Scenes 1-10 1 INT -- CABIN -- NIGHT (1946) A dark, empty room. The door bursts open.
A MAN and WOMAN enter. Drunk and giggling, horny as hell. No sooner is the door shut than they're all over each other, ripping at clothes, pawing at flesh, mouths locked together. He gropes for a lamp, tries to turn it on, knocks it over instead. Hell with it. He's got more urgent things to do, like getting her blouse open and his hands on her breasts. She arches, moaning, fumbling with his fly. He slams her against the wall, ripping her skirt. We hear fabric tear. He enters her right then and there, roughly, up against the wall. She cries out, hitting her head against the wall but not caring, grinding against him, clawing his back, shivering with the sensations running through her. He carries her across the room with her legs wrapped around him. They fall onto the bed. CAMERA PULLS BACK, exiting through the window, traveling smoothly outside... 2 EXT -- CABIN -- NIGHT (1946) 2 ...to reveal the bungalow, remote in a wooded area, the lovers' cries spilling into the night... ...and we drift down a wooded path, the sounds of rutting passion growing fainter, mingling now with the night sounds of crickets and hoot owls... ...and we begin to hear FAINT MUSIC in the woods, tinny and incongruous, and still we keep PULLING BACK until... ...a car is revealed. A 1946 Plymouth. Parked in a clearing. 3 INT -- PLYMOUTH -- NIGHT (1946) 3 ANDY DUFRESNE, mid-20's, wire rim glasses, three-piece suit. Under normal circumstances a respectable, solid citizen; hardly dangerous, perhaps even meek. But these circumstances are far from normal. He is disheveled, unshaven, and very drunk. A cigarette smolders in his mouth. His eyes, flinty and hard, are riveted to the bungalow up the path. He can hear them fucking from here. He raises a bottle of bourbon and knocks it back. The radio plays softly, painfully romantic, taunting him: You stepped out of a dream... You are too wonderful... To be what you seem...
He opens the glove compartment, pulls out an object wrapped in a rag. He lays it in his lap and unwraps it carefully --- revealing a .38 revolver. Oily, black, evil. He grabs a box of bullets. Spills them everywhere, all over the seats and floor. Clumsy. He picks bullets off his lap, loading them into the gun, one by one, methodical and grim. Six in the chamber. His gaze goes back to the bungalow. He shuts off the radio. Abrupt silence, except for the distant lovers' moans. He takes another shot of bourbon courage, then opens the door and steps from the car. 4 EXT -- PLYMOUTH -- NIGHT (1946) 4 His wingtip shoes crunch on gravel. Loose bullets scatter to the ground. The bourbon bottle drops and shatters. He starts up the path, unsteady on his feet. The closer he gets, the louder the lovemaking becomes. Louder and more frenzied. The lovers are reaching a climax, their sounds of passion degenerating into rhythmic gasps and grunts. WOMAN (O.S.) Oh god...oh god...oh god... Andy lurches to a stop, listening. The woman cries out in orgasm. The sound slams into Andy's brain like an icepick. He shuts his eyes tightly, wishing the sound would stop. It finally does, dying away like a siren until all that's left is the shallow gasping and panting of post-coitus. We hear languorous laughter, moans of satisfaction. WOMAN (O.S.) Oh god...that's sooo good...you're the best...the best I ever had... Andy much path held just stands and listens, devastated. He doesn't look like of a killer now; he's just a sad little man on a dirt in the woods, tears streaming down his face, a loaded gun loosely at his side. A pathetic figure, really.
FADE TO BLACK: 1ST TITLE UP 5 INT -- COURTROOM -- DAY (1946) 5 THE JURY listens like a gallery of mannequins on display, pale-faced and stupefied. D.A. (O.S.) Mr. Dufresne, describe the confrontation you had with your wife the night she was murdered. ANDY DUFRESNE
is on the witness stand, hands folded, suit and tie pressed, hair meticulously combed. He speaks in soft, measured tones: ANDY It was very bitter. She said she was glad I knew, that she hated all the sneaking around. She said she wanted a divorce in Reno. D.A. What was your response? ANDY I told her I would not grant one. D.A. (refers to his notes) "I'll see you in Hell before I see you in Reno." Those were the words you used, Mr. Dufresne, according to the testimony of your neighbors. ANDY If they say so. I really don't remember. I was upset. FADE TO BLACK: 2ND TITLE UP D.A. What happened after you and your wife argued? ANDY She packed a bag and went to stay with Mr. Quentin. D.A. Glenn Quentin. The golf pro at the Falmouth Hills Country Club. The man you had recently discovered was her lover. (Andy nods) Did you follow her? ANDY I went to a few bars first. Later, I decided to drive to Mr. Quentin's home and confront them. They weren't there...so I parked my car in the turnout...and waited. D.A. With what intention? ANDY I'm not sure. I was confused. Drunk.
I think mostly I wanted to scare them. D.A. You had a gun with you? ANDY Yes. I did. FADE TO BLACK: 3RD TITLE UP D.A. When they arrived, you went up to the house and murdered them? ANDY No. I was sobering up. I realized she wasn't worth it. I decided to let her have her quickie divorce. D.A. Quickie divorce indeed. A .38 caliber divorce, wrapped in a handtowel to muffle the shots, isn't that what you mean? And then you shot her lover! ANDY I did not. I got back in the car and drove home to sleep it off. Along the way, I stopped and threw my gun into the Royal River. I feel I've been very clear on this point. D.A. Yes, you have. Where I get hazy, though, is the part where the cleaning woman shows up the next morning and finds your wife and her lover in bed, riddled with .38 caliber bullets. Does that strike you as a fantastic coincidence, Mr. Dufresne, or is it just me? ANDY (softly) Yes. It does. D.A. I'm sorry, Mr. Dufresne, I don't think the jury heard that. ANDY Yes. It does. D.A. Does what?
ANDY Strike me as a fantastic coincidence. D.A. On that, sir, we are in accord... FADE TO BLACK! 4TH TITLE UP D.A. You claim you threw your gun into the Royal River before the murders took place. That's rather convenient. ANDY It's the truth. D.A. You recall Lt. Mincher's testimony? He and his men dragged that river for three days and nary a gun was found. So no comparison can be made between your gun and the bullets taken from the bloodstained corpses of the victims. That's also rather convenient, isn't it, Mr. Dufresne? ANDY (faint, bitter smile) Since I am innocent of this crime, sir, I find it decidedly inconvenient the gun was never found. FADE TO BLACK: 5TH TITLE UP 6 INT -- COURTROOM -- DAY (1946) 6 The D.A. holds the jury spellbound with his closing summation: D.A. Ladies and gentlemen, you've heard all the evidence, you know all the facts. We have the accused at the scene of the crime. We have foot prints. Tire tracks. Bullets scattered on the ground which bear his fingerprints. A broken bourbon bottle, likewise with fingerprints. Most of all, we have a beautiful young woman and her lover lying dead in each other's arms. They had sinned. But was their crime so great as to merit a death sentence? He gestures to Andy sitting quietly with his ATTORNEY. D.A. I suspect Mr. Dufresne's answer to
that would be yes. I further suspect he carried out that sentence on the night of September 21st, this year of our Lord, 1946, by pumping four bullets into his wife and another four into Glenn Quentin. And while you think about that, think about this... He picks up a revolver, spins the cylinder before their eyes like a carnival barker spinning a wheel of fortune. D.A. A revolver holds six bullets, not eight. I submit to you this was not a hot-blooded crime of passion! That could at least be understood, if not condoned. No, this was revenge of a much more brutal and cold-blooded nature. Consider! Four bullets per victim! Not six shots fired, but eight! That means he fired the gun empty...and then stopped to reload so he could shoot each of them again! An extra bullet per lover...right in the head. (a few JURORS shiver) I'm done talking. You people are all decent, God-fearing Christian folk. You know what to do. FADE TO BLACK: 6TH TITLE UP INT -- JURY ROOM -- DAY (1946) 7 CAMERA TRACKS down a long table, moving from one JUROR to the next. These decent, God-fearing Christians are chowing down on a nice fried chicken dinner provided them by the county, smacking greasy lips and gnawing cobbettes of corn. VOICE (O.S.) Guilty. Guilty. Guilty. Guilty... We find the FOREMAN at the head of the table, sorting votes. FADE TO BLACK: 7TH TITLE UP 8 INT -- COURTROOM -- DAY (1946) 8 Andy stands before the dias. THE JUDGE peers down, framed by a carved frieze of blind Lady Justice on the wall. JUDGE You strike me as a particularly icy and remorseless man, Mr. Dufresne. It chills my blood just to look at you. By the power vested in me by
the State of Maine, I hereby order you to serve two life sentences, back to back, one for each of your victims. So be it. He raps his gavel as we CRASH TO BLACK: LAST TITLE UP. 9 AN IRON-BARRED DOOR 9 slides open with an enormous CLANG. A stark room waits beyond. CAMERA PUSHES through. SEVEN HUMORLESS MEN sit side by side at a long table. An empty chair faces them. We are now in: INT -- SHAWSHANK HEARINGS ROOM -- DAY (1947) RED enters, removes his cap and waits by the chair. MAN #1 Sit. Red sits, tries not to slouch. The chair is uncomfortable. MAN #2 We see by your file you've served twenty years of a life sentence. MAN #3 You feel you've been rehabilitated? RED Yes, sir. Absolutely. I've learned my lesson. I can honestly say I'm a changed man. I'm no longer a danger to society. That's the God's honest truth. No doubt about it. The men just stare at him. One stifles a yawn. CLOSEUP -- PAROLE FORM A big rubber stamp slams down: "REJECTED" in red ink. 10 EXT -- EXERCISE YARD -- SHAWSHANK PRISON -- DUSK (1947) 10 High stone walls topped with snaky concertina wire, set off at intervals by looming guard towers. Over a hundred CONS are in the yard. Playing catch, shooting craps, jawing at each other, making deals. Exercise period.
RED emerges into fading daylight, slouches low-key through the activity, worn cap on his head, exchanging hellos and doing minor business. He's an important man here.
RED (V.O.) There's a con like me in every prison in America, I guess. I'm the guy who can get it for you. Cigarettes, a bag of reefer if you're partial, a bottle of brandy to celebrate your kid's high school graduation. Damn near anything, within reason. He slips somebody a pack of smokes, smooth sleight-of-hand. RED (V.O.) Yes sir, I'm a regular Sears & Roebuck. TWO SHORT SIREN BLASTS issue from the main tower, drawing everybody's attention to the loading dock. The outer gate swings open...revealing a gray prison bus outside. RED (V.O.) So when Andy Dufresne came to me in 1949 and asked me to smuggle Rita Hayworth into the prison for him, I told him no problem. And it wasn't. CON Fresh fish! Fresh fish today! Red is joined by HEYWOOD, SKEET, FLOYD, JIGGER, ERNIE, SNOOZE. Most cons crowd to the fence to gawk and jeer, but Red and his group mount the bleachers and settle in comfortably. 11 INT -- PRISON BUS -- DUSK (1947) 11 Andy sits in back, wearing steel collar and chains. RED (V.O.) Andy came to Shawshank Prison in early 1947 for murdering his wife and the fella she was bangin'. The bus lurches forward, RUMBLES through the gates. Andy gazes around, swallowed by prison walls. RED (V.O.) On the outside, he'd been vicepresident of a large Portland bank. Good work for a man as young as he was, when you consider how conservative banks were back then. TOWER GUARD All clear! GUARDS approach the bus with carbines. The door jerks open. The new fish disembark, chained together single-file, blinking
sourly at their surroundings. Andy stumbles against the MAN in front of him, almost drags him down. BYRON HADLEY, captain of the guard, slams his baton into Andy's back. Andy goes to his knees, gasping in pain. JEERS and SHOUTS from the spectators. HADLEY On your feet before I fuck you up so bad you never walk again. 13 ON THE BLEACHERS 13 RED There they are, boys. The Human Charm Bracelet. HEYWOOD Never seen such a sorry-lookin' heap of maggot shit in my life. JIGGER Comin' from you, Heywood, you being so pretty and all... FLOYD Takin' bets today, Red? RED (pulls notepad and pencil) Bear Catholic? Pope shit in the woods? Smokes or coin, bettor's choice. FLOYD Smokes. Put me down for two. RED High roller. Who's your horse? FLOYD That gangly sack of shit, third from the front. He'll be the first. HEYWOOD Bullshit. I'll take that action. ERNIE Me too. Other hands go up. Red jots the names. HEYWOOD You're out some smokes, son. Take my word. FLOYD You're so smart, you call it.
HEYWOOD I say that chubby fat-ass...let's see...fifth from the front. Put me down for a quarter deck. RED That's five cigarettes on Fat-Ass. Any takers? More hands go up. Andy and the others are paraded along, forced by their chains to take tiny baby steps, flinching under the barrage of jeers and shouts. The old-timers are shaking the fence, trying to make the newcomers shit their pants. Some of the new fish shout back, but mostly they look terrified. Especially Andy. RED (V.O.) I must admit I didn't think much of Andy first time I laid eyes on him. He might'a been important on the outside, but in here he was just a little turd in prison grays. Looked like a stiff breeze could blow him over. That was my first impression of the man. SKEET What say, Red? RED Little fella on the end. Definitely. I stake half a pack. Any takers? SNOOZE Rich bet. RED C'mon, boys, who's gonna prove me wrong? (hands go up) Floyd, Skeet, Joe, Heywood. Four brave souls, ten smokes apiece. That's it, gentlemen, this window's closed. Red pockets his notepad. A VOICE comes over the P.A. speakers: VOICE (amplified) Return to your cellblocks for evening count. 14 INT -- ADMITTING AREA -- DUSK (1947) 14 The new fish are marched in. Guards unlock the shackles. The chains drop away, rattling to the stone floor. HADLEY
Eyes front. WARDEN SAMUEL NORTON strolls forth, a colorless man in a gray suit and a church pin in his lapel. He looks like he could piss ice water. He appraises the newcomers with flinty eyes. NORTON This is Mr. Hadley, captain of the guard. I am Mr. Norton, the warden. You are sinners and scum, that's why they sent you to me. Rule number one: no blaspheming. I'll not have the Lord's name taken in vain in my prison. The other rules you'll figure out as you go along. Any questions? CON When do we eat? Cued by Norton's glance, Hadley steps up to the con and screams right in his face: HADLEY YOU EAT WHEN WE SAY YOU EAT! YOU PISS WHEN WE SAY YOU PISS! YOU SHIT WHEN WE SAY YOU SHIT! YOU SLEEP WHEN WE SAY YOU SLEEP! YOU MAGGOTDICK MOTHERFUCKER! Hadley rams the tip of his club into the con's belly. The man falls to his knees, gasping and clutching himself. Hadley takes his place at Norton's side again. Softly: NORTON Any other questions? (there are none) I believe in two things. Discipline and the Bible. Here, you'll receive both. (holds up a Bible) Put your faith in the Lord. Your ass belongs to me. Welcome to Shawshank. HADLEY Off with them clothes! And I didn't say take all day doing it, did I? The men shed their clothes. Within seconds, all stand naked. HADLEY First man into the shower! Hadley shoves the FIRST CON into a steel cage open at the front. TWO GUARDS open up with a fire hose. The con is slammed against the back of the cage, sputtering and hollering.
Seconds later, the water is cut and the con yanked out. HADLEY Delouse that piece of shit! Next man in! The con gets a huge scoop of white delousing powder thrown all over him. Gasping and coughing, blinking powder from his eyes, he gets shoved to a trustee's cage. The TRUSTEE slides a short stack of items through the slot -- prison clothes and a Bible. All the men are processed quickly -- a blast of water, powder, clothes and a Bible... 15 INT -- INFIRMARY -- NIGHT (1947) 15 A naked CON steps before a DOCTOR and gets a cursory exam. A penlight is shined in his eyes, ears, nose, and throat. DOCTOR Bend over. The con does. A GUARD with a penlight in his teeth spreads his cheeks, peers up his ass, and nods. Andy is next up. He gets the same treatment. 16 INT -- PRISON CHAPEL -- NIGHT (1947) 16 CAMERA TRACKS the naked newcomers shivering on hard wooden chairs, clothes on their laps, Bibles open. CHAPLAIN (O.S.) ...maketh me to lie down in green pastures. He leadeth me beside the still waters. He restoreth my soul... 17 INT -- CELLBLOCK FIVE -- NIGHT (1947) 17 Three tiers to a side, concrete and steel, gray and imposing. Andy and the others are marched in, still naked, carrying their clothes and Bibles. The CONS in their cells greet them with TAUNTS, JEERS, and LAUGHTER. One by one, the new men are shown to their cells and locked in with a CLANG OF STEEL. RED (V.O.) The first night's the toughest, no doubt about it. They march you in naked as the day you're born, fresh from a Bible reading, skin burning and half-blind from that delousing shit they throw on you... Red watches from his cell, arms slung over the crossbars, cigarette dangling from his fingers. RED (V.O.) ...and when they put you in that
cell, when those bars slam home, that's when you know it's for real. Old life blown away in the blink of an eye...a long cold season in hell stretching out ahead...nothing left but all the time in the world to think about it. Red listens to the CLANGING below. He watches Andy and a few others being brought up to the 2nd tier. RED (V.O.) Most new fish come close to madness the first night. Somebody always breaks down crying. Happens every time. The only question is, who's it gonna be? Andy is led past and given a cell at the end of the tier. RED (V.O.) It's as good a thing to bet on as any, I guess. I had my money on Andy Dufresne... 18 INT -- ANDY'S CELL -- NIGHT (1947) 18 The bars slam home. Andy is alone in his cell, clutching his clothes. He gazes around at his new surroundings, taking it in. He slowly begins to dress himself... 19 EXT -- SHAWSHANK PRISON -- NIGHT (1947) 19 A malignant stone growth on the Maine landscape. The moon hangs low and baleful in a dead sky. The headlight of a PASSING TRAIN cuts through the night. 20 INT -- RED'S CELL -- NIGHT (1947) 20 Red lies on his bunk below us, tossing his baseball toward the ceiling and catching it again. He pauses, listening. FOOTSTEPS approach below, unhurried, echoing hollowly on stone. Scenes 21-30 21 INT -- CELLBLOCK FIVE -- NIGHT (1947) 21 LOW ANGLE. A CELLBLOCK GUARD strolls into frame. GUARD That's lights out! Good night, ladies. The lights bump off in sequence. The guard exits, footsteps echoing away. Darkness now. Silence. CAMERA CRANES UP the tiers toward Red's cell. RED (V.O.) I remember my first night. Seems a long time ago now.
