SCREENPLAY AND INTRODUCTION BY AKIVA GOLDSMAN NEWMARKET PRESS + NEW YORKPor my two mothers, Miza Rothenberg and Elizabeth Lee. ‘Thank you for maldng life so beautifel. —A.G. MAG AN BY AKIVA GOLDSMAN yas hacky enough to read Syivia Nasars riliant biography, A Beautif. stantly mesmerized by John Nash—his geniu struggle with mencal dines, and his tciumaph. ‘My interest im the more shadowry corners of the human mind dates to before I could write—before I could tlk, actually. You see, one of the first group homes for emotionally disturbed children (to use the jarg the day) was in my house. My pareas founded it. ‘My mother, a gifted child prychologist named Mira Rothenberg, is writer, When she wites of those early days in Brooklyn, someone is 2 bouncing the baby against the wall or hanging the baby out the wind ‘was the baby. ‘Many of the chilézen I Lived with gaosed with childhood s ophrenia. They were labeled as mad, described as being without reas amno expert on mena lines, but ‘of one thing: the children, shared my home were not without reason, Their behsvior made sex them. They had reasons for everything they did, Wo just couldn't under their seasons. So, the idea of writing a sercenplay about John’s life and the way ht the world was tremendously exciting #0 me. Producer Brion Grazer had also read the book, and Univenal Bic (Chairman Stacy Snider had already bought it for Brian’ company, Im Entertainment. Besides having produced some of the most popwlar m of all tme, Brian is aso known in the film industxy as someone who Tongtime fcination with genius Tasked my agents at Creative Artists Agency for a meeting with B During our meeting, I begged him to hire me—honest, I begged. Bev ‘even though [ loved this biography, I didn't envision a typical biopic fo story of John Nasa.‘What intrigued me was a movie inspired by the life of John Nash. A movie built on the natural architecture of his story—Genius, Madness, Nobel Prize, But I also wanted to take some literary license. I wanted to devise 2 screen~ play that evoked the experience of John’ journey without attempting a literal depiction of his life. I wanted to take a run at the spirit of Jobo’s life, but not just by way of the facts. Amazingly, Brian didn’t throw me out of his office. Instead we got talking about how John’ story had moved and inspired him, We got excited, moved our hands a lot when we talked, and scribbled little diagrammatic doodles on paper with labels like “Madness.” “Genius,” and, oddly, “Beer.” And by the end he'd actually hired me to write the screenplay you have in your hand. I spent several days throwing ideas around with the brilliant Karen Kehela who is Co-Chairman of Imagine Films. Then I drove over to Brian's house early one mozning (good house, big). I pitched the story to Brian over cof fee, Brian cried (good reaction, big). TL skip the writing part, except to say, I used about a million packs of cigarettes, a thousand pots of coffee, several hundred cans of tuna eaten over the sink, and my whole heart. ‘Then Ron Howard sparked to my first draft and signed on to direct. You know Ron Howard—the man behind Apollo 13, Splash, Cocoon, Ransom, and Parenthood. So talented with story and gifted with performance that he stands out as one of our greatest filmmakers. That rarest kind of director, relentlessly thorough and stardingly brave. Let me tell you the part you don’t know. Ron Howard is one of my favorite people. What you see is what you get. Turns out he is one of the great guys on the planet. If you have written something you love and you want to give it to someone who will take care of it and make it better than it ever was, give it to Ron Howard. ‘Next Russell Crowe signed on to play John Nash. Now, Russell Crowe is a genius—an actual one. He not only inhabited the character of John Nash, he re-invented him. With only flesh and emotion as conjuring tools, Russell transformed himself into another being. There ate no words to describe watching Russell work. It's watching the most impossible magic show and knowing there aze no strings or mirrors, Ir's watching the teal thing, One of Ron's many notable gifts as a director is his affinity for attracting great actors for his films. The supporting cast for A Beautifid Mind still amazes me: Christopher Plaramer, Ed Harris, the extraordinary Paul Bettany, and the sublime Jenaifer Connelly. How could it get any better?If you like the screenplay of A Bea that's a testament to John and Alicia Nash and how much they inspired