tag:blogger.com,1999:blog-48096574779361522932024-03-13T11:02:39.148-07:00THE SHAWSHANK REDEMPTIONEelveEhttp://www.blogger.com/profile/04343357520043384445noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-4809657477936152293.post-29998238946222495262007-03-24T12:14:00.000-07:002007-03-24T12:16:46.976-07:00THE SHAWSHANK REDEMPTIONTHE SHAWSHANK REDEMPTION<br /><br /> by<br /><br /> Frank Darabont<br /><br /><br /> Based upon the story <br /> Rita Hayworth and Shawshank Redemption<br /> by <br /><br /><br /><br />1 INT -- CABIN -- NIGHT (1946) <br /><br /> A dark, empty room. <br /><br /> The door bursts open. A MAN and WOMAN enter, drunk and <br /> giggling, horny as hell. No sooner is the door shut than <br /> they're all over each other, ripping at clothes, pawing at <br /> flesh, mouths locked together. <br /><br /> He gropes for a lamp, tries to turn it on, knocks it over <br /> instead. Hell with it. He's got more urgent things to do, like <br /> getting her blouse open and his hands on her breasts. She <br /> arches, moaning, fumbling with his fly. He slams her against <br /> the wall, ripping her skirt. We hear fabric tear. <br /><br /> He enters her right then and there, roughly, up against the <br /> wall. She cries out, hitting her head against the wall but not <br /> caring, grinding against him, clawing his back, shivering with <br /> the sensations running through her. He carries her across the <br /> room with her legs wrapped around him. They fall onto the bed. <br /><br /> CAMERA PULLS BACK, exiting through the window, traveling <br /> smoothly outside... <br /><br />2 EXT -- CABIN -- NIGHT (1946) 2<br /><br /> ...to reveal the bungalow, remote in a wooded area, the <br /> lovers' cries spilling into the night... <br /><br /> ...and we drift down a wooded path, the sounds of rutting <br /> passion growing fainter, mingling now with the night sounds of <br /> crickets and hoot owls... <br /><br /> ...and we begin to hear FAINT MUSIC in the woods, tinny and<br /> incongruous, and still we keep PULLING BACK until... <br /><br /> ...a car is revealed. A 1946 Plymouth. Parked in a clearing. <br /><br />3 INT -- PLYMOUTH -- NIGHT (1946) 3<br /><br /> ANDY DUFRESNE, mid-20's, wire rim glasses, three-piece suit. <br /> Under normal circumstances a respectable, solid citizen; hardly<br /> dangerous, perhaps even meek. But these circumstances are far <br /> from normal. He is disheveled, unshaven, and very drunk. A <br /> cigarette smolders in his mouth. His eyes, flinty and hard, are <br /> riveted to the bungalow up the path. <br /><br /> He can hear them fucking from here. <br /><br /> He raises a bottle of bourbon and knocks it back. The radio <br /> plays softly, painfully romantic, taunting him: <br /><br /> You stepped out of a dream... <br /> You are too wonderful... <br /> To be what you seem... <br /><br /> He opens the glove compartment, pulls out an object wrapped<br /> in a rag. He lays it in his lap and unwraps it carefully --<br /><br /> -- revealing a .38 revolver. Oily, black, evil. <br /><br /> He grabs a box of bullets. Spills them everywhere, all over <br /> the seats and floor. Clumsy. He picks bullets off his lap, <br /> loading them into the gun, one by one, methodical and grim. <br /> Six in the chamber. His gaze goes back to the bungalow. <br /><br /> He shuts off the radio. Abrupt silence, except for the distant <br /> lovers' moans. He takes another shot of bourbon courage, then <br /> opens the door and steps from the car. <br /><br />4 EXT -- PLYMOUTH -- NIGHT (1946) 4<br /><br /> His wingtip shoes crunch on gravel. Loose bullets scatter to <br /> the ground. The bourbon bottle drops and shatters. <br /><br /> He starts up the path, unsteady on his feet. The closer he <br /> gets, the louder the lovemaking becomes. Louder and more <br /> frenzied. The lovers are reaching a climax, their sounds of <br /> passion degenerating into rhythmic gasps and grunts. <br /><br /> WOMAN (O.S.) <br /> Oh god...oh god...oh god... <br /><br /> Andy lurches to a stop, listening. The woman cries out in <br /> orgasm. The sound slams into Andy's brain like an icepick. He <br /> shuts his eyes tightly, wishing the sound would stop. <br /><br /> It finally does, dying away like a siren until all that's left <br /> is the shallow gasping and panting of post-coitus. We hear <br /> languorous laughter, moans of satisfaction. <br /><br /> WOMAN (O.S.) <br /> Oh god...that's sooo good...you're <br /> the best...the best I ever had... <br /><br /> Andy just stands and listens, devastated. He doesn't look like <br /> much of a killer now; he's just a sad little man on a dirt <br /> path in the woods, tears streaming down his face, a loaded gun <br /> held loosely at his side. A pathetic figure, really. <br /><br /> FADE TO BLACK: 1ST TITLE UP <br /><br />5 INT -- COURTROOM -- DAY (1946) 5<br /><br /> THE JURY listens like a gallery of mannequins on display, <br /> pale-faced and stupefied. <br /><br /> D.A. (O.S.) <br /> Mr. Dufresne, describe the <br /> confrontation you had with your <br /> wife the night she was murdered. <br /><br /> ANDY DUFRESNE <br /><br /> is on the witness stand, hands folded, suit and tie pressed, <br /> hair meticulously combed. He speaks in soft, measured tones: <br /><br /> ANDY <br /> It was very bitter. She said she <br /> was glad I knew, that she hated all <br /> the sneaking around. She said she <br /> wanted a divorce in Reno. <br /><br /> D.A. <br /> What was your response? <br /><br /> ANDY <br /> I told her I would not grant one. <br /><br /> D.A. <br /> (refers to his notes) <br /> I'll see you in Hell before I see<br /> you in Reno. Those were the words <br /> you used, Mr. Dufresne, according <br /> to the testimony of your neighbors. <br /><br /> ANDY <br /> If they say so. I really don't <br /> remember. I was upset. <br /><br /> FADE TO BLACK: 2ND TITLE UP <br /><br /> D.A. <br /> What happened after you and your <br /> wife argued? <br /><br /> ANDY <br /> She packed a bag and went to stay <br /> with Mr. Quentin. <br /><br /> D.A. <br /> Glenn Quentin. The golf pro at the <br /> Falmouth Hills Country Club. The <br /> man you had recently discovered was <br /> her lover. <br /> (Andy nods) <br /> Did you follow her? <br /><br /> ANDY <br /> I went to a few bars first. Later, <br /> I decided to drive to Mr. Quentin's <br /> home and confront them. They <br /> weren't there...so I parked my car <br /> in the turnout...and waited. <br /><br /> D.A. <br /> With what intention? <br /><br /> ANDY <br /> I'm not sure. I was confused. Drunk. <br /> I think mostly I wanted to scare them. <br /><br /> D.A. <br /> You had a gun with you? <br /><br /> ANDY <br /> Yes. I did. <br /><br /> FADE TO BLACK: 3RD TITLE UP <br /><br /> D.A. <br /> When they arrived, you went up <br /> to the house and murdered them? <br /><br /> ANDY <br /> No. I was sobering up. I realized <br /> she wasn't worth it. I decided to <br /> let her have her quickie divorce. <br /><br /> D.A. <br /> Quickie divorce indeed. A .38 <br /> caliber divorce, wrapped in a <br /> handtowel to muffle the shots, <br /> isn't that what you mean? And then <br /> you shot her lover! <br /><br /> ANDY <br /> I did not. I got back in the car <br /> and drove home to sleep it off. <br /> Along the way, I stopped and threw <br /> my gun into the Royal River. I feel <br /> I've been very clear on this point. <br /><br /> D.A. <br /> Yes, you have. Where I get hazy, <br /> though, is the part where the <br /> cleaning woman shows up the next <br /> morning and finds your wife and her <br /> lover in bed, riddled with .38 <br /> caliber bullets. Does that strike <br /> you as a fantastic coincidence, Mr. <br /> Dufresne, or is it just me? <br /><br /> ANDY <br /> (softly) <br /> Yes. It does. <br /><br /> D.A. <br /> I'm sorry, Mr. Dufresne, I don't <br /> think the jury heard that. <br /><br /> ANDY <br /> Yes. It does. <br /><br /> D.A. <br /> Does what? <br /><br /> ANDY <br /> Strike me as a fantastic coincidence. <br /><br /> D.A. <br /> On that, sir, we are in accord... <br /><br /> FADE TO BLACK! 4TH TITLE UP <br /><br /> D.A. <br /> You claim you threw your gun into <br /> the Royal River before the murders <br /> took place. That's rather convenient. <br /><br /> ANDY <br /> It's the truth. <br /><br /> D.A. <br /> You recall Lt. Mincher's testimony? <br /> He and his men dragged that river <br /> for three days and nary a gun was <br /> found. So no comparison can be made <br /> between your gun and the bullets <br /> taken from the bloodstained corpses <br /> of the victims. That's also rather <br /> convenient, isn't it, Mr. Dufresne? <br /><br /> ANDY <br /> (faint, bitter smile) <br /> Since I am innocent of this crime, <br /> sir, I find it decidedly inconvenient <br /> the gun was never found. <br /><br /> FADE TO BLACK: STH TITLE UP <br /><br />6 INT -- COURTROOM -- DAY (1946) 6<br /><br /> The D.A. holds the jury spellbound with his closing summation:<br /><br /> D.A. <br /> Ladies and gentlemen, you've heard <br /> all the evidence, you know all the <br /> facts. We have the accused at the <br /> scene of the crime. We have foot <br /> prints. Tire tracks. Bullets <br /> scattered on the ground which bear <br /> his fingerprints. A broken bourbon <br /> bottle, likewise with fingerprints. <br /> Most of all, we have a beautiful <br /> young woman and her lover lying <br /> dead in each other's arms. They had <br /> sinned. But was their crime so <br /> great as to merit a death sentence? <br /><br /> He gestures to Andy sitting quietly with his ATTORNEY. <br /><br /> D.A. <br /> I suspect Mr. Dufresne's answer to <br /> that would be yes. I further <br /> suspect he carried out that <br /> sentence on the night of September <br /> 21st, this year of our Lord, 1946, <br /> by pumping four bullets into his <br /> wife and another four into Glenn <br /> Quentin. And while you think about <br /> that, think about this... <br /><br /> He picks up a revolver, spins the cylinder before their eyes <br /> like a carnival barker spinning a wheel of fortune. <br /><br /> D.A. <br /> A revolver holds six bullets, not <br /> eight. I submit to you this was not <br /> a hot-blooded crime of passion! <br /> That could at least be understood, <br /> if not condoned. No, this was <br /> revenge of a much more brutal and <br /> cold-blooded nature. Consider! Four <br /> bullets per victim! Not six shots <br /> fired, but eight! That means he <br /> fired the gun empty...and then <br /> stopped to reload so he could shoot <br /> each of them again! An extra bullet <br /> per lover...right in the head. <br /> (a few JURORS shiver) <br /> I'm done talking. You people are <br /> all decent, God-fearing Christian <br /> folk. You know what to do. <br /><br /> FADE TO BLACK: 6TH TITLE UP <br /><br />7 INT -- JURY ROOM -- DAY (1946) 7<br /><br /> CAMERA TRACKS down a long table, moving from one JUROR to the <br /> next. These decent, God-fearing Christians are chowing down on <br /> a nice fried chicken dinner provided them by the county, <br /> smacking greasy lips and gnawing cobbettes of corn. <br /><br /> VOICE (O.S.) <br /> Guilty. Guilty. Guilty. Guilty... <br /><br /> We find the FOREMAN at the head of the table, sorting votes. <br /><br /> FADE TO BLACK: 7TH TITLE UP <br /><br />8 INT -- COURTROOM -- DAY (1946) 8<br /><br /> Andy stands before the dias. THE JUDGE peers down, framed by a <br /> carved frieze of blind Lady Justice on the wall. <br /><br /> JUDGE <br /> You strike me as a particularly icy <br /> and remorseless man, Mr. Dufresne. <br /> It chills my blood just to look at <br /> you. By the power vested in me by <br /> the State of Maine, I hereby order <br /> you to serve two life sentences, <br /> back to back, one for each of your <br /> victims. So be it. <br /><br /> He raps his gavel as we <br /><br /> CRASH TO BLACK: LAST TITLE UP. <br /><br />9 AN IRON-BARRED DOOR 9<br /><br /> slides open with an enormous CLANG. A stark room waits beyond.<br /> CAMERA PUSHES through. SEVEN HUMORLESS MEN sit side by side at<br /> a long table. An empty chair faces them. We are now in: <br /><br /> INT -- SHAWSHANK HEARINGS ROOM -- DAY (1947) <br /><br /> RED enters, removes his cap and waits by the chair. <br /><br /> MAN #1 <br /> Sit. <br /><br /> Red sits, tries not to slouch. The chair is uncomfortable. <br /><br /> MAN #2 <br /> We see by your file you've served <br /> twenty years of a life sentence. <br /><br /> MAN #3 <br /> You feel you've been rehabilitated? <br /><br /> RED <br /> Yes, sir. Absolutely. I've learned <br /> my lesson. I can honestly say I'm a <br /> changed man. I'm no longer a danger <br /> to society. That's the God's honest <br /> truth. No doubt about it. <br /><br /> The men just stare at him. One stifles a yawn. <br /><br /> CLOSEUP -- PAROLE FORM <br /><br /> A big rubber stamp slams down: "REJECTED" in red ink. <br /><br />10 EXT -- EXERCISE YARD -- SHAWSHANK PRISON -- DUSK (1947) 10<br /><br /> High stone walls topped with snaky concertina wire, set off at<br /> intervals by looming guard towers. Over a hundred CONS are <br /> in the yard. Playing catch, shooting craps, jawing at each <br /> other, making deals. Exercise period. <br /><br /><br /><br /> RED emerges into fading daylight, slouches low-key through the <br /> activity, worn cap on his head, exchanging hellos and doing <br /> minor business. He's an important man here. <br /><br /> RED (V.O.) <br /> There's a con like me in every prison <br /> in America, I guess. I'm the guy who <br /> can get it for you. Cigarettes, a <br /> bag of reefer if you're partial, a <br /> bottle of brandy to celebrate your <br /> kid's high school graduation. Damn <br /> near anything, within reason. <br /><br /> He slips somebody a pack of smokes, smooth sleight-of-hand.<br /><br /> RED (V.O.) <br /> Yes sir, I'm a regular Sears & <br /> Roebuck. <br /><br /> TWO SHORT SIREN BLASTS issue from the main tower, drawing <br /> everybody's attention to the loading dock. The outer gate <br /> swings open...revealing a gray prison bus outside. <br /><br /> RED (V.O.) <br /> So when Andy Dufresne came to me in <br /> 1949 and asked me to smuggle Rita <br /> Hayworth into the prison for him, I <br /> told him no problem. And it wasn't. <br /><br /> CON <br /> Fresh fish! Fresh fish today! <br /><br /> Red is joined by HEYWOOD, SKEET, FLOYD, JIGGER, ERNIE, SNOOZE. <br /> Most cons crowd to the fence to gawk and jeer, but Red and his <br /> group mount the bleachers and settle in comfortably. <br /><br />11 INT -- PRISON BUS -- DUSK (1947) 11<br /><br /> Andy sits in back, wearing steel collar and chains. <br /><br /> RED (V.O.) <br /> Andy came to Shawshank Prison in <br /> early 1947 for murdering his wife <br /> and the fella she was bangin'. <br /><br /> The bus lurches forward, RUMBLES through the gates. Andy gazes <br /> around, swallowed by prison walls. <br /><br /> RED (V.O.) <br /> On the outside, he'd been vice- <br /> president of a large Portland bank. <br /> Good work for a man as young as he <br /> was, when you consider how <br /> conservative banks were back then. <br /><br /> TOWER GUARD <br /> All clear! <br /><br /> GUARDS approach the bus with carbines. The door jerks open. <br /> The new fish disembark, chained together single-file, blinking <br /> sourly at their surroundings. Andy stumbles against the MAN in <br /> front of him, almost drags him down. <br /><br /> BYRON HADLEY, captain of the guard, slams his baton into <br /> Andy's back. Andy goes to his knees, gasping in pain. JEERS <br /> and SHOUTS from the spectators. <br /><br /> HADLEY <br /> On your feet before I fuck you up <br /> so bad you never walk again. <br /><br />13 ON THE BLEACHERS 13<br /><br /> RED <br /> There they are, boys. The Human <br /> Charm Bracelet. <br /><br /> HEYWOOD <br /> Never seen such a sorry-lookin' <br /> heap of maggot shit in my life. <br /><br /> JIGGER <br /> Comin' from you, Heywood, you being <br /> so pretty and all... <br /><br /> FLOYD <br /> Takin' bets today, Red? <br /><br /> RED <br /> (pulls notepad and pencil) <br /> Bear Catholic? Pope shit in the woods? <br /> Smokes or coin, bettor's choice. <br /><br /> FLOYD <br /> Smokes. Put me down for two. <br /><br /> RED <br /> High roller. Who's your horse? <br /><br /> FLOYD <br /> That gangly sack of shit, third <br /> from the front. He'll be the first. <br /><br /> HEYWOOD <br /> Bullshit. I'll take that action. <br /><br /> ERNIE <br /> Me too. <br /><br /> Other hands go up. Red jots the names. <br /><br /> HEYWOOD <br /> You're out some smokes, son. Take <br /> my word. <br /><br /> FLOYD <br /> You're so smart, you call it. <br /><br /> HEYWOOD <br /> I say that chubby fat-ass...let's <br /> see...fifth from the front. Put me <br /> down for a quarter deck. <br /><br /> RED <br /> That's five cigarettes on Fat-Ass. <br /> Any takers? <br /><br /> More hands go up. Andy and the others are paraded along, <br /> forced by their chains to take tiny baby steps, flinching <br /> under the barrage of jeers and shouts. The old-timers are <br /> shaking the fence, trying to make the newcomers shit their <br /> pants. Some of the new fish shout back, but mostly they look <br /> terrified. Especially Andy. <br /><br /> RED (V.O.) <br /> I must admit I didn't think much of <br /> Andy first time I laid eyes on him. <br /> He might'a been important on the <br /> outside, but in here he was just a <br /> little turd in prison grays. Looked <br /> like a stiff breeze could blow him <br /> over. That was my first impression <br /> of the man. <br /><br /> SKEET <br /> What say, Red? <br /><br /> RED <br /> Little fella on the end. Definitely. <br /> I stake half a pack. Any takers? <br /><br /> SNOOZE <br /> Rich bet. <br /><br /> RED <br /> C'mon, boys, who's gonna prove me <br /> wrong? <br /> (hands go up) <br /> Floyd, Skeet, Joe, Heywood. Four brave <br /> souls, ten smokes apiece. That's it, <br /> gentlemen, this window's closed. <br /><br /> Red pockets his notepad. A VOICE comes over the P.A. speakers:<br /><br /> VOICE (amplified) <br /> Return to your cellblocks for <br /> evening count. <br /><br />14 INT -- ADMITTING AREA -- DUSK (1947) 14<br /><br /> The new fish are marched in. Guards unlock the shackles. The<br /> chains drop away, rattling to the stone floor. <br /><br /> HADLEY <br /> Eyes front. <br /><br /> WARDEN SAMUEL NORTON strolls forth, a colorless man in a gray<br /> suit and a church pin in his lapel. He looks like he could <br /> piss ice water. He appraises the newcomers with flinty eyes.<br /><br /> NORTON <br /> This is Mr. Hadley, captain of the <br /> guard. I am Mr. Norton, the warden. <br /> You are sinners and scum, that's <br /> why they sent you to me. Rule <br /> number one: no blaspheming. I'll <br /> not have the Lord's name taken in <br /> vain in my prison. The other rules <br /> you'll figure out as you go along. <br /> Any questions? <br /><br /> CON <br /> When do we eat? <br /><br /> Cued by Norton's glance, Hadley steps up to the con and screams<br /> right in his face: <br /><br /> HADLEY <br /> YOU EAT WHEN WE SAY YOU EAT! YOU <br /> PISS WHEN WE SAY YOU PISS! YOU SHIT <br /> WHEN WE SAY YOU SHIT! YOU SLEEP <br /> WHEN WE SAY YOU SLEEP! YOU MAGGOT- <br /> DICK MOTHERFUCKER! <br /><br /> Hadley rams the tip of his club into the con's belly. The <br /> man falls to his knees, gasping and clutching himself. <br /> Hadley takes his place at Norton's side again. Softly: <br /><br /> NORTON <br /> Any other questions? <br /> (there are none) <br /> I believe in two things. Discipline <br /> and the Bible. Here, you'll receive <br /> both. <br /> (holds up a Bible) <br /> Put your faith in the Lord. Your <br /> ass belongs to me. Welcome to <br /> Shawshank. <br /><br /> HADLEY <br /> Off with them clothes! And I didn't <br /> say take all day doing it, did I? <br /><br /> The men shed their clothes. Within seconds, all stand naked. <br /><br /> HADLEY <br /> First man into the shower! <br /><br /> Hadley shoves the FIRST CON into a steel cage open at the <br /> front. TWO GUARDS open up with a fire hose. The con is slammed <br /> against the back of the cage, sputtering and hollering. <br /> Seconds later, the water is cut and the con yanked out. <br /><br /> HADLEY <br /> Delouse that piece of shit! Next <br /> man in! <br /><br /> The con gets a huge scoop of white delousing powder thrown all<br /> over him. Gasping and coughing, blinking powder from his eyes,<br /> he gets shoved to a trustee's cage. The TRUSTEE slides a short<br /> stack of items through the slot -- prison clothes and a Bible.