Red looms from the darkness, leans on the bars. Listens. Waits. From somewhere below comes faint, ghastly tittering. VOICES drift through the cellblock, taunting: VARIOUS VOICES (O.S.) Fishee fishee fisheeee...You're gonna like it here, new fish. A whooole lot...Make you wish your daddies never dicked your mommies...You takin' this down, new fish? Gonna be a quiz later. (somebody LAUGHS) Sshhh. Keep it down. The screws'll hear...Fishee fishee fisheeee... RED (V.O.) The boys always go fishin' with first-timers...and they don't quit till they reel someone in. The VOICES keep on, sly and creepy in the dark... 22 INT -- VARIOUS CELLS -- NIGHT (1947) 22 thru thru 25 2g ...while the new cons go quietly crazy in their cells. One man paces like a caged animal...another sits gnawing his cuticles bloody...a third is weeping silently...a fourth is dry-heaving into the toilet... 26 INT -- RED'S CELL -- NIGHT (1947) 26 Red waits at the bars. Smoking. Listening. He cranes his head, peers down toward Andy's cell. Nothing. Not a peep. HEYWOOD (O.S.) Fat-Ass...oh, Faaaat-Ass. Talk to me, boy. I know you're in there. I can hear you breathin'. Now don't you listen to these nitwits, hear? 27 INT -- FAT-ASS' CELL -- NIGHT (1947) 27 Fat-Ass is crying, trying not to hyperventilate. HEYWOOD (O.S.) This ain't such a bad place. I'll introduce you around, make you feel right at home. I know some big ol' bull queers who'd love to make your acquaintance...especially that big white mushy butt of yours... And that's it. Fat-Ass lets out a LOUD WAIL of despair: FAT-ASS OH GOD! I DON'T BELONG HERE! I
WANNA GO HOME! 28 INT -- HEYWOOD'S CELL -- NIGHT (1947) 28 HEYWOOD AND IT'S FAT-ASS BY A NOSE.' 29 INT -- CELLBLOCK -- NIGHT (1947) 29 The place goes nuts. Fat-Ass throws himself screaming against the bars. The entire block starts CHANTING: VOICES Fresh fish...fresh fish...fresh fish...fresh fish... FAT-ASS I WANNA GO HOME! I WANT MY MOTHER.' VOICE (O.S.) I had your mother! She wasn't that great! The lights bump on. GUARDS pour in, led by Hadley himself. HADLEY What the Christ is this happy shit? VOICE (O.S.) He took the Lord's name in vain! I'm tellin' the warden! HADLEY (to the unseen wit) You'll be tellin' him with my baton up your ass! Hadley arrives at Fat-Ass' cell, bellowing through the bars: HADLEY What's your malfunction you fat fuckin' barrel of monkey-spunk? FAT-ASS PLEASE! THIS AIN'T RIGHT! I AIN'T SUPPOSED TO BE HERE! NOT ME! HADLEY I ain't gonna count to three! Not even to one! Now shut the fuck up 'fore I sing you a lullabye! Fat-Ass keeps blubbering and wailing. Total freak-out. Hadley draws his baton, gestures to his men. Open it. A GUARD unlocks the cell. Hadley pulls Fat-Ass out and starts beating him with the baton, brutally raining blows. Fat-Ass
falls, tries to crawl. The place goes dead silent. All we hear now is the dull THWACK-THWACK-THWACK of the baton. Fat-ass passes out. Hadley gets in a few more licks and finally stops. HADLEY Get this tub of shit down to the infirmary. (peers around) If I hear so much as a mouse fart in here the rest of the night, by God and Sonny Jesus, you'll all visit the infirmary. Every last motherfucker here. The guards wrestle Fat-Ass onto a stretcher and carry him off. FOOTSTEPS echo away. Lights off. Darkness again. Silence. 30 INT -- RED'S CELL -- NIGHT (1947) 30 Red stares through the bars at the main floor below, eyes riveted to the small puddle of blood where Fat-Ass went down. RED (V.O.) His first night in the joint, Andy Dufresne cost me two packs of cigarettes. He never made a sound... Scenes 31-40 31 INT -- CELLBLOCK FIVE -- MORNING (1947) 31 LOUD BUZZER. The master locks are thrown -- KA-THUMP! The cons step from their cells, lining the tiers. The GUARDS holler their head-counts to the HEAD BULL, who jots on a clipboard. Red peers at Andy, checking him out. Andy stands in line, collar buttoned, hair combed. 32 INT -- MESS HALL -- MORNING (1947) 32 Andy goes through the breakfast line, gets a scoop of glop on his tray. WE PAN ANDY through the noise and confusion...and discover BOGS DIAMOND and ROOSTER MacBRIDE watching Andy go by. Bogs sizes Andy up with a salacious gleam in his eye, mutters something to Rooster. Rooster laughs. Andy finds a table occupied by Red and his regulars, chooses a spot at the end where nobody is sitting. Ignoring their stares, he picks up his spoon -- and pauses, seeing something in his food. He carefully fishes it out with his fingers. It's a squirming maggot. Andy grimaces, unsure what to do with it. BROOKS HATLEN is sitting closest to Andy. At age 65, he's a senior citizen, a long-standing resident. BROOKS You gonna eat that?
ANDY Hadn't planned on it. BROOKS You mind? Andy passes the maggot to Brooks. Brooks examines it, rolling it between his fingertips like a man checking out a fine cigar. Andy is riveted with apprehension. BROOKS Mmm. Nice and ripe. Andy can't bear to watch. Brooks opens up his sweater and feeds the maggot to a baby crow nestled in an inside pocket. Andy breathes a sigh of relief. BROOKS Jake says thanks. Fell out of his nest over by the plate shop. I'm lookin' after him till he's old enough to fly. Andy nods, proceeds to eat. Carefully. Heywood approaches. JIGGER Oh, Christ, here he comes. HEYWOOD Mornin', boys. It's a fine mornin'. You know why it's fine? Heywood plops his tray down, sits. The men start pulling out cigarettes and handing them down. HEYWOOD That's right, send 'em all down. I wanna see 'em lined up in a row, pretty as a chorus line. An impressive pile forms. Heywood bends down and inhales deeply, smelling the aroma. Rapture. FLOYD Smell my ass... HEYWOOD Gee, Red. Terrible shame, your horse comin' in last and all. Hell, I sure do love that horse of mine. I believe I owe that boy a big sloppy kiss when I see him. RED Give him some'a your cigarettes instead, cheap bastard.
HEYWOOD Say Tyrell, you pull infirmary duty this week? How's that winnin' horse of mine, anyway? TYRELL Dead. (the men fall silent) Hadley busted his head pretty good. Doc already went home for the night. Poor bastard lay there till this morning. By then... He shakes his head, turns back to his food. The silence mounts. Heywood glances around. Men resume eating. Softly: ANDY What was his name? HEYWOOD What? What'd you say? ANDY I was wondering if anyone knew his name. HEYWOOD What the fuck you care, new fish? (resumes eating) Doesn't matter what his fuckin' name was. He's dead. 33 INT -- PRISON LAUNDRY -- DAY (1947) 33 A DEAFENING NOISE of industrial washers and presses. Andy works the laundry line. A nightmarish job. He's new at it. BOB, the con foreman, elbows him aside and shows him how it's done. 34 INT -- SHOWERS -- DAY (1947) 34 Shower heads mounted in bare concrete. Andy showers with a dozen or more men. No modesty here. At least the water is good and hot, soothing his tortured muscles. Bogs looms from the billowing steam, smiling, checking Andy up and down. Rooster and PETE appear from the sides. The Sisters. BOGS You're some sweet punk. You been broke in yet? Andy tries to step past them. He gets shoved around, nothing serious, just some slap and tickle. Jackals sizing up prey. BOGS Hard to get. I like that.
Andy breaks free, flushed and shaking. He hurries off, leaving the three Sisters laughing. 35 INT -- ANDY'S CELL -- NIGHT (1947) 35 Andy lies staring at the darkness, unable to sleep. 36 EXT -- EXERCISE YARD -- DAY (1947) 36 Exercise period. Red plays catch with Heywood and Jigger, lazily tossing a baseball around. Red notices Andy off to the side. Nods hello. Andy takes this as a cue to amble over. Heywood and Jigger pause, watching. ANDY (offers his hand) Hello. I'm Andy Dufresne. Red glances at the hand, ignores it. The game continues. RED The wife-killin' banker. ANDY How do you know that? RED I keep my ear to the ground. Why'd you do it? ANDY I didn't, since you ask. RED Hell, you'll fit right in, then. (off Andy's look) Everyone's innocent in here, don't you know that? Heywood! What are you in for, boy? HEYWOOD Didn't do it! Lawyer fucked me! Red gives Andy a look. See? ANDY What else have you heard? RED People say you're a cold fish. They say you think your shit smells sweeter than ordinary. That true? ANDY What do you think?
RED Ain't made up my mind yet. Heywood nudges Jigger. Watch this. He winds up and throws the ball hard -- right at Andy's head. Andy sees it coming out of the corner of his eye, whirls and catches it. Beat. He sends the ball right back, zinging it into Heywood's hands. Heywood drops the ball and grimaces, wringing his stung hands. ANDY I understand you're a man who knows how to get things. RED I'm known to locate certain things from time to time. They seem to fall into my hands. Maybe it's 'cause I'm Irish. ANDY I wonder if you could get me a rock-hammer? RED What is it and why? ANDY You make your customers' motives a part of your business? RED If you wanted a toothbrush, I wouldn't ask questions. I'd just quote a price. A toothbrush, see, is a non-lethal sort of object. ANDY Fair enough. A rock-hammer is about eight or nine inches long. Looks like a miniature pickaxe, with a small sharp pick on one end, and a blunt hammerhead on the other. It's for rocks. RED Rocks. Andy squats, motions Red to join him. Andy grabs a handful of dirt and sifts it through his hands. He finds a pebble and rubs it clean. It has a nice milky glow. He tosses it to Red. RED Quartz? ANDY
Quartz, sure. And look. Mica. Shale. Silted granite. There's some graded limestone, from when they cut this place out of the hill. RED So? ANDY I'm a rockhound. At least I was, in my old life. I'd like to be again, on a limited scale. RED Yeah, that or maybe plant your toy in somebody's skull? ANDY I have no enemies here. RED No? Just wait. Red flicks his gaze past Andy. Bogs is watching them. RED Word gets around. The Sisters have taken a real shine to you, yes they have. Especially Bogs. ANDY Tell me something. Would it help if I explained to them I'm not homosexual? RED Neither are they. You have to be human first. They don't qualify. (off Andy's look) Bull queers take by force, that's all they want or understand. I'd grow eyes in the back of my head if I were you. ANDY Thanks for the advice. RED That comes free. But you understand my concern. ANDY If there's trouble, I doubt a rockhammer will do me any good. RED Then I guess you wanna escape.
Tunnel under the wall maybe? (Andy laughs politely) I miss the joke. What's so funny? ANDY You'll know when you see the rockhammer. RED What's this item usually go for? ANDY Seven dollars in any rock and gem shop. RED My standard mark-up's twenty percent, but we're talkin' about a special object. Risk goes up, price goes up. Call it ten bucks even. ANDY Ten it is. RED I'll see what I can do. (rises, slapping dust) But it's a waste of money. ANDY Oh? RED Folks who run this place love surprise inspections. They turn a blind eye to some things, but not a gadget like that. They'll find it, and you'll lose it. Mention my name, we'll never do business again. Not for a pair of shoelaces or a stick of gum. ANDY I understand. Thank you, Mr...? RED Red. The name's Red. ANDY Red. I'm Andy. Pleasure doing business with you. They shake. Andy strolls off. Red watches him go. RED (V.O.) I could see why some of the boys took him for snobby. He had a quiet
way about him, a walk and a talk that just wasn't normal around here. He strolled. like a man in a park without a care or worry. Like he had on an invisible coat that would shield him from this place. (resumes playing catch) Yes, I think it would be fair to say I liked Andy from the start. 37 INT -- MESS HALL -- DAY (1947) 37 Red gets his breakfast and heads for a table. Andy falls in step, slips him a tightly-folded square of paper. 38 INT -- RED'S CELL -- NIGHT (1947) 38 Lying on his bunk, Red unfolds the square. A ten dollar bill. RED (V.O.) He was a man who adapted fast. 39 EXT -- LOADING DOCK -- DAY (1947) 39 Under watchful supervision, CONS are off-loading bags of dirty laundry from an "Eliot Nursing Home" truck. RED (V.O.) Years later, I found out he'd brought in quite a bit more than just ten dollars... A certain bag hits the ground. The TRUCK DRIVER shoots a look at a black con, LEONARD, then ambles over to a GUARD to shoot the shit. Leonard loads the bag onto a cart... 40 INT -- PRISON LAUNDRY -- DAY (1947) 40 Bags are being unloaded. We find Leonard working the line. RED (V.O.) When they check you into this hotel, one of the bellhops bends you over and looks up your works, just to make sure you're not carrying anything. But a truly determined man can get an object quite a ways up there. Leonard slips a small paper-wrapped package out of the laundry bag, hides it under his apron, and keeps sorting... Scenes 41-50 4l INT -PRISON LAUNDRY EXCHANGE -DAY Red the deposits his clean dirty bundle and sheets are moves down being the line handed
(1947) to where out.
RED That's little than person. Leonard clean TIGHT
how Andy Shawshank five hundred catches sheets. Red's He
(V.O.) joined our family with dollars on Determination. grabs a across
happy more his
eye, turns and hands it ANGLE
specific stack of to Red --
-and more than cigarettes slide 42 INT --
clean out RED'S
laundry changes hands. Two packs of of Red's hand into Leonard's. CELL -DAY (1947) 42
Red slips the package out of his sheets, carefully checks to make sure nobody's coming, then rips it open. He pulls out the rock-hammer. It's just as Andy described. Red laughs softly. RED Andy joke. hundred wall 43 INT was It right. I would take years to with one CELLBLOCK FIVE -(V.O.) finally a man tunnel of 2ND TIER got the about six under the these. -NIGHT (1947) 43
Brooks Hatlen pushes a cart of books from cell to cell. The rolling library. He finds Red waiting for him. Red slips the rock-hammer, wrapped in a towel, through the bars and onto the cart. Next comes six cigarettes to pay for postage. RED Dufresne. Brooks Andy's BROOKS Middle nods, never cell, shelf, missing mutters a beat. He through in rolls the a his cart bars: towel. to
Andy's hand snakes through the bars and makes the object disappear. The hand comes back and deposits a small slip of folded paper along with more cigarettes. Brooks turns his cart around and goes back. He pauses, sorting his books long enough for Red to snag the slip of paper. Brooks continues on, scooping the cigarettes off the cart and into his pocket. 44 INT -the -RED'S slip of word: CELL paper. -Penciled NIGHT neatly "Thanks." DAY on (1947) it is a 45 44
Red unfolds single 45 INT
We are assaulted by Andy is doing BOB DUFRESNE! HEAD ON Andy nods. laundry 46 INT He -WE'RE BACK leaves room BACK
deafening job, LOW
noise of the getting good ON
HEXLITE! UP SOME! way DAY through -(1947) the 46
his into --
-a dark, tangled maze of rooms and corridors, boilers and furnaces, sump pumps, old washing machines, pallets of cleaning supplies and detergents, you name it. Andy hefts a cardboard drum of Hexlite off the stack, turns around --and finds Bogs Diamond in the aisle. blocking his way. Rooster looms from the shadows to his right, Pete Verness on the left. A frozen beat. Andy slams the Hexlite to the floor, rips off the top, and scoops out a double handful. ANDY You blinds BOGS Honey, get this in your you. hush. eyes, it
Andy backs up, holding them at bay, trying to maneuver through the maze. The Sisters keep coming, tense and guarded, eyes riveted and gauging his every move, trying to outflank him. Andy trips on some old gaint sugglies. That's all it takes. They're on him in an instant, kicking and stomping. Andy gets yanked to his feet. Bogs applies behind. They propel him across the room and an old four-pocket machine, bending him over a rag into Andy's mouth and secures it with a a horse bit. Andy kicks and struggles, but have his arms firmly pinned. Bogs whispers BOGS That's it, fight. Better a chokehold from slam him against it. Rooster jams steel pipe, like Rooster and Pete in Andy's ear: way.
Andy starts screaming, muffled by the rag. CAMERA PULLS BACK, SLOWLY WIDENING. The big Washex blocks our view. All we see is Andy's screaming face and the men holding him down... ...and CAMERA DRIFTS and the dingy act concrete walls RED I wish fought Sisters I FROM THE ROOM, leaving behind...MOVING up empty and steel (V.O.) tell fight, I you the dark corridors, pipes... place past
could good him be.
that and wish I
Andy the could
tell you fairy-tale WE EMERGE into a final view slapping down RED He all PRISON 47 Andy shaping RED Things while. routine, 48 RED Every with 49 Andy Andy never
that, the of in
prison laundry the line. The brutal rhythm. who
past a guard, WIDENING for giant steel "mangler" is The sound is deafening. it...but through 1949) 47 we
(V.O.) did knew.
(1947 his days. rocks on
Eating. Chipping and lights-out... for of routine. bruised. up a kiss. 48 a
went Prison and walks so eats the
(V.O.) like life then yard, face (V.O.) Andy few tables
that consists more swollen and
often, fresh breakfast. A
would show bruises. Bogs him. blows him
RED The Sisters he was sometimes 50 Andy wildly
(V.O.) at fight not.
Sometimes off... of the prison, tormentors. I knew make fight skull. him. in NIGHT They
backs into swinging
corner in a rake
some dingy part at his
RED (V.O.) He always fought, that's remember. He fought because if he didn't fight, it it that much easier not the next The beat rake connects, the snapping hell off over out
what he would to time. somebody's of him
RED Half the time it infirmary... Scenes 51-60 51 INT -- SOLITARY CONFINEMENT
(V.O.) landed ("THE
the (1949) 51
A stone closet. No bed, sink, or lights. Just a toilet with no seat. Andy sits on bare concrete, bruised face lit by a faint ray of light falling through the tiny slit in the steel door.
RED ...the solitary. drain" all 52 Andy RED And was first him. had would But the 53 Warden NORTON ...the factory dozen We're steel Red INT
Warden vacation. the privacy -is PRISON
(V.O.) it Norton's Bread, you LAUNDRY
landed him "grain water, could -the DAY
in & and want. (1949) 52
(V.O.) that's how it went for Andy. That his routine. I do believe those two years were the worst for And I also believe if things gone on that way, this place have got the best of him. then, in the spring of 1949, powers-that-be decided that... EXT Norton -PRISON addresses the YARD -DAY cons via (1949) bullhorn: 53
assembled the a
roof of needs resurfacing. volunteers for gonna be taking bucket around at his
license-plate need a week's work. names in this here... I Andy also catches May his eye.
RED It was one damn outdoors. 54 Cons RED More for EXT shuffle than --
outdoor fine PRISON
(V.O.) detail, and month to YARD slips (V.O.) hundred of -paper men
is workin' (1949) a bucket. 54
volunteered job. YOUNGBLOOD, ear. DAY them the and the mutters (1949) off. Red others. some names 55
the to -a in guard named TIM his YARD --
Red saunters discreetly 55 EXT
Youngblood exchanges RED Wouldn't fellas
is pulling names and grins with Andy you I know know were (V.O.) it?
reading and Me among
called. 56 Red RED Only man. percent, 57 EXT INT slips cost I --PRISON Youngblood us made LICENSE a of PLATE CORRIDOR six -packs NIGHT of (1949) cigarettes. 56
(V.O.) pack my
of smokes per usual twenty course. -DAY (1949) 57
A tar-cooker bubbles and smokes. TWO CONS dip up a bucket of tar and tie a rope to the handle. The rope goes taught. CAMERA FOLLOWS the bucket of tar up the side of the building to -58 -- where big Padd Hadley HADLEY ...so long says, says, brother YOUNGBLOOD Damn, THE it is relayed to the work brushes and spreading the bitching sourly to this distance Byron sorry shithead from Hadley? I to inform just Sorry ROOF detail. The men are dipping tar. ANGLZ OVER to Byron his fellow guards: 58
lawyer calls Texas, and he say, yeah. He you, but your died. to hear that.
