You should’ve gone for the head!!
[He raises his gauntlet and snaps his fingers]
Thor: NO!
[Thanos is now briefly inside the Soul Stone, where he sees a young Gamora on the home world of the Zen-Whoberi]
Thanos: Daughter?
Gamora: Did you do it?
Thanos: Yes.
Gamora: [beat] What did it cost?
Thanos: [solemly] … Everything.
[Now out of the Soul Stone, Thanos notices the damages inflicted on the scorched Gauntlet]
Thor: What did you do? [angrily] WHAT DID YOU DO?!
[Thanos mockingly smirks at Thor before he uses the Space Stone and teleports away, leaving Stormbreaker left on the Wakandian field]
Captain America: Where’d he go? Thor… where’d he go?
Bucky Barnes: [feeling his prosthetic arm turning into ash] Steve?
[Bucky suddenly stumbles over, and collapses into ashes, much to Steve’s shock; Thor watches Steve mourning Bucky’s death. On the battlefield, Wakankan soldiers disintegrate to ashes, much to M’Baku’s horror]
T’Challa: [while reaching for a fallen Okoye] Up, General. Up! This is no place to die. [he suddenly disintegrates into ashes and Okoye falls back on the ground, much to her anguish]
Okoye: Hezvo…?!
Groot: [resting on a tree branch; slowly disintegrating, to Rocket] I am Groot… [Translation: “Dad?”]
Rocket: [as Groot starts slowly to corrode into ashes, much to Rocket’s horror] No…. No. No. No. No! Groot… no.
[Scarlet Witch is mourning over Vision. She then turns into ashes. An injured Falcon turns to ashes, hidden in the brush]
War Machine: [searching for Falcon, missing him by only a few feet] Sam? Sam!? Where you at?!
[Back on Titan, the remaining members of the Guardians and Avengers help themselves up from their battle against Thanos they had lost]
Mantis: Something… is… happening. [she gets killed into ashes]
Drax: [to Quill; his right arm and lower-half of his body slowly turns to ashes] Quill…?
[Drax gets disintegrated next as Quill stares in horror]
Tony Stark: Steady, Quill.
Quill: Aw, man.
[Quill also gets disintegrated into ashes]
Strange: [calmly turns to Stark] Tony, there was no other way. [he finally gets erased]
Parker: [feels himself starting to disintegrate and doesn’t want to die] Mister Stark? I don’t feel so good…
Tony Stark: [trying to be calm] You’re all right.
Parker: [stumbling] I don’t know what’s – I don’t know what’s happening. I don’t – [Parker falls into Stark’s arms, clutching him tight and crying] Save me, save me! I don’t wanna go, I don’t wanna go, Mister Stark, please. Please, I don’t wanna go. I don’t wanna go… I’m sorry.
[Parker disintegrates into ashes in Stark’s arms]
Nebula: [to Tony Stark, seeing Thanos’ victory] He did it.
[Stark mourns silently at his failure it caused. Back on Wakanda, the remaining team members, Captain America, Thor, War Machine, Black Widow, Bruce Banner, and Rocket are left mourning near Vision’s dead body]
War Machine: What is this? What the hell is happening?
Captain America: …. Oh, God.
[Meanwhile, on a different planet, Thanos sits down and watches the Sun rising]
[Last lines]
Nick Fury: Still no word from Stark?
Maria Hill: No, not yet. We’re watching every satellite in both hemispheres, there’s still nothing. [receives three beeps from her device]
Fury: What is it?
Hill: Multiple bogeys over Wakanda.
Fury: Same energy signatures as New York?
Hill: Ten times bigger.
Fury: Call Klein. We’ll meet him at –
Hill: NICK!
[Suddenly, a car spirals out of control into them. Hill goes over to check on the driver of the car, but sees no one is in there]
Fury: They okay?
Hill: There’s no one here.
[Suddenly, a helicopter, with ash flying out, crashes into a building. The two are now witnessing civilians around them suddenly disintegrating]
Fury: Call control. Code Red!
Hill: [alerting Fury] Nick…?
[Fury turns around to see Hill disintegrating]
Fury: Hill?