<br /> All the men are processed quickly -- a blast of water, powder,<br /> clothes and a Bible... <br /><br />15 INT -- INFIRMARY -- NIGHT (1947) 15<br /><br /> A naked CON steps before a DOCTOR and gets a cursory exam. <br /> A penlight is shined in his eyes, ears, nose, and throat. <br /><br /> DOCTOR <br /> Bend over. <br /><br /> The con does. A GUARD with a penlight in his teeth spreads his <br /> cheeks, peers up his ass, and nods. Andy is next up. He gets <br /> the same treatment. <br /><br /><br />16 INT -- PRISON CHAPEL -- NIGHT (1947) 16<br /><br /> CAMERA TRACKS the naked newcomers shivering on hard wooden <br /> chairs, clothes on their laps, Bibles open. <br /><br /> CHAPLAIN (O.S.) <br /> ...maketh me to lie down in green <br /> pastures. He leadeth me beside the <br /> still waters. He restoreth my soul... <br /><br />17 INT -- CELLBLOCK FIVE -- NIGHT (1947) 17<br /><br /> Three tiers to a side, concrete and steel, gray and imposing. <br /> Andy and the others are marched in, still naked, carrying <br /> their clothes and Bibles. The CONS in their cells greet them <br /> with TAUNTS, JEERS, and LAUGHTER. One by one, the new men are <br /> shown to their cells and locked in with a CLANG OF STEEL. <br /><br /> RED (V.O.) <br /> The first night's the toughest, no <br /> doubt about it. They march you in <br /> naked as the day you're born, fresh <br /> from a Bible reading, skin burning <br /> and half-blind from that delousing <br /> shit they throw on you... <br /><br /> Red watches from his cell, arms slung over the crossbars, <br /> cigarette dangling from his fingers. <br /><br /> RED (V.O.) <br /> ...and when they put you in that <br /> cell, when those bars slam home, <br /> that's when you know it's for real. <br /> Old life blown away in the blink of <br /> an eye...a long cold season in hell <br /> stretching out ahead...nothing <br /> left but all the time in the world <br /> to think about it. <br /><br /> Red listens to the CLANGING below. He watches Andy and a few <br /> others being brought up to the 2nd tier. <br /><br /> RED (V.O.) <br /> Most new fish come close to madness <br /> the first night. Somebody always <br /> breaks down crying. Happens every <br /> time. The only question is, who's <br /> it gonna be? <br /><br /> Andy is led past and given a cell at the end of the tier. <br /><br /> RED (V.O.) <br /> It's as good a thing to bet on as <br /> any, I guess. I had my money on <br /> Andy Dufresne... <br /><br />18 INT -- ANDY'S CELL -- NIGHT (1947) 18<br /><br /> The bars slam home. Andy is alone in his cell, clutching his <br /> clothes. He gazes around at his new surroundings, taking it <br /> in. He slowly begins to dress himself... <br /><br />19 EXT -- SHAWSHANK PRISON -- NIGHT (1947) 19<br /><br /> A malignant stone growth on the Maine landscape. The moon <br /> hangs low and baleful in a dead sky. The headlight of a <br /> PASSING TRAIN cuts through the night. <br /><br />20 INT -- RED'S CELL -- NIGHT (1947) 20<br /><br /> Red lies on his bunk below us, tossing his baseball toward the <br /> ceiling and catching it again. He pauses, listening. FOOTSTEPS <br /> approach below, unhurried, echoing hollowly on stone. <br /><br />21 INT -- CELLBLOCK FIVE -- NIGHT (1947) 21<br /><br /> LOW ANGLE. A CELLBLOCK GUARD strolls into frame. <br /><br /> GUARD <br /> That's lights out! Good night, ladies. <br /><br /> The lights bump off in sequence. The guard exits, footsteps<br /> echoing away. Darkness now. Silence. CAMERA CRANES UP the <br /> tiers toward Red's cell. <br /><br /> RED (V.O.) <br /> I remember my first night. Seems a <br /> long time ago now. <br /><br /> Red looms from the darkness, leans on the bars. Listens. <br /> Waits. From somewhere below comes faint, ghastly tittering.<br /> VOICES drift through the cellblock, taunting: <br /><br /> VARIOUS VOICES (O.S.) <br /> Fishee fishee fisheeee...You're <br /> gonna like it here, new fish. A <br /> whooole lot...Make you wish your <br /> daddies never dicked your <br /> mommies...You takin' this down, new <br /> fish? Gonna be a quiz later. <br /> (somebody LAUGHS) <br /> Sshhh. Keep it down. The screws'll <br /> hear...Fishee fishee fisheeee... <br /><br /> RED (V.O.) <br /> The boys always go fishin' with <br /> first-timers...and they don't quit <br /> till they reel someone in. <br /><br /> The VOICES keep on, sly and creepy in the dark... <br /><br />22 INT -- VARIOUS CELLS -- NIGHT (1947) 22<br /> thru thru 25<br /> 2g ...while the new cons go quietly crazy in their cells. One man<br /> paces like a caged animal...another sits gnawing his cuticles<br /> bloody...a third is weeping silently...a fourth is dry-heaving<br /> into the toilet... <br /><br />26 INT -- RED'S CELL -- NIGHT (1947) 26<br /><br /> Red waits at the bars. Smoking. Listening. He cranes his head,<br /> peers down toward Andy's cell. Nothing. Not a peep. <br /><br /> HEYWOOD (O.S.) <br /> Fat-Ass...oh, Faaaat-Ass. Talk to <br /> me, boy. I know you're in there. I <br /> can hear you breathin'. Now don't <br /> you listen to these nitwits, hear? <br /><br />27 INT -- FAT-ASS' CELL -- NIGHT (1947) 27<br /><br /> Fat-Ass is crying, trying not to hyperventilate. <br /><br /> HEYWOOD (O.S.) <br /> This ain't such a bad place. I'll <br /> introduce you around, make you feel <br /> right at home. I know some big ol' <br /> bull queers who'd love to make your <br /> acquaintance...especially that big <br /> white mushy butt of yours... <br /><br /> And that's it. Fat-Ass lets out a LOUD WAIL of despair: <br /><br /> FAT-ASS <br /> OH GOD! I DON'T BELONG HERE! I <br /> WANNA GO HOME! <br /><br />28 INT -- HEYWOOD'S CELL -- NIGHT (1947) 28<br /><br /> HEYWOOD <br /> AND IT'S FAT-ASS BY A NOSE.' <br /><br />29 INT -- CELLBLOCK -- NIGHT (1947) 29<br /><br /> The place goes nuts. Fat-Ass throws himself screaming against<br /> the bars. The entire block starts CHANTING: <br /><br /> VOICES <br /> Fresh fish...fresh fish...fresh <br /> fish...fresh fish... <br /><br /> FAT-ASS <br /> I WANNA GO HOME! I WANT MY MOTHER.' <br /><br /> VOICE (O.S.) <br /> I had your mother! She wasn't that <br /> great! <br /><br /> The lights bump on. GUARDS pour in, led by Hadley himself.<br /><br /> HADLEY <br /> What the Christ is this happy shit? <br /><br /> VOICE (O.S.) <br /> He took the Lord's name in vain! <br /> I'm tellin' the warden! <br /><br /> HADLEY <br /> (to the unseen wit) <br /> You'll be tellin' him with my baton <br /> up your ass! <br /><br /> Hadley arrives at Fat-Ass' cell, bellowing through the bars:<br /><br /> HADLEY <br /> What's your malfunction you fat <br /> fuckin' barrel of monkey-spunk? <br /><br /> FAT-ASS <br /> PLEASE! THIS AIN'T RIGHT! I AIN'T <br /> SUPPOSED TO BE HERE! NOT ME! <br /><br /> HADLEY <br /> I ain't gonna count to three! Not <br /> even to one! Now shut the fuck up <br /> 'fore I sing you a lullabye! <br /><br /> Fat-Ass keeps blubbering and wailing. Total freak-out. Hadley <br /> draws his baton, gestures to his men. Open it. <br /><br /> A GUARD unlocks the cell. Hadley pulls Fat-Ass out and starts <br /> beating him with the baton, brutally raining blows. Fat-Ass <br /> falls, tries to crawl. <br /><br /> The place goes dead silent. All we hear now is the dull<br /> THWACK-THWACK-THWACK of the baton. Fat-ass passes out. Hadley<br /> gets in a few more licks and finally stops. <br /><br /> HADLEY <br /> Get this tub of shit down to the <br /> infirmary. <br /> (peers around) <br /> If I hear so much as a mouse fart <br /> in here the rest of the night, by <br /> God and Sonny Jesus, you'll all <br /> visit the infirmary. Every last <br /> motherfucker here. <br /><br /> The guards wrestle Fat-Ass onto a stretcher and carry him off. <br /> FOOTSTEPS echo away. Lights off. Darkness again. Silence. <br /><br />30 INT -- RED'S CELL -- NIGHT (1947) 30<br /><br /> Red stares through the bars at the main floor below, eyes <br /> riveted to the small puddle of blood where Fat-Ass went down. <br /><br /> RED (V.O.) <br /> His first night in the joint, Andy <br /> Dufresne cost me two packs of <br /> cigarettes. He never made a sound... <br /><br />31 INT -- CELLBLOCK FIVE -- MORNING (1947) 31<br /><br /> LOUD BUZZER. The master locks are thrown -- KA-THUMP! The cons <br /> step from their cells, lining the tiers. The GUARDS holler <br /> their head-counts to the HEAD BULL, who jots on a clipboard. <br /> Red peers at Andy, checking him out. Andy stands in line, <br /> collar buttoned, hair combed. <br /><br />32 INT -- MESS HALL -- MORNING (1947) 32<br /><br /> Andy goes through the breakfast line, gets a scoop of glop on<br /> his tray. WE PAN ANDY through the noise and confusion...and <br /> discover BOGS DIAMOND and ROOSTER MacBRIDE watching Andy go <br /> by. Bogs sizes Andy up with a salacious gleam in his eye, <br /> mutters something to Rooster. Rooster laughs. <br /><br /> Andy finds a table occupied by Red and his regulars, chooses<br /> a spot at the end where nobody is sitting. Ignoring their <br /> stares, he picks up his spoon -- and pauses, seeing something<br /> in his food. He carefully fishes it out with his fingers. <br /><br /> It's a squirming maggot. Andy grimaces, unsure what to do with<br /> it. BROOKS HATLEN is sitting closest to Andy. At age 65, he's<br /> a senior citizen, a long-standing resident. <br /><br /> BROOKS <br /> You gonna eat that? <br /><br /> ANDY <br /> Hadn't planned on it. <br /><br /> BROOKS <br /> You mind? <br /><br /> Andy passes the maggot to Brooks. Brooks examines it, rolling<br /> it between his fingertips like a man checking out a fine <br /> cigar. Andy is riveted with apprehension. <br /><br /> BROOKS <br /> Mmm. Nice and ripe. <br /><br /> Andy can't bear to watch. Brooks opens up his sweater and <br /> feeds the maggot to a baby crow nestled in an inside pocket.<br /> Andy breathes a sigh of relief. <br /><br /> BROOKS <br /> Jake says thanks. Fell out of his <br /> nest over by the plate shop. I'm <br /> lookin' after him till he's old <br /> enough to fly. <br /><br /> Andy nods, proceeds to eat. Carefully. Heywood approaches.<br /><br /> JIGGER <br /> Oh, Christ, here he comes. <br /><br /> HEYWOOD <br /> Mornin', boys. It's a fine mornin'. <br /> You know why it's fine? <br /><br /> Heywood plops his tray down, sits. The men start pulling out<br /> cigarettes and handing them down. <br /><br /> HEYWOOD <br /> That's right, send 'em all down. I <br /> wanna see 'em lined up in a row, <br /> pretty as a chorus line. <br /><br /> An impressive pile forms. Heywood bends down and inhales<br /> deeply, smelling the aroma. Rapture. <br /><br /> FLOYD <br /> Smell my ass... <br /><br /> HEYWOOD <br /> Gee, Red. Terrible shame, your <br /> horse comin' in last and all. <br /> Hell, I sure do love that horse of <br /> mine. I believe I owe that boy a <br /> big sloppy kiss when I see him. <br /><br /> RED <br /> Give him some'a your cigarettes <br /> instead, cheap bastard. <br /><br /> HEYWOOD <br /> Say Tyrell, you pull infirmary duty <br /> this week? How's that winnin' horse <br /> of mine, anyway? <br /><br /> TYRELL <br /> Dead. <br /> (the men fall silent) <br /> Hadley busted his head pretty good. <br /> Doc already went home for the <br /> night. Poor bastard lay there till <br /> this morning. By then... <br /><br /> He shakes his head, turns back to his food. The silence<br /> mounts. Heywood glances around. Men resume eating. Softly:<br /><br /> ANDY <br /> What was his name? <br /><br /> HEYWOOD <br /> What? What'd you say? <br /><br /> ANDY <br /> I was wondering if anyone knew his <br /> name. <br /><br /> HEYWOOD <br /> What the fuck you care, new fish? <br /> (resumes eating) <br /> Doesn't matter what his fuckin' <br /> name was. He's dead. <br /><br />33 INT -- PRISON LAUNDRY -- DAY (1947) 33<br /><br /> A DEAFENING NOISE of industrial washers and presses. Andy works<br /> the laundry line. A nightmarish job. He's new at it. BOB, the<br /> con foreman, elbows him aside and shows him how it's done. <br /><br />34 INT -- SHOWERS -- DAY (1947) 34<br /><br /> Shower heads mounted in bare concrete. Andy showers with a<br /> dozen or more men. No modesty here. At least the water is good<br /> and hot, soothing his tortured muscles. <br /><br /> Bogs looms from the billowing steam, smiling, checking Andy up<br /> and down. Rooster and PETE appear from the sides. The Sisters.<br /><br /> BOGS <br /><br /> You're some sweet punk. You been <br /> broke in yet? <br /><br /> Andy tries to step past them. He gets shoved around, nothing<br /> serious, just some slap and tickle. Jackals sizing up prey.<br /><br /> BOGS <br /> Hard to get. I like that. <br /><br /> Andy breaks free, flushed and shaking. He hurries off, leaving<br /> the three Sisters laughing. <br /><br />35 INT -- ANDY'S CELL -- NIGHT (1947) 35<br /><br /> Andy lies staring at the darkness, unable to sleep. <br /><br />36 EXT -- EXERCISE YARD -- DAY (1947) 36<br /><br /> Exercise period. Red plays catch with Heywood and Jigger, <br /> lazily tossing a baseball around. Red notices Andy off to the<br /> side. Nods hello. Andy takes this as a cue to amble over. <br /> Heywood and Jigger pause, watching. <br /><br /> ANDY <br /> (offers his hand) <br /> Hello. I'm Andy Dufresne. <br /><br /> Red glances at the hand, ignores it. The game continues.<br /><br /> RED <br /> The wife-killin' banker. <br /><br /> ANDY <br /> How do you know that? <br /><br /> RED <br /> I keep my ear to the ground. Why'd <br /> you do it? <br /><br /> ANDY <br /> I didn't, since you ask. <br /><br /> RED <br /> Hell, you'll fit right in, then. <br /> (off Andy's look) <br /> Everyone's innocent in here, don't <br /> you know that? Heywood! What are <br /> you in for, boy? <br /><br /> HEYWOOD <br /> Didn't do it! Lawyer fucked me! <br /><br /> Red gives Andy a look. See? <br /><br /> ANDY <br /> What else have you heard? <br /><br /> RED <br /> People say you're a cold fish. They <br /> say you think your shit smells <br /> sweeter than ordinary. That true? <br /><br /><br /> ANDY <br /> What do you think? <br /><br /> RED <br /> Ain't made up my mind yet. <br /><br /> Heywood nudges Jigger. Watch this. He winds up and throws the<br /> ball hard -- right at Andy's head. Andy sees it coming out of<br /> the corner of his eye, whirls and catches it. Beat. He sends<br /> the ball right back, zinging it into Heywood's hands. Heywood<br /> drops the ball and grimaces, wringing his stung hands. <br /><br /> ANDY <br /> I understand you're a man who knows <br /> how to get things. <br /><br /> RED <br /> I'm known to locate certain things <br /> from time to time. They seem to <br /> fall into my hands. Maybe it's <br /> 'cause I'm Irish. <br /><br /> ANDY <br /> I wonder if you could get me a <br /> rock-hammer? <br /><br /> RED <br /> What is it and why? <br /><br /> ANDY <br /> You make your customers' motives a <br /> part of your business? <br /><br /><br /> RED <br /> If you wanted a toothbrush, I <br /> wouldn't ask questions. I'd just <br /> quote a price. A toothbrush, see, <br /> is a non-lethal sort of object. <br /><br /> ANDY <br /> Fair enough. A rock-hammer is about <br /> eight or nine inches long. Looks <br /> like a miniature pickaxe, with a <br /> small sharp pick on one end, and a <br /> blunt hammerhead on the other. It's <br /> for rocks. <br /><br /> RED <br /> Rocks. <br /><br /> Andy squats, motions Red to join him. Andy grabs a handful of<br /> dirt and sifts it through his hands. He finds a pebble and<br /> rubs it clean. It has a nice milky glow. He tosses it to Red.<br /><br /> RED <br /> Quartz? <br /><br /> ANDY <br /> Quartz, sure. And look. Mica. Shale. <br /> Silted granite. There's some graded <br /> limestone, from when they cut this <br /> place out of the hill. <br /><br /> RED <br /> So? <br /><br /> ANDY <br /> I'm a rockhound. At least I was, in <br /> my old life. I'd like to be again, <br /> on a limited scale. <br /><br /> RED <br /> Yeah, that or maybe plant your toy <br /> in somebody's skull? <br /><br /> ANDY <br /> I have no enemies here. <br /><br /> RED <br /> No? Just wait. <br /><br /> Red flicks his gaze past Andy. Bogs is watching them. <br /><br /> RED <br /> Word gets around. The Sisters have <br /> taken a real shine to you, yes they <br /> have. Especially Bogs. <br /><br /> ANDY <br /> Tell me something. Would it help if <br /> I explained to them I'm not <br /> homosexual? <br /><br /> RED <br /> Neither are they. You have to be <br /> human first. They don't qualify. <br /> (off Andy's look) <br /> Bull queers take by force, that's <br /> all they want or understand. I'd <br /> grow eyes in the back of my head if <br /> I were you. <br /><br /> ANDY <br /> Thanks for the advice. <br /><br /> RED <br /> That comes free. But you understand <br /> my concern. <br /><br /> ANDY <br /> If there's trouble, I doubt a rock- <br /> hammer will do me any good. <br /><br /> RED <br /> Then I guess you wanna escape. <br /> Tunnel under the wall maybe? <br /> (Andy laughs politely) <br /> I miss the joke. What's so funny? <br /><br /> ANDY <br /><br /> You'll know when you see the rock- <br /> hammer. <br /><br /> RED <br /> What's this item usually go for? <br /><br /> ANDY <br /> Seven dollars in any rock and gem shop.<br /><br /> RED <br /> My standard mark-up's twenty <br /> percent, but we're talkin' about a <br /> special object. Risk goes up, price <br /> goes up. Call it ten bucks even. <br /><br /> ANDY <br /> Ten it is. <br /><br /> RED <br /> I'll see what I can do. <br /> (rises, slapping dust) <br /> But it's a waste of money. <br /><br /> ANDY <br /> Oh? <br /><br /> RED <br /> Folks who run this place love <br /> surprise inspections. They turn a <br /> blind eye to some things, but not <br /> a gadget like that. They'll find <br /> it, and you'll lose it. Mention my <br /> name, we'll never do business <br /> again. Not for a pair of shoelaces <br /> or a stick of gum. <br /><br /> ANDY <br /> I understand. Thank you, Mr...? <br /><br /> RED <br /> Red. The name's Red. <br /><br /> ANDY <br /> Red. I'm Andy. Pleasure doing <br /> business with you. <br /><br /> They shake. Andy strolls off. Red watches him go. <br /><br /> RED (V.O.) <br /> I could see why some of the boys <br /> took him for snobby. He had a quiet <br /> way about him, a walk and a talk <br /> that just wasn't normal around <br /> here. He strolled. like a man in a <br /> park without a care or worry. Like <br /> he had on an invisible coat that <br /> would shield him from this place. <br /> (resumes playing catch) <br /> Yes, I think it would be fair to <br /> say I liked Andy from the start. <br /><br />37 INT -- MESS HALL -- DAY (1947) 37<br /><br /> Red gets his breakfast and heads for a table. Andy falls in<br /> step, slips him a tightly-folded square of paper. <br /><br />38 INT -- RED'S CELL -- NIGHT (1947) 38<br /><br /> Lying on his bunk, Red unfolds the square. A ten dollar bill.