HADLEY I ain't. He was an asshole. Run off years ago, family ain't heard of him since. Figured him for dead anyway. So this lawyer prick says, your brother died a rich man. Oil wells and shit, close to a million bucks. Jesus, it's frigging incredible how lucky some assholes can get. TROUT A get HADLEY Thirty he TROUT Dollars? Like (off ...ain't million bucks? Jeez-Louise! You
That's me. that's
Holy winnin' Hadley's
a shitty it?
great! lottery... look)
HADLEY Dumbshit. government's big wet TROUT Oh.
What gonna bite Hadn't me on
you to my
figger me? Take ass, is of
the a what.
thought enough Then the 'em if to what car. kids for they're
HADLEY Maybe leave car with. pay tax maintenance. you to MERT And HADLEY That's wanting Then figured you Uncle shirt it's end. (spits Some The drive right, to the the
Goddamn take it,
buy a new happens? You Repairs and pesterin' a ride... old enough.
wanting to drive it, learn on it, f'Chrissake! at end of the year, if you tax wrong, they make pay out of your own pocket. Sam puts his hand in your and squeezes your tit till purple. Always get the short That's a fact. over the side) brother. Shit. keep spreading tar, eyes on their work.
HEYWOOD Poor luck. five RED Crying awful Red glances listening RED Hey, your Andy RED Andy! SNOOZE What's
Byron. What Imagine thousand shame. over -Some and is the
terrible fuckin' inheriting thirty dollars. folks bad. shocked to see guards your and got Andy it standing talk. on toward Hadley. up,
you tosses his
nuts? Padd Come he in
FLOYD Gettin' RED God HEYWOOD Just keep
himself damn spreadin'
killed. it... tar...
The guards stiffen at to his holster. The bolts. Hadley turns, ANDY Mr. HADLEY That's funnier fuckin' Hadley. funny. suckin' Do
Andy's approach. Youngblood's hand goes tower guards CLICK-CLACK their rifle stupefied to find Andy there. you You're my trust gonna dick teeth. you with your wife? look no
ANDY What I mean go behind hamstring HADLZY That's fucker's it! havin'
aside, hisself and cons
Hadley grabs the edge of HEYWOOD Oh gonna SNOOZE Oh ANDY Because no keep
Andy's collar the roof. The he's
propels him violently toward furiously keep spreading tar. do it, he's roof... Jesus... there's can't money.
God, throw shit, if reason every
oh you in do the
fuck, trust world of
her, you that
Hadley abruptly jerks Andy to a stop right at the edge. In fact, Andy's past the edge, beyond his balance, shoetips scraping the roof. The only thing between him and an ugly drop to the concrete is Hadley's grip on the front of his shirt. HADLEY You ANDY If of See, better you it, the want just IRS start to keep give it allows making that to you sense. money, all your wife. a one-time-
only up HADLEY Naw, ANDY Tax The cons
gift to that free. are
spouse. thousand right! Tax
It's good dollars. free? one this business cent. discussion. shot a can you?
can't work, stunned
HADLEY You're his smart wind
the wife. banker up
smart Why like in
banker should you? here
what believe So's I with
ANDY It's perfectly legal. Go IRS, they'll say the Actually, I feel silly all this. I'm sure you investigated the matter HADLEY Fuckin'-A. wife-killin' the bear I don't banker to shit in not. But need show
ask the same thing. telling you would have yourself. no me smart where buckwheat. need tax-free A
ANDY Of course somebody to gift, and lawyer, HADLEY Ambulance-chaaing, cocksuckers! ANDY ...or suppose That I'll you prepare nearly (off I'd my
set that'll for
come to think of it, I I could set it up for you. would save you some money. write down the forms you need, can pick them up, and I'll them for your signature... free of charge. Hadley's look) only ask three beers apiece for co-workers, if that seems fair.
TROUT (guffawing) Co-workers! ain't Hadley freezes
Get it? him with
That's Co-workers... look. Andy
rich, presses on:
ANDY I feels have my The look HADLEY What Back 59 EXT
think more a
a like bottle
nan working outdoors a man if he can of suds. That's only opinion. of work gone. shoots them a at? it! DAY (1949) 59 They look.
convicts stand gaping, all pretense like they've been pole-axed. Hadley are to -you work, LICENSE PLATE jimmies
starin' goddamn --
FACTORY up a
As before, an rope -only RED And that the tarred the 60 The that's on job, the EXT cons
object is hauled this time, it's how the the plate spring ROOF taking
the side of the cooler of beer to day crew roof '49... LATER and drinking
building by and ice. pass, of that in (1949) beer. 60
(V.O.) it came second-to-last convict factory of -the SHORTLY sun
RED ...wound up o'clock in cold Black the hardest a turn HADLEY Drink RED The sound up, colossal
(V.O.) sitting in a the morning, Label beer screw that at Shawshank boys. prick another the While (V.O.) even magnanimous.
row at ten drinking icy courtesy of ever walked State Prison. it's managed bitter on sun cold. to cold on face. on free the his
Red knocks back tongue and RED We our men. sat and shoulders, We
sip, enjoying the warm sun (V.O.) with felt been the
drank and could'a
houses. We Creation.
squatting (V.O.) spent shade, his his a
RED As for hunkered little us HEYWOOD (approaches Here's ANDY No Heywood
in smile drink
break strange watching beer. beer) Andy. drinking.
one, up giving
thanks. drifts back
look. to Or us to a
RED You could curry favor maybe make cons. Me, I feel normal short while. Scenes 61-70 61 EXT -Andy RED King and PRISON Red
(V.O.) argue he'd done it with the guards. a few friends among think he did it just again...if only for
checkers. me. a
ANDY Chess. Now there's Civilized...strategic... RED ...and inexplicable. ANDY Maybe someday. getting RED You the you'll I've a come man to totally Hate let
fuckin' that me been board game. teach you thinking of together. place. I'm things.
ANDY We might do the pieces, myself. One the opposing
business on I'd like to side done side in
board. But carve those in quartz... limestone.
RED That'd ANDY Years are exercise RED How's anyway? wall ANDY (smiles) Not RED Andy? friends, ANDY I RED I ask I've the
take got. rocks. yard
you What Pickings are I
years. don't in have the slim. out your
rock-hammer your name yet?
suppose we're ain't we
I gettin' to
suppose a innocent, this are Same as you question?
are. you Just here. rebuff, for, keeps do like playing. Red? you. it?
ANDY I'm everybody Red ANDY What RED Murder. ANDY Innocent? RED The 62 INT takes
remember? else a gentle in as
man CELL --
Shawshank. (1949) 62
Andy lies in his bunk after lights out, polishing a fragment of quartz by the light of the moon. He pauses, glancing at all the names scratched in the wall. He rises, makes sure the coast is clear, and starts scratching his name into the cement with his rock-hammer, adding to the record. 63 fills the suffering screen a RAY in glorious bad (and case MILLAND scratchy) of black & white, DT's... 63
...while a CONVICT AUDIENCE hoots and catcalls, talking back to the screen. We find Red slouched in a folding chair, watching the movie. Andy enters, backlit by the flickering glare of the projector, and takes a seat next to him. RED Here's of ANDY I this Ray him, ANDY Can RED Sure. ANDY Rita RED No ANDY Weeks? RED Don't pants say. about? have this Relax. She's her very What He stuffed moment, are you just a gets to up down sorry so my to nervous woman. grins, 65 the the know. good walls I've month part. to seen Bugs get it The entire hysterical. talk do Can Take a you you get few come his out ass. times SCREAMS with fidgets.
three already. audience Andy
Milland starts high-pitched we What Hayworth. problem.
business? want? her? weeks.
Andy nods, turns 65 INT
embarrassed. back --
and hurries the --
out. Red movie.
Andy exits the theater and freezes in his tracks. Two dark figures loom in the corridor, blocking his path. Rooster and Pete. Andy turns back -and runs right into Bogs. Instant bear hug. The Sisters are on him like a flash. They kick a door open and drag him into -66 -where blinking BOGS THE they confront the at them PROJECTION startled through BOOTH PROJECTIONIST, thick an old con bifocals. 66
Take PROJECTIONIST I have BOGS I said
a to fuck change
walk. reels. off. Pete the slams room.
Terrified, the old man darts past and locks it. Bogs shoves Andy ANDY I this Ray him, ANDY Can RED Sure. ANDY Rita RED No ANDY Weeks? RED Don't pants say. about? have this Relax. She's her very What He know. I've month seen
and out the door. to the center of it three already. audience Andy
times SCREAMS witt fidgets.
Milland starts high-pitched we What Hayworth. problem.
The entire hysterical. talk
business? you you a get few want? her? weeks.
do Can Take
stuffed moment, are you just a gets to up
down sorry so
my to nervous woman. grins, 65
Andy nods, turns 65 INT
embarrassed. back --
and hurries the --
out. Red movie.
Andy exits the theater and freezes in his tracks. Two dark figures loom in the corridor, blocking his path. Rooster and Pete. Andy turns back -and runs right into Bogs. Instant bear hug. The Sisters are on him like a flash. They kick a door open and drag him into -66 -where blinking BOGS Take THE they confront the at them a PROJECTION startled through BOOTH PROJECTIONIST, thick walk. an old con bifocals. 66
PROJECTIONIST I have BOGS I said
reels. off. Pete the slams room.
Terrified, the old man darts past and locks it. Bogs shoves Andy BOGS Ain't Andy ANDY They'd Let's Seemingly bench -of 35mm ROOSTER Me ANDY Okay. sighs, never get you cocks his hear this
and out the door. to the center of scream? at the over
gonna head me
projector. that. with.
resigned, Andy turns around, and curls his fingers around film. Rooster licks his lips, first.
leans on the rewind a full 1.000 foot reel pushes past the others.
Andy whips the reel of film around in it into Rooster's face and bouncing ROOSTER Fuck! Shit! He broke
a vicious him off my
arc, the nose!
Andy fights like hell, but is soon overpowered and forced to his knees. Bogs steps to Andy, pulls out an awl with a vicious eight-inch spike, gives him a good long look at it. BOGS Now I'm gonna open you're gonna swallow you to swallow. d mine, you Rooster's. You done so he ought to show for ANDY Anything you're BOGS You I'll steel don't put you going put my what And gonna broke have and give you swallow his nose, somethin' to it. my lose. do of ear. that, this mouth, fly, I when
understand. You all eight inches ii your
ANDY Okay. sudden the (faint In is to
But serious victim fact, so be I strong pried
you to brain
bite smile) understand the the victim's open with
know injury down.
that causes Hard.
bite-reflex jaws have a crowbar. of the white.
The Sisters consider projector, flapping BOGS You
this carefully. on the reel. little
The film runs out The screen goes fuck.
Andy gets a bootheel in the face. The Sisters start kicking and beating the living shit out of him with anything they can get their hands on. In the theater, the convicts are CHANTING AND CLAPPING for the movie to come back on. RED Bogs mouth, What an 67 Andy RED Andy 68 RED Bogs Bogs GUARD Time's 69 INT -CELLBLOCK sits INT didn't and they inch INT lies spent -spent on bare a SOLITARY a put neither did do of -INFIRMARY wrapped (V.O.) month CONFINEMENT (V.O.) week concrete. up, FIVE -3RD TIER The in steel the door Bogs. -DUSK (1949) 69 hole. slides open. (V.O.) anything in Andy's did his friends. is beat him within his life... -in in -DAY DAY (1949) bandages. traction. (1949) 68 67
Bogs comes up the stairs, smoking a cons around; the place is virtually echoes dimly over the VOICE Return evening Bogs enters cord, yanks inches from Bogs. to your
cigarette. Not many deserted. A VOICE P.A. system: for
(O.S.) cellblocks count.
his cell. Dark in here. He fumbles for the light it. The sudden light reveals Captain Hadley six his face, waiting for him. Mert steps in behind hemming him.
Before Bogs can even open his mouth to say "what the Hadley rams the tip of his baton brutally into his plexus. Bogs doubles over, gagging his wind 70 GROUND the corner, FLOOR rolling TIER a steel
fuck," solar out. 70 mop 71
Ernie comes slowly around cart loaded with supplies. Scenes 71-80 71 2ND Red is hearing 72 darning strange a
sock in his open cell. He THUMPING sounds. What the 3RD methodically and kicking the shit tries to TIER
pauses, frowning, hell is that? 72
It's Hadley and Mert with their batons, and measure. He feebly 73 Puzzled, Red dawns on him railing and 74 -just as toward Bogs us, RED steps that leans 2ND
brutally pulping Bogs out of him for good ward them off. TIER It the -74 and comes as he sailing falls. 75 73
from his cell, following the sound. it's coming from above. He moves to out, craning around to look up RED'S flips eyes over the POV railing out,
jumps back as Bogs swimming and trying too), SCREAMING 76
plummets past, missing him by inches, arms to grab the railing (but missing that aaaaalll the way down -GROUND FLOOR 76
-and impacting on Ernie's gassing mop cart in an enormous eruption of solvents and cleansers. The cart is squashed flat, shooting out from under Bogs and skidding across the cellblock floor like a tiddly wink, kicking up sparks for thirty yards. Ernie is left gaping in shock at Bogs and all the Bogs-related wreckage at his feet. 77 2ND TIER 77
Red is stunned. He very tentatively leans out and looks up. Above him, Hadley and Mert lean on the 3rd tier railing. Hadley tilts the cap back on his head, shakes his head. MERT Damn, Byron. Look'a that.
HADLEY Poor A tiny drop
fella of blood drips
must'a off the toe He are of
tripped. Hadley's it to shoe and
splashes across Red's upturned looks down at Bogs. Cons and RED Two after a 7B Bogs, onto and EXT things that. finger -PRISON never The on
cheek. guards (V.O.)
off, then the scene.
happened again Sisters never laid Andy again... DOCK -DAY (1949) 78
wheelchair-bound and wearing a neck brace, is loaded an ambulance for transport. Behind the fence stand Red his friends, watching. (V.O.) walked a To again. They minimum security my knowledge, rest of his days through a straw. a out nice of
RED ...and Bogs never transferred him to hospital upstate. he lived out the drinking his food RED I'm welcome the HEYWOOD Sounds him RED Man him 79 thinkin' back Andy when
could use he gets infirmary. us. Figure
for to --
Let's rocks. DAY
get (1949) 79
A HUNDRED CONS at work. Hoes rise and fall GUARDS patrol on horseback. Heywood turns up quickly shoves it down his pants. He maneuvers others, pulls out the chunk and shows FLOYD That HEYWOOD What SNOOZE He's HEYWOOD What the ain't are right, hell quartz. you, Nor fuckin' it is it
in long waves. a rocky chunk, to Red and the it to them. limestone. geologist? ain't. then?
RED Horse HEYWOOD Bullshit. RED No, Cackling, He RED Despite came 80 INT -horse the men crumbles a through PRISON go back it few to
shit. work. in
Petrified. Heywood stares his the -at the hands. rock.
(V.O.) hitches, fine -BACK ROOM
boys style... DAY (1949) the 80
A huge shadows RED ...and back, to
detergent box behind by we keep the had him
with rocks, boiler
hidden in furnace. was due saved up Rapture.
(V.O.) week Andy enough rocks busy till
ANGLE SHIFTS to Red as he plops floor. Leonard and Bob toss a pulling out contraband, giving
a bag of "laundry" on the few more down. Red starts them their commissions.
RED (V.O.) Also got a big shipment in that week. Cigarettes, chewing gum, shoelaces, playing cards with naked ladies on 'em, you name it... (pulls a cardboard tube) ...and, of course, the most important item. Scenes 81-90 81 INT -CELLBLOCK FIVE -NIGHT (1949) Andy, from 82 Andy GUARD Lights limping a his cell INT finds -the bit, returns as Andy is ANDY'S cardboard from the brought CELL tube (O.S.) out! -lying infirmary. Red up and locked NIGHT on watches away.
(1949) his bunk.
The lights go off. Andy opens the tube and pulls out a large rolled poster. He lets it uncurl to the floor. A small scrap of paper flutters out, landing at his feet. The poster is the famous Rita Hayworth pin-up -one hand behind her head, eyes half closed, sulky lips parted. Andy picks up the scrap of
paper. Andy 83
Welcome smiles. FIVE
the (1949) from the cell
dark, 83 their men -84
The BUZZER SOUNDS, the cells SLAM OPEN. Cons step cells. Andy catches Red's eye, nods his thanks. As shuffle down to breakfast, Red glances into Andy's 84 -- and Sunlight 85 RED'S sees Rita casts a -POV -DOLLYING
in her new place of honor harsh barred shadow across CELLBLOCK FIVE --
on Andy's wall. her lovely face. (1949) Warden DOZEN cell: 85
Ernie is mopping the floor. He glances back and sees Norton approach the cellblock with an entourage of a GUARDS. Still mopping, Ernie mutters to the nearest ERNIE Heads up. They're tossin' cells.
Word travels fast from cell to cell. Cons scramble to tidy up and hide things. Norton enters, nods to his men. The guards pair off in all directions, making their choices at random. GUARD What in Cells are mattresses tossed out A GUARD shoots NORTON Solitary. takes CON Too NORTON Add The NORTON Let's 86 Norton arrives, makes man kind'a contraband there, occupants Whatever cellblock you boy? hiding
opened, overturned. onto the
displaced, items scattered, contraband is found gets floor. Mostly harmless stuff. out of CON sure Bible. read for Norton's second TIER gaze down blasphemy. goes tier. 86 a cell at random. up. a mattress, responsible. he
pulls a a nasty A
sharpened look week. his dark week
screwdriver at the Make
goddamn another is try
2ND a thin show of
He motions at Andy on his bunk, unlocked. Norton enters, trailed ANDY Good Norton gives cell in a looking for Bible NORTON I'm this. ANDY "Watch when a curt thorough a wrong out
reading his Bible. The door is by his men. Andy rises.
evening. nod. Hadley and Trout start tossing the search. Norton keeps his eyes on Andy, glance or nervous blink. He takes the of Andy's hand. to see favorite you reading passages?
therefore, master of
NORTON (smiles) Luke. Chapter 13, always liked (strolls the But I prefer: "I the world. He shall not walk shall have the ANDY John. NORTON I How HADLEY You hear nice. Chapter you're man 8,
verse that am that in light
cell) the light of followeth me darkness, but of life." verse 12. numbers. skill.
good should explain is the holding size rock of
this? up of a an rock blanket, oven mitt. It's rocks. mine. sill, turns to a
Andy glances over. Hadley polishing cloth roughly ANDY It's for Little Hadley Norton. HADLEY Looks here, Norton called shaping hobby glances at the a
blanket. polishing the window
pretty nothing nods,
clean. get to
Some a poster
contraband twist over. of Rita.