[Fury then races back to their car and gets a pager out. He sends out an emergency alert, mere seconds before his hand turns into ashes]
Fury: Oh, no. Motherf –
[Fury corrodes to dust. The pager falls to the ground; we see the device display a red-and-blue star insignia, indicating the symbol of Captain Marvel]
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Read more: https://www.springfieldspringfield.co.uk/movie_script.php?movie=avengers-endgame
TOHO CO., LTD.
GODZILLA
Produced by Tomoyuki Tanaka
Screenplay by Takeo Murata
and Ishiro Honda
Story by Shigeru Kayama
Photography by Masao Tamai
Music by Akira lfukube
Special Effects
directed by Eji Tsuburaya
Starring
Momoko Kochi
Akihiko Hirata
and Takashi Shimura
Directed by Ishiro Honda
What was that?
Yes? Southern Sea Salvage,
Ogata speaking.
What?
Right, I understand.
As soon as possible.
Emiko, I'm sorry…
What is it? An accident?
The Coast Guard received
a distress call.
I'll have to cancel
our date tonight.
I'm sorry I can't go with you,
but you can still see it
if you hurry.
It's a shame, but it's your job.
Well, you'd better hurry.
Southern Sea Steamship Company
vessel, the "Eiko-maru,"
a 7,500-ton freighter,
was reported lost…
on August 13 at 19:05 hours.
Its last position,
latitude 24 degrees north,
longitude 141.02 degrees east.
Contact was lost
for unknown reasons.
All units in sectors 3 and 4
stand by for action!
Thank you for calling me.
Thank you again.
What could have happened?
We have no idea.
It seems like there was
a sudden explosion.
Communications suddenly halted
shortly after we received
their SOS.
Well, the "Bingo-maru" is
approaching the area now.
We'll learn more soon enough.
They are here.
Certainly. The "Eiko-maru" and
"Bingo-maru" are both owned
by the Southern Sea
Steamship Company.
Yes. They don't know how.
Can't you tell us
if any survivors were seen?
Please wait a little longer.
We have a helicopter and two
ships searching the area now.
We won't be sure of anything
until we get their report.
Excuse me,
why not send more ships?
Two ships are not enough
for this!
No, we're not limiting
the search party to two ships.
We'll make every effort
to conduct a thorough search.
Until then, please be patient.
Hey!
Help us, please!
We're here! Hang in there!
It was incredible.
The ocean just blew up!
Blew up?
So far, three survivors were
picked up by a fishing boat.
They are being taken
to Odo Island.
We have sent the vessel "Kotaka"
to assist them.
Which ship
were the survivors from…
the "Eiko-maru"
or the "Bingo-maru"?
We are still investigating,
but their names will be released
soon enough.
I hope the three men know
what happened.
We need to know more
about the accidents.
Just a moment! Please, wait!
What's the matter?
I can't believe it.
I just can't believe it!
The fishing boat sank
the same way.
News desk! Ah, Mr. Yamana?
Mr. Yamana, the other search
boat was sunk!
In the same area… yes.
Yes, in the same way!
We're tired of hearing
the same thing!
Please tell us what happened!
Please give us a chance
to investigate!
Don't you know what's going on?
I'm sorry,
but you must be patient!
Wait, please wait!
A drifting sea mine, or an
underwater volcanic eruption?
One shipwreck after another!
I can't imagine,
could it be a volcano?
Izuma! Is there something
out there?
Ah, it's a raft!
Hey, there's a raft out there!
A raft is coming this way!
A raft is coming!
Hey! Over here!
Build up the fire!
Build up the fire!
It's Masaji! It's Masaji!
Masaji!
Masaji! Hold on! Masaji!
Hang on!
Brother!
Masaji! Masaji!
Masaji!
He did it…
What?!
A monster…
What did this?!
Masaji! What did this?!
It's no good!
We didn't catch anything!
It can't get any worse
than this!
Then…
Godzilla must have done it.
The old man and Godzilla,
both relics from days past!
Hey! What do you know
about the old days?!
If you all keep thinking
like that,
you'll all become prey
for Godzilla!
Anyhow, there must be
some kind of animal in the sea.
That's why
we can't catch anything.
But a creature that big would…
I knew it was stupid
to open my mouth!
I try to tell you all,
but nobody listens!
Shinkichi, let's go.
Ah, sir! Sir, sir!
Godzilla?
It's the name of a monster
that lives in the sea.
It will come from the ocean
to feed on humankind to survive.