<br /><br /> RED (V.O.) <br /> He was a man who adapted fast. <br /><br />39 EXT -- LOADING DOCK -- DAY (1947) 39<br /><br /> Under watchful supervision, CONS are off-loading bags of dirty<br /> laundry from an "Eliot Nursing Home" truck. <br /><br /> RED (V.O.) <br /> Years later, I found out he'd <br /> brought in quite a bit more than <br /> just ten dollars... <br /><br /> A certain bag hits the ground. The TRUCK DRIVER shoots a look <br /> at a black con, LEONARD, then ambles over to a GUARD to shoot <br /> the shit. Leonard loads the bag onto a cart... <br /><br />40 INT -- PRISON LAUNDRY -- DAY (1947) 40<br /><br /> Bags are being unloaded. We find Leonard working the line. <br /><br /> RED (V.O.) <br /> When they check you into this <br /> hotel, one of the bellhops bends <br /> you over and looks up your works, <br /> just to make sure you're not <br /> carrying anything. But a truly <br /> determined man can get an object <br /> quite a ways up there. <br /><br /> Leonard slips a small paper-wrapped package out of the laundry <br /> bag, hides it under his apron, and keeps sorting... <br /><br />4l INT -- PRISON LAUNDRY EXCHANGE -- DAY (1947) 41<br /><br /> Red deposits his dirty bundle and moves down the line to where <br /> the clean sheets are being handed out. <br /><br /> RED (V.O.) <br /> That's how Andy joined our happy <br /> little Shawshank family with more <br /> than five hundred dollars on his <br /> person. Determination. <br /><br /> Leonard catches Red's eye, turns and grabs a specific stack of <br /> clean sheets. He hands it across to Red -- <br /><br /> TIGHT ANGLE <br /><br /> -- and more than clean laundry changes hands. Two packs of<br /> cigarettes slide out of Red's hand into Leonard's. <br /><br />42 INT -- RED'S CELL -- DAY (1947) 42<br /><br /> Red slips the package out of his sheets, carefully checks to <br /> make sure nobody's coming, then rips it open. He pulls out the <br /> rock-hammer. It's just as Andy described. Red laughs softly. <br /><br /> RED (V.O.) <br /> Andy was right. I finally got the <br /> joke. It would take a man about six <br /> hundred years to tunnel under the <br /> wall with one of these. <br /><br />43 INT -- CELLBLOCK FIVE -- 2ND TIER -- NIGHT (1947) 43<br /><br /> Brooks Hatlen pushes a cart of books from cell to cell. The <br /> rolling library. He finds Red waiting for him. Red slips the <br /> rock-hammer, wrapped in a towel, through the bars and onto the<br /> cart. Next comes six cigarettes to pay for postage. <br /><br /> RED <br /><br /> Dufresne. <br /><br /> Brooks nods, never missing a beat. He rolls his cart to <br /> Andy's cell, mutters through the bars: <br /><br /> BROOKS <br /> Middle shelf, wrapped in a towel. <br /><br /> Andy's hand snakes through the bars and makes the object <br /> disappear. The hand comes back and deposits a small slip of <br /> folded paper along with more cigarettes. Brooks turns his cart<br /> around and goes back. He pauses, sorting his books long enough<br /> for Red to snag the slip of paper. Brooks continues on, <br /> scooping the cigarettes off the cart and into his pocket. <br /><br />44 INT -- RED'S CELL -- NIGHT (1947) 44<br /><br /> Red unfolds the slip of paper. Penciled neatly on it is a <br /> single word: "Thanks." <br /><br />45 INT -- PRISON LAUNDRY -- DAY (1947) 45<br /><br /> We are assaulted by the deafening noise of the laundry line. <br /> Andy is doing his job, getting good at it. <br /><br /> BOB <br /> DUFRESNE! WE'RE LOW ON HEXLITE! <br /> HEAD ON BACK AND FETCH US UP SOME! <br /><br /> Andy nods. He leaves the line, weaving his way through the <br /> laundry room and into -- <br /><br />46 INT -- BACK ROOMS/STOCK AREA -- DAY (1947) 46<br /><br /> -- a dark, tangled maze of rooms and corridors, boilers and<br /> furnaces, sump pumps, old washing machines, pallets of <br /> cleaning supplies and detergents, you name it. Andy hefts a <br /> cardboard drum of Hexlite off the stack, turns around -- <br /><br /> -- and finds Bogs Diamond in the aisle. blocking his way.<br /> Rooster looms from the shadows to his right, Pete Verness<br /> on the left. A frozen beat. Andy slams the Hexlite to the<br /> floor, rips off the top, and scoops out a double handful.<br /><br /> ANDY <br /> You get this in your eyes, it <br /> blinds you. <br /><br /> BOGS <br /> Honey, hush. <br /><br /> Andy backs up, holding them at bay, trying to maneuver through <br /> the maze. The Sisters keep coming, tense and guarded, eyes <br /> riveted and gauging his every move, trying to outflank him. <br /> Andy trips on some old gaint sugglies. That's all it takes. <br /> They're on him in an instant, kicking and stomping. <br /><br /> Andy gets yanked to his feet. Bogs applies a chokehold from <br /> behind. They propel him across the room and slam him against <br /> an old four-pocket machine, bending him over it. Rooster jams <br /> a rag into Andy's mouth and secures it with a steel pipe, like <br /> a horse bit. Andy kicks and struggles, but Rooster and Pete <br /> have his arms firmly pinned. Bogs whispers in Andy's ear: <br /><br /> BOGS <br /> That's it, fight. Better that way. <br /><br /> Andy starts screaming, muffled by the rag. CAMERA PULLS BACK, <br /> SLOWLY WIDENING. The big Washex blocks our view. All we see <br /> is Andy's screaming face and the men holding him down... <br /><br /> ...and CAMERA DRIFTS FROM THE ROOM, leaving the dark place <br /> and the dingy act behind...MOVING up empty corridors, past <br /> concrete walls and steel pipes... <br /><br /> RED (V.O.) <br /> I wish I could tell you that Andy <br /> fought the good fight, and the <br /> Sisters let him be. I wish I could <br /> tell you that, but prison is no <br /> fairy-tale world. <br /><br /> WE EMERGE into the prison laundry past a guard, WIDENING for <br /> a final view of the line. The giant steel "mangler" is <br /> slapping down in brutal rhythm. The sound is deafening. <br /><br /> RED (V.O.) <br /> He never said who did it...but we <br /> all knew. <br /><br /> PRISON MONTAGE: (1947 through 1949) <br /><br />47 ANDY PLODS THROUGH HIS DAYS. WORKING. EATING. CHIPPING AND 47<br /> shaping his rocks after lights-out... <br /><br /> RED (V.O.) <br /> Things went on like that for a <br /> while. Prison life consists of <br /> routine, and then more routine. <br /><br />48 ANDY WALKS THE YARD, FACE SWOLLEN AND BRUISED. 48 <br /><br /> RED (V.O.) <br /> Every so often, Andy would show up <br /> with fresh bruises. <br /><br />49 ANDY EATS BREAKFAST. A FEW TABLES OVER, BOGS BLOWS HIM A KISS. 49<br /><br /> RED (V.O.) <br /> The Sisters kept at him. Sometimes <br /> he was able to fight them off... <br /> sometimes not. <br /><br />50 ANDY BACKS INTO A CORNER IN SOME DINGY PART OF THE PRISON, <br /> wildly swinging a rake at his tormentors. <br /><br /> RED (V.O.) <br /> He always fought, that's what I <br /> remember. He fought because he knew <br /> if he didn't fight, it would make <br /> it that much easier not to fight <br /> the next time. <br /><br /> The rake connects, snapping off over somebody's skull. They <br /> beat the hell out of him. <br /><br /> RED (V.O.) <br /> Half the time it landed him in the <br /> infirmary... <br /><br /><br />51 INT -- SOLITARY CONFINEMENT ("THE HOLE") -- NIGHT (1949) 51 <br /><br /> A stone closet. No bed, sink, or lights. Just a toilet with no <br /> seat. Andy sits on bare concrete, bruised face lit by a faint <br /> ray of light falling through the tiny slit in the steel door. <br /><br /> RED (V.O.) <br /> ...the other half, it landed him in <br /> solitary. Warden Norton's "grain & <br /> drain" vacation. Bread, water, and <br /> all the privacy you could want. <br /><br />52 INT -- PRISON LAUNDRY -- DAY (1949) 52<br /><br /> Andy is working the line. <br /><br /> RED (V.O.) <br /> And that's how it went for Andy. That <br /> was his routine. I do believe those <br /> first two years were the worst for <br /> him. And I also believe if things <br /> had gone on that way, this place <br /> would have got the best of him. <br /> But then, in the spring of 1949, <br /> the powers-that-be decided that... <br /><br />53 EXT -- PRISON YARD -- DAY (1949) 53<br /><br /> Warden Norton addresses the assembled cons via bullhorn: <br /><br /> NORTON <br /> ...the roof of the license-plate <br /> factory needs resurfacing. I need a <br /> dozen volunteers for a week's work. <br /> We're gonna be taking names in this <br /> steel bucket here... <br /><br /> Red glances around at his friends. Andy also catches his eye.<br /><br /> RED (V.O.) <br /> It was outdoor detail, and May is <br /> one damn fine month to be workin' <br /> outdoors. <br /><br />54 EXT -- PRISON YARD -- DAY (1949) 54<br /><br /> Cons shuffle past, dropping slips of paper into a bucket. <br /><br /> RED (V.O.) <br /> More than a hundred men volunteered <br /> for the job. <br /><br /> Red saunters to a guard named TIM YOUNGBLOOD, mutters <br /> discreetly in his ear. <br /><br />55 EXT -- PRISON YARD -- DAY (1949) 55<br /><br /> Youngblood is pulling names and reading them off. Red <br /> exchanges grins with Andy and the others. <br /><br /> RED (V.O.) <br /> Wouldn't you know it? Me and some <br /> fellas I know were among the names <br /> called. <br /><br />56 INT -- PRISON CORRIDOR -- NIGHT (1949) 56<br /><br /> Red slips Youngblood six packs of cigarettes. <br /><br /> RED (V.O.) <br /> Only cost us a pack of smokes per <br /> man. I made my usual twenty <br /> percent, of course. <br /><br />57 EXT -- LICENSE PLATE FACTORY -- DAY (1949) 57<br /><br /> A tar-cooker bubbles and smokes. TWO CONS dip up a bucket of<br /> tar and tie a rope to the handle. The rope goes taught. CAMERA<br /> FOLLOWS the bucket of tar up the side of the building to -- <br /><br />58 THE ROOF 58<br /><br /> -- where it is relayed to the work detail. the men are dipping<br /> big Padd brushes and spreading the tar. ANGLZ OVER to Byron <br /> Hadley bitching sourly to his fellow guards: <br /><br /> HADLEY <br /> ...so this shithead lawyer calls <br /> long distance from Texas, and he <br /> says, Byron Hadley? I say, yeah. He <br /> says, sorry to inform you, but your <br /> brother just died. <br /><br /> YOUNGBLOOD <br /> Damn, Byron. Sorry to hear that. <br /><br /> HADLEY <br /> I ain't. He was an asshole. Run off <br /> years ago, family ain't heard of him <br /> since. Figured him for dead anyway. <br /> So this lawyer prick says, your <br /> brother died a rich man. Oil wells <br /> and shit, close to a million bucks. <br /> Jesus, it's frigging incredible how <br /> lucky some assholes can get. <br /><br /> TROUT <br /> A million bucks? Jeez-Louise! You <br /> get any of that? <br /><br /> HADLEY <br /> Thirty five thousand. That's what <br /> he left me. <br /><br /> TROUT <br /> Dollars? Holy shit, that's great! <br /> Like winnin' a lottery... <br /> (off Hadley's shitty look) <br /> ...ain't it? <br /><br /> HADLEY <br /> Dumbshit. What do you figger the <br /> government's gonna do to me? Take a <br /> big wet bite out of my ass, is what. <br /><br /> TROUT <br /> Oh. Hadn't thought of that. <br /><br /> HADLEY <br /> Maybe leave me enough to buy a new <br /> car with. Then what happens? You <br /> pay tax on the car. Repairs and <br /> maintenance. Goddamn kids pesterin' <br /> you to take 'em for a ride... <br /><br /> MERT <br /> And drive it, if they're old enough. <br /><br /> HADLEY <br /> That's right, wanting to drive it, <br /> wanting to learn on it, f'Chrissake! <br /> Then at the end of the year, if you <br /> figured the tax wrong, they make <br /> you pay out of your own pocket. <br /> Uncle Sam puts his hand in your <br /> shirt and squeezes your tit till <br /> it's purple. Always get the short <br /> end. That's a fact. <br /> (spits over the side) <br /> Some brother. Shit. <br /><br /> The prisoners keep spreading tar, eyes on their work. <br /><br /> HEYWOOD <br /> Poor Byron. What terrible fuckin' <br /> luck. Imagine inheriting thirty <br /> five thousand dollars. <br /><br /> RED <br /> Crying shame. Some folks got it <br /> awful bad. <br /><br /> Red glances over -- and is shocked to see Andy standing up,<br /> listening to the guards talk. <br /><br /> RED <br /> Hey, you nuts? Keep your eyes on <br /> your pail! <br /><br /> Andy tosses his Padd in the bucket and strolls toward Hadley.<br /><br /> RED <br /> Andy! Come back! Shit! <br /><br /> SNOOZE <br /> What's he doing? <br /><br /> FLOYD <br /> Gettin' himself killed. <br /><br /> RED <br /> God damn it... <br /><br /> HEYWOOD <br /> Just keep spreadin' tar... <br /><br /> The guards stiffen at Andy's approach. Youngblood's hand goes<br /> to his holster. The tower guards CLICK-CLACK their rifle <br /> bolts. Hadley turns, stupefied to find Andy there. <br /><br /> ANDY <br /> Mr. Hadley. Do you trust your wife? <br /><br /> HADLEY <br /> That's funny. You're gonna look <br /> funnier suckin' my dick with no <br /> fuckin' teeth. <br /><br /> ANDY <br /> What I mean is, do you think she'd <br /> go behind your back? Try to <br /> hamstring you? <br /><br /> HADLEY <br /> That's it! Step aside, Mert. This <br /> fucker's havin' hisself an accident. <br /><br /> Hadley grabs Andy's collar and propels him violently toward<br /> the edge of the roof. The cons furiously keep spreading tar.<br /><br /> HEYWOOD <br /> Oh God, he's gonna do it, he's <br /> gonna throw him off the roof... <br /><br /> SNOOZE <br /> Oh shit, oh fuck, oh Jesus... <br /><br /> ANDY <br /> Because if you do trust her, there's <br /> no reason in the world you can't <br /> keep every cent of that money. <br /><br /> Hadley abruptly jerks Andy to a stop right at the edge. In <br /> fact, Andy's past the edge, beyond his balance, shoetips <br /> scraping the roof. The only thing between him and an ugly drop<br /> to the concrete is Hadley's grip on the front of his shirt.<br /><br /> HADLEY <br /> You better start making sense. <br /><br /> ANDY <br /> If you want to keep that money, all <br /> of it, just give it to your wife. <br /> See, the IRS allows you a one-time- <br /> only gift to your spouse. It's good <br /> up to sixty thousand dollars. <br /><br /> HADLEY <br /> Naw, that ain't right! Tax free? <br /><br /> ANDY <br /> Tax free. IRS can't touch one cent. <br /><br /> The cons are pausing work, stunned by this business discussion.<br /><br /> HADLEY <br /> You're the smart banker what shot <br /> his wife. Why should I believe a <br /> smart banker like you? So's I can <br /> wind up in here with you? <br /><br /> ANDY <br /> It's perfectly legal. Go ask the <br /> IRS, they'll say the same thing. <br /> Actually, I feel silly telling you <br /> all this. I'm sure you would have <br /> investigated the matter yourself. <br /><br /> HADLEY <br /> Fuckin'-A. I don't need no smart <br /> wife-killin' banker to show me where <br /> the bear shit in the buckwheat. <br /><br /> ANDY <br /> Of course not. But you will need <br /> somebody to set up the tax-free <br /> gift, and that'll cost you. A <br /> lawyer, for example... <br /><br /> HADLEY <br /> Ambulance-chaaing, highway-robbing <br /> cocksuckers! <br /><br /> ANDY <br /> ...or come to think of it, I <br /> suppose I could set it up for you. <br /> That would save you some money. <br /> I'll write down the forms you need, <br /> you can pick them up, and I'll <br /> prepare them for your signature... <br /> nearly free of charge. <br /> (off Hadley's look) <br /> I'd only ask three beers apiece for <br /> my co-workers, if that seems fair. <br /><br /> TROUT <br /> (guffawing) <br /> Co-workers! Get him! That's rich, <br /> ain't it? Co-workers... <br /><br /> Hadley freezes him with a look. Andy presses on: <br /><br /> ANDY <br /> I think a nan working outdoors <br /> feels more like a man if he can <br /> have a bottle of suds. That's only <br /> my opinion. <br /><br /> The convicts stand gaping, all pretense of work gone. They<br /> look like they've been pole-axed. Hadley shoots them a look.<br /><br /> HADLEY <br /> What are you jimmies starin' at? <br /> Back to work, goddamn it! <br /><br />59 EXT -- LICENSE PLATE FACTORY -- DAY (1949) 59<br /><br /> As before, an object is hauled up the side of the building by<br /> rope -- only this time, it's a cooler of beer and ice. <br /><br /> RED (V.O.) <br /> And that's how it came to pass, <br /> that on the second-to-last day of <br /> the job, the convict crew that <br /> tarred the plate factory roof in <br /> the spring of '49... <br /><br />60 EXT -- ROOF -- SHORTLY LATER (1949) 60<br /><br /> The cons are taking the sun and drinking beer. <br /><br /> RED (V.O.) <br /> ...wound up sitting in a row at ten <br /> o'clock in the morning, drinking icy <br /> cold Black Label beer courtesy of <br /> the hardest screw that ever walked <br /> a turn at Shawshank State Prison. <br /><br /> HADLEY <br /> Drink up, boys. While it's cold. <br /><br /> RED (V.O.) <br /> The colossal prick even managed to <br /> sound magnanimous. <br /><br /> Red knocks back another sip, enjoying the bitter cold on his<br /> tongue and the warm sun on face. <br /><br /> RED (V.O.) <br /> We sat and drank with the sun on <br /> our shoulders, and felt like free <br /> men. We could'a been tarring the <br /><br /><br /><br /><br /> roof of one of our own houses. We <br /> were the Lords of all Creation. <br /><br /> He glances over to Andy squatting apart from the others.