NORTON I (turns ...but always Norton locked. NORTON I He
can't I exits,
I to suppose be follow. pauses,
of Andy) exceptions made. cell door turns forgot. is
this... can slammed back. and
the guards Norton almost
through to and cells is,
NORTON I'd hate Salvation Norton RED Tossin' Truth Andy 87 INT
deprive lies his was Norton PRISON men
of within. walk an to
this. away. excuse. size (1949) 87
(V.O.) just wanted up. LAUNDRY --
Andy is working the with Bob. Bob nods, removes an earplug. BOB DUFRESNE! 88 Andy eyes him INT -YOU'RE WARDEN
line. Hadley enters and confers briefly crosses to Andy, taps him. Andy turns, Bob shouts over the machine noise: OFF NORTON'S OFFICE THE -DAY LINE! (1949) 88
is led in. Norton is at his desk doing paperwork. Andy's go to a framed needle-point sampler on the wall behind that reads: "HIS JUDGMENT COMETH AND THAT RIGHT SOON." wife made very like sir. we a -MAIN can man BUILDING -working Not find of STORAGE that in pretty, in the church sir. laundry? group.
NORTON My ANDY It's NORTON You ANDY No, NORTON Perhaps befitting 89 INT
especially. something your ROOMS -more education. DAY (1949) 89
A series of bleak rooms stacked high with unused filing cabinets, desks, paint supplies, etc. Andy enters. He hears a FLUTTER OF WINGS. An adult crow lands on a filing cabinet and struts back and forth, checking him out. Andy smiles. ANDY Hey, Brooks BROOKS Andy! ANDY I've BROOKS I know, kick in give 90 Brooks plank INT -Hatlen Thought been they the you SHAWSHANK Jake. pokes I his Where's head heard reassigned told ass? the PRISON me. Come out you to Ain't on dime -of Brooks? the out back room. here! you. that a in, I'll tour. DAY (1949) 90
leads Andy shelves are
into the bleakest back room lined with books. Brooks'
of all. Rough private domain.
BROOKS Here she is, the Shawshank Prison Library. Along this side, we got the National Geographics. That side, the Reader's Digest Condensed books. Bottom shelf there, some Louis L'Amours and Erle Stanley Gardners. Every night I pile the cart and make my rounds. I write down the names on this clipboard here. Well, that's it. Easy, peasy, Japanesey. Any questions? Andy pauses. Something How about long this have doesn't you make any been sense.
ANDY Brooks? librarian? BROOKS Since ANDY In an BROOKS Never is all
over have assistant? Not there? you
ANDY So BROOKS I comp'ny
why dunno. Be
now? nice to
me? some change.
HADLEY Dufresne! Scenes 91-100 91 Andy steps back another GUARD, HADLEY That's Hadley exits. his ground, DEKINS I'm 'bout trust Andy ANDY I seat BROOKS Pull him.
(O.S.) into a the outer huge That's approaches Andy for whatever I settin' for surprise. Why talk one'a been, my Glances don't it them desks rooms and fellow the finds named Hadley with DEKINS. one. 91
ominously. Andy stands comes next. Finally: uh, some kids' at Brooks. we thinkin' kinda educations. Brooks have over? there. smiles. a
Dekins. maybe fund covers see. his
Well. and down
Andy and Dekins grab a desk floor. They find chairs and tablet of paper and a ANDY What draw DEKINS Yuh. bank, with ANDY He money DEKINS I ANDY What's a can that half, do did you on have
standing on end and tilt it to the settle in. Brooks returns with a pen, slides them before Andy. in your stick Hadley mind? A pay? in weekly
figured just Captain you right. in You
it said first.
don't a don't?
gonna earn you? three percent a a lot better
Two year? than
and We that.
(wets So tell you want Harvard? 92 FLOYD He BROOKS God just laughs actually HEYWOOD My BROOKS Shook shit suit girl Mister RED Makin' is blinks his INT --
his to MESS
Dekins. send Yale? HALL say --
do kids? (1949) 92
witness. And for a ass off. shook Andy's ass!
Dekins, he second, then Afterward, he hand.
his fuckin' hand. Just about myself. All Andy needed was a and tie, a jiggly little hula on his desk, he would'a been Dufresne, if you please. yourself some friends, Andy. a a
ANDY I wouldn't say convicted murderer sound financial wonderful pet RED Got it? ANDY Maybe (off How Get you out of
"friends." who planning. to the
I'm provides That's have. laundry,
it about some
can do more than their looks) expanding the new books in to do that,
that. library? there. "Mr.
HEYWOOD How you 'spect Dufresne-if-you-please?" ANDY Ask LAUGHTER BROOKS Son, here the all I've during
warden around. had my Andy six tenure,
for blinks wardens and
funds. at them. through have
learned of been pucker when 93
one great universe: ain't born whose up tight as you ask -MAIN BUILDING and My it I and from could
immutable truth one of 'em asshole don't a snare drum for funds. -up budget's DAY the (1949) hall: 93
DOLLYING NORTON Not thin ANDY I see. State directly a
Norton dime. as Perhaps Senate
stretched is. to funds the
write request them.
NORTON Far as them Republican Augusta are concerned, three ways to spend hard-earned when it come More walls. More bars. ANDY Still, permission. week. NORTON They letters even 94 Andy RED So week, 95 Andy RED And no 96 Andy him. INT INT INT is Andy -I'd They sure if mail -on I'll like can't to send try, a
boys in there's only the taxpayer's to prisons. More guards. with letter your a forever. your I'll that? (1949) letter. a (1949) head. got on. (1950) 96 95 94
can, it 'em ANDY'S his
but makes for CELL bunk,
you you you, -writing a he OFFICE
write happy. how's NIGHT a
started just GUARD his
(V.O.) writing like OUTER The
letter said. -DAY his
DESK/NORTON'S head like But in.
shakes Andy kept --
just answers. --
(V.O.) Norton said, still he OFFICE
is doing taxes. Other off-duty
Mert Entwhistle is seated across from guards are waiting their turn.
RED The following returns for Shawshank. 97 Tax INT time after --PRISON again.
April, half LIBRARY Even that, he
(V.O.) Andy the -more (V.O.) ONE
did guards YEAR LATER are
tax at (1951) waiting. all... (1952) 98 97
RED Year including 98 EXT
them warden's. -DAY
A BATTER in ball high RED Year the to 99 The RED The all ANDY Moresby but THE Damn ANDY See, to RED Yes Block. tax ANGLE ANDY Say of RED Got out by INT Batter
a "Noresby into left
Marauders" baseball uniform field and races for
WHACKS the first.
after start coincide -PRISON
(V.O.) they rescheduled the intramural season with tax season... OFFICE The line -winds DAY out (1952) the 99 door.
LIBRARY/ANDY'S from Andy.
to issued had
(V.O.) the bring you to BATTER the deductible. that was he was (V.O.)
opposing their that
teams W-2's. gun, it? too. get
Prison actually right,
holster You off.
that's write sir, In time, SHIFTS Red, to
Andy fact, he reveal could those out the of
a regular got so busy allowed a Brooks doing me 1040s? shop that
H&R at staff. chores. stack
hand (V.O.) wood and me.
DESK/NORTON'S drops he ANDY'S a
OFFICE on the sending --
letter (V.O.) kept CELL
RED And still letters... Scenes 101-110 101 INT --
those (1953) 101
Dark. Andy's in his bunk, polishing a four-inch length of quartz. It's a beautifully-crafted chess piece in the shape of a horse's head, poise and nobility captured in gleaming stone. He puts the knight on a chess board by his bed, adding it to four pieces already there: a king, a queen, and two bishops. He turns to Rita. Moonlight casts bars across her face. 102 Floyd Red FLOYD Red? 103 INT -EXT runs -into the on Andy? PRISON EXERCISE yard, YARD and -winded. DAY (1954) Andy 102 and
He finds bleachers. Brooks.
It's LIBRARY/ANDY'S OFFICE --
Floyd rushes in with Andy Jigger and Snooze trying to chokehold and a knife to JIGGER C'mon, calm BROOKS Goddamn of He RED What SNOOZE You fine, better RED No. right, we'll BROOKS kicks a Brooksie, the miserable table the tell then me, get out over. why fuck
and Red at calm Brooks, his throat. don't down,
his heels. They find who has Heywood in a Heywood is terrified. you just okay? sons through the on? he knife. guards. was I air.
puke-eatin' whores! Tax hell's man. came One the files explode going second the
We'll Brooks? talk
handle Just about
this. settle it,
that and okay?
Nothing talked cut RED Why? BROOKS That's price Andy steps
left out! his What's what
It's but throat! to It's
Heywood they rivets not all it,
done want! gotta Brooks with
you? the Softly:
forward, you're we knows
a to that.
ANDY Brooks, Heywood, Heywood HEYWOOD (nods, Sure. ANDY Why? Brooks RED (cuing Yeah, everybody ANDY You're put scaring BROOKS But me
going know right terrified) that. they'll a all
hurt Even Heywood?
I Ask Hatlen
know anyone, is
Sure. you. man.
tell reasonable around) That's
anybody, down out way stay.
so and of they'll
just stop people. let
Brooks bursts into tears. The storm is over. Heywood staggers free, gasping for air. Andy takes the knife, passes it to Red. Brooks dissolves into Andy's arms with great heaving sobs. ANDY Take HEYWOOD Him? fool! RED You've What'd HEYWOOD Nothin'! it What Goddamn had you Just easy. about near worse to came You'll me? slit from set in be all Crazy my right. old throat! shaving. off? say
fare-thee-well. (off Ain't you through! Red and Andy understand. Red arm around RED Ain't long young 'em 104 EXT that till girls -just in crazy
looks) parole look. Andy be for now. inconsolably.
came wants to He puts his Softly:
exchange a surprised just motions to let it Brooks, who sobs
bad, on PRISON
old you're your lies. YARD
hoss. squiring arm BLEACHERS --
Won't and DUSK
be pretty telling (1954) what all. a tin 104
ANDY I happened
don't there, as is a
understand that's rat in what.
HEYWOOD Old man's shithouse,
RED Heywood, enough. wrong with institutionalized, HEYWOOD Institutionalized, RED Man's place he's man. nothing arthritis even applied. FLOYD Red, out RED Believe are you enough, 'em. JIGGER Shit. been is an A but
Ain't Brooksie. that's my
nothing just all. ass.
here fifty all he knows. important man, librarian. Out a used-up old in both hands. get a library card You see what I of what funny. get you you First used get That's could do believe your want. to you so
years. In an there, con I'm
This here, educated he's with Couldn't if he saying? talking
you're ass. These hate 'em, 'em. After you depend "institutionalized." get that
walls then long on
ERNIE (softly) Say long RED Goddamn for take. 105 The 106
that as right. life, EXT sun INT RITA of -Part --
you Brooks They that's that
inside has. you what DAWN gray
send just counts, --
here they anyway. (1954) stone. (1954) 106 105
SHAWSHANK rises ANDY'S
PRISON over CELL
ANGLE ON fingers 107
POSTER. Sexy rosy light -on a Jake take LIBRARY chair,
as ever. creeping -at
The rising sun sends across her face. DAWN the his bars (1954) 107
Brooks stands cradling BROOKS I can't You go He 108 tosses EXT --
poised in of
of a window, hands. no more. free. flaps DAY away. 108
you You're The GATE crow --
TWO SHORT SIREN BLASTS herald the opening of swings hugely open, revealing Brooks standing suit, carrying a cheap bag, wearing a
the gate. It in his cheap cheap hat. looks seeing view. 109
Brooks walks out, tears streaming down his face. He back. Red, Andy, and others stand at the inner fence, him off. The massive gate closes, wiping them from 109 Brooks gripped BROOKS Dear fast 110 EXT INT is riding by Fellas. things -STREET like a People an -BUS -DAY seat and (1954)
the bus, clutching the terror of speed I move -kid (V.O.) can't on PORTLAND, trying and to
before him, motion. how outside. DAY (1954) without blur. I was 110 his
believe the MAINE the --
Brooks looks parents. BROOKS I saw
young. Now they're everywhere. Scenes 111-120 111 EXT -BREWSTER Brooks comes prop-driven BROOKS The big He world at trudging airliner up
the sidewalk. streaks in and (V.O.) got It ain't
glances up as low overhead. in to look a
went damn the
itself hurry. much
HOTEL stairs so
(1954) floor. stairs.
A WOMAN has WOMAN No p.m. cooking BROOKS People 113
leads Brooks up the trouble climbing music No in except guests your on
toward the many
room after the (V.O.) faster. ROOM --
after eight nine. No hotplate... And DAY louder. (1954) 113
even INT --
Brooks enters. The room is small, old, dingy. Heavy wooden beams cross the ceiling. An arched window affords a view of Congress Street. Traffic noise drifts in. Brooks sets his bag down. He doesn't quite know what to do. He just stands there, like a man waiting for a bus. BROOKS The parole halfway house and a job Foodway... 114 INT -board got called bagging (V.O.) me the groceries -into this Brewster, at the DAY (1954) is bagging shrieking. time the out. lady says, 114
FOODWAY PEOPLE are
Loud. Jangling with groceries. Registers WOMAN Make your bottom sure man
and NOISE. Brooks humming, kids are double-bags. double-bag came Last and
he didn't near like
MANAGER You double-bag understand? BROOKS
Yes BROOKS It's but I likes 115 Brooks BROOKS Sometimes park thinking hello, wherever making 116 INT
sir, hard my don't EXT sits
double-bag, work. I hands hurt think me -alone PARK on work feed might he is, new BROOKS' a (V.O.) try most the very --
surely to of store DAY feeding keep the
will. up, time. manager much. (1954) pigeons. the keep say hope and (1954) 116 115
after and Jake but he --
(V.O.) I go to the birds. I show up and never does. I he's doing okay friends. ROOM -NIGHT
Dark. Traffic outside. Brooks wakes up. Somewhere in the night, a LOUD ARGUMENT BROOKS I The dreams, up while 117 BROOKS Maybe the I was 118 trouble is too like I'm scared. Sometimes to remember INT -FOODWAY have bed
Disoriented. Afraid. is taking place.
(V.O.) sleeping at night. big. I have bad falling. I wake it takes me a where I am. -DAY (1954) and me while a rob home. I bonus. 118 bag. 117
(V.O.) I should get me a gun Foodway, so they'd send could shoot the manager at it, sort of like INT -BROOKS' his ROOM --
DAY into the etc.
Brooks is packing Undershirts, BROOKS But sort 119 I INT -guess of
worldly possessions socks, I'm (V.O.) too nonsense -old
for anymore. LATER
that (1954) 119
Brooks is dressed in his suit. He finishes knotting his tie, puts his hat on his head. The letter lies on the desk, stampe3 and ready for mailing. His bag is by the door. BROOKS I don't like it (V.O.) here. I'm tired of
He takes one last look around. Only one thing left to do. He steps to a wooden chair in the center of the room, pulls out s pocketknife, and glances up at the ceiling beam. He the was steps up onto the beam, he carves a here." He smiles doubt for they'll an TIGHT chair. It wobbles message into the with a sort (V.O.) old kick ON up crook any like CHAIR fuss. me. 120 queasily. Now facing wood: "Brooks Hatlen of inner peace.
BROOKS I Not 120 His from in
weight shifts on the wobbly chair -and it goes out under him. His feet remain where they are, kicking feebly mid-air. His hat falls to the floor.
ANGLE WIDENS. Brooks has hanged himself. He swings gently, facing the open window. Traffic noise floats up from below. Scenes 121-130 121 EXT -EXERCISE YARD -SHAWSHANK -DAY (1954) 121 Andy ANDY P.S. knife A RED He 122 long reads Tell to silence. should'a INT -the letter to Red sorry No letter, here, -and I hard puts it the others:
Heywood his Andy
I'm throat. the in LIBRARY
put a feelings. away. Softly: it. (1954) 122
Andy is sorting books on the cart. He replaces a stack on the shelf -and pauses, noticing a line of ants crawling up the wood. He glances up. The ants disappear over the top. He pulls a chair over and stands on it, peers cautiously over. ANDY Red! Red in, steps grabs in with a black an armload of feathered wing, files. Andy gingerly reaches and pulls out a dead crow.
RED (softly) Is 123 Red is INT making --
that WOOD at SHOP his -bench,
Jake? DAY sanding (1954) and 123
RED It if We thing 124
(V.O.) never not all EXT for Andy. agreed it to -FIELDS would have It occurred to was his was the do... -DAY us, idea. right (1954) 124
Low hilly terrain all around. A HUNDRED CONS are at work in the fields. GUARDS patrol with carbines, keeping a sharp eye. We find Andy, Red, and the boys working with picks and shovels. They glance over to the pickup truck. Hadley's chewing the fat with Mert and Youngblood. A WHISTLE BLOWS. GUARD Water break! Five minutes!
The work stops. Cons head for the pickup truck, where water is dispensed with dipper and pail. Red and the boys look to Andy. Andy nods. Now's the time. The group moves off through the confusion, using it as cover. They head up the slope of a nearby hill and quickly decide on a suitable spot. The guards haven't noticed. Jigger and Floyd start swinging picks into the soft earth, quickly ripping out a hole. Red reaches into his jacket and pulls out a beautiful wooden box, carefully stained and varnished. He shows it around to nods of approval. ANDY That's HEYWOOD Shovel 124 Heywood 125 Youngblood YOUNGBLOOD What HADLZY (follows HEY.' ASSES (works YOU GOT SOMEBODY! real man jumps in BY glances up the his MEN UP OFF his ASSHOLES SECONDS start the and pretty, in. and Red. Watch CONTINUED starts spading THE sees the men fuck. gaze) GET YOUR SLOPE! bolt) DEAF? YOU I SHOOT dozens of around. Nice the out TRUCK on the slope. work. dirt. the hole. 124 125
YOU HAPPY FIVE
THAT rifle GONE 'FORE
Suddenly, other cons them heading toward
breaking away in groups, slope. The guards look
HADLEY What 126
Andy pulls a towel-wrapped bundle from his jacket and unfolds it. Jake. Andy lays him in the box, followed by Brook's letter. Red places the casket in the hole. A moment of silence. Andy gives Red with an encouraging nod. RED Lord. just look See Muttered small 127 INT Brooks a at. what "amens" grave -was a sinner. Jake was Neither was much to Both got institutionalized. can do for 'em. Amen. around. and The boys tamp shovel it -dirt DAY a onto down. (1955) man onto (1955) on -the 127 e 128
crow. you all
RAPID DOLLY with Hadley. He's mission. He straight-arms a 128 EXT -SHAWSHANK
striding, pissed-off, door and emerges WALL -DAY
-the railing, HADLEY Dufresne! (Andy Your Andy 129
wall overlooking the scans the yard, What ass, a GUARD
exercise yard. He leans on the sees Andy chatting with Red. did up) office, Red, OFFICE floor. enters, then -you now! heads DAY off. 129 do?
the fuck looks warden's worried look at OUTER
shoots INT --
Dozens guard, ANDY What HADLEY You addressed Wiley WILEY Well, Andy ANDY
of parcel boxes litter the picks through them. Hadley is tell me, you, envelope take takes the envelope, pulls at all
WILEY, the duty trailed by Andy. this? They're one! stares at it.
fuck-stick! every Andy. Andy
damn just it.