In the old days, during times
when the fishing was poor,
we used to sacrifice girls
to prevent him
from eating us all, yes!
Now, this exorcism ceremony
is all that remains
of the old traditions.
Godzilla?
Shinkichi!
Shinkichi! Stay inside!
Shinkichi!
Shinkichi!
Brother!
Brother! Run, brother!
Brother! Run, brother!
Hey, hey!
Shinkichi, what's wrong?!
Brother!
Odo Island Representatives
Mr. Ooyama.
There have been 17 houses
destroyed with nine deaths…
I have heard that there
were other damages.
Could you please tell us
how bad they are?
Odo Island Village Mayor,
Mr. Inada.
Certainly, of course.
Twelve cows and eight pigs died.
I'm not lying!
It was hard to see in the dark,
but it was an animal!
I know it goes
against common sense,
but the more I think about it,
the more I am convinced
that it was definitely not
a normal hurricane.
The way the houses
and helicopter were destroyed,
it seems as if they were crushed
from above!
Now, finally,
we will hear the opinion
of expert paleontologist
Professor Kyohei Yamane.
I suppose my opinion
is a bit premature
before a thorough investigation,
but we are all aware of
the discovery in the Himalayas
of the alleged
"snowman footprints."
It is a mystery
we have yet to solve.
The earth has many deep pockets,
abyssal regions
that contain secrets
we have yet to discover.
For this incident,
I request the formation
of a fact-finding party
for a full investigation.
Good Luck,
Odo Island Research Party!
Good-bye!
We'll see you soon!
It was surprising to see
Dr. Serizawa at our departure.
He rarely leaves his laboratory.
I don't know if he believes
this will be our finaljourney.
Well, what could go wrong?
Of course, we can avoid
dangerous waters,
but anything can happen.
For the time being,
please don't use the water
from this well.
It's dangerous.
This is horrible!
We can't use the well anymore?
Professor, if there was
radioactive fallout,
wouldn't the wells on the other
side of the island be affected?
Yes. Why is it that the wells
in this area
were the only ones affected?
It doesn't make any sense.
Mr. Hagiwara, I think
this depression might be
the footprint of a creature.
Would you agree with me?
Is that true, Professor?
This footprint is radioactive.
Everybody, it's very dangerous
here! Please step back!
Step back! Step back!
Emiko, look!
It's a trilobite!
A three-lobed creature that has
long since been extinct!
Professor!
You shouldn't be touching that!
Professor, what is that thing?
This is…
an incredible discovery!
It's on the other side
of the hill!
It's on the other
side of the hill!
Father!
What is it?
Tanabe, I saw it!
A creature
from the Jurassic Period!
Where is it?
Emiko! Emiko!
Emiko!
Father!
This way! This way!
This way! This way!
What is that?
Those are footprints.
About 2 million years ago,
this brontosaurus
and these other dinosaurs
roamed the earth
during a period
the experts called Jurassic.
During the following
geological period,
the Cretaceous,
a creature somewhere between
the marine reptiles
and the evolving
terrestrial animals was born.
I am convinced there was such
an intermediate creature.
This creature, according
to Odo Island folklore,
is called Godzilla.
As we look at this photo
of Godzilla's head
from a hill on Odo Island,
we can estimate
that this creature
stands approximately
50 meters tall.
So then, how can we explain
the presence of such a creature
during the present day?
It probably survived
by eating deep sea organisms
occupying a specific niche.
However, recent experimental
nuclear detonations
may have drastically altered
its natural habitat.
I would even speculate
that a hydrogen bomb explosion
may have removed it
from its surroundings.
Incredible!
Really!
I have strong evidence
to support my theory.
First, the organism
we found embedded
in Godzilla's footprint,
a trilobite.
This is a photo of the creature.
This is it.
This creature has been extinct
for two million years,
yet here it is
in perfect physical condition.
Next is the sediment
that we found
in the trilobite's shell.
That sediment is sand.
There is no doubt that this sand
matches the deposits found
from the Jurassic period.
This sand is similar
to the red clay
found in the stratum
of that particular period.
Professor, how do you know
that this has something to do
with the atomic bombs?
Because
our Geiger counter readings
of the radiation in this sand
indicate the presence
of Strontium-90.