all of us. If it’s dedicated to anyone, it’s dedicated to anyone anywhere who has ever been told they are insane—told they are without reason—and known, better.Tmagine Entertainment's A Beautiful Mind is a Universal Pictures and ‘DreamWorks Picnures co-production. Directed by Roa Howard, produced ‘by Brian Grazer and.written by Akiva Goldsman, the fm stars Oscos® win~ ner Russell Crowe (Gladiator, Oseax® nominee Ed Harris (Polack, Apollo 13), and Jennifer Conn rion ForA Dream). The cast also includes (The a ‘The production team inchades director of photography Roger Deakins (Creat? nominated for O Brother hare Art Thu, prodocion cesgnes Wynn ‘Thomas (Analyze Thi), editors Dan Hanley and Mike Hill, winners of the ‘Editing for their wozk on Ron Howard and costume designer Ria Ryack (Oscay™-nominated for Dr Seus’ Hi the Grin Stole Christma), and composer James Home fan Osea! winner for Titan). The film's executive producers are Karen ehela (Nitty Profesor IThe Kbamps) and Toda Hallowell (The Grn) “MIND fate ee ee inspired by the life of John Forbes Nash ang the biography by Sylvia Nasar Final shooting sexi) dune 25, 201FADE IN ON: A STAINED GLASS WINDOW-CLOSE. Sunlight illuminates a complex pattern of symbols and lines. PULL BACK TO REVEAL... ext. PRINCEION UNIVERSTTY~PRESIDENT'S RECEPTION-1947 Students in formal dress mill. Mm uncommonly handsome man stands at the har, gazing up at the window geometry. This is JOHN NASH. Nash glances down. The light refracting through his glass draws shifting angles of rainbow on the bar before him AINSLEY (OVER) Hansen's gonna get the brass ring if it kills him. ‘Two more students approach the bar. BENDER is wiry, like a scazecrov made of skin. AINSLEY is older, sporting the world’s worst tie. BENDER He's used to pretty metal (taps his teeth) Silver spoon! Nash spots the ubject of their musings, A dapper student vith fiercely intelligent eyes is pumping hands. MARTIN HANSEN. AINSLEY It's not enough he von the Carnegie scholarship. BENDER He has to have it all for himself. Hansen and Bender approach the punch bowl. BENDER (CONT'D) Firgt time the Carnegie prize has been split. Now, Hansen's all bent. Nash’s gaze drifts back up to the Stained glass window. The lines on the window emezge, a geometric formation floating in mid air. | INSLEY (OVER) He's got his sights set on Wheeler Lab, that now military think tank at MIT) Nash's gaze carries the floating geometry across the crowd to find the rainbows on the bar top. New lines rise, join the pattern. (cowrrnuEp)CONTINUED: BENDER (OVER) hey’ xe only taking one this year. Best brain in the class. AINSLEY (OVER) flansen's used to being picked Hirst. The new complex pattern rises, rotates slightly and is sucked Thto the fractured pattern on Ainsley’s tie. A perfect match. Nasi (smiling) you know, there’s a mathematical explanation for how horrible your tie is. ATUSLRY Nice. I'm Ainsley. Symbol Cryptography. BENDER ins here broke a Jap code. fielped rid the World of Fascism. Least that's vhat he Yells the girls. ‘The name's Bender, Atomic physics. and you are... gust then a third FELLOW xuns up, breathless. RICHARD SOL. SOL Am T late? Ainsley and Bender exchange a look. He's alvays late. i AINSLEY & BENDER Yes. sol (to Nash) Hi, I'm Sol. Hansen separates from the crowd to join his friends. HANSEN ah the burden of genius. So many supplicants, so little time. Hansen's eyes Light on Nash, The beat of recognition is so Blight it's almost imperceptible, He emiles, raises his glass. HANSEN (CONT'D) 112 take another. WASH | Excuse me. i (cowrrndep)CONTINUED: HANSEN ‘A thollsand pardons. I simply assumed you vere the waiter. SOL Play nice, Hansen, INSLEY Nice is not Hansen's strong suit. HANSEN an honest mistake. What with those var ration shoes... Nash's outfit, though stylishly formal, does look a bit dusty compared to Hansen's elegant bohemia. HANSEN (CONT'D) ‘That couture. Hansen reaches forvard, adjusts Nash's lapel. Wot €tiendly. A Jong beat, Then Nash smiles. nasa Well Wartin, it is Martin, isn’t it? HANSEN way yes, John. mas | 1 imagine that by now you are indeed used to miscalculation. You seo, 1 have read your pre-prints on both Neai ciphers and Non-linear oquations and I am supremely confident that there is nota seminal or {nnovative idea in either one of them. I do hope to ace yout around With that, Nash offers a slight ned, walks off. SOL Who was that masked man? HANSEN Gentlemen meet John Nash. The mysterious West Virginia genius. Tho other winner of the distinguished