"Dear your Senate funds (stunned, This Wiley
Mr. repeated has for is Hadley
Dufresne. In response to inquiries, the State allocated the enclosed your library project..." examines check) two hundred dollars. glares at him. The grin vanishes.
ANDY "In addition, the Library District has generously responded with a charitable donation of used books and sundries. We trust this will fill your needs. We now consider the matter closed. Please stop sending us letters. Yours truly, the State Comptroller's Office." Andy his HADLEY I the gazes feet. around His at the boxes. The eyes mist with this back, the riches of the world lay emotion at the sight. out you before not. man at
all gets Andy
cleared I shit boxes woman.
Hadley exits. touching a WILEY Good ANDY Only (beat) From week
like a Wiley
for took now on, instead I
you, six send of two
Andy. years. letters one. a
WILEY (laughs, shakes his head) I believe you're crazy enough. You better get this stuff downstairs like the Captain said. I'm gonna go pinch a loaf. When I get back, this is all gone, right? Andy nods. Wiley disappears into the toilet, Jughead Comix in hand. Alone now, Andy starts going through the boxes like a starving man exploring packages of food. He doesn't know where to turn first. He gets giddy, ripping boxes open and pulling out books, touching them, smelling them. He rips open another box. This one contains an old phonograph player, industrial gray and green, the words "Portland Public School District" stenciled on the side. The box also contains stacks and stacks of used record albums.
Andy reverently slips a stack from the box and starts flipping through them. Used Nat King Coles, Bing Crosbys, etc. He comes across a certain album -Mozart's "Le Nozze de Figaro." He pulls it from the stack, gazing upon it as a man transfixed. It is a thing of beauty. It is the Grail. 130 INT -BATHROOM -DAY (1955) 130
Wiley sits in one of the stalls, Jughead comic on his knees. Scenes 131-140 131 INT -GUARD STATION/OUTER OFFICE -DAY
Andy wrestles the phonograph player onto the guards' desk, sweeping things onto the floor in his haste. He plugs the machine in. A red light warms up. The platter starts spinning. He slides the Mozart album from its sleeve, lays it on the platter, and lowers the tone arm to his favorite cut. The needle HISSES in the groove...and the MUSIC begins, lilting and gorgeous. Andy sinks into Wiley's chair, overcome by its beauty. It is "Deutino: Che soave zeffiretto," a duet sung by Susanna 132 Wiley WILEY Andy? 133 INT -INT pauses and -reading, You GUARD BATHROOM puzzled. He hear STATION/OUTER OFFICE -the -thinks Contessa. DAY he (1955) hears that? DAY (1955) 133 music. 132
Andy shoots a look at the bathroom...and smiles. Go for broke. He lunges to his feet and barricades the front door, then the bathroom. He returns to the desk and positions the P.A. microphone. He works up his courage, then flicks all the toggles to "on." A SQUEAL OF FEEDBACK echoes briefly... 134 ...and 135 Wiley 136 Cons in 137 138 INT/EXT the INT lunges -to -Mozart -his VARIOUS is P.A. SPEAKERS broadcast -tangling -all DAY around -DAY over (1955) the (1955) his DAY 134
suddenly BATHROOM feet, PRISON
prison. 135 ankles. (1955) 136
SHAWSHANK the to
all over mid-step The The stamping
prison stop whatever listen, gazing up in goes the plate
they're doing, freezing at the speakers. are shut to a down... halt... 137 138
139 The wood shop machines are turned off, buzzing to a stop... 139
Scenes 141-150 140 The motor pool...the kitchen...the loading dock...the exercise 140 thru yard...the numbing routine of prison life itself...all grinds thru 143 to a stuttering halt. Nobody moves, nobody speaks. Everybody 143 just 144 stands INT in -place, GUARD listening STATION to the -MUSIC, DAY hypnotized. (1955) 144
Andy is reclined in conducting the music. longer exists. It has 145 CAMERA EXT TRACKS --
the chair, transported, Ecstasy and rapture. been banished from the YARD of -men, DAY
arms fluidly Shawshank no mind of men. (1955) riveted. what were don't best they so in ache Red. 145
EXERCISE along groups
RED (V.O.) I have no idea to this day them two Italian ladies singin' about. Truth is, I want to know. Some things are left unsaid. I like to think were singin' about something beautiful it can't be expressed words, and makes your heart because of it. CAMERA brings us to
RED (V.O.) I tell you, those voices soared. Higher and farther than anybody in a gray place dares to dream. It was like some beautiful bird flapped into our drab little cage and made these walls dissolve away...and for the briefest of moments -every last man at Shawshank felt free. 146 FAST INT DOLLY -with PRISON Norton the GUARD CORRIDOR striding up -the DAY hallway off OFFICE -(1955) with 146
RED It pissed terrible. 147 INT --
something DAY (1955) 147
Norton sublime WILEY LET 148
and Hadley smile. We
break hear ME
the door in. Wiley POUNDING (O.S.)
Andy looks up with a on the bathroom door: OUUUUT!
LOW ANGLE SLOW PUSH door. God, this RED Andy that 149 got INT -two
rust-streaked place to
steel be. for
(V.O.) in CONFINEMENT arms FAINT --
the hole stunt. -DAY
149 still duet.
Andy doesn't seem to mind. His playing in his head. We hear a 150 HEYWOOD Couldn't Hank ANDY They could FLOYD Was ANDY Easiest HEYWOOD Shit. the No hole. Mr. felt they let it broke INT -play MESS HALL
sweep to the music ECHO of the soaring DAY good, (1955) huh?
somethin' Williams? the take door
down before requests. weeks in ever as seems easy like keep me the did. time a
worth time such A
two I thing week Mozart the
in year. company. all.
ANDY I had Hardly RED Oh, player swore
you there, confiscated
tote huh? that
record could'a stuff. head) here. can't the felt Red? younger Didn't inside. sense.
ANDY (taps The That's confiscate, beauty that RED Played man. make ANDY Here's
his music the of way a Lost much where
heart, his was here...and one thing they not ever. That's it. Haven't you ever about music, mean my harmonica taste sense on it makes as for the a it.
We RED Forget? ANDY That not there's they place RED Hope man Better ANDY (softly) Like
there carved a can
are out small never is a
things in this of gray stone. place inside of lock away, and called hope. thing. no
world That us that
is insane. get
dangerous It's got used
Drive a place here. the idea.
FADE TO BLACK Scenes 151-160 151 AN IRON-BARRED DOOR 151 slides open with an enormous CLANG. A stark room beyond. CAMERA PUSHES through. SEVEN HUMORLESS MEN sit at a long table. An empty chair faces them. We are again in: INT -- SHAWSHANK HEARINGS ROOM -- DAY (1957) Red enters, ten years older than when we first saw him at a parole hearing. He removes his cap and sits. MAN #l It says here you've served thirty years of a life sentence. MAN #2 You feel you've been rehabilitated? RED Yes sir, without a doubt. I can say I'm a changed man. No danger to society, that's the God's honest truth. Absolutely rehabilitated. CLOSEUP -- PAROLE FORM A big rubber stamp slams down: "REJECTED." 152 EXT -- PRISON YARD -- DUSK (1957) 152 Red emerges into fading daylight. Andy's waiting for him. RED
Same old, same old. Thirty years. Jesus. When you say it like that... ANDY You wonder where it went. I wonder where ten years went. Red nods, solemn. They settle in on the bleachers. Andy pulls a small box from his sweater, hands it to Red. ANDY Anniversary gift. Open it. Red does. Inside the box, on a thin layer of cotton, is a shiny new harmonica, bright aluminum and circus-red. ANDY Had to go through one of your competitors. Hope you don't mind. Wanted it to be a surprise. RED It's very pretty, Andy. Thank you. ANDY You gonna play something? -Red considers it, shakes his head. Softly: RED Not today. 153 INT -- CELLBLOCK FIVE/ANDY'S CELL -- NIGHT (1957) 153 Men line the tiers as the evening count is completed. The convicts step into their cells. The master switch is thrown and all the doors slam shut -- KA-THUMP! Andy finds a cardboard tube on his bunk. The note reads: "A new girl for your 10 year anniversary. From your pal. Red." 154 INT -- ANDY'S CELL -- LATER (1957) 154 Marilyn Monroe's face fills the screen. SLOW PULL BACK reveals the new poster: the famous shot from "The Seven Year Itch," on the subway grate with skirt billowing up. Andy sits gazing at her as lights-out commences... INT -- RED'S CELL -- NIGHT (1957) 155 ...and we find Red gazing blankly as darkness takes the cellblock. Adding up the months, weeks, days... He regards the harmonica like a man confronted with a Martian artifact. He considers trying it out -- even holds it briefly to his lips, almost embarrassed -- but puts it back in its box
untested. And there the harmonica will stay... FADE TO BLACK 156 WE HOLD IN BLACKNESS as THUMPING SOUNDS grow louder... 156 RED (V.O.) Andy was as good as his word. He kept writing to the State Senate. Two letters a week instead of one. ...and the BLACKNESS disintegrates as a wall tumbles before our eyes, revealing a WORK CREW with picks and sledgehammers, faces obscured outlaw-style with kerchiefs against the dust. Behind them are GUARDS overseeing the work. Andy yanks his kerchief down, grinning in exhilaration. Red and the others follow suit. They step through the hole in the wall, exploring what used to be a sealed-off storage room. RED (V.O.) In 1959, the folks up Augusta way finally clued in to the fact they couldn't buy him off with just a 200 dollar check. Appropriations Committee voted an annual payment of 500 dollars, just to shut him up. 157 INT -- PRISON LIBRARY -- DAY (1960) 157 TRACKING the construction. Walls have been knocked down. Men are painting, plastering, hammering. Lots of shelves going up. Red is head carpenter. We find him discussing plans with Andy. RED (V.O.) Those checks came once a year like clockwork. 158 INT -- PRISON LIBRARY -- DAY (1960) 158 Red and the boys are opening boxes, pulling out books. RED (V.O.) You'd be amazed how far Andy could stretch it. He made deals with book clubs, charity groups...he bought remaindered books by the pound... HEYWOOD Treasure Island. Robert Louis... ANDY (jotting) ...Stevenson. Next? RED I got here an auto repair manual,
and a book on soap carving. ANDY Trade skills and hobbies, those go under educational. Stack right behind you. HEYWOOD The Count of Monte Crisco... FLOYD Cristo, you dumbshit. HEYWOOD ...by Alexandree Dumb-ass. ANDY Dumas. You boys'll like that one. It's about a prison break. Floyd tries to take the book. Heywood yanks it back. I saw it first. Red shoots Andy a look. RED Maybe that should go under educational too. 159 INT -- WOOD SHOP -- DAY (1961) 159 Red is making a sign, carefully routing letters into a long plank of wood. It turns out to be -160 INT -- PRISON LIBRARY -- DAY (1963) 160 -- the varnished wood sign over the archway: "Brooks Hatlen Memorial Library." TILT DOWN to reveal the library in all its completed glory: shelves lined with books, tables and chairs, even a few potted plants. Heywood is wearing headphones, listening to Hank Williams on the record player. RED (V.O.) By the year Kennedy was shot, Andy had transformed a broom closet smelling of turpentine into the best prison library in New England. Scenes 161-170 161 EXT -SHAWSHANK FLASHBULBS POP as also his You It his Norton
(1963) THE PRESS:
RED That was instituted program. about it. and got
(V.O.) year Warden Norton famous "Inside-Out" may remember reading made all the papers picture in LIFE magazine.
NORTON ...a in Our will walls public repairing digging ANGLE NORTON These honest a -to HEYWOOD Sounds RED Nobody 162 EXT TO
genuine, corrections inmates, be put to performing service. bridges storm Red men and the boys
progressive and properly work all Cutting and listening the to
advance rehabilitation. supervised, outside these manner of pulpwood, causeways, drains... from behind the fence.
can learn day's labor valuable service and at a bare Mr. and Mrs. like road-gangin', asked -HIGHWAY
the minimum John Q. you
of an providing community of expense Taxpayer! ask me.
you. SITE -DAY (1963) 162
A ROAD-GANG is grading the smell of sweat in A pushy WOMAN REPORTER trailed by WOMAN You take HEYWOOD Give WOMAN Don't LIFE some want warden? HEYWOOD (sighs) No, WOMAN That's all on tools more there!
a culvert with picks. There's dust and the air. GUARDS patrol with sniper rifles, in an ugly hat bustles up the grade, a PHOTOGRAPHER. REPORTER men! picture a break, We're gonna
lady. from get You your want?
REPORTER you know who I am? I'm magazine! I was told I'd co-operation out here! me to report you to Is that what you
ma'am. REPORTER like it! Now I want row with big bright faces! Grab hold of show 'em to you smiles your me!
She turns, glances HEYWOOD You
motioning around heard
photographer the the
Heywood unzips his pants, reaches inside. The others do likewise. The woman turns back and is greeted by the sight of a dozen men displaying their penises and smiling brightly. Her legs go wobbly and she sits heavily down on the dirt grade. HEYWOOD C'mon! grinnin' picture! 163 Heywood RED None express 164 A INT We're like -sits of EXT ROAD-GANG -is showin' fools! SOLITARY alone the our Take -dark. were -bogged tools the NIGHT He and damn (1963) sighs. to (1965) in mud. 164 163
CONFINZMENT in the (V.O.)
inmates their WOODED pulling
invited views... DAY down
RED (V.O.) 'Course, Norton failed to mention to the press that "bare minimum of expense" is a fairly loose term. There are a hundred different ways to skim off the top. Men, materials, you name it. And, oh my Lord, how the money rolled in... Norton NED This out slave underbid NORTON Ned, community NED That's got don't back highway go (hands strolls into view with NED GRIMES gonna this in a you at put pool can town. valuable his heels. me of
keeps up, you're of business! With labor you got, any contractor we're providing
for the papers, family to feed. pay my salary. Sam, a long way. I need contract. I don't get under. That's a him a
I State we go this new it, I fact. box)
Now pie you,
you my and
just missus you
this specially about
fine for that. envelope. He it contains.
Norton opens the box. runs his thumb across
Alongside the pie is an the thick stack of cash
IN THE BACKGROUND, a winch cable SNAPS and whips through the air, damn near severing a man's leg. He goes down, screaming in mud and blood, pinned by a fallen tree stump. Men rush over to help him. Norton barely takes notice. NORTON Ned, I wouldn't this contract. already got elsewhere. You Maisie for 165 ANGLE RED And every TILT UP totals RED ...there Andy the INT on behind to up Andy -worry too Seems to my boys be sure this fine OFFICE pie. -Several (V.O.) shady desk, on much over me I've committed and thank pie. NIGHT pieces deal, earned... (1965) gone. behind 165
NORTON'S Maisie's every dollar at the figures Andy,
munching thoughtfully as he an adding machine. the books. hovers near eye. New like
(V.O.) keeping bank a
finishes preparing two desk, keeping deposits, First.
deposits. Norton watchful Bank drop, and
ANDY Two England always.
Norton pockets the envelopes. Andy crosses to the wall safe and shoves the ledger and sundry files inside. Norton locks the safe, swings his wife's framed sampler back into place. He cocks his thumb at some laundry and two suits in the corner. NORTON Get suits whatnot. starch gonna (adjusts How ANDY Very my for stuff down t'laundry. Two dry-clean and a bag of Tell 'em if they overmy shirts again, they're hear about it from me. his tie) do I look? nice.
NORTON Big charity to-do way. Governor's gonna (indicates Want the rest of bake worth 166 Andy box 167 TILT sort RED Got from ANDY What He's of. There's flowing RED Money Sooner where UP INT trudges INT FROM -PRISON
up pie) that? --
be Woman shit. NIGHT
Portland there. can't (1965) the 166 pie 167 Andy
CORRIDOR with his --
down the under -PIE books to
corridor LIBRARY find Red on in
(1965) as he helps shelves. pies,
munching away the a I lot
of hear. of
you hear got scams Kickbacks a river through like or it that later
isn't you on
half haven't his of dirty this be a
it. dreamed kickbacks. money place. problem. explain from.
ANDY That's where I come in. I channel it, funnel it, filter it...stocks, securities, tax free municipals... I send that money out into the big world. And when it comes back... RED It's ANDY Cleaner. I will RED Jesus. gonna himself. clean By have They wind as the made ever up a time him catch wearing virgin's Norton a on, a whistle? retires, millionaire. he's number
ANDY (smiles) I thought than
RED I'm paper too that
sure leaves curious trail's
good, but all that trail. Anybody gets -FBI, IRS, whatever -gonna lead to somebody. a But to not to me, and warden.
ANDY Sure it certainly RED Who ANDY Peter RED Who? ANDY The the with where They gonna RED Yeah,
silent, guilty the the trace
silent partner. your Honor. bank accounts. filtering process it back, all find is one, but who the
He's The man That's starts. they're him. is Second Rabbit. air. paper. He he?
ANDY A phantom. An cousin to Harvey (off Red's I conjured him out doesn't exist...except RED You can't just make
apparition. the look) of thin on a
ANDY Sure you can, if you know how the system works, and where the cracks are. It's amazing what you can accomplish by mail. Mr. Stevens has a birth certificate, social security card, driver's license. They ever track those accounts, they'll wind up chasing a figment of my imagination. RED Jesus. You're ANDY Did I say you Rembrandt. were good?
It's an arrow. be 168 RED Does
funny. honest I EXT it --
On man. had to a PRISON ever
outside, I Straight as come to prison crook. YARD -bother I DUSK
was an to (1965)
you? just fine built help a school the that? the sheets. trade-off. the main waiting DUSK a damn through DUSK gate. It outside. (1965) 169
ANDY I don't run process the line, maybe. that library, dozen guys diplomas. Why warden lets RED To keep laundry. ANDY I work you Money
the scams, Red, profits. That's a But I've also and used it to get their high do you think me do all happy instead That's attention prison BUS and doing
of the to bus
TWO SIREN BLASTS draw their swings open, revealing a 169 INT -PRISON
Among those on board is TOMMY WILLIAMS, kid in his mid-20's. The bus RUMBLES 170 EXT -PRISON YARD --
good-looking the gate. (1965) 170
The new fish disembark, chained together single-file. The oldtimers holler and shake the fence. A deafening gauntlet. Scenes 171-180 171 INT -CELLBLOCK EIGHT -NIGHT (1965) 171 Tommy and the others covered with delousing 172 INT slam in -with are marched in naked and shivering, powder, greeted by TAUNTS and JEERS. CELL CLANG. -Tommy new for -DAY NIGHT and (1965) 172
TOMMY'S a STEEL their
The bars take TOMMY Well. 173 INT
his new CELLMATE surroundings. shit? (1965) 173
DOLLYING Tommy cigarette behind Del Vikings on
as he struts his ear. (We the soundtrack
along, combing his ducktail, definitely need The Coasters or here. Maybe Jerry Lee Lewis.)