Professor Tanabiya will explain
this better in a moment,
but basically, this sand
that came from Godzilla
has absorbed
a massive dose of radiation,
the type generated
only from an atomic bomb.
Order, please! Order, please!
The evidence suggests
that Godzilla itself
must have absorbed an enormous
amount of atomic radiation.
Order, please! Order, please!
Chairman! Chairman!
Mr. Ooyama.
I believe
Professor Yamane's report
is of such extreme importance,
it must not be made public.
What are you saying?!
Because it is so important,
it should be made public!
Yes! Yes!
Be quiet!
What I mean is, if this Godzilla
is the product from the use
of atomic weapons…
Exactly!
That's exactly what it is!
She's right!
That's my point!
World affairs are fragile enough
as it is!
If this were to be made public,
can you imagine
the consequences?
The truth is the truth!
That is what makes it
such a delicate matter!
The improper handling
of such a notion
would engulf the country
in a panic!
The government, the economy
and international relations
would plunge into total chaos!
You stupid idiot!
What are you saying?!
You dare to call me an idiot?!
Apologize! Apologize!
The truth must be made public!
Counter-Godzilla Headquarters
Established.
Seventeen Ships Already Lost.
It's terrible, huh?
Contaminated tuna
and radioactive fallout,
and now this Godzilla
to top it all off!
What will happen if he appears
out of Tokyo Bay?
First, he'll probably eat you
in one bite.
You're horrible!
They seemed certain about
the accuracy of their report.
How could we create
such a thing?
I guess I'll have to find
a shelter soon.
Find one for me, too!
The shelters again?
That stinks.
Counter-Godzilla Headquarters
Isn't there any way they can get
rid of this creature?
Longitude 138
to 138.07 degrees east.
Latitude 33.04
to 33.08 degrees north.
These are the coordinates of
the anti-Godzilla frigate fleet.
Depth charges will be dropped
in the area.
So vessels in the vicinity
should be warned.
That's all.
Is that all?
That's all.
In response
to the public outcry,
the government is attempting
to get rid of the monster
known as Godzilla.
A frigate fleet has been ordered
to begin
a massive depth-charge attack
in order to get rid
of the creature.
The 10 vessel fleet left port
at 10:00 a.m.,
heading for the coast
of Odo Island.
At 10:19 a.m.,
they received orders
to commence with their attack.
What's wrong with them?
The professor is a zoologist.
He doesn't want them
to kill Godzilla.
Father! Father!
Father…
Please leave me alone
for a while.
Emiko, please turn off
the light.
Yes.
Godzilla! It's Godzilla!
Watch out! Watch out!
Please don't panic!
What a bother!
Have you tried solving
the problem together?
They're sticking
to their point of view.
How much longer will they
keep us waiting like this?
For as long as they want.
It's annoying!
Please, Professor. Have a seat.
Excuse me.
Thank you for coming.
You're welcome.
This is quite a problem,
Professor.
If this keeps up,
we'll have to suspend
the international ship routes.
Have you found a way?
Is there something we can do
to defeat him?
So, that's it…?
Professor Yamane,
let's be honest.
If there's a way to defeat
Godzilla, we'd like to know.
It's impossible!
He absorbed massive amounts
of atomic radiation,
but Godzilla still survived.
What do you think
could kill him?
Instead, we should focus
on why he is still alive.
That should be our top priority!
Professor Yamane's argument
is absolutely correct!
This isn't the time
to behave like idiots.
We should focus
on scientific research!
Yes, but research at what cost?
You're right!
That's the question!
Hagiwara, interview
this gentleman.
Dr. Serizawa?
Yes, he's Professor Yamane's
future son-in-law.
Oh? The girl's fiance?
I'm sure my father
will understand.
There's no reason
for him to apologize.
But I can't help feeling uneasy
when I think about Serizawa.
If it wasn't for the war,
he wouldn't have received
such a terrible scar.
Ogata…
Ever since I was a child,
I've always thought of him
as an older brother.
Even now, my feelings for him
have not changed at all.
Emiko, thanks.
Miss, Mr. Hagiwara would like
to see you.
Mr. Hagiwara?
Yes, the reporter.
Hello! Excuse me.
Thank you.
What do you want?
Um… I'd like
to ask you a favor.
The truth is, I tried
to talk to Dr. Serizawa,
but he refused to see me.