Carnegie scholarship. OFF Nash as he goes, stress like a mask on his face, vorce (ovER) Mathematicians won the war...INT, -PRINCETON-FACULTY LOUNGE~AFTERNOON smmense, Oak panels. A silver haixed professor, JOHN HELTNGER, stands on @ podiun, delivering the matricolation speech. i HELINGER Mathematicians broke the Japanese codes and buile the A-bosb, PULL BACK OVER the crowd of students peering up at him. HELINGER (CONT'D) : Mathematicians like you. But the flame of peace burns all too briefly. The Russians stated goal is global communism. In medicine or econcmics, technology or space, battle lines are being draun. we stand on the edge of reason, gentlemen. On the frontier of human pursuit. To triumph we need results, Fublishable. Applicable. Results. HANSEN-CLOSE. Where he stands in the crowd. HEDINGER (OVER) (CONT'D) Who among you will be the next Morse? The next Binstein? UASH-CLOSE. where he stands across, the room HELINGER (OVER) (CONT'D) Who among you will be the vanguard of democracy and freedom? Helinger stares out at the sea of faces, his eyes burning, It HELINGER (CONT'D) Today we bequeath America’s future into your able hands. Welcome to Princeton. EXT. PRINCETON-BLAIR STEPS-SUNSET-SHRIES OF SHOTS (oveR) A MoTET plays. Nash descends steps to the commons. His shadow seems to lag behind, out of step. Tall buildings loom. EXT,-PRINCETON CAMPUS-SUNSET-SERIES OF SHOTS Nash walke campus paths, head down, past students tossing footballs, smoking against trees. His expression tight, anxious.EXT. ~PRINCETON-DORM-SUNSET ‘The sun is low in the sky. Wash walks into the tall dormitory. (OVER) ‘The MOTET VOICES continue, longing. INT. ~DORM ROON-SUNSET Nash is dragging his desk across the room. Positions it by the window, He stares out at the sun-drenched field. Bravado gone: Alone. ‘The door swings open behind him. Unruly hair and a tuxedo that looks slept in whirl into the rocm. Meet CHARLES HERMAN, bags in hand. 7 CHARLES ‘he prodigal roommate arrives. Charles turns dovn the MOPEY, begins stripping as he speaks. Nash stares in confusion as Off come his jacket and how-tie. NASH Roommate? CHARLES Did you know that a hangover is not having enough water in your body to run your Krebs cycle? i Charles pulls off his pants, and hopping, both shoes. CHARDAS (CowT"D) Which is exactly what happens when you die of thirst. Now finally his shirt, which he throws on the couch. CHARLES (CoNz'D) So dying of thirst would feel like the hangover that finally kills you. He grabs a tovel and heads for the door. CHARLES (CORS*D) Nash, right? Happy to meet you. NASH-CLOSE. Speechless.IP.-NASH'S DORN. ROOM-SUNSET 1h TOUCH FOOTBALL GANE-CLOSE. A HAND moves. into PRN A cert p che players with wax symbols. The game begins: WSDER. « nash has moved his desk in front of the windows, 9365 Nowy Nash bas the players positions with symbols on the Pane: CHARLES officially almost human again, charles has ENTBRED from the hall, hair wet, tovel around his neck. : Harts (CONT*D) officer, I saw the driver who hit me. His name was Johnny Walker. Hash continues to bear down on his work: CHARLES (CONT'D) 1 arrived last night. Right in time: for Engligh Department cocktails. ‘The cock was wage tthe tail belonged to a lovely young thing with a passion for DH, Lawrence. hash nods, still doesn't look up from his work. cRAREES (CONT'D) You're not easily distracted, are you? NASH Tam here to work. CHARLES, 1 sea. charles spota a bowl of cookies on Nash's desk. Nash covers the Charles ope Charles can grab one, never once looking uP» ‘ghat's when Charles actually ¢linbs up on Nash's desk sitting pight in front of him. CHARLES (CONT'D) Ts my roommate a dick? charles reaches into his pocket and polls out something: setter flask. Haves it in Nash's face. CHAREES (CONP"D) if we can't break the ice, how about ve drown it? ) |EXT. DORN ROOFTOP-SUNSET Charles and Wash stand under the crimson sky, passing the flask. } CARRLES \ 5 $0, how's it go? You the poor kid who didn’t go to Bxeter or Andover? WASH ! Despite my privileged upbringing, I am 7 actually quite balanced. I have a chip on both shoulders, CHARLES Maybe you're just better with the old integers than with people? | NASH My first-grade teacher once said I got | two helpings of brain and half a helping of heart. CHARLES Note: send teacher a little Freud, Needs to brush up. Nash LAUGHS. Takes a long quig. NASH The fact is, T don't like people much. j And they don’t mich ike me. CHARLES What, with all your wit and chazm? Hash smiles, looks