RED Tommy 1965 Cops out 174
Williams on a caught the back INT --
(V.O.) to Shawshank two year stretch for him sneakin' TV door of a JC came WOOD slices some Mr. SHOP -DAY
in B&E. sets Penney. (1965) 174
A SHRIEKING BUZZSAW the machine while RED Young as Tommy It's is a punk,
ten-foot lengths other OLD-TIMERS (V.O.) Rock n' hell...
of wood. Red runs feed the wood. Roll, cocky stacking it, a blur.
hauling the cut ball-busting
off the conveyor and but the kid's gloves) Movin' look shake
TOMMY (slapping C'mon molasses! The RED We 175 Tommy INT old
there, Makin' guys liked -the
his old me grin just
like bad! heads.
(V.O.) him MESS old HALL boys -with
immediately. DAY his (1965) exploits: 175
TOMMY ...so I'm backin' out the door, right? Had the TV like this... (mimes his grip) Big ol' thing. Couldn't see shit. Suddenly, here's this voice: "Freeze kid! Hands in the air!" Well I just stand there holdin' on to that TV, so the voice says: "You hear what I said, boy?" And I say, "Yes sir, I sure did! But if I drop this fuckin' thing, you got me on destruction of property too!" The 176 Poker HEYWOOD You whole INT game did in -table LIBRARY Tommy, falls -Andy, in about DAY Red and laughing. (1965) the boys. too? 176
TOMMY Yeah. That tell you. furloughs. SNOOZE Sounds New TOMNY Been the ANDY Perhaps new (the What be should TOMMY What Capone? ANDY (wry Everyone's you The 177 INT tension -like
was Not you
easy ride, programs, like done time England. since are I was
let weekend here. all
in and place, it's I a
out chances time game is, good
Name there. a to you
you profession. you
mean very try
stalls) don't seem thief. Maybe something else. know you to about in Red)
glance innocent know breaks. VISITOR'S
here. that? Everyone
laughs. DAY (1965) 177
CAMERA TRAVELS the room. Chaotic. CONS or talking to visitors through a RED As a it young turns wife out, and (V.O.) Tommy new
are waiting their turn thick plexi shield. had baby himself girl...
Tommy's at the end the glass is BETH, BETH ...said Joey's next enough Poppa baby don't PUSH RED Maybe
of the row, phone to his ear. Other side of near tears, fussing with a BABY on her lap.
we can stay with them, but gettin' out of the service month, and they barely got room as it is. Plus they got workin' double shifts and the cries half the night. I just know where we're gonna go... IN it on was Tommy's the face (V.O.) thought as of he them listens. on
the up 178 Tommy He
streets...or not INT enters, finds -the
his knowing LIBRARY --
child her DAY step. A library
growing daddy... (1965) 178
little scared. cards. a
RED Whatever fire TOMMY I'm high helped ANDY I TOMNY (tight) I ANDY That's we do percent. Tommy TOMMY Thing (leans ...I ANDY (smiles) Well. place 179 We INT find
it under thinkin' school some
(V.O.) something boy's should
maybe I equivalency. fellas time on
for you that. Tommy.
ain't a good
no start. all the Nothing about is, in, read
goddamn If we
loser. do One half-assed. this, hundred nods.
it, see... mutters) that
You've -Andy the throws my that shall the book raven
come LIBRARY giving
to then. -an
the DAY impassioned o'er
right (1965) reading: 179
ANDY "...and streaming floor...and shadow floor, Andy TOMMY So slaps this
lamplight his shadow soul from lies floating be lifted shut, just immensely sits
him on the out that on the nevermore!" with himself. and
won't ANDY That's TOMMY (beat) Why 12-gauge 180 Tommy TOMMY "The (glances The
don't and INT tries cat cat --
fella dust LIBRARY -as
get the DAY Andy cat up) the
hisself fucker? (1965) looks shh..." welcome
a 180 on:
Andy shakes his head. Not exactly. Scenes 181-190 181 INT -LIBRARY Andy RED So Started ABCs... 182 TRACK RED Tommy Boy had. 183 TOMNY The tree out 184 Tommy wood RED After those RED Ass in INT intent is a EXT chalks Andy the took walking -table to to brains EXERCISE MESS Tommy it alphabet
(1965) blackboard. wing. his (1965) a book. too. he (1965)
(V.O.) Tommy him HALL and under his through -Andy. DAY Discussing well, knew -DAY
took found -cat and on --
(V.O.) pretty he never BLEACHERS
sh--shh--shimmied crept the WOOD SHOP
up the st--stel--stealthily limb... -the DAY words. conveyor (1965) Behind belt. 184 him,
on a piling
paperback, mouthing up on the (V.O.) you
pry hands. us
behind! Tommy 185 Tommy shows shoves INT writes a him the -sentence how book in his back -the to pocket DAY and hurries (1965) steps it. in, over. 185
blackboard. Andy reconstruct him
RED Before his liked Gave youngster But 186 TIGHT Andy RED Prison it what
(V.O.) long, Andy started course requirements. He the kid, that was part him a thrill to crawl off the that wasn't the only -ANDY'S chessboard. in his is like can CELL Most of bunk, --
on really of it. help a shitheap. reason... (1966) 186
INT ANGLE on lying
the pieces carefully time. So keep
complete. PAN TO polishing... Sometimes you do going...
time feels you
(V.O.) slow stop-time. to
...and we keep going past Andy Sink. Toilet. Books. Outside the TRAIN passing in RED Some build a Tommy he those his
in a SLOW PAN of the cell. window bars, we hear another the night... stamps. Others Andy built a new project. the same reason and polishing reason he hung the wall... on a the hook...and wall...
(V.O.) fellas collect matchstick houses. library. Now he needed was it. It was spent years shaping rocks. The same fantasy girlies on PANNING, past a to the place prison, to a keep chair, of
...STILL finally RED In anything
a sweater honor on do
(V.O.) man'll his
most occupied. ins IN,
...where the latest fur bikini. Gorgeous. RED By Tommy exams...it 187
poster turns "One Million
out to be Racquel Welch Years, B. C. " SLOW PUSH the to DAY time take his Racquel. (1966)
1966...right was getting was INT --
(V.O.) about ready lovely LIBRARY --
Tommy's taking the silence, save for are browsing the tries to Andy ANDY Well? TOMMY Well. (gets Wasted time ANDY May TOMMY It's thing Chinese! ANDY We'll TOMMY I'll score Tommy TOMMY Two your (storms Goddamn times fuck Tommy test 188 Rest TOMMY I RED That's you. (off We him grabs not worse! right! clears his
big test. Andy's monitoring the time. Deep Tommy's pencil-scribbling. A few old-timers shelves, sneaking looks their way. Tommy ignore them. Concentrate. Time's up. Tommy puts his pencil down,
It's up whole with be I as
for in fuckin' this bad didn't as
shit. disgust) of bullshit! you a
as get well
think. fuckin' in
see tell the points! cats 5
how you comes test,
the how it,
comes the out...
slam-dunks there! out) up fuck it!
Right goddamn is crawlin' 25,
score! trees, this
There's 5 place,
is gone. Red and from the trash, INT break. feel -WOOD Tommy bad. crap, Proud been as
others stare. Andy gets up, pulls the smoothes it out on the desk. SHOP and I -Red let He's long as DAY sipping him proud look) time. (1966) Cokes. down. of 188
Tommy's friends a good
I know anybody.
TOMMY Smart RED Smart banker TOMMY What's RED Murder. TOMMY The RED You Caught golf boy, wouldn't his pro. as
fella, they on he come. the in
ain't Used to
he? be outside. anyway? a
hell think, wife Greased
you lookin' bed 'em to
say. at him. with some both. C'mon, work... his hand a sheet.
SMASH! Red turns and shattered on TOMMY (bare Oh 189 Tommy INT sits
back. Tommy's Coke has slipped from the floor. The kid's gone white as whisper) my -LIBRARY before -Andy God... DAY and
TOMMY 'Bout four years ago, I was in Thomaston on a 2 to 3 stretch. Stole a car. Dumbfuck thing to do. (beat) Few months left to go, I get a new cellmate in. Elmo Blatch. Big twitchy fucker. Crazy eyes. Kind of roomie you pray you don't get, know what I'm sayin'? 6 to 12 for armed burglary. Said he done hundreds of jobs. Hard to believe, high-strung as he was. Cut a loud fart, he'd go three feet in the air. Talked all the time, too, that's the other thing. Never shut up. Places he'd been, jobs he pulled, women he fucked. Even people he killed. People that gave him shit, that's how he put it. One night, like a joke, I say: "Yeah? Who'd you kill?" So he says...
BLATCH ...I got me this job one time bussin' tables at a country club. So I could case all the big rich pricks that come in. I pick out this guy, go in one night and do his place. He wakes up and gives me shit. So I killed him. Him and the tasty bitch he was with. (starts laughing) That's the best part! She's fuckin' this prick, see, this golf pro, but she's married to some other guy! Some hotshot banker. He's the one they pinned it on! They got him down-Maine somewhere doin' time for the crime! Ain't that choice? He throws his head back and ROARS with laughter. Scenes 191-200 191 INT -PRISON LIBRARY -Silence. Tommy has finished Andy looks like he's been RED Andy? Andy 192 NORTON Well. most What taken ANDY Sir? NORTON It's is your naturally He's Not a ANDY I NORTON Let's exist. his obvious impressed tale wants young, surprising state think say You knees this with of to not he he'd he's for think and a cry, fellow you. He woe and cheer you terribly didn't know put you telling the Williams hears quite up. bright. what in. truth. does to it! says INT nothing. -Walks NORTON'S stiffly OFFICE away. -Doesn't DAY that's ever you it. look back. 192 his story. Red smacked with a
is stunned...but two by four.
(1966) the heard. were
I have to say, amazing story I amazes me most is in by
moment Blatch just fall "Yes, I did
confess! life wouldn't I
all to matter. get
means, my With a is
please sentence!" Tommy's trial.
ANDY It testimony, NORTON That's still he'd ANDY They'd Names (Norton Well can NORTON What? ANDY Obtuse! country cards! NORTON (rises) Dufresne, this Don't over. ANDY Look, worry. in as NORTON Don't again, Not (slaps Get ANDY I at was
assuming Blatch there. Chances be released have it's you What Is club W-2s his of shakes a be did it will with
are by last
even excellent now. Excellent. address. head) How
known relatives... his isn't it? so obtuse? call me?
deliberate? have his his name
The old them!
if you fantasy, make it
want that's mine.
to your This
indulge business. meeting's
if I'd here. you you you in in
it's never I'd for ever sorry this
squeeze, don't what goes on be just as indictable laundering the money! mention money son of office, not intercom) here! trying to that's rest to a me bitch! anywhere!
Now! your mind
NORTON (as Solitary! Andy gets
GUARDS A dragged away, kicking
enter) month! and screaming:
ANDY What's chance that? understand 193 Mail the EXT
the to It's --
matter get my it's PRISON crowd are in
with you? It's out, don't you life! Don't my life? YARD names on hole. -are DAY
my see you 193 and
call. Men boys
around as parked the ever my
called out. Red the bleachers. Longest damn
FLOYD A month stretch TOMMY It's RED Like trigger, HEYWOOD Red? mean (Red Sweet here? RED Since MAIL Thomas Tommy stares RED Board TOMMY The RED Looks or TOMMY Thumb He gets son that stick up hemmed just raises at
fault. didn't didn't Andy's real nods) long's pull convict innocent? innocent? he been the him. I in
hell. and You for Jesus.
You you saying How
on CALLER Williams!
his hand. The envelope gets it. Red peers over of of way. your my in by the a You thumb butt older it throw men. bitch gonna up sounds Red away. it
to him. shoulder.
Education. mailed open your it. it butt? better. the letter. you
TOMMY C'mon, please?
Red RED Well, 194
Tommy makes his way through the chaos, finds Beth and the baby waiting behind the thick plexi shield. He sits, doesn't pick up the phone. Just stares at Beth. She doesn't know what to make of it. He presses a diploma. Her 195 INT piece of face -paper lights against up, WING the glass. blinking -NIGHT A high school back tears. (1966) 195
LOW ANGLE on steel door. Somewhere A rat scurries along the wall. 196 Andy door. ELDERLY Kid you'd The 197 slot INT Tommy and INT listens The -in slot SOLITARY darkness. opens. C-plus The PRISON The An
behind it, FOOTSTEPS -FOOTSTEPS ELDERLY NIGHT
is Andy, slowly. 196 his in.
(1966) outside peers
GUARD average. to recede. --
Thought know. Andy smiles. (1966) 197
We find bucket MERT Warden 198 A steel unlocks TOMMY Out MERT That's
on evening work detail, pail. Mert Entwhistle wants to PRISON open. Mert Tommy -leads
the floors with into view. talk.
NIGHT Tommy looks
outside to a around.
here? what the man said.
Mert swings heads back access for place is TOMMY Warden?
the gate open, sends Tommy through, turns and inside. Tommy proceeds out across a loading-dock the shops and mills. Some vehicles parked. The deserted. He stops, sensing a presence.
Norton NORTON Tommy, I TOMMY Yes NORTON I along got Norton takes NORTON The hard You (Tommy Think move least to Dufresne TOMMY Yes NORTON Would a your an TOMMY Just NORTON That's Norton shoe. 199 -a into 200 you judge hand oath tell and me
steps we've think sir, got
the situation appreciate sure this wind that's really out. the
light. here. that. can. came It's truth. smoke. Tommy his lighter.
you, son, knocked my up nights,
pulls a pack of cigarettes, offers one. Norton lights both cigarettes, right to hard, on little know
Tommy a pockets
decision. Sometimes it's out what that is. understand? nods) Tommy. If I'm gonna this, there can't be the shred of doubt. I have if you what you told was the truth. figure sir. be Absolutely.
willing to swear before and jury...having placed on the Good Book and taken before Almighty God Himself? gimme what that I chance. thought. it out with plate shop SHOP ROOF the toe of roof as (SNIPER POV) his -199
drops his cigarette. Crushes Glances up toward the HIGH ANGLE FROM PLATE
rifle scope pops up into frame, jumping startling magnification, framed in the THE SNIPER --
Tommy's image crosshairs. 200 his face lit
rapid-fires a carbine -BLAM!BLAM!BLAM!BLAM! up by the muzzle flashes. Captain Hadley. Scenes 201-210
gets chewed to pieces by the gunfire. He smacks the ground in a twitching, thrashing heap. Eyes wide and staring. Dead. Surprise still stamped on his face. Silence now. Norton turns, strolls into darkness. 202 GUARDS emerges 203 Andy 204 Andy is INT -SOLITARY Andy's cell. blinking -WING -is at DAY stop -Alone DAY with to DAY (1966) unlocked. Andy the light. (1966) stare. (1966) Norton. 204 203 202
approach slowly, INT/EXT is INT led
The door painfully -Convicts OFFICE
NORTON'S The door is
NORTON Terrible less escape. heart ANDY I'm H&R Norton NORTON Nothing (tight) Or there the that (MORE) NORTON with find. by Sealed have the for like me?
than to done. Block lunges
thing. a Broke shoot It to to his
that to go, Captain him, truly right your
young, trying to Hadley's it did. now. Get income. with rage.
stops declare feet,
stops! you is. guards. one-bunk will do the No more I'll pull Hilton and
hardest protection you out put you
time from of in
(cont.) the biggest bull queer I can You'll think you got fucked a train! And the library? Gone! off brick by brick! We'll us a little book-barbecue in yard! They'll see the flames miles! We'll dance around it wild Indians! Do you understand Are you catching my drift? IN -on Andy's says PRISON face. it YARD -Eyes hollow. His all... DAY beaten 205
SLOW PUSH expression 205 EXT
Red finds Andy sitting in the shadow of the high stone wall, poking listlessly through the dust for small pebbles. Red waits for some acknowledgment. Andy doesn't even look up. Red hunkers down and joins him. Nothing is said for the longest time. And then, softly: ANDY My wife used to say I'm a hard man to know. Like a closed book. Complained about it all the time. (pause) She was beautiful. I loved her. But I guess I couldn't show it enough. (softly) I killed her, Red. Andy ANDY I drove died. RED That husband, Andy finally glances to Red, the me, you spite seeking a reaction. But I Silence. I she am. Bad gives his
didn't her Because don't
pull away. of make
trigger. That's why the way a maybe. of
shoulder RED Feel you ANDY No. I RED Bad bad about didn't didn't. up
squeeze. it pull if you the else luck, Jesus. want. But trigger. did, I and guess.
ANDY It floats around. Has to land on somebody. Say a storm comes through. Some folks sit in their living rooms and enjoy the rain. The house next door gets torn out of the ground and smashed flat. It was my turn, that's all. I was in the path of the tornado. (softly) I just had no idea the storm would go on as long as it has. (glances to him) Think you'll ever get out of here?
RED Sure. and rolling ANDY Tell
got three around where
long white marbles upstairs. I'd go.
RED Zihuatanejo? ANDY Mexico. Little place right on the Pacific. You know what the Mexicans say about the Pacific? They say it has no memory. That's where I'd like to finish out my life, Red. A warm place with no memory. Open a little hotel right on the beach. Buy some worthless old boat and fix it up like new. Take my guests out charter fishing. (beat) You know, a place like that, I'd need a man who can get things. Red RED Jesus, the I'm old ANDY You RED Bullshit. In here I'm the can get it for you. Out you need are Yellow wouldn't know where to (derisive snort) Pacific Ocean? Hell. Like me to death, somethin' guy who there, all Pages. I begin. to that scare big. and and paid and too stars sand. stares at Andy, laughs. on long. Like
Andy. I couldn't hack it outside. Been in here too an institutional man now. Brooks Hatlen was. underestimate yourself.
ANDY Not me. I didn't shoot my wife I didn't shoot her lover, whatever mistakes I made I've for and then some. That hotel that boat...I don't think it's much to want. To look at the just after sunset. Touch the
RED Goddamn it, that to pipedreams! and you're way ANDY You're I'm to busy
Andy, yourself! Mexico's in here, it
stop! Don't do Talking shitty down there, and that's the is! there, comes really. busy mean? his and down Get dying. Andy rises feet. and
right. It's here. I simple living or a look. away. What Red the
down guess choice, get hell does lunges
Red snaps walks RED Andy?
ANDY (turns Red, if do me hayfield where RED (nods) Lots ANDY One wall end. Frost (MORE)
ever favor. near Buxton
back) get out There's Buxton.
of this You is?
here, big know
of in with Like poem. particular. a big something It's
hayfields Got oak out where a at of I
there. long the a asked rock north Robert my
ANDY (cont.) wife to marry me. We'd gone for a picnic. We made love under that tree. I asked and she said yes. (beat) Promise me, Red. If you ever get out, find that spot. In the base of that wall you'll find a rock that has no earthly business in a Maine hayfield. A piece of black volcanic glass. You'll find something buried under it I want you to have. RED What? What's buried there?
ANDY You'll rock Andy 206 RED I crazy. SKEET We INT tell
just turns -you, I'm ought to
have and and MESS the worried, keep during got
pry see. walks
HALL man I an the that
DAY was truly
(1966) talkin' am.