So, I was wondering if you could
introduce me to him?
It's for our daily newspaper.
I'm sorry, but I need your help.
It's perfect.
I should go along with you to
speak with Serizawa personally.
You're right, but I should break
it to him my way.
Please let me go
to speak with him first.
You're right. Well, go ahead.
Thank you. I'm sorry,
but we should go.
I have a ride waiting outside.
I'll try my best to talk to him.
I'll help Shinkichi
with his studies. See you later.
Serizawa Research Laboratory
There must be some mistake.
I haven't spoken to anyone
about the importance
of my research.
It's the truth.
A journalist in Switzerland
met with a German scientist
who stated that your project
would be
an incredible breakthrough
in anti-Godzilla operations
in Japan when completed.
I don't have any German
scientist associates.
Really? Then what is the nature
of your research right now?
No. I'd rather not speak
about it.
Well, thank you for your time.
No, I'm sorry
that I wasn't much help.
Excuse me.
I'll stay a little longer.
Really? Then, I'll be going.
I wanted to find out
what his research was all about.
He's very moody,
but please try to ask him again
at another time.
I will. Good-bye.
Have a safe trip.
Well, what are you really
studying now?
My father is also wondering
what you are studying
these days.
Emiko, would you like to see it?
Yes.
This must be
strictly confidential.
Sure.
I'm risking my life
in this project.
Would you be able
to keep it a secret?
Follow me.
Wow…!
Get back!
Emiko, you're the only one
I've shown this to.
Don't forget it.
Yes, I'll keep my promise.
Welcome back. We missed you.
Welcome home.
Did anything happen?
No, it was nothing.
Has Emiko come back?
Yes!
Godzilla!
Godzilla has come back!
Ogata!
I couldn't tell him about us.
I am Yamane, Professor Yamane!
I'm sorry, but I've been ordered
not to let anyone pass!
Then tell your commander
not to use lights on Godzilla!
They will only make him angry!
He can't be bothered
by that now!
Professor,
let's go to that hill.
Get back, please!
Get back, please!
International Researchers
to Assist!
We are preparing to construct
a 30 meter high, 80 meter deep
barbed-wire fence
along the coast.
We will send 50,000 volts
of electric current
through the fence in hope of
electrocuting Godzilla to death.
We will have
to evacuate the people
along the coast, of course,
and maintain a safe distance
of 500 meters
from the entire fence perimeter.
The Coast Guard and the Army
will work
to implement this defense plan.
Hurry! Hurry!
This is a Security
Command Announcement.
At 16:30 hours, Godzilla was
sighted north of Kasonzaki,
moving in a northeast direction.
A maximum security alert
has been issued
for the coastal zones
in the Tokyo vicinity.
Third District. Third District.
Check! Check!
Third district!
Check!
This is a special news report.
This is a special news report.
All residents of the Minato,
Shinagawa and Osaku districts
are to begin evacuating
immediately.
Repeating, all residents
of the Minato, Shinagawa
and Osaku districts are
to begin evacuating immediately.
Please keep your radio on
for further reports.
Emiko, today I'm going to ask
for your father's consent.
Will that be all right?
Welcome home.
What happened, Father?
All they can think about
is killing Godzilla.
Why can't they try to study him
from a radiological perspective?
It's an unique opportunity!
Professor, I agree with them.
Ogata, I do not take
this matter lightly.
Godzilla is something
that no one in the world
has ever seen,
and only those of us in Japan
can study it!
But, Professor, that's
no reason to do nothing
while this monster
ravages our country.
Isn't Godzilla a product
of the atomic bomb
that still haunts
many of us Japanese?
Don't you think we should study
what keeps a creature
like this alive,
regardless of the radiation
it absorbs!
But…
All you want is
to kill Godzilla, too?!
Go away! Get out of my house!
I'm very sorry.
No, I shouldn't have
upset him like that.
No, Father has been like this.
Emiko, give me a chance
to see him again.
This is a special bulletin!
This is
a special bulletin!
Godzilla was spotted
moving toward the coastline
several minutes ago.
The barbed-wire fence
along the shoreline
is about to be charged
with high voltage electricity.
We repeat…
Direction, 25 to 30 degrees!
Distance, 850!
Fires are raging through
the Shihabara district.
We have no way to put them out.