<br /><br /> RED (V.O.) <br /> As for Andy, he spent that break <br /> hunkered in the shade, a strange <br /> little smile on his face, watching <br /> us drink his beer. <br /><br /> HEYWOOD <br /> (approaches with a beer) <br /> Here's a cold one, Andy. <br /><br /> ANDY <br /> No thanks. I gave up drinking. <br /><br /> Heywood drifts back to others, giving them a look. <br /><br /> RED (V.O.) <br /> You could argue he'd done it to <br /> curry favor with the guards. Or <br /> maybe make a few friends among us <br /> cons. Me, I think he did it just to <br /> feel normal again...if only for a <br /> short while. <br /><br />61 EXT -- PRISON YARD -- THE BLEACHERS -- DAY (1949) 61<br /><br /> Andy and Red play checkers. Red makes his move. <br /><br /> RED <br /> King me. <br /><br /> ANDY <br /> Chess. Now there's a game of kings. <br /> Civilized...strategic... <br /><br /> RED <br /> ...and totally fuckin' <br /> inexplicable. Hate that game. <br /><br /> ANDY <br /> Maybe you'll let me teach you <br /> someday. I've been thinking of <br /> getting a board together. <br /><br /> RED <br /> You come to the right place. I'm <br /> the man who can get things. <br /><br /> ANDY <br /> We might do business on a board. But <br /> the pieces, I'd like to carve those <br /> myself. One side done in quartz... <br /> the opposing side in limestone. <br /><br /> RED <br /> That'd take you years. <br /><br /> ANDY <br /> Years I've got. What I don't have <br /> are the rocks. Pickings here in the <br /> exercise yard are pretty slim. <br /><br /> RED <br /> How's that rock-hammer workin' out <br /> anyway? Scratch your name on your <br /> wall yet? <br /><br /> ANDY <br /> (smiles) <br /> Not yet. I suppose I should. <br /><br /> RED <br /> Andy? I guess we're gettin' to be <br /> friends, ain't we? <br /><br /> ANDY <br /> I suppose we are. <br /><br /> RED <br /> I ask a question? Why'd you do it? <br /><br /> ANDY <br /> I'm innocent, remember? Just like <br /> everybody else here. <br /><br /> Red takes this as a gentle rebuff, keeps playing. <br /><br /> ANDY <br /> What are you in for, Red? <br /><br /> RED <br /> Murder. Same as you. <br /><br /> ANDY <br /> Innocent? <br /><br /> RED <br /> The only guilty man in Shawshank. <br /><br />62 INT -- ANDY'S CELL -- NIGHT (1949) 62<br /><br /> Andy lies in his bunk after lights out, polishing a fragment <br /> of quartz by the light of the moon. He pauses, glancing at <br /> all the names scratched in the wall. He rises, makes sure <br /> the coast is clear, and starts scratching his name into the <br /> cement with his rock-hammer, adding to the record. <br /><br />63 RAY MILLAND 63<br /><br /> fills the screen in glorious (and scratchy) black & white, <br /> suffering a bad case of DT's... <br /><br />64 INT -- PRISON AUDITORIUM -- NIGHT (1949) 64<br /><br /> ...while a CONVICT AUDIENCE hoots and catcalls, talking back <br /> to the screen. We find Red slouched in a folding chair, <br /> watching the movie. Andy enters, backlit by the flickering <br /> glare of the projector, and takes a seat next to him. <br /><br /> RED <br /> Here's the good part. Bugs come out <br /> of the walls to get his ass. <br /><br /> ANDY <br /> I know. I've seen it three times <br /> this month already. <br /><br /> Ray Milland starts SCREAMING. The entire audience SCREAMS with <br /> him, high-pitched and hysterical. Andy fidgets. <br /><br /> ANDY <br /> Can we talk business? <br /><br /> RED <br /> Sure. What do you want? <br /><br /> ANDY <br /> Rita Hayworth. Can you get her? <br /><br /> RED <br /> No problem. Take a few weeks. <br /><br /> ANDY <br /> Weeks? <br /><br /> RED <br /> Don't have her stuffed down my <br /> pants this very moment, sorry to <br /> say. Relax. What are you so nervous <br /> about? She's just a woman. <br /><br /> Andy nods, embarrassed. He gets up and hurries out. Red grins, <br /> turns back to the movie. <br /><br />65 INT -- AUDITORIUM CORRIDOR -- NIGHT (1949) 65<br /><br /> Andy exits the theater and freezes in his tracks. Two dark <br /> figures loom in the corridor, blocking his path. Rooster and <br /> Pete. Andy turns back -- and runs right into Bogs. Instant <br /> bear hug. The Sisters are on him like a flash. They kick a <br /> door open and drag him into -- <br /><br />66 THE PROJECTION BOOTH 66<br /><br /> -- where they confront the startled PROJECTIONIST, an old con<br /> blinking at them through thick bifocals. <br /><br /> BOGS <br /> Take a walk. <br /><br /> PROJECTIONIST <br /> I have to change reels. <br /><br /> BOGS <br /> I said fuck off. <br /><br /> Terrified, the old man darts past and out the door. Pete slams <br /> and locks it. Bogs shoves Andy to the center of the room. <br /><br /> ANDY <br /> I know. I've seen it three times <br /> this month already. <br /><br /> Ray Milland starts SCREAMING. The entire audience SCREAMS witt <br /> him, high-pitched and hysterical. Andy fidgets. <br /><br /> ANDY <br /> Can we talk business? <br /><br /> RED <br /> Sure. What do you want? <br /><br /> ANDY <br /> Rita Hayworth. Can you get her? <br /><br /> RED <br /> No problem. Take a few weeks. <br /><br /> ANDY <br /> Weeks? <br /><br /> RED <br /> Don't have her stuffed down my <br /> pants this very moment, sorry to <br /> say. Relax. What are you so nervous <br /> about? She's just a woman. <br /><br /> Andy nods, embarrassed. He gets up and hurries out. Red grins, <br /> turns back to the movie. <br /><br />65 INT -- AUDITORIUM CORRIDOR -- NIGHT (1949) 65<br /><br /> Andy exits the theater and freezes in his tracks. Two dark <br /> figures loom in the corridor, blocking his path. Rooster and <br /> Pete. Andy turns back -- and runs right into Bogs. Instant <br /> bear hug. The Sisters are on him like a flash. They kick a <br /> door open and drag him into -- <br /><br />66 THE PROJECTION BOOTH 66<br /><br /> -- where they confront the startled PROJECTIONIST, an old con<br /> blinking at them through thick bifocals. <br /><br /> BOGS <br /> Take a walk. <br /><br /> PROJECTIONIST <br /> I have to change reels. <br /><br /> BOGS <br /> I said fuck off. <br /><br /> Terrified, the old man darts past and out the door. Pete slams <br /> and locks it. Bogs shoves Andy to the center of the room. <br /><br /> BOGS <br /> Ain't you gonna scream? <br /><br /> Andy sighs, cocks his head at the projector. <br /><br /> ANDY <br /> They'd never hear me over that. <br /> Let's get this over with. <br /><br /> Seemingly resigned, Andy turns around, leans on the rewind <br /> bench -- and curls his fingers around a full 1.000 foot reel<br /> of 35mm film. Rooster licks his lips, pushes past the others.<br /><br /> ROOSTER <br /> Me first. <br /><br /> ANDY <br /> Okay. <br /><br /> Andy whips the reel of film around in a vicious arc, smashing<br /> it into Rooster's face and bouncing him off the wall. <br /><br /> ROOSTER <br /> Fuck! Shit! He broke my nose! <br /><br /> Andy fights like hell, but is soon overpowered and forced to his<br /> knees. Bogs steps to Andy, pulls out an awl with a vicious <br /> eight-inch spike, gives him a good long look at it. <br /><br /> BOGS <br /> Now I'm gonna open my fly, and <br /> you're gonna swallow what I give <br /> you to swallow. And when you <br /> d mine, you gonna swallow <br /> Rooster's. You done broke his nose, <br /> so he ought to have somethin' to <br /> show for it. <br /><br /> ANDY <br /> Anything you put in my mouth, <br /> you're going to lose. <br /><br /> BOGS <br /> You don't understand. You do that, <br /> I'll put all eight inches of this <br /> steel ii your ear. <br /><br /> ANDY <br /> Okay. But you should know that <br /> sudden serious brain injury causes <br /> the victim to bite down. Hard. <br /> (faint smile) <br /> In fact, I understand the bite-reflex <br /> is so strong the victim's jaws have <br /> to be pried open with a crowbar. <br /><br /> The Sisters consider this carefully. The film runs out of the <br /> projector, flapping on the reel. The screen goes white. <br /><br /> BOGS <br /> You little fuck. <br /><br /> Andy gets a bootheel in the face. The Sisters start kicking <br /> and beating the living shit out of him with anything they can <br /> get their hands on. In the theater, the convicts are CHANTING <br /> AND CLAPPING for the movie to come back on. <br /><br /> RED (V.O.) <br /> Bogs didn't put anything in Andy's <br /> mouth, and neither did his friends. <br /> What they did do is beat him within <br /> an inch of his life... <br /><br />67 INT -- INFIRMARY -- DAY (1949) 67<br /><br /> Andy lies wrapped in bandages. <br /><br /> RED (V.O.) <br /> Andy spent a month in traction. <br /><br />68 INT -- SOLITARY CONFINEMENT -- DAY (1949) 68<br /><br /> RED (V.O.) <br /> Bogs spent a week in the hole. <br /><br /> Bogs sits on bare concrete. The steel door slides open. <br /><br /> GUARD <br /> Time's up, Bogs. <br /><br />69 INT -- CELLBLOCK FIVE -- 3RD TIER -- DUSK (1949) 69<br /><br /> Bogs comes up the stairs, smoking a cigarette. Not many <br /> cons around; the place is virtually deserted. A VOICE <br /> echoes dimly over the P.A. system: <br /><br /> VOICE (O.S.) <br /> Return to your cellblocks for <br /> evening count. <br /><br /> Bogs enters his cell. Dark in here. He fumbles for the light <br /> cord, yanks it. The sudden light reveals Captain Hadley six <br /> inches from his face, waiting for him. Mert steps in behind <br /> Bogs. hemming him. <br /><br /> Before Bogs can even open his mouth to say "what the fuck," <br /> Hadley rams the tip of his baton brutally into his solar <br /> plexus. Bogs doubles over, gagging his wind out. <br /><br />70 GROUND FLOOR 70<br /><br /> Ernie comes slowly around the corner, rolling a steel mop <br /> cart loaded with supplies. <br /><br />71 2ND TIER 71<br /><br /> Red is darning a sock in his open cell. He pauses, frowning, <br /> hearing strange THUMPING sounds. What the hell is that? <br /><br />72 3RD TIER 72<br /><br /> It's Hadley and Mert methodically and brutally pulping Bogs <br /> with their batons, and kicking the shit out of him for good <br /> measure. He feebly tries to ward them off. <br /><br />73 2ND TIER 73<br /><br /> Puzzled, Red steps from his cell, following the sound. It <br /> dawns on him that it's coming from above. He moves to the <br /> railing and leans out, craning around to look up -- <br /><br />74 RED'S POV 74<br /><br /> -- just as Bogs flips over the railing and comes sailing<br /><br /> directly toward us, eyes bugging out, SCREAMING as he falls. <br /><br />75 RED (SLOW MOTION) 75<br /><br /> jumps back as Bogs plummets past, missing him by inches, arms <br /> swimming and trying to grab the railing (but missing that <br /> too), SCREAMING aaaaalll the way down -- <br /><br />76 GROUND FLOOR 76<br /><br /> -- and impacting on Ernie's gassing mop cart in an enormous <br /> eruption of solvents and cleansers. The cart is squashed flat, <br /> shooting out from under Bogs and skidding across the cellblock <br /> floor like a tiddly wink, kicking up sparks for thirty yards. <br /> Ernie is left gaping in shock at Bogs and all the Bogs-related <br /> wreckage at his feet. <br /><br />77 2ND TIER 77<br /><br /> Red is stunned. He very tentatively leans out and looks up. <br /> Above him, Hadley and Mert lean on the 3rd tier railing. <br /> Hadley tilts the cap back on his head, shakes his head. <br /><br /> MERT <br /> Damn, Byron. Look'a that. <br /><br /> HADLEY <br /> Poor fella must'a tripped. <br /><br /> A tiny drop of blood drips off the toe of Hadley's shoe and <br /><br /> splashes across Red's upturned cheek. He wipes it off, then <br /> looks down at Bogs. Cons and guards are racing to the scene. <br /><br /> RED (V.O.) <br /> Two things never happened again <br /> after that. The Sisters never laid <br /> a finger on Andy again... <br /><br />7B EXT -- PRISON YARD/LOADING DOCK -- DAY (1949) 78<br /><br /> Bogs, wheelchair-bound and wearing a neck brace, is loaded <br /> onto an ambulance for transport. Behind the fence stand Red <br /> and his friends, watching. <br /><br /> RED (V.O.) <br /> ...and Bogs never walked again. They <br /> transferred him to a minimum security <br /> hospital upstate. To my knowledge, <br /> he lived out the rest of his days <br /> drinking his food through a straw. <br /><br /> RED <br /> I'm thinkin' Andy could use a nice <br /> welcome back when he gets out of <br /> the infirmary. <br /><br /> HEYWOOD <br /> Sounds good to us. Figure we owe <br /> him for the beer. <br /><br /> RED <br /> Man likes to play chess. Let's get <br /> him some rocks. <br /><br />79 EXT -- FIELD -- DAY (1949) 79<br /><br /> A HUNDRED CONS at work. Hoes rise and fall in long waves. <br /> GUARDS patrol on horseback. Heywood turns up a rocky chunk, <br /> quickly shoves it down his pants. He maneuvers to Red and the <br /> others, pulls out the chunk and shows it to them. <br /><br /> FLOYD <br /> That ain't quartz. Nor limestone. <br /><br /> HEYWOOD <br /> What are you, fuckin' geologist? <br /><br /> SNOOZE <br /> He's right, it ain't. <br /><br /> HEYWOOD <br /> What the hell is it then? <br /><br /> RED <br /> Horse apple. <br /><br /> HEYWOOD <br /> Bullshit. <br /><br /> RED <br /> No, horse shit. Petrified. <br /><br /> Cackling, the men go back to work. Heywood stares at the rock.<br /> He crumbles it in his hands. <br /><br /> RED (V.O.) <br /> Despite a few hitches, the boys <br /> came through in fine style... <br /><br />80 INT -- PRISON LAUNDRY -- BACK ROOM -- DAY (1949) 80<br /><br /> A huge detergent box is filled with rocks, hidden in the <br /> shadows behind a boiler furnace. <br /><br /> RED (V.O.) <br /> ...and by the week Andy was due <br /> back, we had enough rocks saved up <br /> to keep him busy till Rapture. <br /><br /> ANGLE SHIFTS to Red as he plops a bag of "laundry" on the <br /> floor. Leonard and Bob toss a few more down. Red starts <br /> pulling out contraband, giving them their commissions. <br /><br /> RED (V.O.) <br /> Also got a big shipment in that <br /> week. Cigarettes, chewing gum, <br /> shoelaces, playing cards with naked <br /> ladies on 'em, you name it... <br /> (pulls a cardboard tube) <br /> ...and, of course, the most <br /> important item. <br /><br />81 INT -- CELLBLOCK FIVE -- NIGHT (1949) 81<br /><br /> Andy, limping a bit, returns from the infirmary. Red watches <br /> from his cell as Andy is brought up and locked away. <br /><br />82 INT -- ANDY'S CELL -- NIGHT (1949) 82<br /><br /> Andy finds the cardboard tube lying on his bunk. <br /><br /> GUARD (O.S.) <br /> Lights out! <br /><br /> The lights go off. Andy opens the tube and pulls out a large <br /> rolled poster. He lets it uncurl to the floor. A small scrap <br /> of paper flutters out, landing at his feet. The poster is the<br /> famous Rita Hayworth pin-up -- one hand behind her head, eyes<br /> half closed, sulky lips parted. Andy picks up the scrap of <br /> paper. It reads: "No charge. Welcome back." Alone in the dark,<br /> Andy smiles. <br /><br />83 INT -- CELLBLOCK FIVE -- MORNING (1949) 83<br /><br /> The BUZZER SOUNDS, the cells SLAM OPEN. Cons step from their<br /> cells. Andy catches Red's eye, nods his thanks. As the men <br /> shuffle down to breakfast, Red glances into Andy's cell -- <br /><br />84 RED'S POV -- DOLLYING PAST 84<br /><br /><br /> -- and sees Rita in her new place of honor on Andy's wall. <br /> Sunlight casts a harsh barred shadow across her lovely face.<br /><br />85 INT -- CELLBLOCK FIVE -- NIGHT (1949) 85<br /><br /> Ernie is mopping the floor. He glances back and sees Warden <br /> Norton approach the cellblock with an entourage of a DOZEN <br /> GUARDS. Still mopping, Ernie mutters to the nearest cell: <br /><br /> ERNIE <br /> Heads up. They're tossin' cells. <br /><br /> Word travels fast from cell to cell. Cons scramble to tidy up<br /> and hide things. Norton enters, nods to his men. The guards <br /> pair off in all directions, making their choices at random. <br /><br /> GUARD <br /> What kind'a contraband you hiding <br /> in there, boy? <br /><br /> Cells are opened, occupants displaced, items scattered, <br /> mattresses overturned. Whatever contraband is found gets <br /> tossed out onto the cellblock floor. Mostly harmless stuff. <br /><br /> A GUARD pulls a sharpened screwdriver out of a mattress, <br /> shoots a nasty look at the CON responsible. <br /><br /> NORTON <br /> Solitary. A week. Make sure he <br /> takes his Bible. <br /><br /> CON <br /> Too goddamn dark to read down there.<br /><br /> NORTON <br /> Add another week for blasphemy. <br /><br /> The man is taken away. Norton's gaze goes up. <br /><br /> NORTON <br /> Let's try the second tier. <br /><br />86 2ND TIER 86<br /><br /> Norton arrives, makes a thin show of picking a cell at random.<br /> He motions at Andy on his bunk, reading his Bible. The door is<br /> unlocked. Norton enters, trailed by his men. Andy rises. <br /><br /> ANDY <br /> Good evening. <br /><br /> Norton gives a curt nod. Hadley and Trout start tossing the<br /> cell in a thorough search. Norton keeps his eyes on Andy,<br /> looking for a wrong glance or nervous blink. He takes the<br /> Bible out of Andy's hand. <br /><br /> NORTON <br /> I'm pleased to see you reading <br /> this. Any favorite passages? <br /><br /><br /> ANDY <br /> Watch ye therefore, for ye know not<br /> when the master of the house cometh. <br /><br /> NORTON <br /> (smiles) <br /> Luke. Chapter 13, verse 35. I've <br /> always liked that one. <br /> (strolls the cell) <br /> But I prefer: "I am the light of <br /> the world. He that followeth me <br /> shall not walk in darkness, but <br /> shall have the light of life." <br /><br /> ANDY <br /> John. Chapter 8, verse 12. <br /><br /> NORTON <br /> I hear you're good with numbers. <br /> How nice. A man should have a skill. <br /><br /> HADLEY <br /> You wanna explain this? <br /><br /> Andy glances over. Hadley is holding up a rock blanket, a<br /> polishing cloth roughly the size of an oven mitt. <br /><br /> ANDY <br /> It's called a rock blanket. It's <br /> for shaping and polishing rocks. <br /> Little hobby of mine. <br /><br /> Hadley glances at the rocks lining the window sill, turns to<br /> Norton. <br /><br /> HADLEY <br /> Looks pretty clean. Some contraband <br /> here, nothing to get in a twist over. <br /><br /> Norton nods, strolls to the poster of Rita. <br /><br /> NORTON <br /> I can't say I approve of this... <br /> (turns to Andy) <br /> ...but I suppose exceptions can <br /> always be made. <br /><br /> Norton exits, the guards follow. The cell door is slammed and<br /> locked. Norton pauses, turns back. <br /><br /> NORTON <br /> I almost forgot. <br /><br /> He reaches through the bars and returns the Bible to Andy. <br /><br /> NORTON <br /> I'd hate to deprive you of this. <br /> Salvation lies within. <br /><br /> Norton and his men walk away. <br /><br /> RED (V.O.) <br /> Tossin' cells was just an excuse. <br /> Truth is, Norton wanted to size <br /> Andy up. <br /><br />87 INT -- PRISON LAUNDRY -- DAY (1949) 87<br /><br /> Andy is working the line. Hadley enters and confers briefly <br /> with Bob. Bob nods, crosses to Andy, taps him. Andy turns, <br /> removes an earplug. Bob shouts over the machine noise: <br /><br /> BOB <br /> DUFRESNE! YOU'RE OFF THE LINE! <br /><br />88 INT -- WARDEN NORTON'S OFFICE -- DAY (1949) 88<br /><br /> Andy is led in. Norton is at his desk doing paperwork. Andy's<br /> eyes go to a framed needle-point sampler on the wall behind <br /> him that reads: "HIS JUDGMENT COMETH AND THAT RIGHT SOON." <br /><br /> NORTON <br /> My wife made that in church group. <br /><br /> ANDY <br /> It's very pretty, sir. <br /><br /> NORTON <br /> You like working in the laundry? <br /><br /> ANDY <br /> No, sir. Not especially. <br /><br /> NORTON <br /> Perhaps we can find something more <br /> befitting a man of your education. <br /><br />89 INT -- MAIN BUILDING -- STORAGE ROOMS -- DAY (1949) 89<br /><br /> A series of bleak rooms stacked high with unused filing <br /> cabinets, desks, paint supplies, etc. Andy enters. He hears a<br /> FLUTTER OF WINGS. An adult crow lands on a filing cabinet and<br /> struts back and forth, checking him out. Andy smiles. <br /><br /> ANDY <br /> Hey, Jake. Where's Brooks? <br /><br /> Brooks Hatlen pokes his head out of the back room. <br /><br /> BROOKS <br /> Andy! Thought I heard you out here! <br /><br /> ANDY <br /> I've been reassigned to you. <br /><br /> BROOKS <br /> I know, they told me. Ain't that a <br /> kick in the ass? Come on in, I'll <br /> give you the dime tour. <br /><br />90 INT -- SHAWSHANK PRISON LIBRARY -- DAY (1949) 90<br /><br /> Brooks leads Andy into the bleakest back room of all. Rough<br /> plank shelves are lined with books. Brooks' private domain.<br /><br /> BROOKS <br /> Here she is, the Shawshank Prison <br /> Library. Along this side, we got <br /> the National Geographics. That <br /> side, the Reader's Digest Condensed <br /> books. Bottom shelf there, some <br /> Louis L'Amours and Erle Stanley <br /> Gardners. Every night I pile the <br /> cart and make my rounds. I write <br /> down the names on this clipboard <br /> here. Well, that's it. Easy, peasy, <br /> Japanesey. Any questions? <br /><br /> Andy pauses. Something about this doesn't make any sense.<br /><br /> ANDY <br /> Brooks? How long have you been <br /> librarian? <br /><br /> BROOKS <br /> Since 1912. Yuh, over 37 years. <br /><br /> ANDY <br /> In all that time, have you ever had <br /> an assistant? <br /><br /> BROOKS <br /> Never needed one. Not much to it, <br /> is there? <br /><br /> ANDY <br /> So why now? Why me? <br /><br /> BROOKS <br /> I dunno. Be nice to have some <br /> comp'ny down here for a change. <br /><br /> HADLEY (O.S.) <br /> Dufresne! <br /><br />91 ANDY STEPS BACK INTO THE OUTER ROOMS AND FINDS HADLEY WITH 91<br /> another GUARD, a huge fellow named DEKINS. <br /><br /> HADLEY <br /> That's him. That's the one. <br /><br /> Hadley exits. Dekins approaches Andy ominously. Andy stands <br /> his ground, waiting for whatever comes next. Finally: <br /><br /> DEKINS <br /> I'm Dekins. I been, uh, thinkin' <br /> 'bout maybe settin' up some kinda <br /> trust fund for my kids' educations. <br /><br /> Andy covers his surprise. Glances at Brooks. Brooks smiles.