ZIGGER That's fine, at night he's himself. HEYWOOD Oh loading length SNOOZE Shit! HEYWOOD Sure FLOYD Christ! HEYWOOD How ZIGGER Andy'd They RED Every 207 EXT -the I Lord. dock of You did. Remember hell never all man's PRISON to DOWN to Red the
Andy today. rope. gave I
come Asked Six it mean
down me foot to why
the a long. him?
wouldn't Hatlen? to know? Never. Red. point. DUSK (1966) for drift he? past
Brooks was do look I s'pose that. to a -ANGLE ON breaking P.A. --
VOICE Report evening BOOM FLOYD Where HEYWOOD
(over your and the hell
P.A.) cellblocks count. boys. Convicts is
Probably TOWER (via YOU OR SKEET Christ. FLOYD Nothing HEYWOOD Let's of us. that RED (unconvinced) Yeah. 20B Andy's INT
YOU TOO What we can him a right,
GUARD bullhorn) HEAR THAT STUPID TO do do. aside word we Not
ANNOUNCEMENT UNDERSTAND? do? tonight. all Ain't
tomorrow, with him. Red?
Sure. -NORTON'S away. I about Norton to combination the black
That's OFFICE Norton wanna done, -pokes get
right. NIGHT his (1966) head home. sir. in. 208
NORTON Lickety-split. ANDY Just We follow works the shoves in ANDY Three Andy NORTON Get shine like (pauses Nice just hands my my havin' wasn't him
his wife's sampler. He swings it aside, dial, opens the wall safe. Andy moves up, ledger and files. Norton shuts the safe. deposits tonight. Norton heads for the door.
the stuff shoes.
at you the
want mirrors. back, same
t'laundry. 'em door) Andy. without
And lookin' Place you. the shoebox. down at the own feet. (1966) shoes. 209
Norton exits. Nice pair of old ragged 209 Andy INT is
Andy turns to the laundry. He opens dress shoes inside. He sighs, glances pair of work shoes on his -NORTON'S diligently OFFICE shining -NIGHT Norton's
Andy trudges down the hallway, laundry slung over his shoulder, Scenes 211-220 211 INT -CELLBLOCK FIVE -NIGHT (1966) Andy 212 Red up GUARD Open Andy gazes his head. his cell. 213 Andy VOICE Lights INT is nods INT hears Andy to the to -the GUARD. RED'S moves tier The CELL guard -BUZZES NIGHT him through. (1966)
to the bars. and pause (O.S.)
He watches Andy come before his cell. twelve!
directly at Red. A beat of eye contact. Red shakes Don't do it. Andy smiles, eerily calm...and enters The door closes. KA-THUMP! We hold on Red's face. -ANDY'S polishing CELL a (O.S.) out! -NIGHT chess (1966) piece. 213
The lights bump off. He finishes polishing, holds up the piece to admire. A pawn. He sets it down with the others -- and we realize it's the final glance for the board. A full set. He gazes up at Racquel and smiles. rope from under his pillow. Lets 214 Red INT sits in still. The have -the RED'S dark, a CELL bundle Pulls a six foot length of it uncoil to the floor. -of NIGHT nerves, (1966) trying to 214 hold
himself pieces. RED I stir. nothing draw
He feels seconds had
like tick some
he might scream or by, each an (V.O.) long the thoughts, a
shake to eternity.
Alone but out
in your like
nights in dark with time can blade...
A FLASH shadows RED That life... 215 INT
OF LIGHTNING outside his window sends harsh barred jittering across the cell. A storm breaking. was -The the CELLBLOCK master lock is (V.O.) longest FIVE night -The of MORNING cons my (1966) emerge from 215
their cells Andy's in GUARD Man The HAIG Dufresne? boy! (no Don't I'll Still in
and the headcount begins. Red line. He's not. Suddenly on bull, tier HAIG, your holding me your two! checks
back to see if count stalls: Cell his 12! list: here, show! now! you!
Get You're make thump
ass up answer) come down skull stalks down fall
out the there for the in
no answer. hand.
tier, clipboard behind. me dead not! Softly:
HAIG Dufresne, behind! in They HAIG Oh 216
You there, at
dammit, better I bars. Their
you're be shit faces go
putting sick or you slack.
reveals the cell is empty. Everything neat and tidy. Even the bunk is stowed. They wrench the door open and rush in, tossing the cell in a panic as if Andy might be lurking under the Kleenex or the toothpaste. CAMERA ROCKETS IN on Haig as he spins toward us, bellowing at the top of his lungs: HAIG WHAT 217 INT -THE NORTON'S OFFICE -FUCK! MORNING (1966) 217
Norton is kicking back with the morning paper. He notices ha dingy his shoes are. He glances at the shoebox on the desk. kicks his shoes off, opens the box -and gulls out Andy's o grimy work shoes. He stares blankly. What the fuck indeed. An 218 Norton ALARM STARTS EXT and BLARING -Hadley throughout PRISON stride across man the -the prison. DAY grounds, that that He looks (1966) ALARM up. 218
NORTON I want questioned! of
on with his!
HADLEY who? 219 Red INT -CELLBLOCK as Norton FIVE storms -up RED'S with CELL an -DAY (1966) of 219
NORTON Him. Red's 220 Norton into NORTON What here?" Don't HAIG But NORTON I can blind? Am HAIG No Norton NORTON What what HADLEY Last grabs about the clipboard you? this night's You eyes INT steps widen. -to a the Guards ANDY'S center yank CELL of the fine "he to wasn't! Haig! what blind, sir! and thrusts blind? it at Tell Hadley. me him -room, from DAY his cell. 220 up
working himself rage: just me, me He wasn't Haig! again! isn't! think Haig? I'm saying?
do Don't say sir! see I
say that He that, that
NORTON You see Dufresne's name? I sure Right there, see? "Dufresne." was in his cell at lights Stands to reason he'd still be this morning! I want him found! tomorrow, not after breakfast! Haig NORTON Well? scurries out, gathering men. Norton spins
do! He out! here Not Now! to Red.
RED Well NORTON I see thick must'a RED No Norton spreads you two thieves, said all
what? the you time, are! something! didn't! spins slowly around. you're He
sir, his arms
NORTON Lord! It's a miracle! Man up and vanished like a fart in the wind! Nothin' left but some damn rocks on the windowsill and that cupcake on the wall! Let's ask her! Maybe she knows! What say there, FuzzyBritches? Feel like talking? Guess not. Why should you be different? Red exchanges Norton scoops the wall one NORTON It's a what this damn everyone's Including He No sends looks with the guards. Even they're nervous. a handful rocks off the sill. He hurls them at at a time, shattering them, punctuating his words: conspiracy! is! (SMASH) conspiracy! in on the last rock (SMASH) It's (SMASH) it! her! right That's big And (SMASH) Racquel. to her. The the poster be. finger hand 221 faces long 222
It takes a moment for this to sink in. All eyes go rock went through her. There's a small hole in where her navel used to You could hear a pin into the hole. He disappears into the wall. Scenes 221-230 221 ANGLE as Norton peer in. crumbling 222 INT
drop. Norton reaches up, sinks his keeps pushing...and his entire FROM BEHIND POSTER eyes. Stunned reveal the wall. LATER
rips the poster from before our CAMERA PULLS SLOWLY BACK...to tunnel in the -ANDY'S CELL -MINUTES
RORY TREMONT, a guard barely out of his teens, tries not to look nervous as they lash a rope around his chest. He's getting instructions from six different people at once.
RED (V.O.) They got this skinny kid named Rory Tremont to go in the hole. He wasn't much in the brains department, but he possessed the one most important qualification for the job... (they slap a flashlight in his hands) ...he was willing to go. 223 Rory RED Probably Star 224 INT INT squeezes -down TUNNEL the he'd or -VERTICAL SHAFT -tunnel (V.O.) win DAY on a something. -DAY his (1966) belly. Bronze (1966) 224 223
Dark as midnight. Concrete walls rise on both sides. If you imagine them as two huge slices of bread, the meat of this particular sandwich is about three feet of airspace and a dark tangle of pipes between the cellblocks. Rory's appears, shining his flashlight down the shaft. Somewhere, a rat SQUEAKS. RED It RORY Warden? between across! NORTON I HADLEY Go don't on, was his third a pretty what We got (O.S.) it (O.S.) a (V.O.) day on space the job. here feet bad! like! of you!
There's the walls Smells care boy!
three damn smells hold
Looking none too happy and dangles into the light, smothered by RORY Hoo-whee! NORTON Never RORY Smells fact, mind, pretty it
about it, Rory squeezes from the tunnel shaft. He gets lowered, shining his darkness. Not having a good time. gettin' said! (O.S.) Just bad, just keep Warden! like worse! going! In shit.
His feet touch the ground -or what he assumed was the ground. It's not. In fact, it's just what it smells like. He sinks in past his ankles. He slips and sits heavily in it.
RORY Oh shit. out shit 225 Red RED And sound last heard
God, oh 'fore it's INT and -others then of few it.
that's what my God it's I blow my shit, oh ANDY'S listen came Rory meals. I to CELL violent (V.O.) the Tremont The mean,
it is, it's shit. pull me groceries, oh my Gawwwwwwd! -DAY barfing (1966) from below. 225
unmistakable losing his whole cellblock it echoed.
That's it for Red. He starts laughing. Laughing, hell, he's bellowing laughter, laughing so hard he has to hold himself, laughing so hard tears are pouring down his cheeks. The look of rage on Norton's face makes him laugh all the harder. 226 Abrupt RED I solitary. 227 RED It's it's He RED Andy time he 228 EXT INT -silence. laughed Two INT shit, starts once in --SOLITARY it's all talked hole. PRISON SOLITARY LOW WING ANGLE myself (V.O.) week -shit, shit... over (V.O.) about Now meant. -rural road WIDE road. with oh fit doing knew -DAY NIGHT my to -on right NIGHT steel (1966) door. 226
into stretch. (1966) God split. easy what (1966) 228 227
Virgin landscape. cruisers rocket RED In 1966, Shawshank 229 Shawshank as STATE fishes a EXT
Charming up the Andy --
Suddenly, State Police SIRENS AND LIGHTS. escaped DAY from (1966) 229
(V.O.) Dufresne Prison. FIELD --
is half a mile distant. WE TRACK ALONG a muddy creel TROOPERS and PRISON GUARDS scour the brush. A TROOPEE prison uniform out of the creek with a long stick.
RED All set soap, near TROOPER to a 230 of the worn
they of and worn
found prison an
(V.O.) him clothes, old to
was a a bar rock-hammer the weeds. GLARE
muddy of damn nub. SWISH PAN produces: PHOTO 230 the
g2 pulls the rock-hammer POLICE PHOTOGRAPHER. His A BLACK AND posing PUSH
from the FLASHBULB
hapless cops rock-hammer.
with Andy's reeking uniform and IN on the hammer. (V.O.) it years with CELL using the would it. -take Andy NIGHT to a tunnel did (1949) scratch
RED I remember thinking man six hundred through the wall it in less than twenty. Scenes 231-240 231 INT -ANDY'S Once name pops 232 again, into free INT we see Andy
the cement. and hits --
Suddenly, a the floor. CELL
palm-sized chunk He stares down -NIGHT
of cement at it. (1949) 232
ANDY'S dark, the
Andy lies in the hands. Considering
studying the chunk of concrete possibilities. Wrestling with
in his hope.
RED (V.O.) Andy loved geology. I imagine it appealed to his meticulous nature. An ice age here, a million years of mountain-building there, plates of bedrock grinding against each other over a span of millennia... 233 INT -ANDY'S at the runs CELL small his -NIGHT (1949) by the over 233
Andy stands peering chunk. Carefully RED Geology and really. 234 Rita RED That INT is now and is time. -on
hole left fingertip of it -down damn NIGHT over
the That's Pressure ANDY'S the a wall,
(V.O.) study all and CELL hanging (V.O.) big
pressure takes, time. (1951) Andy's poster. back. 234
Andy In to
RED Like I said. most anything occupied. He hears FOOTSTEPS dives into bed. A flashlight 235 Andy TILT EXT --
(V.O.) prison, keep
approaching. He smoothes the poster down GUARD strolls by a moment later, shining into the cell. PRISON YARD -DAY (1953)
and his 235
strolls along, whistling DOWN to his pantleg. turns totin' yard INT -the at ANGLE out his a 2ND tier, Andy's huddled
softly, hands in both pockets. Concrete grit trickles out. favorite out into at a -NIGHT hobby the time... (1962) 236
RED It was exercise 236
(V.O.) Andy's wall handful TIER
A GUARD strolls cells. He pauses sleeping form p37 REVERSE
shining his flashlight into the bars, playing the beam over the under the blankets. INS1DE ANDY'S CELL) 237
We see what the guard doesn't: the blanket, it's a wadded-up across the cell, pinning Marilyn 238 ANGLE FROM
instead of Andy's head pillow. The flashlight Monroe in a circle of BEHIND POSTER
under plays light. 238
The light illuminates her face through the paper. WIDEN to reveal Andy lying in his tunnel, holding his breath. The light clicks off. The FOOTSTEPS move on. He gets back to work. RED While spent 239 the years INT -rest of workin' SHAFT (V.O.) us the slept, Andy nightshift... NIGHT (1965) 239
BOOMING SLOWLY UP the shaft. Rats scurry the pipes. Suddenly, r piece of concrete the size of a quarter jumps free and plummets down the shaft as the rock-hammer pushes through. The pick withdraws, replaced by Andy's peering eye. 240 takes tea RED A SERIES OF DISSOLVES (1965 through 1966) 240
us through the widening of cup. Then a saucer.
the hole. First as Then a dinner
big as a plate.
Andy finally gets his head through, scraping his ears. He's got a penlight clenched in his teeth. He peers down into the shaft. At the very bottom, maybe 20 feet down, a big ceramic pipe runs the length of the cellblock. Beneath its coat of grime and dust, the word "SEWER" is stenciled. Scenes 241-250 241 EXT -LOADING DOCK ACCESS -NIGHT (1966) 241 ANGLE LOOKING STRAIGHT DOWN. Below us, Tommy Williams lies facedown at Norton's feet. Blood is spreading, fanning out oa the pavement. Norton turns, strolls out of frame. RED I Andy about Again guess decided we see: after he'd long Andy I about the wall safe time, though, working. (V.O.) Tommy been Norton was here enough. pokes get sir. dial, on his back Andy: his killed, just head home. in.
NORTON Lickety-split. ANDY Just
wanna done, and
Norton crosses to turned. This
works the we stay
He pulls up his sweater, yanks out a large black book and a stack of files, lays them on the desk. He then grabs the real ledger and files, jams them down his pants and smoothes his sweater down. He picks up the bogus stack, crosses to Norton, and shoves everything in. 243 INT -HALLWAY -NIGHT (1966) 243
Norton exits his office and strolls off the open door. We see Andy at the Norton's dress shoes from RED Andy those 244 Andy the 245 The RED INT sorts INT guard did shoes -like to NORTON'S he a OFFICE (V.O.) was high --
whistling. PUSH IN on guard's desk, pulling their box. told. mirror Buffed shine. (1966) 244
LATER pauses, Nice.
through gray -BUZZES
Norton's CELLBLOCK Andy
three suits. pinstripe. FIVE through. (V.O.) -Andy
checking 245 us.
The Neither how man's TILT 246
guard did often as he --
simply I. you by.
didn't mean, really look shoes? he's -wearing NIGHT
notice. seriously, at a Norton's shoes. 246
The lights go out. Andy places the last chess piece. Gazes up at Racquel. Smiles. Pulls the rope from under his pillow. He stands and unbuttons his prison shirt, revealing Norton's gray pinstripe suit underneath. A FLASH OF LIGHTNING floods the cell, throwing wild shadows. 247 INT -ANDY'S CELL -NIGHT (1966) 247
The storm rages. Andy, naked, carefully slips Norton's folded suit into a large industrial Zip-Lock bag. Next to go in are the shoes, chess pieces (already in a smaller bag), black ledger en files. Last but not least, a bar of soap wrapped in a towel. 248 Andy, 249 INT again INT -wearing -TUNNEL prison SHAFT -clothes, -NIGHT inches NIGHT down (1966) the (1966) tunnel. 249 248
Andy squeezes through the hole head-first, emerges to He reaches for the opposite wall, manages to snag conduit with his fingers.
the waist, a steel
Suddenly, a huge rat darts for his hand. Andy yanks away and almost plummets head-first down the shaft. He dangles wildly upside-down for a moment, arms windmilling, then gets his hands pressed firmly against the opposite wall. The rat scurries off, pissed. Andy snags the conduit dangles into the shaft. plastic bag hangs from again. He contorts out of the hole and We now see the purpose for the rope: the his ankle with about two feet of slack,
He kicks his legs across the shaft, gets his feet braced. Wit3 his back against one wall and feet against the other, he starts down the shaft. Sliding dangerously. Using pipes for handholds. Flinching as rats dart this way and that, scurrying in the shadows. He drops the last few feet to the bottom. He approaches the ceramic sewer pipe and kneels before it. Pulls out the rock-hammer and says a quick silent prayer. Raises the rock-hammer high and swings it down with all his might. Once, twice -third time lucky. An enormous eruption of sewage cascades into the air as if rocket-propelled, the Mount St. Helens of shit. Andy is instantly coated black. He turns away and heaves his guts out. The shit keeps coming. 250 INT -SEWER PIPE -NIGHT (1966) 250
Andy peers down through the hole, playing his The inside diameter is no more than two feet. Coated with crud. It seems to go on No turning crawling, back. He plastic wriggles bag into the pipe dragging
penlight aroun5, Tight squeeze. for miles. and starts behind.
RED Andy crawled to five hundred yards foulness I can't maybe I just don't want to. Scenes 251-260 251 EXT -FIELD
(V.O.) even --
through shit-smelling imagine. Or (1966) 251
Rain is falling in solid sheets. Shawshank is distant. BOOM DOWN to reveal the creek...and PUSH mouth of the sewer pipe that feeds RED Five five half hundred football yards. fields. (V.O.) The Just length shy mile.
half a mile IN toward the into it. of of
Fingers appear, thrusting through the heavy-gauge wire mesh covering the mouth of the pipe. Andy's face looms from the darkness, peering out at freedom. He wrenches the mesh loose, pushes himself out, and plunges head-first into the creek. He comes up sputtering for breath. The water is waist-deep. He wades upstream, ripping his clothes from his body. He gets his shirt off, spins it through the air over his head, flings the shirt away. He raises his arms to the sky, turning slowly, feeling the rain washing him clean. Exultant. Triumphant. A FLASH OF LIGHTNING arcs from horizon to horizon. 252 Once RED The time little 253 The the INT door INT again, -we ANDY'S see stunned TUNNEL faces (V.O.) right -as DAY CAMERA (1966) PULLS the her (1966) shoes 253 to BACK. 252
next Racquel -CASCO
about spilling secret... PORTLAND -MORNING the
shoes enter. counter.
RED ...a before of didn't
(V.O.) man nobody ever laid strolled into the Portland. Until that exist -except
eyes Casco moment, on
on Bank he paper.
FEMALE May TILT ANDY My to 254 The UP to
I Andy. is
TELLER Smiling Peter out BANK -a Mr. the The
help in Norton's Stevens. some SHORTLY check
(O.S.) you? gray pinstripe suit.
name INT teller
I've come accounts. LATER while various I.D. (1966) the MANAGER I.D.s. 254
carefully RED He had license, security spot-on MANAGER
examines all birth card.