This is Central Command,
come in, unit 465.
Central Command,
this is unit 465.
The fire that started
in Mitadai-machi
has spread to other districts!
This is Central Command,
come in, unit 215.
Central Command, unit 215.
Our defense lines have broken!
Armored division #49
has been destroyed!
The current position
of the target is unknown.
We are awaiting further orders,
please!
Attention all units!
Attention all units!
Initiate Security
Command code 129!
Initiate Security Command
code 129!
Prepare to repel attack
while carrying out
firefighting procedures.
Concentrate efforts
to rescue casualties.
Initiate Security Command
code 129!
Initiate Security
Command code 129!
We'll be joining your father
in just a moment!
A little longer,
a little longer,
and we'll be with your daddy!
This is unbelievable,
absolutely unbelievable!
Yet, the unbelievable
is happening at this moment,
right before our very eyes!
Right now, Godzilla is leaving
behind a sea of flame!
From Ginza-Owari to Shinbashi,
Tamachi, Chiba and Shinabara,
it's all become a sea of flames!
Now, Godzilla is starting
to move again!
It appears that he is moving
beyond the city limits!
To all of our viewers,
this is not a play or a movie!
This is real,
the most extraordinary story
of the century!
Is the world going
to be destroyed
by a two million-year-old
monster?
All personnel to the shelters!
All personnel
to the shelters!
Quickly, please!
Quickly, please!
Operational Command Staff,
proceed to shelter 306!
We are reporting to you live
from a short-wave transmitter.
Godzilla is now approaching
this broadcasting station,
heading toward our TV tower!
There is no time for us
to take cover!
We don't know
what will happen to us!
He is getting even closer!
It looks like our doom!
I'm watching as he grabs
onto the tower!
He has incredible strength!
This broadcast is over!
Good-bye, everyone, good-bye!
Godzilla has turned Tokyo
into a sea of flames!
He is moving from Ueno
to Asakusa and Shinagawa,
apparently heading
for the river!
Damn it! Damn it!
Damn it!
Damn it! Damn it!
He's running away!
He'll be back!
What can we do?
Damn it!
How can we get rid of him?!
Damn it!
Godzilla has retreated
back into the sea.
Professor Yamane has been asked
to work on a plan
to defeat the monster.
No details are known
at this time.
That is the news for now.
Mr. Ogata
from Southern Sea Salvage.
Mr. Ogata from
Southern Sea Salvage.
There has been a change
in the scheduled timetable.
Please report
to the briefing room
for further instructions.
Thank you for your help.
Your mother will be okay.
Emiko…
Ogata, I have something
important to tell you!
I can't stay quiet anymore!
I must betray him.
Betray?
Yes. I made a promise
to Serizawa.
Serizawa?
It's a secret I've been keeping,
even from you!
But, now, I have
to break my promise!
It happened on the day
that Mr. Hagiwara and I
went to see him.
That's when it happened.
Get back!
What was that?
Yes. All of the oxygen
in the water was disintegrated.
The organisms in the tank
died of asphyxiation.
Their remains were liquified
by my Oxygen Destroyer.
Overall, it's a device that
splits oxygen atoms into fluids.
My…
I intended to devote my work to
the study of the element oxygen.
But, in the course
of my research,
I came across
an unknown form of energy.
In my first experiment,
I discovered a powerful force
that scared me beyond words.
I didn't eat
for two or three days!
Just a little piece of this,
dropped into the water,
could turn the entire Tokyo Bay
into a graveyard!
Why are you working
on such an awful project?
Emiko! I perform my work
strictly as
a research scientist!
But what if…
what if your discovery
is used
for some horrible purpose?
You're right.
Used as a weapon, this would be
as powerful as a nuclear bomb.
It could totally destroy
humankind!
But I believe I can find a use
for the Oxygen Destroyer
that will benefit society.
Until then,
I won't reveal its existence.
That's why I didn't say anything
to the reporter.
If I am forced to surrender
this device
in its present form…
I'll make sure the results
of my experiments are destroyed
in the event of my death.
I understand.
I won't tell anyone about this,
not even my own father.
I had to break my promise.
So that's it?
But, Emiko, considering
what Serizawa said,
and the fact that this thing
can be of help,
I'm sure he will forgive you
for this.
Hello. Welcome back.
Serizawa.