<br /><br /> ANDY <br /> I see. Well. Why don't we have a <br /> seat and talk it over? <br /><br /> BROOKS <br /> Pull down one'a them desks there. <br /><br /> Andy and Dekins grab a desk standing on end and tilt it to the<br /> floor. They find chairs and settle in. Brooks returns with a <br /> tablet of paper and a pen, slides them before Andy. <br /><br /> ANDY <br /> What did you have in mind? A weekly <br /> draw on your pay? <br /><br /> DEKINS <br /> Yuh. I figured just stick it in the <br /> bank, but Captain Hadley said check <br /> with you first. <br /><br /> ANDY <br /> He was right. You don't want your <br /> money in a bank. <br /><br /> DEKINS <br /> I don't? <br /><br /> ANDY <br /> What's that gonna earn you? Two and <br /> a half, three percent a year? We <br /> can do a lot better than that. <br /> (wets his pen) <br /> So tell me, Mr. Dekins. Where do <br /> you want to send your kids? <br /> Harvard? Yale? <br /><br />92 INT -- MESS HALL -- DAY (1949) 92<br /><br /> FLOYD <br /> He didn't say that! <br /><br /> BROOKS <br /> God is my witness. And Dekins, he <br /> just blinks for a second, then <br /> laughs his ass off. Afterward, he <br /> actually shook Andy's hand. <br /><br /> HEYWOOD <br /> My ass! <br /><br /> BROOKS <br /> Shook his fuckin' hand. Just about <br /> shit myself. All Andy needed was a <br /> suit and tie, a jiggly little hula <br /> girl on his desk, he would'a been <br /> Mister Dufresne, if you please. <br /><br /> RED <br /> Makin' yourself some friends, Andy. <br /><br /> ANDY <br /> I wouldn't say "friends." I'm a <br /> convicted murderer who provides <br /> sound financial planning. That's a <br /> wonderful pet to have. <br /><br /> RED <br /> Got you out of the laundry, didn't <br /> it? <br /><br /> ANDY <br /> Maybe it can do more than that. <br /> (off their looks) <br /> How about expanding the library? <br /> Get some new books in there. <br /><br /> HEYWOOD <br /> How you 'spect to do that, "Mr. <br /> Dufresne-if-you-please?" <br /><br /> ANDY <br /> Ask the warden for funds. <br /><br /> LAUGHTER all around. Andy blinks at them. <br /><br /> BROOKS <br /> Son, I've had six wardens through <br /> here during my tenure, and I have <br /> learned one great immutable truth <br /> of the universe: ain't one of 'em <br /> been born whose asshole don't <br /> pucker up tight as a snare drum <br /> when you ask for funds. <br /><br />93 INT -- MAIN BUILDING HALLWAY -- DAY (1949) 93<br /><br /> DOLLYING Norton and Andy up the hall: <br /><br /> NORTON <br /> Not a dime. My budget's stretched <br /> thin as it is. <br /><br /> ANDY <br /> I see. Perhaps I could write to the <br /> State Senate and request funds <br /> directly from them. <br /><br /> NORTON <br /> Far as them Republican boys in <br /> Augusta are concerned, there's only <br /> three ways to spend the taxpayer's <br /> hard-earned when it come to prisons. <br /> More walls. More bars. More guards. <br /><br /> ANDY <br /> Still, I'd like to try, with your <br /> permission. I'll send a letter a <br /> week. They can't ignore me forever. <br /><br /> NORTON <br /> They sure can, but you write your <br /> letters if it makes you happy. I'll <br /> even mail 'em for you, how's that? <br /><br />94 INT -- ANDY'S CELL -- NIGHT (1949) 94<br /><br /> Andy is on his bunk, writing a letter. <br /><br /> RED (V.O.) <br /> So Andy started writing a letter a <br /> week, just like he said. <br /><br />95 INT -- GUARD DESK/NORTON'S OUTER OFFICE -- DAY (1949) 95<br /><br /> Andy pops his head in. The GUARD shakes his head. <br /><br /> RED (V.O.) <br /> And just like Norton said, Andy got <br /> no answers. But still he kept on. <br /><br />96 INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1950) 96<br /><br /> Andy is doing taxes. Mert Entwhistle is seated across from<br /> him. Other off-duty guards are waiting their turn. <br /><br /> RED (V.O.) <br /> The following April, Andy did tax <br /> returns for half the guards at <br /> Shawshank. <br /><br />97 INT -- PRISON LIBRARY -- ONE YEAR LATER (1951) 97<br /><br /> Tax time again. Even more guards are waiting. <br /><br /> RED (V.O.) <br /> Year after that, he did them all... <br /> including the warden's. <br /><br />98 EXT -- BASEBALL DIAMOND -- DAY (1952) 98<br /><br /> A BATTER in a "Noresby Marauders" baseball uniform WHACKS the<br /> ball high into left field and races for first. <br /><br /> RED (V.O.) <br /> Year after that, they rescheduled <br /> the start of the intramural season <br /> to coincide with tax season... <br /><br />99 INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1952) 99<br /><br /> The Batter sits across from Andy. The line winds out the door.<br /><br /> RED (V.O.) <br /> The guards on the opposing teams <br /> all remembered to bring their W-2's. <br /><br /> ANDY <br /> Moresby Prison issued you that gun, <br /> but you actually had to pay for it? <br /><br /> THE BATTER <br /> Damn right, and the holster too. <br /><br /> ANDY <br /> See, that's all deductible. You get <br /> to write that off. <br /><br /> RED (V.O.) <br /> Yes sir, Andy was a regular H&R <br /> Block. In fact, he got so busy at <br /> tax time, he was allowed a staff. <br /><br /> ANGLE SHIFTS to reveal Red and Brooks doing filing chores. <br /><br /> ANDY <br /> Say Red, could you hand me a stack <br /> of those 1040s? <br /><br /> RED (V.O.) <br /> Got me out of the wood shop a month <br /> out of the year, and that was fine <br /> by me. <br /><br />100 INT -- GUARD DESK/NORTON'S OUTER OFFICE -- DAY (1953) 100<br /><br /> Andy enters and drops a letter on the outgoing stack. <br /><br /> RED (V.O.) <br /> And still he kept sending those <br /> letters... <br /><br />101 INT -- ANDY'S CELL -- NIGHT (1953) 101<br /><br /> Dark. Andy's in his bunk, polishing a four-inch length of <br /> quartz. It's a beautifully-crafted chess piece in the shape of <br /> a horse's head, poise and nobility captured in gleaming stone. <br /><br /> He puts the knight on a chess board by his bed, adding it to <br /> four pieces already there: a king, a queen, and two bishops. <br /> He turns to Rita. Moonlight casts bars across her face. <br /><br />102 EXT -- EXERCISE YARD -- DAY (1954) 102<br /><br /> Floyd runs into the yard, scared and winded. He finds Andy and <br /> Red on the bleachers. <br /><br /> FLOYD <br /> Red? Andy? It's Brooks. <br /><br />103 INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1954) 103<br /><br /> Floyd rushes in with Andy and Red at his heels. They find <br /> Jigger and Snooze trying to calm Brooks, who has Heywood in a <br /> chokehold and a knife to his throat. Heywood is terrified. <br /><br /> JIGGER <br /> C'mon, Brooksie, why don't you just <br /> calm the fuck down, okay? <br /><br /> BROOKS <br /> Goddamn miserable puke-eatin' sons <br /> of whores! <br /><br /> He kicks a table over. Tax files explode through the air. <br /><br /> RED <br /> What the hell's going on? <br /><br /> SNOOZE <br /> You tell me, man. One second he was <br /> fine, then out came the knife. I <br /> better get the guards. <br /><br /> RED <br /> No. We'll handle this. Ain't that <br /> right, Brooks? Just settle down and <br /> we'll talk about it, okay? <br /><br /> BROOKS <br /> Nothing left to talk about! It's all <br /> talked out! Nothing left now but to <br /> cut his fuckin' throat! <br /><br /> RED <br /> Why? What's Heywood done to you? <br /><br /> BROOKS <br /> That's what they want! It's the <br /> price I gotta pay! <br /><br /> Andy steps forward, rivets Brooks with a gaze. Softly: <br /><br /> ANDY <br /> Brooks, you're not going to hurt <br /> Heywood, we all know that. Even <br /> Heywood knows it, right Heywood? <br /><br /> HEYWOOD <br /> (nods, terrified) <br /> Sure. I know that. Sure. <br /><br /> ANDY <br /> Why? Ask anyone, they'll tell you. <br /> Brooks Hatlen is a reasonable man. <br /><br /> RED <br /> (cuing nods all around) <br /> Yeah, that's right. That's what <br /> everybody says. <br /><br /> ANDY <br /> You're not fooling anybody, so just <br /> put the damn knife down and stop <br /> scaring the shit out of people. <br /><br /> BROOKS <br /> But it's the only way they'll let <br /> me stay. <br /><br /> Brooks bursts into tears. The storm is over. Heywood staggers<br /> free, gasping for air. Andy takes the knife, passes it to Red.<br /> Brooks dissolves into Andy's arms with great heaving sobs.<br /><br /> ANDY <br /> Take it easy. You'll be all right. <br /><br /> HEYWOOD <br /> Him? What about me? Crazy old <br /> fool! Goddamn near slit my throat! <br /><br /> RED <br /> You've had worse from shaving. <br /> What'd you do to set him off? <br /><br /> HEYWOOD <br /> Nothin'! Just came in to say <br /> fare-thee-well. <br /> (off their looks) <br /> Ain't you heard? His parole came <br /> through! <br /><br /> Red and Andy exchange a surprised look. Andy wants to <br /> understand. Red just motions to let it be for now. He puts his<br /> arm around Brooks, who sobs inconsolably. Softly: <br /><br /> RED <br /><br /> Ain't that bad, old hoss. Won't be <br /> long till you're squiring pretty <br /> young girls on your arm and telling <br /> 'em lies. <br /><br />104 EXT -- PRISON YARD BLEACHERS -- DUSK (1954) 104<br /><br /> ANDY <br /> I just don't understand what <br /> happened in there, that's all. <br /><br /> HEYWOOD <br /> Old man's crazy as a rat in a tin <br /> shithouse, is what. <br /><br /> RED <br /> Heywood, enough. Ain't nothing <br /> wrong with Brooksie. He's just <br /> institutionalized, that's all. <br /><br /> HEYWOOD <br /> Institutionalized, my ass. <br /><br /> RED <br /> Man's been here fifty years. This <br /> place is all he knows. In here, <br /> he's an important man, an educated <br /> man. A librarian. Out there, he's <br /> nothing but a used-up old con with <br /> arthritis in both hands. Couldn't <br /> even get a library card if he <br /> applied. You see what I'm saying? <br /><br /> FLOYD <br /> Red, I do believe you're talking <br /> out of your ass. <br /><br /> RED <br /> Believe what you want. These walls <br /> are funny. First you hate 'em, then <br /> you get used to 'em. After long <br /> enough, you get so you depend on <br /> 'em. That's "institutionalized." <br /><br /> JIGGER <br /> Shit. I could never get that way. <br /><br /> ERNIE <br /> (softly) <br /> Say that when you been inside as <br /> long as Brooks has. <br /><br /> RED <br /> Goddamn right. They send you here <br /> for life, and that's just what they <br /> take. Part that counts, anyway. <br /><br />105 EXT -- SHAWSHANK PRISON -- DAWN (1954) 105<br /><br /> The sun rises over gray stone. <br /><br />106 INT -- ANDY'S CELL -- DAWN (1954) 106<br /><br /> ANGLE ON RITA POSTER. Sexy as ever. The rising sun sends <br /> fingers of rosy light creeping across her face. <br /><br />107 INT -- LIBRARY -- DAWN (1954) 107<br /><br /> Brooks stands on a chair, poised at the bars of a window, <br /> cradling Jake in his hands. <br /><br /> BROOKS <br /> I can't take care of you no more. <br /> You go on now. You're free. <br /><br /> He tosses Jake through the bars. The crow flaps away. <br /><br />108 EXT -- SHAWSHANK PRISON -- MAIN GATE -- DAY (1954) 108<br /><br /> TWO SHORT SIREN BLASTS herald the opening of the gate. It <br /> swings hugely open, revealing Brooks standing in his cheap <br /> suit, carrying a cheap bag, wearing a cheap hat. <br /><br /> Brooks walks out, tears streaming down his face. He looks <br /> back. Red, Andy, and others stand at the inner fence, seeing <br /> him off. The massive gate closes, wiping them from view. <br /><br />109 INT -- BUS -- DAY (1954) 109<br /><br /> Brooks is riding the bus, clutching the seat before him, <br /> gripped by terror of speed and motion. <br /><br /> BROOKS (V.O.) <br /> Dear Fellas. I can't believe how <br /> fast things move on the outside. <br /><br />110 EXT -- STREET -- PORTLAND, MAINE -- DAY (1954) 110<br /><br /> Brooks looks like a kid trying to cross the street without his <br /> parents. People and traffic a blur. <br /><br /> BROOKS (V.O.) <br /> I saw an automobile once when I was <br /> young. Now they're everywhere. <br /><br />111 EXT -- BREWSTER HOTEL -- DAY (1954) 111<br /><br /> Brooks comes trudging up the sidewalk. He glances up as a <br /> prop-driven airliner streaks in low overhead. <br /><br /> BROOKS (V.O.) <br /> The world went and got itself in a <br /> big damn hurry. <br /><br /> He arrives at the Brewster. It ain't much to look at. <br /><br /><br /><br />112 INT -- BREWSTER HOTEL -- DAY (1954) 112<br /><br /> A WOMAN leads Brooks up the stairs toward the top floor. He <br /> has trouble climbing so many stairs. <br /><br /> WOMAN <br /> No music in your room after eight <br /> p.m. No guests after nine. No <br /> cooking except on the hotplate... <br /><br /> BROOKS (V.O.) <br /> People even talk faster. And louder. <br /><br />113 INT -- BROOKS' ROOM -- DAY (1954) 113<br /><br /> Brooks enters. The room is small, old, dingy. Heavy wooden <br /> beams cross the ceiling. An arched window affords a view of <br /> Congress Street. Traffic noise drifts in. Brooks sets his bag <br /> down. He doesn't quite know what to do. He just stands there, <br /> like a man waiting for a bus. <br /><br /> BROOKS (V.O.) <br /> The parole board got me into this <br /> halfway house called the Brewster, <br /> and a job bagging groceries at the <br /> Foodway... <br /><br />114 INT -- FOODWAY MARKET -- DAY (1954) 114<br /><br /> Loud. Jangling with PEOPLE and NOISE. Brooks is bagging <br /> groceries. Registers are humming, kids are shrieking. <br /><br /> WOMAN <br /> Make sure he double-bags. Last time <br /> your man didn't double-bag and the <br /> bottom near came out. <br /><br /> MANAGER <br /> You double-bag like the lady says, <br /> understand? <br /><br /> BROOKS <br /> Yes sir, double-bag, surely will. <br /><br /> BROOKS (V.O.) <br /> It's hard work. I try to keep up, <br /> but my hands hurt most of the time. <br /> I don't think the store manager <br /> likes me very much. <br /><br />115 EXT -- PARK -- DAY (1954) 115<br /><br /> Brooks sits alone on a bench, feeding pigeons. <br /><br /> BROOKS (V.O.) <br /> Sometimes after work I go to the <br /> park and feed the birds. I keep <br /> thinking Jake might show up and say <br /> hello, but he never does. I hope <br /> wherever he is, he's doing okay and <br /> making new friends. <br /><br />116 INT -- BROOKS' ROOM -- NIGHT (1954) 116<br /><br /> Dark. Traffic outside. Brooks wakes up. Disoriented. Afraid.<br /> Somewhere in the night, a LOUD ARGUMENT is taking place. <br /><br /> BROOKS (V.O.) <br /> I have trouble sleeping at night. <br /> The bed is too big. I have bad <br /> dreams, like I'm falling. I wake <br /> up scared. Sometimes it takes me a <br /> while to remember where I am. <br /><br />117 INT -- FOODWAY -- DAY (1954) 117<br /><br /> BROOKS (V.O.) <br /> Maybe I should get me a gun and rob <br /> the Foodway, so they'd send me home. <br /> I could shoot the manager while I <br /> was at it, sort of like a bonus. <br /><br />118 INT -- BROOKS' ROOM -- DAY (1954) 118<br /><br /> Brooks is packing his worldly possessions into the carry bag. <br /> Undershirts, socks, etc. <br /><br /> BROOKS (V.O.) <br /> But I guess I'm too old for that <br /> sort of nonsense anymore. <br /><br />119 INT -- BROOKS' ROOM -- SHORTLY LATER (1954) 119<br /><br /> Brooks is dressed in his suit. He finishes knotting his tie, <br /> puts his hat on his head. The letter lies on the desk, stampe3 <br /> and ready for mailing. His bag is by the door. <br /><br /> BROOKS (V.O.) <br /> I don't like it here. I'm tired of <br /> being afraid all the time. I've <br /> decided not to stay. <br /><br /> He takes one last look around. Only one thing left to do. He <br /> steps to a wooden chair in the center of the room, pulls out s <br /> pocketknife, and glances up at the ceiling beam. <br /><br /> He steps up onto the chair. It wobbles queasily. Now facing<br /> the beam, he carves a message into the wood: "Brooks Hatlen<br /> was here." He smiles with a sort of inner peace. <br /><br /> BROOKS (V.O.) <br /> I doubt they'll kick up any fuss. <br /> Not for an old crook like me. <br /><br />120 TIGHT ON CHAIR 120<br /><br /> His weight shifts on the wobbly chair -- and it goes out <br /> from under him. His feet remain where they are, kicking feebly <br /> in mid-air. His hat falls to the floor. <br /><br /> ANGLE WIDENS. Brooks has hanged himself. He swings gently, <br /> facing the open window. Traffic noise floats up from below. <br /><br />121 EXT -- EXERCISE YARD -- SHAWSHANK -- DAY (1954) 121<br /><br /> Andy reads the letter to Red and the others: <br /><br /> ANDY <br /> P.S. Tell Heywood I'm sorry I put a <br /> knife to his throat. No hard feelings. <br /><br /> A long silence. Andy folds the letter, puts it away. Softly: <br /><br /> RED <br /> He should'a died in here, goddamn it. <br /><br />122 INT -- PRISON LIBRARY -- DAY (1954) 122<br /><br /> Andy is sorting books on the cart. He replaces a stack on the<br /> shelf -- and pauses, noticing a line of ants crawling up the<br /> wood. He glances up. The ants disappear over the top. He pulls<br /> a chair over and stands on it, peers cautiously over. <br /><br /> ANDY <br /> Red! <br /><br /> Red steps in with an armload of files. Andy gingerly reaches<br /> in, grabs a black feathered wing, and pulls out a dead crow.<br /><br /> RED <br /> (softly) <br /> Is that Jake? <br /><br />123 INT -- WOOD SHOP -- DAY (1954) 123<br /><br /> Red is making something at his bench, sanding and planing. <br /><br /> RED (V.O.) <br /> It never would have occurred to us, <br /> if not for Andy. It was his idea. <br /> We all agreed it was the right <br /> thing to do... <br /><br />124 EXT -- FIELDS -- DAY (1954) 124<br /><br /> Low hilly terrain all around. A HUNDRED CONS are at work in <br /> the fields. GUARDS patrol with carbines, keeping a sharp eye.<br /> We find Andy, Red, and the boys working with picks and <br /> shovels. They glance over to the pickup truck. Hadley's <br /> chewing the fat with Mert and Youngblood. A WHISTLE BLOWS. <br /><br /> GUARD <br /> Water break! Five minutes! <br /><br /> The work stops. Cons head for the pickup truck, where water is<br /> dispensed with dipper and pail. Red and the boys look to Andy.<br /> Andy nods. Now's the time. The group moves off through the <br /> confusion, using it as cover. They head up the slope of a <br /> nearby hill and quickly decide on a suitable spot. The <br /> guards haven't noticed. <br /><br /> Jigger and Floyd start swinging picks into the soft earth, <br /> quickly ripping out a hole. Red reaches into his jacket and <br /> pulls out a beautiful wooden box, carefully stained and <br /> varnished. He shows it around to nods of approval. <br /><br /> ANDY <br /> That's real pretty, Red. Nice work. <br /><br /> HEYWOOD <br /> Shovel man in. Watch the dirt. <br /><br />124 CONTINUED 124<br /> Heywood jumps in and starts spading out the hole. <br /><br />125 BY THE TRUCK 125<br /><br /> Youngblood glances up and sees the men on the slope. <br /><br /> YOUNGBLOOD <br /> What the fuck. <br /><br /> HADLEY <br /> (follows his gaze) <br /> HEY.' YOU MEN UP THERE.' GET YOUR <br /> ASSES OFF THAT SLOPE! <br /> (works his rifle bolt) <br /> YOU HAPPY ASSHOLES GONE DEAF? YOU <br /> GOT FIVE SECONDS 'FORE I SHOOT <br /> SOMEBODY! <br /><br /> Suddenly, other cons start breaking away in groups, dozens of<br /> them heading toward the slope. The guards look around. <br /><br /> HADLEY <br /> What am I, talkin' to myself? <br /><br />126 ON THE SLOPE 126<br /><br /> Andy pulls a towel-wrapped bundle from his jacket and unfolds<br /> it. Jake. Andy lays him in the box, followed by Brook's <br /> letter. Red places the casket in the hole. A moment of <br /> silence. Andy gives Red with an encouraging nod. <br /><br /> RED <br /> Lord. Brooks was a sinner. Jake was <br /> just a crow. Neither was much to <br /> look at. Both got institutionalized. <br /> See what you can do for 'em. Amen. <br /><br /> Muttered "amens" all around. The boys shovel dirt onto the <br /> small grave and tamp it down. <br /><br />127 INT -- SHAWSHANK CORRIDORS -- DAY (1955) 127<br /><br /> RAPID DOLLY with Hadley. He's striding, pissed-off, a man on e<br /> mission. He straight-arms a door and emerges onto -- <br /><br />128 EXT -- SHAWSHANK PRISON WALL -- DAY (1955) 128<br /><br /> -- the wall overlooking the exercise yard. He leans on the<br /> railing, scans the yard, sees Andy chatting with Red. <br /><br /> HADLEY <br /> Dufresne! What the fuck did you do? <br /> (Andy looks up) <br /> Your ass, warden's office, now! <br /><br /> Andy shoots a worried look at Red, then heads off. <br /><br />129 INT -- GUARD DESK/WARDEN'S OUTER OFFICE -- DAY (1955) 129<br /><br /> Dozens of parcel boxes litter the floor. WILEY, the duty <br /> guard, picks through them. Hadley enters, trailed by Andy.