out at the sun stained campus. CHARLES (cont'D) Maths von’t lead us to a higher truth, i John... They’re just boring. Wash stares at him a beat. Then he smiles. I i asa \ Do you know there ace equations that can predict the rotation ef galanies as Surely a3 the ebb and flow of human } Blood. there i9 a crystalline li architecture to the universe we can only | | GLinpse. Thatta the only truth, the math ' f i of things, the math of everything, the secrets implied by the vorid in whispers. i | (commen) | icowrrnveD: CHARLES We axe going to need more booze. A couple of fellows race past, LAUGHING, tossing a football. NASH Half of these school boys axe already published, T cannot waste time with these classes, these books, menorizing the weaker assumptions of lesser mortals. I need to look through, to the governing dynamics, find a truly original idea. Tt is the only way 1 will distinguish myself. Te is the only way I will... CHARIS Matter. Wash glances over to Charles, startled. Nasi Yes. PROFESSOR (OVER) : Ne study gaues to study hunan behavior sn strategic conflict... EX. -FIME, HAL,-EADL-DAY-ESTABLISHING The first hints of fall. Sol hurries intd the building, Late. PROFESSOR (OVER) j Put simply, the study of games !is the study of war... NP, -PINE HADI-CTASSROON-DAY PROFESSOR HORNER stands lecturing Bender, Hansen, Ainsley, and several others. Sol pushes inside, late. HORNER Thank you for stopping by Mr. Sol He glances at one empty chair. Then at his roster. HORNER (CoWr'D) Unere the hel) is...Nash? Hansen looks out the window. POLLOW Hansen's gaze into...EXT. -PRINCRTON-EAST PINE QUAD-DAY-CONPINUOUS HANSEN (OVER) He's looking for his original idea Nash is on his bicycle riding around the courtyard in Figure eights, eyes half-closed, students scattering as he goes. BX’, -PRINCETON-CANNON GREEN-DAY Students sit over game boards set on henches. FIND one small group of familiar players. HANSEN (OVER) Cowards, all of you. Will none rise to mect. my challenge? Hansen stands over a GO board facing Bender, Ainsley and several others. RAPS the board with his knuckles. HANSEN (CONT'D) Come on, Bender, whoever wins, Sol does his laundry’ ald semester. son Does this seem unfair to anyone else? Others just shake their heads,, GRUNT no's. Nash walks backwards past them. 1 AINSLRY | Hey Nash, taking a reverse constitutional? Nash looks up, apparently startled by their presence. NASH (OVER) I hope to extract an algorithm to define their movements All follow Nash's gaze. A group of pigeons dance back and forth, devouring a pile of breaderunbs. BENDER, (mouthing) Psy-cho. son Nan, I thought you dropped out. You ever gonna go to class? (cowrrnuED)conrrivep: NASH Classes dull the mind and destroy authentic creativity. HANSEN John's going to stun us all with his genius, Hanaen flips a GO stone in the air, catches it in a fist. HANSEN (cONT*D) Which is another way of saying he doesn't. have the nerve to compete Hansen RAPS the game table with his knuckles. PANSEN (CONT'D) Scared? A beat. Then Nash smiles. Looks at Sol. NASH No starch. Pressed and folded. EXT, ~PRINCETON-CANNON GREEN-DAY-NINUTES LATER Wash faces Hansen across the GO! board. the play is incredibly fast, Nash is intense, almost preternaturally avare. EANSEN Let me ask you something, John, NASH Be my guest, Naxtin. Hansen Bender and Sol correctly completed Allen’ s proof of Peyrot’s conjecture. nasi Adequate vork without innovation. son I'm flattered, Are you flattered? BENDER Flattered. HANSEN I've got two weapons briefs under security review by the DOD, (conrmunp)MASH Derivative drivel. HANSEN But Nash achievenents: zero. | Nasi I’m a patient man, Martin. Is there an actual question coming? | HANSEN What if you never come up with your original idea? How will it feel when I'm ' chosen for Wheeler and you're not? Hansen makes a deft move, and strips Nash's stones. HANSEN (CONT'D) what if you Lose? Nash sits there, stunned NASH You should not have von. I had the first move, My play vas perfect. The game is flawed. HANSEN An, the hubris of the defeated. RASH The game is flawed. Nash stands, frustrated, inadvertently epilling the board. He walks off flustered. Hansen smiles, shakes his head. hawseN Gentlemen, the great gohn Nash. DISSOLVE TO: BXT.-PRINCETON EAS? PINE QUAD-SUNSET Nash stares down at a GO board laying at his feet, his face lined with deep frustration WASH-POV. Different sections of the board go dark, patterns of squares rising and falling, with ever increasing speed. PULL BACK AND UP.