What? Oh, it's you.
I have a favor to ask you today.
Well, have a seat.
What do you want from me?
I want to use
the Oxygen Destroyer.
What Oxygen Destroyer?
I don't know
what you're talking about!
Serizawa,
why are you pretending?
Pretending?
Serizawa, I broke the promise
I made to you.
So I told him everything!
Please let him use the device!
I'm sorry! Please forgive me!
Emiko wanted to help
after seeing the destruction.
Please try to forgive her.
Your device is our only hope!
Ogata, if Emiko told you
everything about my device,
you should know
why I can't let you use it.
I must refuse!
Serizawa!
No!
Why is it wrong
to use it for this?
Please go home!
Serizawa!
Serizawa!
Open the door, please! Serizawa!
Serizawa! What are you doing?!
Leave me alone!
Do you want to destroy years
of research?
Let go!
Stop, please!
Serizawa!
Ogata!
Ogata!
Ogata, forgive me.
If my device can serve
a good purpose,
I would announce it
to everyone in the world!
But in its current form,
it is just a weapon
of horrible destruction!
Please understand, Ogata!
I understand,
but if we don't use your device
against Godzilla,
what are we going to do?
Ogata, if the Oxygen Destroyer
is used even once,
politicians from around
the world will see it.
Of course, they'll want
to use it as a weapon.
Bombs vs. Bombs,
missiles vs. Missiles,
and now a new super weapon
to throw upon us all!
As a scientist,
no, as a human being,
I can't allow that to happen!
Am I right?
Well, what do we do
about the horror before us now?
Should we just let it happen?
If anyone can save us now,
Serizawa, you're the only one!
Lf… you use the device
to defeat Godzilla,
unless you reveal what you have
done, who will know about it?
Ogata, humans are weak animals.
Even if I burn my notes,
the secret will still be
in my head.
Until I die, how can I be sure
I won't be forced by someone
to make the device again?
What am I going to do?
"Oh Peace, Oh Light, Return,"
the prayer for peace
that took place
all over the country today.
Here we see the Tokyo chapter
of this event.
Listen to the young voices
as they put the strength
of their lives into their song.
May we live
without destruction
May we look to tomorrow
with hope
May peace and light
return to us.
Serizawa!
Ogata, you are right.
But this will be the first
and last time
that I will ever allow
the Oxygen Destroyer to be used.
Don't cry, Emiko.
This is the only way to be sure
that it won't fall
into the wrong hands.
We are getting closer
to the moment of truth.
We will soon know if Godzilla,
the monster
that has terrorized the world
will be finally buried forever
in the ocean depths.
At this time, Geiger-counter
readings are being used
to pinpoint Godzilla's location.
Ogata, get me a diving suit.
What are you saying?!
You have no experience
in using a diving suit!
Serizawa… Ogata is right.
Let him do it.
Professor, this is
the only Oxygen Destroyer
I have!
To use it properly,
I have to do it underwater.
All right.
We'll do it together.
No. I'll do this myself.
You're crazy.
I won't allow someone
with no experience
to go down alone!
Hey! Get another
diving suit ready!
Okay? Please don't
go down alone!
Will the only Oxygen Destroyer
in the world
be powerful enough
to do the job?
Its inventor, Dr. Serizawa,
remains silent.
All we can do now
is pray for its success.
Professor…
I never thought
I'd reveal it in this way.
I'll be praying for you.
All right!
You two be very careful.
Ogata, we're counting on you.
Right!
The time has come.
Right now, Dr. Serizawa
is being lowered into the water.
They've reached the bottom!
Pull!
Start pulling!
Serizawa! Serizawa!
Serizawa!
Serizawa! Serizawa!
What's going on?! Serizawa!
Ogata, it worked!
Both of you, be happy.
Good-bye… farewell!
Serizawa! Hey, bring him up!
Serizawa!
Serizawa…
This exhilaration,
this jubilation, we have won!
We can see that Godzilla
will never rise
from the ocean's depths again!
This victory
could not be achieved
if it weren't for the young
scientist, Dr. Serizawa.
He wanted us to be happy…
I can't believe that Godzilla
was the only surviving member
of its species…
But, if we keep on conducting
nuclear tests,
it's possible that another
Godzilla might appear…
somewhere in the world, again.
Salute!
At ease!
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