<br /><br /> ANDY <br /> What is all this? <br /><br /> HADLEY <br /> You tell me, fuck-stick! They're <br /> addressed to you, every damn one! <br /><br /> Wiley thrusts an envelope at Andy. Andy just stares at it.<br /><br /> WILEY <br /> Well, take it. <br /><br /> Andy takes the envelope, pulls out a letter, reads: <br /><br /> ANDY <br /> Dear Mr. Dufresne. In response to<br /> your repeated inquiries, the State<br /> Senate has allocated the enclosed<br /> funds for your library project... "<br /> (stunned, examines check) <br /> This is two hundred dollars. <br /><br /> Wiley grins. Hadley glares at him. The grin vanishes. <br /><br /> ANDY <br /> In addition, the Library District<br /> has generously responded with a<br /> charitable donation of used books<br /> and sundries. We trust this will<br /> fill your needs. We now consider<br /> the matter closed. Please stop<br /> sending us letters. Yours truly,<br /> the State Comptroller's Office.<br /><br /> Andy gazes around at the boxes. The riches of the world lay at<br /> his feet. His eyes mist with emotion at the sight. <br /><br /> HADLEY <br /> I want all this cleared out before <br /> the warden gets back, I shit you not. <br /><br /> Hadley exits. Andy touches the boxes like a love-struck man<br /> touching a beautiful woman. Wiley grins. <br /><br /> WILEY <br /> Good for you, Andy. <br /><br /> ANDY <br /> Only took six years. <br /> (beat) <br /> From now on, I send two letters a <br /> week instead of one. <br /><br /> WILEY <br /> (laughs, shakes his head) <br /> I believe you're crazy enough. You <br /> better get this stuff downstairs <br /> like the Captain said. I'm gonna go <br /> pinch a loaf. When I get back, this <br /> is all gone, right? <br /><br /> Andy nods. Wiley disappears into the toilet, Jughead Comix in <br /> hand. Alone now, Andy starts going through the boxes like a <br /> starving man exploring packages of food. He doesn't know where <br /> to turn first. He gets giddy, ripping boxes open and pulling <br /> out books, touching them, smelling them. <br /><br /> He rips open another box. This one contains an old phonograph<br /> player, industrial gray and green, the words "Portland Public<br /> School District" stenciled on the side. The box also contains<br /> stacks and stacks of used record albums. <br /><br /> Andy reverently slips a stack from the box and starts flipping <br /> through them. Used Nat King Coles, Bing Crosbys, etc. <br /> He comes across a certain album -- Mozart's "Le Nozze de <br /> Figaro." He pulls it from the stack, gazing upon it as a man <br /> transfixed. It is a thing of beauty. It is the Grail. <br /><br />130 INT -- BATHROOM -- DAY (1955) 130<br /><br /> Wiley sits in one of the stalls, Jughead comic on his knees. <br /><br />131 INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 131<br /><br /> Andy wrestles the phonograph player onto the guards' desk, <br /> sweeping things onto the floor in his haste. He plugs the <br /> machine in. A red light warms up. The platter starts spinning. <br /><br /> He slides the Mozart album from its sleeve, lays it on the <br /> platter, and lowers the tone arm to his favorite cut. The <br /> needle HISSES in the groove...and the MUSIC begins, lilting <br /> and gorgeous. Andy sinks into Wiley's chair, overcome by its <br /> beauty. It is "Deutino: Che soave zeffiretto," a duet sung by <br /><br /> Susanna and the Contessa. <br /><br />132 INT -- BATHROOM -- DAY (1955) 132<br /><br /> Wiley pauses reading, puzzled. He thinks he hears music. <br /><br /> WILEY <br /> Andy? You hear that? <br /><br />133 INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 133<br /><br /> Andy shoots a look at the bathroom...and smiles. Go for broke. <br /> He lunges to his feet and barricades the front door, then the <br /> bathroom. He returns to the desk and positions the P.A. <br /> microphone. He works up his courage, then flicks all the <br /> toggles to "on." A SQUEAL OF FEEDBACK echoes briefly... <br /><br />134 INT/EXT -- VARIOUS P.A. SPEAKERS -- DAY (1955) 134<br /><br /> ...and the Mozart is suddenly broadcast all over the prison. <br /><br />135 INT -- BATHROOM -- DAY (1955) 135<br /><br /> Wiley lunges to his feet, pants tangling around his ankles. <br /><br />136 INT/EXT -- SHAWSHANK PRISON -- VARIOUS LOCATIONS -- DAY (1955) 136<br /><br /> Cons all over the prison stop whatever they're doing, freezing <br /> in mid-step to listen, gazing up at the speakers. <br /><br />137 THE STAMPING MACHINES IN THE PLATE SHOP ARE SHUT DOWN... 137 <br /><br />138 THE LAUNDRY LINE GOES SILENT, GRINDING TO A HALT... 138<br /><br />139 THE WOOD SHOP MACHINES ARE TURNED OFF, BUZZING TO A STOP... 139<br /><br />140 THE MOTOR POOL...THE KITCHEN...THE LOADING DOCK...THE EXERCISE 140<br /> thru yard...the numbing routine of prison life itself...all grinds thru<br />143 TO A STUTTERING HALT. NOBODY MOVES, NOBODY SPEAKS. EVERYBODY 143<br /><br /> just stands in place, listening to the MUSIC, hypnotized. <br /><br />144 INT -- GUARD STATION -- DAY (1955) 144<br /><br /> Andy is reclined in the chair, transported, arms fluidly <br /> conducting the music. Ecstasy and rapture. Shawshank no <br /> longer exists. It has been banished from the mind of men. <br /><br />145 EXT -- EXERCISE YARD -- DAY (1955) 145<br /><br /> CAMERA TRACKS along groups of men, all riveted. <br /><br /> RED (V.O.) <br /> I have no idea to this day what <br /> them two Italian ladies were <br /> singin' about. Truth is, I don't <br /> want to know. Some things are best <br /> left unsaid. I like to think they <br /> were singin' about something so <br /> beautiful it can't be expressed in <br /> words, and makes your heart ache <br /> because of it. <br /><br /> CAMERA brings us to Red. <br /><br /> RED (V.O.) <br /> I tell you, those voices soared. <br /> Higher and farther than anybody in <br /> a gray place dares to dream. It was <br /> like some beautiful bird flapped <br /> into our drab little cage and made <br /> these walls dissolve away...and for <br /> the briefest of moments -- every <br /> last man at Shawshank felt free. <br /><br />146 INT -- PRISON CORRIDOR -- DAY (1955) 146<br /><br /> FAST DOLLY with Norton striding up the hallway with Hadley. <br /><br /> RED (V.O.) <br /> It pissed the warden off something <br /> terrible. <br /><br />147 INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 147<br /><br /> Norton and Hadley break the door in. Andy looks up with a <br /> sublime smile. We hear Wiley POUNDING on the bathroom door: <br /><br /> WILEY (O.S.) <br /> LET ME OUUUUT! <br /><br />148 INT -- SOLITARY WING -- DAY (1955) 148<br /><br /> LOW ANGLE SLOW PUSH IN on the massive, rust-streaked steel <br /> door. God, this is a terrible place to be. <br /><br /> RED (V.O.) <br /> Andy got two weeks in the hole for <br /> that little stunt. <br /><br />149 INT -- SOLITARY CONFINEMENT -- DAY (1955) 149<br /><br /> Andy doesn't seem to mind. His arms sweep to the music still <br /> playing in his head. We hear a FAINT ECHO of the soaring duet. <br /><br />150 INT -- MESS HALL -- DAY (1955) 1 50<br /><br /> HEYWOOD <br /> Couldn't play somethin' good, huh? <br /> Hank Williams? <br /><br /> ANDY <br /> They broke the door down before I <br /> could take requests. <br /><br /> FLOYD <br /> Was it worth two weeks in the hole? <br /><br /> ANDY <br /> Easiest time I ever did. <br /><br /> HEYWOOD <br /> Shit. No such thing as easy time in <br /> the hole. A week seems like a year. <br /><br /> ANDY <br /> I had Mr. Mozart to keep me company. <br /> Hardly felt the time at all. <br /><br /> RED <br /> Oh, they let you tote that record <br /> player down there, huh? I could'a <br /> swore they confiscated that stuff. <br /><br /> ANDY <br /> (taps his heart, his head) <br /> The music was here...and here. <br /> That's the one thing they can't <br /> confiscate, not ever. That's the <br /> beauty of it. Haven't you ever felt <br /> that way about music, Red? <br /><br /> RED <br /> Played a mean harmonica as a younger <br /> man. Lost my taste for it. Didn't <br /> make much sense on the inside. <br /><br /> ANDY <br /> Here's where it makes most sense. <br /> We need it so we don't forget. <br /><br /> RED <br /> Forget? <br /><br /> ANDY <br /> That there are things in this world <br /> not carved out of gray stone. That <br /> there's a small place inside of us <br /> they can never lock away, and that <br /> place is called hope. <br /><br /> RED <br /> Hope is a dangerous thing. Drive a <br /> man insane. It's got no place here. <br /> Better get used to the idea. <br /><br /> ANDY <br /> (softly) <br /> Like Brooks did? <br /><br /> FADE TO BLACK <br /><br />151 AN IRON-BARRED DOOR 151<br /><br /> slides open with an enormous CLANG. A stark room beyond. <br /> CAMERA PUSHES through. SEVEN HUMORLESS MEN sit at a long <br /><br /> table. An empty chair faces them. We are again in: <br /><br /> INT -- SHAWSHANK HEARINGS ROOM -- DAY (1957) <br /><br /> Red enters, ten years older than when we first saw him at a <br /> parole hearing. He removes his cap and sits. <br /><br /> MAN #l <br /> It says here you've served thirty <br /> years of a life sentence. <br /><br /> MAN #2 <br /> You feel you've been rehabilitated? <br /><br /> RED <br /> Yes sir, without a doubt. I can say <br /> I'm a changed man. No danger to <br /> society, that's the God's honest <br /> truth. Absolutely rehabilitated. <br /><br /> CLOSEUP -- PAROLE FORM <br /><br /> A big rubber stamp slams down: "REJECTED." <br /><br />152 EXT -- PRISON YARD -- DUSK (1957) 152<br /><br /> Red emerges into fading daylight. Andy's waiting for him.<br /><br /> RED <br /> Same old, same old. Thirty years. <br /> Jesus. When you say it like that... <br /><br /> ANDY <br /> You wonder where it went. I wonder <br /> where ten years went. <br /><br /> Red nods, solemn. They settle in on the bleachers. Andy pulls <br /> a small box from his sweater, hands it to Red. <br /><br /> ANDY <br /> Anniversary gift. Open it. <br /><br /> Red does. Inside the box, on a thin layer of cotton, is a <br /> shiny new harmonica, bright aluminum and circus-red. <br /><br /> ANDY <br /> Had to go through one of your <br /> competitors. Hope you don't mind. <br /> Wanted it to be a surprise. <br /><br /> RED <br /> It's very pretty, Andy. Thank you. <br /><br /> ANDY <br /> You gonna play something? <br /><br /> --<br /><br /> Red considers it, shakes his head. Softly: <br /><br /> RED <br /> Not today. <br /><br />153 INT -- CELLBLOCK FIVE/ANDY'S CELL -- NIGHT (1957) 153<br /><br /> Men line the tiers as the evening count is completed. The <br /> convicts step into their cells. The master switch is thrown <br /> and all the doors slam shut -- KA-THUMP! Andy finds a <br /> cardboard tube on his bunk. The note reads: "A new girl for <br /> your 10 year anniversary. From your pal. Red." <br /><br />154 INT -- ANDY'S CELL -- LATER (1957) 154<br /><br /> Marilyn Monroe's face fills the screen. SLOW PULL BACK reveals<br /> the new poster: the famous shot from "The Seven Year Itch," <br /> on the subway grate with skirt billowing up. Andy sits gazing <br /> at her as lights-out commences... <br /><br />155 INT -- RED'S CELL -- NIGHT (1957) 155<br /><br /> ...and we find Red gazing blankly as darkness takes the <br /> cellblock. Adding up the months, weeks, days... <br /><br /> He regards the harmonica like a man confronted with a Martian <br /> artifact. He considers trying it out -- even holds it briefly <br /> to his lips, almost embarrassed -- but puts it back in its box<br /> untested. And there the harmonica will stay... <br /><br /> FADE TO BLACK <br /><br />156 WE HOLD IN BLACKNESS as THUMPING SOUNDS grow louder... 156<br /><br /> RED (V.O.) <br /> Andy was as good as his word. He <br /> kept writing to the State Senate. <br /> Two letters a week instead of one. <br /><br /> ...and the BLACKNESS disintegrates as a wall tumbles before <br /> our eyes, revealing a WORK CREW with picks and sledgehammers, <br /> faces obscured outlaw-style with kerchiefs against the dust. <br /> Behind them are GUARDS overseeing the work. <br /><br /> Andy yanks his kerchief down, grinning in exhilaration. Red<br /> and the others follow suit. They step through the hole in the<br /> wall, exploring what used to be a sealed-off storage room. <br /><br /> RED (V.O.) <br /> In 1959, the folks up Augusta way <br /> finally clued in to the fact they <br /> couldn't buy him off with just a <br /> 200 dollar check. Appropriations <br /> Committee voted an annual payment of <br /> 500 dollars, just to shut him up. <br /><br />157 INT -- PRISON LIBRARY -- DAY (1960) 157<br /><br /> TRACKING the construction. Walls have been knocked down. Men <br /> are painting, plastering, hammering. Lots of shelves going up.<br /> Red is head carpenter. We find him discussing plans with Andy.<br /><br /> RED (V.O.) <br /> Those checks came once a year like <br /> clockwork. <br /><br />158 INT -- PRISON LIBRARY -- DAY (1960) 158<br /><br /> Red and the boys are opening boxes, pulling out books. <br /><br /> RED (V.O.) <br /> You'd be amazed how far Andy could <br /> stretch it. He made deals with book <br /> clubs, charity groups...he bought <br /> remaindered books by the pound... <br /><br /> HEYWOOD <br /> Treasure Island. Robert Louis... <br /><br /> ANDY <br /> (jotting) <br /> ...Stevenson. Next? <br /><br /> RED <br /> I got here an auto repair manual, <br /> and a book on soap carving. <br /><br /> ANDY <br /> Trade skills and hobbies, those go <br /> under educational. Stack right <br /> behind you. <br /><br /> HEYWOOD <br /> The Count of Monte Crisco... <br /><br /> FLOYD <br /> Cristo, you dumbshit. <br /><br /> HEYWOOD <br /> ...by Alexandree Dumb-ass. <br /><br /> ANDY <br /> Dumas. You boys'll like that one. <br /> It's about a prison break. <br /><br /> Floyd tries to take the book. Heywood yanks it back. I saw it <br /> first. Red shoots Andy a look. <br /><br /> RED <br /> Maybe that should go under <br /> educational too. <br /><br /><br />159 INT -- WOOD SHOP -- DAY (1961) 159<br /><br /> Red is making a sign, carefully routing letters into a long <br /> plank of wood. It turns out to be -- <br /><br />160 INT -- PRISON LIBRARY -- DAY (1963) 160<br /><br /> -- the varnished wood sign over the archway: "Brooks Hatlen <br /> Memorial Library." TILT DOWN to reveal the library in all its <br /> completed glory: shelves lined with books, tables and chairs, <br /> even a few potted plants. Heywood is wearing headphones, <br /> listening to Hank Williams on the record player. <br /><br /> RED (V.O.) <br /> By the year Kennedy was shot, Andy <br /> had transformed a broom closet <br /> smelling of turpentine into the <br /> best prison library in New England. <br /><br />161 EXT -- SHAWSHANK PRISON -- DAY (1963) 161<br /><br /> FLASHBULBS POP as Norton addresses MEMBERS OF THE PRESS: <br /><br /> RED (V.O.) <br /> That was also the year Warden Norton <br /> instituted his famous "Inside-Out" <br /> program. You may remember reading <br /> about it. It made all the papers <br /> and got his picture in LIFE magazine. <br /><br /> NORTON <br /> ...a genuine, progressive advance <br /> in corrections and rehabilitation. <br /> Our inmates, properly supervised, <br /> will be put to work outside these <br /> walls performing all manner of <br /> public service. Cutting pulpwood, <br /> repairing bridges and causeways, <br /> digging storm drains... <br /><br /> ANGLE TO Red and the boys listening from behind the fence. <br /><br /> NORTON <br /> These men can learn the value of an <br /> honest day's labor while providing <br /> a valuable service to the community <br /> -- and at a bare minimum of expense<br /> to Mr. and Mrs. John Q. Taxpayer! <br /><br /> HEYWOOD <br /> Sounds like road-gangin', you ask me. <br /><br /> RED <br /> Nobody asked you. <br /><br />162 EXT -- HIGHWAY CONSTRUCTION SITE -- DAY (1963) 162<br /><br /> A ROAD-GANG is grading a culvert with picks. There's dust and <br /> the smell of sweat in the air. GUARDS patrol with sniper rifles,<br /> A pushy WOMAN REPORTER in an ugly hat bustles up the grade, <br /> trailed by a PHOTOGRAPHER. <br /><br /> WOMAN REPORTER <br /> You there! You men! We're gonna <br /> take your picture now! <br /><br /> HEYWOOD <br /> Give us a break, lady. <br /><br /> WOMAN REPORTER <br /> Don't you know who I am? I'm from <br /> LIFE magazine! I was told I'd get <br /> some co-operation out here! You <br /> want me to report you to your <br /> warden? Is that what you want? <br /><br /> HEYWOOD <br /> (sighs) <br /> No, ma'am. <br /><br /> WOMAN REPORTER <br /> That's more like it! Now I want you <br /> all in a row with big bright smiles <br /> on your faces! Grab hold of your <br /> tools and show 'em to me! <br /><br /> She turns, motioning her photographer up the grade. Heywood <br /> glances around at the other men. <br /><br /> HEYWOOD <br /> You heard the lady. <br /><br /> Heywood unzips his pants, reaches inside. The others do <br /> likewise. The woman turns back and is greeted by the sight of <br /> a dozen men displaying their penises and smiling brightly. Her<br /> legs go wobbly and she sits heavily down on the dirt grade. <br /><br /> HEYWOOD <br /> C'mon! We're showin' our tools and <br /> grinnin' like fools! Take the damn <br /> picture! <br /><br />163 INT -- SOLITARY CONFINZMENT -- NIGHT (1963) 163<br /><br /> Heywood sits alone in the dark. He sighs. <br /><br /> RED (V.O.) <br /> None of the inmates were invited to <br /> express their views... <br /><br />164 EXT -- WOODED FIELDS -- DAY (1965) 164<br /><br /> A ROAD-GANG is pulling stumps, bogged down in mud. <br /><br /> RED (V.O.) <br /> 'Course, Norton failed to mention <br /> to the press that "bare minimum of <br /> expense" is a fairly loose term. <br /> There are a hundred different ways <br /> to skim off the top. Men, <br /> materials, you name it. And, oh my <br /> Lord, how the money rolled in... <br /><br /> Norton strolls into view with NED GRIMES at his heels. <br /><br /> NED <br /> This keeps up, you're gonna put me <br /> out of business! With this pool of <br /> slave labor you got, you can <br /> underbid any contractor in town. <br /><br /> NORTON <br /> Ned, we're providing a valuable <br /> community service. <br /><br /> NED <br /> That's fine for the papers, but I <br /> got a family to feed. The State <br /> don't pay my salary. Sam, we go <br /> back a long way. I need this new <br /> highway contract. I don't get it, I <br /> go under. That's a fact. <br /> (hands him a box) <br /> Now you just have some'a this fine <br /> pie my missus baked specially for <br /> you, and you think about that. <br /><br /> Norton opens the box. Alongside the pie is an envelope. He<br /> runs his thumb across the thick stack of cash it contains.