Stevens' (V.O.) proper certificate, signature match.
Driver's social was a
I must say your business. living ANDY Thank TELLER Here's Will ANDY Please. outgoing He hands pleasant RED Mr. banks morning. with dollars Severance 255 you. your there Would her a smile.
sorry hope abroad. sure
I'm cashier's be you package, Turns add
will. sir. else? to Gives the your them a bank.
check, anything this mail?
stamped and addressed. and strolls from
Stevens in All better of pay INT --
(V.O.) visited nearly a the Portland area told, he blew than 370 Warden Norton's for nineteen OFFICE -DAY
dozen that town thousand money. years. (1966) 255
A MAN in shirtsleeves is going through the mail on his desk. He finds Andy's package, rips it open. Pulls out the black ledger and files. Scans a cover letter. Holy shit. He dashes to his door and yanks it open, revealing the words on the glass: "PORTLAND DAILY BUGLE -Editor In Chief."
MAN Hal! 256 INT
here! (1966) 256
Norton walks slowly toward his office. Dazed. The morning paper in his hand. He goes wordlessly past the DUTY GUARD into his office. Shuts the door. Lays the paper on his desk. The headline reads: "CORRUPTION AND MURDER AT Below that, the sub-headline: "D.A. Has Ledger. Expected." Norton looks up as SIRENS SWELL in 257 EXT -SHAWSHANK PRISON -WIDE SHOT -go DAY SHAWSHANK." Indictments the distance. (1966) up 257 the 258
For the road 258
second time, with --
State Police SIRENS OFFICE
cruisers AND --
rocketing LIGHTS. (1966)
Norton opens his safe and pulls out the "ledger" -it's Andy's Bible. The title page is inscribed by hand: "Dear Warden. You were right. Salvation lay within." Norton flips to the center of the book -- and finds the pages hollowed out in the shape of a rock-hammer. 259 EXT -PRISON -DAY (1966) 259
Police cruisers for position. A CLOSEUP, flanked D.A. Byron ANGLE D.A. You silent. right, used SHIFTS have to
everywhere. colorless by a
A media circus. REPORTERS jostle DISTRICT ATTORNEY steps forward into contingent of S.ATE TROOPERS. Hadley?
reveal the you
Staring. to up will
If anything against
right give say
remain that be court... The face
TROOPERS move in, cuffing D.A. drones on. FLASHBULBS scrunches up. He RED I wasn't there to Byron Hadley was little girl when Hadley toward 260 sobs all Norton's INT --
Hadley's hands behind his back. POP. Hadley says nothing. His begins to cry. (V.O.) see it, sobbing they took but like him D.A. men DAY I hear a away. a gaze follow.
the way to the car. The window, motions his NORTON'S OFFICE --
Norton is staring out the window as they approach the building. He goes to his desk, opens a drawer. Inside lies revolver and a box of shells. RED Norton had that quietly. Scenes 261-270 261 INT -The 262 D.A. INT marches -no PRISON along NORTON'S at his a We arrest! (V.O.) intention CORRIDORS amidst OFFICE a -phalanx -DAY of DAY of goin' (1966) TROOPERS. (1966) him. heard: warrant up! The
Norton sits doorknob D.A. Samuel for
blankly rattles, Norton? your
desk, revolver before VOICE is (O.S.) have a
The POUNDING starts. Norton dumps the box of bullets out on thr desk. He starts sorting them to see which ones he likes. 263 Troopers fumbles DUTY I'm He in 264 starts INT OUTSIDE hustle the nervously not trying one -hapless with HIS duty a guard to huge OFFICE Norton's key it as -the keys another... DAY door as ring. is... go sliding 264 263 he
GUARD sure keys in which the lock. after OFFICE one And
...so do the bullets. Norton is riveted to the door. For every key, he loads another bullet. Methodical and grim. He gets the final bullet in just as the right key slams home. The door bursts open. Men muscle in. Somebody SHOUTS. Troopers dive in all directions as Norton raises the gun --- and jams it under his chin. His head goes red. His swivel chair does a slow a final stop. Troopers rise slowly, RED I went that hell best like to think through his bullet...was to Andy Dufresne of snaps back as the wall half-turn and creaks to gazing in horror. that than the the
(V.O.) the last thing head...other wonder how ever got him.
PUSH SLOWLY to the wall to reveal trickling blood and brains...and we for today: "HIS JUDGMENT COMETH
Mrs. Norton's framed sampler get our final Bible lesson AND THAT RIGHT SOON."
PRISON hears his
YARD name. They
DAY him a
RED Not long after us of his company, in the mail. It postmark said, 266 Red sits INT with -an LIBRARY atlas,
(V.O.) the warden I got was blank. "McNary, -his DAY finger
deprived postcard But the Texas." (1966) down the 266 page.
RED McNary. where (shuts When his makes 267 A red jutting
Right I own EXT
(V.O.) on the border. That's Andy crossed. the book) picture him heading south in car with the top down, it laugh all over again... MEXICO -HIGHWAY -DAY (1966) wheel, his 267
convertible rips along with Andy at the from his grin, warm wind fluttering
RED (V.O.) Andy Dufresne, who crawled a river of shit and came on the other side. Andy headed for the 268 Heywood RED Those about he A wild INT is -regaling us often. It of it MESS the table who HALL with -some
through clean Dufresne, Pacific. out DAY (1966) about 268 Andy.
anecdote best the us
of him pulled. burst
(V.O.) knew him I swear, always makes PUSH IN on Red. sad,
talk stuff laugh. melancholy.
RED Sometimes Andy myself to feathers 269 Convicts RED
(V.O.) makes me being gone. I have that some birds be caged, that's are just too -hoe the FIELDS fields. -Guards (V.O.) LATE
to aren't all. DAY
though, remind meant Their bright... (1966) on horseback. 269
...and of lock the drab
when they fly that knows it them up does place you live is and empty that
away, the part was a sin to rejoice...but still, that much more they're gone.
A DISTANT RUMBLE clouds coming in, RED I 270 Red RED But the guess INT is --
OF THUNDER. Red pauses, gazes off. Storm backlit by the sun. A light drizzle begins. I just PRISON He times he (V.O.) miss CELL wakes -my NIGHT with a friend. (1966) start. 270
there are dreams
(V.O.) I curse left his shoulder. gets out of
him for behind... There's a bed. Rita Rita just
He senses a presence, looks over Hayworth poster on his wall. He keeps round tunnel. of an cell.
smiling, inscrutable. As Red watches, a brilliant glow builds behind the poster, shining from the The poster rips free, charred to ash in the blink eye as a shaft of holy white light stabs into the Sunlight. Red staggers back against the glare.
A whirlwind kicks up, whipping everything into the air. The hole in the wall is like a giant vacuum cleaner -papers, book, toiletries, bedding -- if it ain't nailed down, it gets sucked down the hole toward the light. Red fights it, but the suction drags him closer and closer... Scenes 271-280 271 RED'S POV 271 ...and CAMERA rockets into the hole, getting sucked down an endless tunnel at impossible speed, the ROAR of air mixing with his drawn-out SCREAM, closer and closer to the light... ...and erupting out the other side into beautiful white beach. The Pacific Ocean Mind-blowing. Beautiful beyond description. are the gentle sound RED ...dreams place where with I at and big am (V.O.) lost no total silence and a before us. Enormous. All we hear now of waves. in a memory. warm
A lone figure stands coming up behind him RED An ocean Waves so Sunshine so quiet so
edge. CAMERA KEEPS MOVING, AROUND to reveal -Red. dumb. deaf. me
(V.O.) it strikes me they strike me bright it strikes
blind. beyond possibly can 272
is a place that is reason. Bluer than exist. Bluer than my possibly grasp. AERIAL million miles but at water's edge. There beach, Just SHOT
blue can mind 272
Nothing for a a tiny speck RED I 273 am INT
sky, and water. Red is another grain of sand. no way NIGHT bed. at home. (1966) Moves the 273
terrified. -the of RED'S
(V.O.) is --
Red wakes from barred window RED Andy. Look sunset. the FADE 274 slides CAMERA table. INT Red I at
nightmare. He his cell.
gets out of Peers up
to the stars.
(V.O.) know you're in that place. the stars for me just after Touch the sand...wade in water...and feel free. TO AN IRON-BARRED BLACK DOOR 274
open with an enormous CLANG. A stark room beyond. PUSHES through. SIX MEN AND ONE WOMAN sit at a long An empty chair faces them. We are again in: -SHAWSHANK sits. 20 HEARINGS years older ROOM than -when we DAY first (1967) saw him.
MAN Your years you've
says a been life
#1 you've served sentence. You rehabilitated?
Red doesn't parole board MAN Shall RED I see it, MAN Well, rejoin RED
answer. Just stares exchanges glances. I repeat
off. Seconds tick by. The Somebody clears his throat. #1 the question? Let's think of that means. to a--
heard now. You I have it
you. Rehabilitated. know, come to no idea what #2 you're as
I know I think tician's like you have a to know? MAN Well...are
what it's word. can job. Am
think it means. Me, made-up word, a poliA word so young fellas wear a suit and tie and What do you really want I sorry for what I did? ----g2 you?
RED Not a day goes by I don't feel regret, and not because I'm in here or because you think I should. I look back on myself the way I was...stupid kid who did that terrible crime...wish I could talk sense to him. Tell him how things are. But I can't. That kid's long gone, this old man is all that's left, and I have to live with that. (beat) "Rehabilitated?" That's a bullshit word, so you just go on ahead and stamp that form there, sonny, and stop wasting my damn time. Truth is, I don't give a shit. The parole board just -rubber EXT stamp SLAMS "APPROVED" -down stares. Red sits drumming his FORM lifts red away -to reveal ink. 275 the fingers.
CLOSEUP A big word 275
PAROLE -in and PRISON
TWO SHORT SIREN BLASTS herald swings hugely open, revealing carrying a cheap bag, wearing looking 276 Red rides terror 277 Red to 27B A BLACK EXT arrives look INT WOMAN INT the -at bus, of --
the opening of the main gate. It Red standing in his cheap suit, a cheap hat. He walks out, still stunned. -the seat before and -LATE DAY 276 by
BUS clutching speed
him, gripped motion. AFTERNOON and to DAY the top
BREWSTER the at -leads
HOTEL three it
Brewster, than BREWSTER Red up
stories high used LATE toward
even less be. 278 floor.
279 Small, Street. staring words: 280
old, dingy. An arched window with a view of Congress Traffic noise floats up. Red enters and pauses, up at the ceiling beam. Carved into the wood are the "Brooks Hatlen was here." INT -FOODWAY MARKET -DAY 280
Loud. Jangling with groceries. Registers calls to RED Sir? MANAGER (motions You don't time you Understand? Scenes 281-290 28l INT Red steps to
PEOPLE and NOISE. are humming, kids the STORE break him take EMPLOYEE
We find Red bagging are shrieking. Red MANAGER: sir? over) me Just -in the
need go -the years to drop
ask piss. RESTROOM
every go. DAY wall 281 mirror.
RED Thirty permission a A strange Harrison's 282 ...which keeps
(V.O.) I've piss. I without guitar-whine You STREET as the Red walks. women.
asking squeeze say-so. Beatles. George You..." DAY 282
Indian "Within -through at
begins. The Without --
People and An alien
traffic. He species.
RED (V.O.) Women, too, that's the I forgot they were half race. There's women every shape and size. I semi-hard most of the myself for a dirty TWO YOUNG WOMEN stroll by in
other thing. the human everywhere, find myself time, cursing old man. and t-shirts. nipples Jeezus, woman have sanity
RED (V.O.) Not a brassiere to be seen, poking out at the world. pleeze-us. Back in my day, a out in public like that would been arrested and given a hearing.
283 out. HIPPIE world. of me.
Red finds the park filled Happening. Here's the source of GIRL gyrates to the Beatles, RED They're Love. 284 Red out P.O. You RED Yes P.O. How okay? RED Things P.O. Tell me protesting Even my fuckin' RED Guess 285 INT the -you sits calling Summer INT across --
with HIPPIES. Hanging the music: a radio. A stoned, in her own Summer ask -P.O.
(V.O.) this the Loonies, PAROLE PAROLE
from his his out
OFFICER. The report. the I
here. punks imagine? bust his
You Oughtta skull.
on. DAY 285 at to
Bagging groceries. CHILDREN Red, pumping the trigger. it CLICKETY-CLACK.
underfoot. One points a toy gun Red focuses on the gun, listening Sparky wheel grinding.
The kids get swept off by MOM. Red starts bagging the next customer. SLOW PUSH IN on Red. Surrounded by MOTION and NOISE. Feeling like the eye of a hurricane. People everywhere, whipping around him like a gale. Strange. Loud. Dizzying. It gets distorted and weird, slow and thick, pressing in on him from all sides. The noise level intensifies. The hollering of children deepens and distends into LOW EERIE HOWLS. He's in the grip of a major anxiety attack. himself out of it. Can't. Fumbles the final bag. Walks away. Trying not to panic. Trying He makes his way through the store. Blinking Tries to shake items into the not to run. sweat. He bumps
into a lady's cart, mumbles into a trot. Down the aisle, into the back rooms, faster through a door marked 286 INT -EMPLOYEE
an apology, cut to the and faster, "Employees RESTROOM
keeps going. Breaks left, through the door running now, slamming Only" into --DAY 286
-where shutting He goes He can glances
he slams everything
the door and leans heavily against it, out, breathing heavily. Alone now.
to the sink, splashes his face, tries to calm down. still hear them out there. They won't go away. He around the restroom. Small. Not small enough.
He enters a stall. Locks the door. Puts the toilet lid down and sits on the john. Better. He can actually reach out and touch the walls now. They're close. Safe. Almost small enough. He draws his feet up so he can't be seen if somebody walks in. He'll 287 Red RED There is No way outside. He RED All to pauses I at just EXT is a sit here -for a while. Until -he calms DUSK home. to face. the handguns. ways and 288 down. 287
STREET walking harsh gonna (V.O.) truth make window. (V.O.) is my the glass, sign: ROOM bed. An
pawnshop anymore at
The SHOPKEEPER flipping 288 Red INT lies
appears the -smoking
the door CLOSED. NIGHT to
RED'S in to
sleep. fear. all back I time. was here."
RED Terrible thing, Brooks Hatlen too well. All where things won't have to He RED Only I 289 glances up at the
knew I make be
(V.O.) live in it. Knew it want is to be sense. Where afraid all the beam. "Brooks me. -Hatlen A Andy.
thing made --
(V.O.) stops to COUNTRY
truck rattles Red hops off Red starts --
up the road trailing the back, waves his walking. MAINE PAN TO a
dust and pulls to thanks. The truck sign: DAY BUXTON. 290
High white clouds in a blazing blue sky. The trees fiery with autumn color. Red walks the fields and back-roads, cheap compass in hand. Looking for a certain hayfield. Scenes 291-299 291 EXT -COUNTRYSIDE -DAY 291 Walking. Searching. The day turning late. Red finds himself staring at a distant field. There's a long rock wall, like something out o f a Robert Frost poem. Big oak tree. Red checks his compass. North end. He crosses a dirt road into the field. 292 EXT -HAYFIELD -DAY 292
Red walks the long rock wall, scolds him from a low branch, the base of the wall. Nothing rocks set in stone. He sighs.
nearing the tree. A squirrel scurries up higher. Red studies unusual here. Just a bunch of Fool's errand. Turns to go.
Something catches his eye. He walks back, squats, peering closer. Wets a fingertip and rubs a stone. A layer of dust comes off. Volcanic glass. Gleaming black. He tries to get the rock out, anticipation growing. It won't come; it's too smooth. He pulls a pocketknife and levers the rock free. It tumbles at his feet, leaving a ragged hole. Red leans down and solves the mystery at last, staring object buried under the rock. Stunned. It's an envelope in plastic. Written on it is a single word: at the wrapped "Red."
Red pulls the envelope out and rises. He just stares at it for a while, almost afraid to open it. But open it he does. Inside is a smaller envelope and a letter. Red begins to read: ANDY (V.O.) Dear Red. If you're reading this, you've gotten out. And if you've come this far, maybe you're willing to come a little further. You remember the name of the town, don't you? I could use a good man to help me get my project on wheels. I'll keep an eye out for you and the chessboard ready. (beat) Remember, Red. Hope is a good thing, maybe the best of things, and no good thing ever dies. I will be hoping that this letter finds you, and finds you well. Your
friend. By now, tears opens the other dollar bills. 293 INT -are spilling envelope and Twenty of RED'S
Andy. silently down Red's cheeks. He fans out a stack of new fiftythem. A thousand dollars. ROOM -DAY (1967) 293
Red is dressed in his suit. He finishes knotting his tie, puts his hat on. His bag is by the door. He takes one last look around. Only one thing left to do. He pulls a wooden chair to the center of the room and gazes up at the ceiling beam. RED Get That He 294 steps INT busy up -living the (V.O.) or get goddamn chair. -It RED'S wobbles DOOR busy dying. right. under -DAY his weight. (1967) 294
The door opens. Red exits with his bag and heads down the stairs, leaving the door open. CAMERA PUSHES through, BOOMING UP to the ceiling beam which reads: "Brooks Hatlen was here." A 295 new message INT -SHOT the guilty brings has been carved BUS long time Red, alongside STATION line of the -people my line, old: "So was Red." 295
GREYHOUND reveals second us to a
DAY at the
TRACKING RED For am CAMERA RED Parole toss Not RED (steps McNary, 296
(V.O.) in committing in
life, I crime. by his feet.
violation. up any for an
(V.O.) I doubt roadblocks for old crook like up) Texas?
they'll that. me.
A gorgeous New England landscape whizzes by, fields and trees a blur of motion. ANGLE SHIFTS to reveal a Greyhound SceniCruiser barreling up the road, pulling abreast of us. CAMERA TRAVELS from window to window, passing faces. We finally come to Red gazing out at the passing landscape. RED I sit find still I or am so hold (V.O.) excited a I thought can in barely my
head. only man whose 297 ROARS
think it free man the start conclusion THE camera, I dwindling to
can of is a
the feel, BUS
excitement free long journey uncertain... a 297 on the horizon.
RED I hope border. I and shake Pacific is in (beat) I 298 EXT --
(V.O.) can make it across hope to see my his hand. I hope as blue as it has my dreams. hope.
the friend the been
A distant boat lies that's been left to 299 A MAN hand, CLOSER
on its side rot in the
in the sand sun. There's ON
like an old wreck someone out there. BOAT 299
is meticulously face hidden
stripping the old paint and varnish by with goggles and kerchief mask. out his across cheap the bag.
Red appears b.g., sand, wearing his
a distant figure walking cheap suit and carrying
The man on the boat with a smile as wide goggles and pulls ANDY You to RED I'm from Red they FADE THE END look like get known time shrugs off start his to
pauses. Turns slowly around. Red arrives as the horizon. The other man raises his down his mask. Andy, of course. a man who knows things. certain time. up a hull sander. as Together, we how
locate to and picks the OUT