<br /><br /> IN THE BACKGROUND, a winch cable SNAPS and whips through the<br /> air, damn near severing a man's leg. He goes down, screaming<br /> in mud and blood, pinned by a fallen tree stump. Men rush over<br /> to help him. Norton barely takes notice. <br /><br /> NORTON <br /> Ned, I wouldn't worry too much over <br /> this contract. Seems to me I've <br /> already got my boys committed <br /> elsewhere. You be sure and thank <br /> Maisie for this fine pie. <br /><br />165 INT -- NORTON'S OFFICE -- NIGHT (1965) 165<br /><br /> ANGLE on Maisie's pie. Several pieces gone. <br /><br /> RED (V.O.) <br /> And behind every shady deal, behind <br /> every dollar earned... <br /><br /> TILT UP to Andy at the desk, munching thoughtfully as he <br /> totals up figures on an adding machine. <br /><br /> RED (V.O.) <br /> ...there was Andy, keeping the books. <br /><br /> Andy finishes preparing two bank deposits. Norton hovers near <br /> the desk, keeping a watchful eye. <br /><br /> ANDY <br /> Two deposits, Casco Bank and New <br /> England First. Night drop, like <br /> always. <br /><br /> Norton pockets the envelopes. Andy crosses to the wall safe <br /> and shoves the ledger and sundry files inside. Norton locks <br /> the safe, swings his wife's framed sampler back into place. He <br /> cocks his thumb at some laundry and two suits in the corner. <br /><br /> NORTON <br /> Get my stuff down t'laundry. Two <br /> suits for dry-clean and a bag of <br /> whatnot. Tell 'em if they over- <br /> starch my shirts again, they're <br /> gonna hear about it from me. <br /> (adjusts his tie) <br /> How do I look? <br /><br /> ANDY <br /> Very nice. <br /><br /> NORTON <br /> Big charity to-do up Portland <br /> way. Governor's gonna be there. <br /> (indicates pie) <br /> Want the rest of that? Woman can't <br /> bake worth shit. <br /><br />166 INT -- PRISON CORRIDOR -- NIGHT (1965) 166<br /><br /> Andy trudges down the corridor with Norton's laundry, the pie <br /> box under his arm. <br /><br />167 INT -- LIBRARY -- DAY (1965) 167<br /><br /> TILT UP FROM PIE to find Red munching away as he helps Andy <br /> sort books on the shelves. <br /><br /> RED <br /> Got his fingers in a lot of pies, <br /> from what I hear. <br /><br /> ANDY <br /> What you hear isn't half of it. <br /> He's got scams you haven't dreamed <br /> of. Kickbacks on his kickbacks. <br /> There's a river of dirty money <br /> flowing through this place. <br /><br /> RED <br /> Money like that can be a problem. <br /> Sooner or later you gotta explain <br /> where it came from. <br /><br /> ANDY <br /> That's where I come in. I channel <br /> it, funnel it, filter it...stocks, <br /> securities, tax free municipals... <br /> I send that money out into the big <br /> world. And when it comes back... <br /><br /> RED <br /> It's clean as a virgin's whistle? <br /><br /> ANDY <br /> Cleaner. By the time Norton retires, <br /> I will have made him a millionaire. <br /><br /> RED <br /> Jesus. They ever catch on, he's <br /> gonna wind up wearing a number <br /> himself. <br /><br /> ANDY <br /> (smiles) <br /> I thought you had more faith in me <br /> than that. <br /><br /> RED <br /> I'm sure you're good, but all that <br /> paper leaves a trail. Anybody gets <br /> too curious -- FBI, IRS, whatever -- <br /> that trail's gonna lead to somebody. <br /><br /> ANDY <br /> Sure it will. But not to me, and <br /> certainly not to the warden. <br /><br /> RED <br /> Who then? <br /><br /> ANDY <br /> Peter Stevens. <br /><br /> RED <br /> Who? <br /><br /> ANDY <br /> The silent, silent partner. He's <br /> the guilty one, your Honor. The man <br /> with the bank accounts. That's <br /> where the filtering process starts. <br /> They trace it back, all they're <br /> gonna find is him. <br /><br /> RED <br /> Yeah, okay, but who the hell is he?<br /><br /> ANDY <br /> A phantom. An apparition. Second <br /> cousin to Harvey the Rabbit. <br /> (off Red's look) <br /> I conjured him out of thin air. He <br /> doesn't exist...except on paper. <br /><br /> RED <br /> You can't just make a person up. <br /><br /> ANDY <br /> Sure you can, if you know how the <br /> system works, and where the cracks <br /> are. It's amazing what you can <br /> accomplish by mail. Mr. Stevens has <br /> a birth certificate, social <br /> security card, driver's license. <br /> They ever track those accounts, <br /> they'll wind up chasing a figment <br /> of my imagination. <br /><br /> RED <br /> Jesus. Did I say you were good? <br /> You're Rembrandt. <br /><br /> ANDY <br /> It's funny. On the outside, I was <br /> an honest man. Straight as an <br /> arrow. I had to come to prison to <br /> be a crook. <br /><br />168 EXT -- PRISON YARD -- DUSK (1965) <br /><br /> RED <br /> Does it ever bother you? <br /><br /> ANDY <br /> I don't run the scams, Red, I just <br /> process the profits. That's a fine <br /> line, maybe. But I've also built <br /> that library, and used it to help a <br /> dozen guys get their high school <br /> diplomas. Why do you think the <br /> warden lets me do all that? <br /><br /> RED <br /> To keep you happy and doing the <br /> laundry. Money instead of sheets. <br /><br /> ANDY <br /> I work cheap. That's the trade-off. <br /><br /> TWO SIREN BLASTS draw their attention to the main gate. It <br /> swings open, revealing a prison bus waiting outside. <br /><br />169 INT -- PRISON BUS -- DUSK (1965) 169<br /><br /> Among those on board is TOMMY WILLIAMS, a damn good-looking <br /> kid in his mid-20's. The bus RUMBLES through the gate. <br /><br />170 EXT -- PRISON YARD -- DUSK (1965) 170<br /><br /> The new fish disembark, chained together single-file. The old- <br /> timers holler and shake the fence. A deafening gauntlet. <br /><br />171 INT -- CELLBLOCK EIGHT -- NIGHT (1965) 171<br /><br /> Tommy and the others are marched in naked and shivering, <br /> covered with delousing powder, greeted by TAUNTS and JEERS. <br /><br />172 INT -- TOMMY'S CELL -- NIGHT (1965) 172<br /><br /> The bars slam with a STEEL CLANG. Tommy and his new CELLMATE <br /> take in their new surroundings. <br /><br /> TOMMY <br /> Well. Ain't this for shit? <br /><br />173 INT -- PRISON CORRIDOR -- DAY (1965) 173<br /><br /> DOLLYING Tommy as he struts along, combing his ducktail, <br /> cigarette behind his ear. (We definitely need The Coasters or <br /> Del Vikings on the soundtrack here. Maybe Jerry Lee Lewis.) <br /><br /> RED (V.O.) <br /> Tommy Williams came to Shawshank in <br /> 1965 on a two year stretch for B&E. <br /> Cops caught him sneakin' TV sets <br /> out the back door of a JC Penney. <br /><br />174 INT -- WOOD SHOP -- DAY (1965) 174<br /><br /> A SHRIEKING BUZZSAW slices ten-foot lengths of wood. Red runs <br /> the machine while some other OLD-TIMERS feed the wood. <br /><br /> RED (V.O.) <br /> Young punk, Mr. Rock n' Roll, cocky <br /> as hell... <br /><br /> Tommy is hauling the cut wood off the conveyor and stacking it, <br /> It's a ball-busting job, but the kid's a blur. <br /><br /> TOMMY <br /> (slapping his gloves) <br /> C'mon there, old boys! Movin' like <br /> molasses! Makin' me look bad! <br /><br /> The old guys just grin and shake their heads. <br /><br /> RED (V.O.) <br /> We liked him immediately. <br /><br />175 INT -- MESS HALL -- DAY (1965) 175<br /><br /> Tommy regales the old boys with his exploits: <br /><br /> TOMMY <br /> ...so I'm backin' out the door, <br /> right? Had the TV like this... <br /> (mimes his grip) <br /> Big ol' thing. Couldn't see shit. <br /> Suddenly, here's this voice: <br /> Freeze kid! Hands in the air! <br /> Well I just stand there holdin' on <br /> to that TV, so the voice says: "You <br /> hear what I said, boy?" And I say, <br /> Yes sir, I sure did! But if I drop<br /> this fuckin' thing, you got me on <br /> destruction of property too!<br /><br /> The whole table falls about laughing. <br /><br />176 INT -- LIBRARY -- DAY (1965) 176<br /><br /> Poker game in progress. Tommy, Andy, Red and the boys. <br /><br /> HEYWOOD <br /> You did a stretch in Cashman too? <br /><br /><br /> TOMMY <br /> Yeah. That was an easy ride, let me <br /> tell you. Work programs, weekend <br /> furloughs. Not like here. <br /><br /> SNOOZE <br /> Sounds like you done time all over <br /> New England. <br /><br /> TOMNY <br /> Been in and out since I was 13. Name <br /> the place, chances are I been there. <br /><br /> ANDY <br /> Perhaps it's time you considered a <br /> new profession. <br /> (the game stalls) <br /> What I mean is, you don't seem to <br /> be a very good thief. Maybe you <br /> should try something else. <br /><br /> TOMMY <br /> What the hell you know about it, <br /> Capone? What are you in for? <br /><br /> ANDY <br /> (wry glance to Red) <br /> Everyone's innocent in here. Don't <br /> you know that? <br /><br /> The tension breaks. Everyone laughs. <br /><br />177 INT -- VISITOR'S ROOM -- DAY (1965) 177<br /><br /> CAMERA TRAVELS the room. Chaotic. CONS are waiting their turn <br /> or talking to visitors through a thick plexi shield. <br /><br /> RED (V.O.) <br /> As it turns out, Tommy had himself <br /> a young wife and new baby girl... <br /><br /> Tommy's at the end of the row, phone to his ear. Other side of<br /> the glass is BETH, near tears, fussing with a BABY on her lap.<br /><br /> BETH <br /> ...said we can stay with them, but <br /> Joey's gettin' out of the service <br /> next month, and they barely got <br /> enough room as it is. Plus they got <br /> Poppa workin' double shifts and the <br /> baby cries half the night. I just <br /> don't know where we're gonna go... <br /><br /> PUSH IN on Tommy's face as he listens. <br /><br /> RED (V.O.) <br /> Maybe it was the thought of them on <br /><br /> the streets...or his child growing <br /> up not knowing her daddy... <br /><br />178 INT -- LIBRARY -- DAY (1965) 178<br /><br /> Tommy enters, the strut gone from his step. A little scared. <br /> He finds Andy filing library cards. <br /><br /> RED (V.O.) <br /> Whatever it was, something lit a <br /> fire under that boy's ass. <br /><br /> TOMMY <br /> I'm thinkin' maybe I should try for <br /> high school equivalency. Hear you <br /> helped some fellas with that. <br /><br /> ANDY <br /> I don't waste time on losers, Tommy. <br /><br /> TOMNY <br /> (tight) <br /> I ain't no goddamn loser. <br /><br /> ANDY <br /> That's a good start. If we do this, <br /> we do it all the way. One hundred <br /> percent. Nothing half-assed. <br /><br /> Tommy thinks about it, nods. <br /><br /> TOMMY <br /> Thing is, see... <br /> (leans in, mutters) <br /> ...I don't read all that good. <br /><br /> ANDY <br /> (smiles) <br /> Well. You've come to the right <br /> place then. <br /><br />179 INT -- LIBRARY -- DAY (1965) 179<br /><br /> We find Andy giving an impassioned reading: <br /><br /> ANDY <br /> ...and the lamplight o'er him<br /> streaming throws his shadow on the<br /> floor...and my soul from out that<br /> shadow that lies floating on the<br /> floor, shall be lifted nevermore! "<br /><br /> Andy slaps the book shut, immensely pleased with himself.<br /><br /> TOMMY <br /> So this raven just sits there and <br /> won't go away? <br /><br /> ANDY <br /> That's right. <br /><br /> TOMMY <br /> (beat) <br /> Why don't that fella get hisself a <br /> 12-gauge and dust the fucker? <br /><br />180 INT -- LIBRARY -- DAY (1965) 180<br /><br /> Tommy tries to read as Andy looks on: <br /><br /> TOMMY <br /> The cat sh--The cat shh... <br /> (glances up) <br /> The cat shat on the welcome mat? <br /><br /> Andy shakes his head. Not exactly. <br /><br />181 INT -- LIBRARY -- DAY (1965) 181<br /><br /> Andy chalks the alphabet on a blackboard. <br /><br /> RED (V.O.) <br /> So Andy took Tommy under his wing. <br /> Started walking him through his <br /> ABCs... <br /><br />182 INT -- MESS HALL -- DAY (1965) 182<br /><br /> TRACK the table to Tommy and Andy. Discussing a book. <br /><br /> RED (V.O.) <br /> Tommy took to it pretty well, too. <br /> Boy found brains he never knew he <br /> had. <br /><br />183 EXT -- EXERCISE YARD BLEACHERS -- DAY (1965) 183<br /><br /> TOMNY <br /> The cat sh--shh--shimmied up the <br /> tree and crept st--stel--stealthily <br /> out on the limb... <br /><br />184 INT -- WOOD SHOP -- DAY (1965) 184<br /><br /> Tommy intent on a paperback, mouthing the words. Behind him,<br /> wood is piling up on the conveyor belt. <br /><br /> RED (V.O.) <br /> After a while, you couldn't pry <br /> those books out of hands. <br /><br /> RED <br /> Ass in gear, son! You're putting us <br /> behind! <br /><br /> Tommy shoves the book in his back pocket and hurries over.<br /><br />185 INT -- LIBRARY -- DAY (1965) 185<br /><br /> Tommy writes a sentence on the blackboard. Andy steps in, <br /> shows him how to reconstruct it. <br /><br /> RED (V.O.) <br /> Before long, Andy started him on <br /> his course requirements. He really <br /> liked the kid, that was part of it. <br /> Gave him a thrill to help a <br /> youngster crawl off the shitheap. <br /> But that wasn't the only reason... <br /><br />186 INT -- ANDY'S CELL -- NIGHT (1966) 186<br /><br /> TIGHT ANGLE on chessboard. Most of the pieces complete. PAN TO <br /> Andy lying in his bunk, carefully polishing... <br /><br /> RED (V.O.) <br /> Prison time is slow time. Sometimes <br /> it feels like stop-time. So you do <br /> what you can to keep going... <br /><br /> ...and we keep going past Andy in a SLOW PAN of the cell. <br /> Sink. Toilet. Books. Outside the window bars, we hear another <br /> TRAIN passing in the night... <br /><br /> RED (V.O.) <br /> Some fellas collect stamps. Others <br /> build matchstick houses. Andy built <br /> a library. Now he needed a new project. <br /> Tommy was it. It was the same reason <br /> he spent years shaping and polishing <br /> those rocks. The same reason he hung <br /> his fantasy girlies on the wall... <br /><br /> ...STILL PANNING, past a chair, a sweater on a hook...and <br /> finally to the place of honor on the wall... <br /><br /> RED (V.O.) <br /> In prison, a man'll do most <br /> anything to keep his mind occupied. <br /><br /> ...where the latest poster turns out to be Racquel Welch ins<br /> fur bikini. Gorgeous. "One Million Years, B. C. " SLOW PUSH IN,<br /><br /> RED (V.O.) <br /> By 1966...right about the time <br /> Tommy was getting ready to take his <br /> exams...it was lovely Racquel. <br /><br />187 INT -- LIBRARY -- DAY (1966) 187<br /><br /> Tommy's taking the big test. Andy's monitoring the time. Deep <br /> silence, save for Tommy's pencil-scribbling. A few old-timers <br /> are browsing the shelves, sneaking looks their way. Tommy <br /> tries to ignore them. Concentrate. <br /><br /> Andy clears his throat. Time's up. Tommy puts his pencil down, <br /><br /> ANDY <br /> Well? <br /><br /> TOMMY <br /> Well. It's for shit. <br /> (gets up in disgust) <br /> Wasted a whole fuckin' year of my <br /> time with this bullshit! <br /><br /> ANDY <br /> May not be as bad as you think. <br /><br /> TOMMY <br /> It's worse! I didn't get a fuckin' <br /> thing right! Might as well be in <br /> Chinese! <br /><br /> ANDY <br /> We'll see how the score comes out. <br /><br /> TOMMY <br /> I'll tell you how the goddamn <br /> score comes out... <br /><br /> Tommy grabs the test, wads it, slam-dunks it into the trash.<br /><br /> TOMMY <br /> Two points! Right there! There's <br /> your goddamn score! <br /> (storms out) <br /> Goddamn cats crawlin' up trees, 5 <br /> times 5 is 25, fuck this place, <br /> fuck it! <br /><br /> Tommy is gone. Red and others stare. Andy gets up, pulls the <br /> test from the trash, smoothes it out on the desk. <br /><br />188 INT -- WOOD SHOP -- DAY (1966) 188<br /><br /> Rest break. Tommy and Red sipping Cokes. <br /><br /> TOMMY <br /> I feel bad. I let him down. <br /><br /> RED <br /> That's crap, son. He's proud of <br /> you. Proud as a hen. <br /> (off Tommy's look) <br /> We been friends a long time. I know <br /> him as good as anybody. <br /><br /> TOMMY <br /> Smart fella, ain't he? <br /><br /> RED <br /> Smart as they come. Used to be a <br /> banker on the outside. <br /><br /> TOMMY <br /> What's he in for anyway? <br /><br /> RED <br /> Murder. <br /><br /> TOMMY <br /> The hell you say. <br /><br /> RED <br /> You wouldn't think, lookin' at him. <br /> Caught his wife in bed with some <br /> golf pro. Greased 'em both. C'mon, <br /> boy, back to work... <br /><br /> SMASH! Red turns back. Tommy's Coke has slipped from his hand <br /> and shattered on the floor. The kid's gone white as a sheet. <br /><br /> TOMMY <br /> (bare whisper) <br /> Oh my God... <br /><br />189 INT -- LIBRARY -- DAY (1966) 189<br /><br /> Tommy sits before Andy and Red: <br /><br /> TOMMY <br /> 'Bout four years ago, I was in <br /> Thomaston on a 2 to 3 stretch. <br /> Stole a car. Dumbfuck thing to do. <br /> (beat) <br /> Few months left to go, I get a new <br /> cellmate in. Elmo Blatch. Big <br /> twitchy fucker. Crazy eyes. Kind of <br /> roomie you pray you don't get, know <br /> what I'm sayin'? 6 to 12 for armed <br /> burglary. Said he done hundreds of <br /> jobs. Hard to believe, high-strung <br /> as he was. Cut a loud fart, he'd go <br /> three feet in the air. Talked all <br /> the time, too, that's the other <br /> thing. Never shut up. Places he'd <br /> been, jobs he pulled, women he <br /> fucked. Even people he killed. <br /> People that gave him shit, that's <br /> how he put it. One night, like a <br /> joke, I say: "Yeah? Who'd you <br /> kill?" So he says... <br /><br /> BLATCH <br /> ...I got me this job one time <br /> bussin' tables at a country club. <br /> So I could case all the big rich <br /> pricks that come in. I pick out <br /> this guy, go in one night and do <br /> his place. He wakes up and gives <br /> me shit. So I killed him. Him and <br /> the tasty bitch he was with. <br /> (starts laughing) <br /> That's the best part! She's fuckin' <br /> this prick, see, this golf pro, but <br /> she's married to some other guy! <br /> Some hotshot banker. He's the one <br /> they pinned it on! They got him <br /> down-Maine somewhere doin' time for <br /> the crime! Ain't that choice? <br /><br /> He throws his head back and ROARS with laughter. <br /><br />191 INT -- PRISON LIBRARY -- DAY (1966) 191<br /><br /> Silence. Tommy has finished his story. Red is stunned...but <br /> Andy looks like he's been smacked with a two by four. <br /><br /> RED <br /> Andy? <br /><br /> Andy says nothing. Walks stiffly away. Doesn't look back. <br /><br />192 INT -- NORTON'S OFFICE -- DAY (1966) 192<br /><br /> NORTON <br /> Well. I have to say, that's the <br /> most amazing story I ever heard. <br /> What amazes me most is you were <br /> taken in by it. <br /><br /> ANDY <br /> Sir? <br /><br /> NORTON <br /> It's obvious this fellow Williams <br /> is impressed with you. He hears <br /> your tale of woe and quite <br /> naturally wants to cheer you up. <br /> He's young, not terribly bright. <br /> Not surprising he didn't know what <br /> a state he'd put you in. <br /><br /> ANDY <br /> I think he's telling the truth. <br /><br /> NORTON <br /> Let's say for a moment Blatch does <br /> exist. You think he'd just fall to <br /> his knees and cry, "Yes, I did it! <br /> I confess! By all means, please add<br /> a life term to my sentence!" <br /><br /> ANDY <br /> It wouldn't matter. With Tommy's <br /> testimony, I can get a new trial. <br /><br /> NORTON <br /> That's assuming Blatch is even <br /> still there. Chances are excellent <br /> he'd be released by now. Excellent.<br /><br /> ANDY <br /> They'd have his last known address.<br /> Names of relatives... <br /> (Norton shakes his head)<br /> Well it's a chance. isn't it? How<br /> can you be so obtuse? <br /><br /> NORTON <br /> What? What did you call me? <br /><br /> ANDY <br /> Obtuse! Is it deliberate? The <br /> country club will have his old time<br /> cards! W-2s with his name on them! <br /><br /> NORTON <br /> (rises) <br /> Dufresne, if you want to indulge <br /> this fantasy, that's your business.<br /> Don't make it mine. This meeting's <br /> over. <br /><br /> ANDY <br /> Look, if it's the squeeze, don't <br /> worry. I'd never say what goes on <br /> in here. I'd be just as indictable <br /> as you for laundering the money! <br /><br /> NORTON <br /> Don't you ever mention money to me <br /> again, you sorry son of a bitch! <br /> Not in this office, not anywhere! <br /> (slaps intercom) <br /> Get in here! Now! <br /><br /> ANDY <br /> I was just trying to rest your mind<br /> at ease, that's all. <br /><br /> NORTON <br /> (as GUARDS enter) <br /> Solitary! A month! <br /><br /> Andy gets dragged away, kicking and screaming: <br /><br /> ANDY <br /> What's the matter with you? It's my <br /> chance to get out, don't you see <br /> that? It's my life! Don't you <br /> understand it's my life? <br /><br />193 EXT -- PRISON YARD -- DAY (1966) 193<br /><br /> Mail call. Men crowd around as names are called out. Red and<br /> the boys are parked on the bleachers. <br /><br /> FLOYD <br /> A month in the hole. Longest damn <br /> stretch I ever heard of. <br /><br /> TOMMY <br /> It's my fault. <br /><br /> RED <br /> Like hell. You didn't pull the <br /> trigger, and you didn't convict him. <br /><br /> HEYWOOD <br /> Red? You saying Andy's innocent? I <br /> mean for real innocent? <br /> (Red nods) <br /> Sweet Jesus. How long's he been in <br /> here? <br /><br /> RED <br /> Since '47. Going on nineteen years. <br /><br /> MAIL CALLER <br /> Thomas Williams! <br /><br /> Tommy raises his hand. The envelope gets tossed to him. He<br /> stares at it. Red peers over his shoulder. <br /><br /> RED <br /> Board of Education. <br /><br /> TOMMY <br /> The son of a bitch mailed it. <br /><br /> RED <br /> Looks that way. You gonna open it <br /> or stick your thumb up your butt? <br /><br /> TOMMY <br /> Thumb up my butt sounds better. <br /><br /> He gets hemmed in by the older men. Red snatches the letter. <br /><br /> TOMMY <br /> C'mon, just throw it away. Will you <br /> please? Just throw it away? <br /><br /> Red rips it open, scans the letter. Expressionless. <br /><br /> RED <br /> Well, shit. <br /><br />194 INT -- VISITOR'S ROOM -- DAY (1966) 194<br /><br /> Tommy makes his way through the chaos, finds Beth and the baby <br /> waiting behind the thick plexi shield. He sits, doesn't pick <br /> up the phone. Just stares at Beth. She doesn't know what to <br /> make of it. <br /><br /> He presses a piece of paper against the glass. A high school <br /> diploma. Her face lights up, blinking back tears. <br /><br />195 INT -- SOLITARY WING -- NIGHT (1966) 195<br /><br /> LOW ANGLE on steel door. Somewhere behind it, unseen, is Andy, <br /> A rat scurries along the wall. FOOTSTEPS approach slowly. <br /><br />196 INT -- SOLITARY -- NIGHT (1966) 196<br /><br /> Andy listens in darkness. The FOOTSTEPS pause outside his <br /> door. The slot opens. An ELDERLY GUARD peers in. <br /><br /> ELDERLY GUARD <br /> Kid passed. C-plus average. Thought <br /> you'd like to know. <br /><br /> The slot closes. The FOOTSTEPS recede. Andy smiles. <br /><br />197 INT -- PRISON CORRIDOR -- NIGHT (1966) 197<br /><br /> We find Tommy on evening work detail, mopping the floors with <br /> bucket and pail. Mert Entwhistle comes into view. <br /><br /> MERT <br /> Warden wants to talk. <br /><br />198 EXT -- PRISON -- NIGHT (1966) 198<br /><br /> A steel door rattles open. Mert leads Tommy outside to a gate, <br /> unlocks it. Tommy looks around. <br /><br /> TOMMY <br /> Out here? <br /><br /> MERT <br /> That's what the man said. <br /><br /> Mert swings the gate open, sends Tommy through, turns and <br /> heads back inside. Tommy proceeds out across a loading-dock<br /> access for the shops and mills. Some vehicles parked. The <br /> place is deserted. He stops, sensing a presence. <br /><br /> TOMMY <br /> Warden? <br /><br /> Norton steps into the light. <br /><br /> NORTON <br /> Tommy, we've got a situation here. <br /> I think you can appreciate that. <br /><br /> TOMMY <br /> Yes sir, I sure can. <br /><br /> NORTON <br /> I tell you, son, this really came <br /> along and knocked my wind out. It's <br /> got me up nights, that's the truth. <br /><br /> Norton pulls a pack of cigarettes, offers Tommy a smoke. Tommy<br /> takes one. Norton lights both cigarettes, pockets his lighter.<br /><br /> NORTON <br /> The right decision. Sometimes it's <br /> hard to figure out what that is. <br /> You understand? <br /> (Tommy nods) <br /> Think hard, Tommy. If I'm gonna <br /> move on this, there can't be the <br /> least little shred of doubt. I have <br /> to know if you what you told <br /> Dufresne was the truth. <br /><br /> TOMMY <br /> Yes sir. Absolutely. <br /><br /> NORTON <br /> Would you be willing to swear before <br /> a judge and jury...having placed <br /> your hand on the Good Book and taken <br /> an oath before Almighty God Himself? <br /><br /> TOMMY <br /> Just gimme that chance. <br /><br /> NORTON <br /> That's what I thought. <br /><br /> Norton drops his cigarette. Crushes it out with the toe of his <br /> shoe. Glances up toward the plate shop roof as -- <br /><br />199 HIGH ANGLE FROM PLATE SHOP ROOF (SNIPER POV) 199<br /><br /> -- a rifle scope pops up into frame, jumping Tommy's image <br /> into startling magnification, framed in the crosshairs. <br /><br />200 THE SNIPER 200<br /><br /> rapid-fires a carbine -- BLAM!BLAM!BLAM!BLAM! -- his face lit <br /> up by the muzzle flashes. Captain Hadley. <br /><br />201 TOMMY 201<br /><br /> gets chewed to pieces by the gunfire. He smacks the ground in <br /> a twitching, thrashing heap. Eyes wide and staring. Dead. <br /> Surprise still stamped on his face. Silence now. Norton <br /> turns, strolls into darkness. <br /><br />202 INT -- SOLITARY WING -- DAY (1966) 202<br /><br /> GUARDS approach Andy's cell. The door is unlocked. Andy <br /> emerges slowly, blinking painfully at the light. <br /><br />203 INT/EXT -- PRISON -- DAY (1966) 203<br /><br /> Andy is marched along. Convicts stop to stare. <br /><br />204 INT -- NORTON'S OFFICE -- DAY (1966) 204<br /><br /> Andy is led in. The door is closed. Alone with Norton. Softly, <br /><br /> NORTON <br /> Terrible thing. Man that young, <br /> less than a year to go, trying to <br /> escape. Broke Captain Hadley's <br /> heart to shoot him, truly it did. <br /><br /> ANDY <br /> I'm done. It stops right now. Get <br /> H&R Block to declare your income. <br /><br /> Norton lunges to his feet, eyes sparkling with rage. <br /><br /> NORTON <br /> Nothing stops! NOTHING! <br /> (tight) <br /> Or you will do the hardest time <br /> there is. No more protection from <br /> the guards. I'll pull you out of <br /> that one-bunk Hilton and put you in <br /> (MORE) <br /><br /> -<br /> NORTON (cont.) <br /> with the biggest bull queer I can <br /> find. You'll think you got fucked <br /> by a train! And the library? Gone! <br /> Sealed off brick by brick! We'll <br /> have us a little book-barbecue in <br /> the yard! They'll see the flames <br /> for miles! We'll dance around it <br /> like wild Indians! Do you understand <br /> me? Are you catching my drift? <br /><br /> SLOW PUSH IN on Andy's face. Eyes hollow. His beaten <br /> expression says it all... <br /><br />205 EXT -- PRISON YARD -- DAY (1966) 205<br /><br /> Red finds Andy sitting in the shadow of the high stone wall, <br /> poking listlessly through the dust for small pebbles. Red <br /> waits for some acknowledgment. Andy doesn't even look up. <br /> Red hunkers down and joins him. Nothing is said for the <br /> longest time. And then, softly: <br /><br /> ANDY <br /> My wife used to say I'm a hard man <br /> to know. Like a closed book. <br /> Complained about it all the time. <br /> (pause) <br /> She was beautiful. I loved her. But <br /> I guess I couldn't show it enough. <br /> (softly) <br /> I killed her, Red. <br /><br /> Andy finally glances to Red, seeking a reaction. Silence. <br /><br /> ANDY <br /> I didn't pull the trigger. But I <br /> drove her away. That's why she <br /> died. Because of me, the way I am. <br /><br /> RED <br /> That don't make you a murderer. Bad <br /> husband, maybe. <br /><br /> Andy smiles faintly in spite of himself. Red gives his <br /><br /> shoulder a squeeze. <br /><br /> RED <br /> Feel bad about it if you want. But <br /> you didn't pull the trigger. <br /><br /> ANDY <br /> No. I didn't. Someone else did, and <br /> I wound up here. Bad luck, I guess. <br /><br /> RED <br /> Bad luck? Jesus. <br /><br /> ANDY <br /> It floats around. Has to land on <br /> somebody. Say a storm comes <br /> through. Some folks sit in their <br /> living rooms and enjoy the rain. <br /> The house next door gets torn out <br /> of the ground and smashed flat. It <br /> was my turn, that's all. I was in <br /> the path of the tornado. <br /> (softly) <br /> I just had no idea the storm would <br /> go on as long as it has. <br /> (glances to him) <br /> Think you'll ever get out of here? <br /><br /> RED <br /> Sure. When I got a long white beard <br /> and about three marbles left <br /> rolling around upstairs. <br /><br /> ANDY <br /> Tell you where I'd go. Zihuatanejo.<br /><br /> RED <br /> Zihuatanejo? <br /><br /> ANDY <br /> Mexico. Little place right on the <br /> Pacific. You know what the Mexicans <br /> say about the Pacific? They say it <br /> has no memory. That's where I'd <br /> like to finish out my life, Red. A <br /> warm place with no memory. Open a <br /> little hotel right on the beach. <br /> Buy some worthless old boat and fix <br /> it up like new. Take my guests out <br /> charter fishing. <br /> (beat) <br /> You know, a place like that, I'd <br /> need a man who can get things. <br /><br /> Red stares at Andy, laughs. <br /><br /> RED <br /> Jesus, Andy. I couldn't hack it on <br /> the outside. Been in here too long. <br /> I'm an institutional man now. Like <br /> old Brooks Hatlen was. <br /><br /> ANDY <br /> You underestimate yourself. <br /><br /> -<br /><br /> RED <br /> Bullshit. In here I'm the guy who <br /> can get it for you. Out there, all <br /> you need are Yellow Pages. I <br /> wouldn't know where to begin. <br /> (derisive snort) <br /> Pacific Ocean? Hell. Like to scare <br /> me to death, somethin' that big. <br /><br /> ANDY <br /> Not me. I didn't shoot my wife and <br /> I didn't shoot her lover, and <br /> whatever mistakes I made I've paid <br /> for and then some. That hotel and <br /> that boat...I don't think it's too <br /> much to want. To look at the stars <br /> just after sunset. Touch the sand. <br /> Wade in the water. Feel free. <br /><br /> RED <br /> Goddamn it, Andy, stop! Don't do <br /> that to yourself! Talking shitty <br /> pipedreams! Mexico's down there, <br /> and you're in here, and that's the <br /> way it is! <br /><br /> ANDY <br /> You're right. It's down there, and <br /> I'm in here. I guess it comes down <br /> to a simple choice, really. Get <br /> busy living or get busy dying. <br /><br /> Red snaps a look. What the hell does that mean? Andy rises and<br /> walks away. Red lunges to his feet. <br /><br /> RED <br /> Andy? <br /><br /> ANDY <br /> (turns back) <br /> Red, if you ever get out of here, <br /> do me a favor. There's this big <br /> hayfield up near Buxton. You know <br /> where Buxton is? <br /><br /> RED <br /> (nods) <br /> Lots of hayfields there. <br /><br /> ANDY <br /> One in particular. Got a long rock <br /> wall with a big oak at the north <br /> end. Like something out of a Robert <br /> Frost poem. It's where I asked my <br /> (MORE) <br /><br /><br /><br /> ANDY (cont.) <br /> wife to marry me. We'd gone for a <br /> picnic. We made love under that <br /> tree. I asked and she said yes. <br /> (beat) <br /> Promise me, Red. If you ever get <br /> out, find that spot. In the base of <br /> that wall you'll find a rock that <br /> has no earthly business in a Maine <br /> hayfield. A piece of black volcanic <br /> glass. You'll find something buried <br /> under it I want you to have. <br /><br /> RED <br /> What? What's buried there? <br /><br /> ANDY <br /> You'll just have to pry up that <br /> rock and see. <br /><br /> Andy turns and walks away. <br /><br />206 INT -- MESS HALL -- DAY (1966) <br /><br /> RED <br /> I tell you, the man was talkin' <br /> crazy. I'm worried, I truly am. <br /><br /> SKEET <br /> We ought to keep an eye on him. <br /><br /> JIGGER <br /> That's fine, during the day. But <br /> at night he's got that cell all to <br /> himself. <br /><br /> HEYWOOD <br /> Oh Lord. Andy come down to the <br /> loading dock today. Asked me for a <br /> length of rope. Six foot long. <br /><br /> SNOOZE <br /> Shit! You gave it to him? <br /><br /> HEYWOOD <br /> Sure I did. I mean why wouldn't I?<br /><br /> FLOYD <br /> Christ! Remember Brooks Hatlen? <br /><br /> HEYWOOD <br /> How the hell was I s'pose to know? <br /><br /> JIGGER <br /> Andy'd never do that. Never. <br /><br /> They all look to Red. <br /><br /> RED <br /> Every man's got a breaking point. <br /><br />207 EXT -- PRISON YARD -- ANGLE ON P.A. -- DUSK (1966) 207<br /><br /> VOICE (over P.A.) <br /> Report to your cellblocks for <br /> evening count. <br /><br /> BOOM DOWN to Red and the boys. Convicts drift past them.<br /><br /> FLOYD <br /> Where the hell is he? <br /><br /> HEYWOOD <br /> Probably still up in the warden's. <br /><br /> TOWER GUARD <br /> (via bullhorn) <br /> YOU MEN! YOU HEAR THAT ANNOUNCEMENT <br /> OR ZUST TOO STUPID TO UNDERSTAND? <br /><br /> SKEET <br /> Christ. What do we do? <br /><br /> FLOYD <br /> Nothing we can do. Not tonight. <br /><br /> HEYWOOD <br /> Let's pull him aside tomorrow, all <br /> of us. Have a word with him. Ain't <br /> that right, Red? <br /><br /> RED <br /> (unconvinced) <br /> Yeah. Sure. That's right. <br /><br />20B INT -- NORTON'S OFFICE -- NIGHT (1966) 208<br /><br /> Andy's working away. Norton pokes his head in. <br /><br /> NORTON <br /> Lickety-split. I wanna get home. <br /><br /> ANDY <br /> Just about done, sir. <br /><br /> We follow Norton to his wife's sampler. He swings it aside, <br /> works the combination dial, opens the wall safe. Andy moves up,<br /> shoves in the black ledger and files. Norton shuts the safe. <br /><br /> ANDY <br /> Three deposits tonight. <br /><br /> Andy hands him the envelopes. Norton heads for the door. <br /><br /> NORTON <br /> Get my stuff down t'laundry. And <br /> shine my shoes. I want 'em lookin' <br /> like mirrors. <br /> (pauses at door) <br /> Nice havin' you back, Andy. Place <br /> just wasn't the same without you. <br /><br /> Norton exits. Andy turns to the laundry. He opens the shoebox. <br /> Nice pair of dress shoes inside. He sighs, glances down at the <br /> old ragged pair of work shoes on his own feet. <br /><br />209 INT -- NORTON'S OFFICE -- NIGHT (1966) 209<br /><br /> Andy is diligently shining Norton's shoes. <br /><br />210 INT -- PRISON CORRIDOR -- NIGHT (1966) 210<br /><br /> Andy trudges down the hallway, laundry slung over his shoulder, <br /><br />211 INT -- CELLBLOCK FIVE -- NIGHT (1966) 211<br /><br /> Andy nods to the GUARD. The guard BUZZES him through. <br /><br />212 INT -- RED'S CELL -- NIGHT (1966) 212<br /><br /> Red hears Andy coming, moves to the bars. He watches Andy come <br /> up to the second tier and pause before his cell. <br /><br /> GUARD (O.S.) <br /> Open number twelve! <br /><br /> Andy gazes directly at Red. A beat of eye contact. Red shakes <br /> his head. Don't do it. Andy smiles, eerily calm...and enters <br /> his cell. The door closes. KA-THUMP! We hold on Red's face. <br /><br />213 INT -- ANDY'S CELL -- NIGHT (1966) 213<br /><br /> Andy is polishing a chess piece. <br /><br /> VOICE (O.S.) <br /> Lights out! <br /><br /> The lights bump off. He finishes polishing, holds up the piece <br /> to admire. A pawn. He sets it down with the others -- and we <br /> realize it's the final glance for the board. A full set. <br /><br /> He gazes up at Racquel and smiles. Pulls a six foot length of <br /> rope from under his pillow. Lets it uncoil to the floor. <br /><br />214 INT -- RED'S CELL -- NIGHT (1966) 214<br /><br /> Red sits in the dark, a bundle of nerves, trying to hold <br /><br /> himself still. He feels like he might scream or shake to <br /> pieces. The seconds tick by, each an eternity. <br /><br /> RED (V.O.) <br /> I have had some long nights in <br /> stir. Alone in the dark with <br /> nothing but your thoughts, time can <br /> draw out like a blade... <br /><br /> A FLASH OF LIGHTNING outside his window sends harsh barred <br /> shadows jittering across the cell. A storm breaking. <br /><br /> RED (V.O.) <br /> That was the longest night of my <br /> life... <br /><br />215 INT -- CELLBLOCK FIVE -- MORNING (1966) 215<br /><br /> KA-THUMP! The master lock is thrown. The cons emerge from <br /> their cells and the headcount begins. Red looks back to see if <br /> Andy's in line. He's not. Suddenly the count stalls: <br /><br /> GUARD <br /> Man missing on tier two! Cell 12! <br /><br /> The head bull, HAIG, checks his list: <br /><br /> HAIG <br /> Dufresne? Get your ass out here, <br /> boy! You're holding up the show! <br /> (no answer) <br /> Don't make me come down there now! <br /> I'll thump your skull for you! <br /><br /> Still no answer. Glaring, Haig stalks down the tier, clipboard <br /> in hand. His men fall in behind. <br /><br /> HAIG <br /> Dufresne, dammit, you're putting me <br /> behind! You better be sick or dead <br /> in there, I shit you not! <br /><br /> They arrive at bars. Their faces go slack. Stunned. Softly: <br /><br /> HAIG <br /><br /> Oh my Holy God. <br /><br />216 REVERSE ANGLE 216<br /><br /> reveals the cell is empty. Everything neat and tidy. Even the <br /> bunk is stowed. They wrench the door open and rush in, tossing <br /> the cell in a panic as if Andy might be lurking under the <br /> Kleenex or the toothpaste. CAMERA ROCKETS IN on Haig as he <br /> spins toward us, bellowing at the top of his lungs: <br /><br /> HAIG <br /> WHAT THE FUCK! <br /><br />217 INT -- NORTON'S OFFICE -- MORNING (1966) 217<br /><br /> Norton is kicking back with the morning paper. He notices ha<br /> dingy his shoes are. He glances at the shoebox on the desk. <br /> kicks his shoes off, opens the box -- and gulls out Andy's o<br /> grimy work shoes. He stares blankly. What the fuck indeed. <br /><br /> An ALARM STARTS BLARING throughout the prison. He looks up. <br /><br />218 EXT -- PRISON -- DAY (1966) 218<br /><br /> Norton and Hadley stride across the grounds, ALARM BLARING. <br /><br /> NORTON <br /> I want every man on that cellblock <br /> questioned! Start with that friend <br /> of his! <br /><br /> HADLEY <br /> who? <br /><br />219 INT -- CELLBLOCK FIVE -- RED'S CELL -- DAY (1966) 219<br /><br /> Red watches as Norton storms up with an entourage of guards.<br /><br /><br /> NORTON <br /> Him. <br /><br /> Red's eyes widen. Guards yank him from his cell. <br /><br />220 INT -- ANDY'S CELL -- DAY (1966) 220<br /><br /> Norton steps to the center of the room, working himself up <br /> into a fine rage: <br /><br /> NORTON <br /> What do you mean "he just wasn't <br /> here?" Don't say that to me, Haig! <br /> Don't say that to me again! <br /><br /> HAIG <br /> But sir! He wasn't! He isn't! <br /><br /> NORTON <br /> I can see that, Haig! You think I'm <br /> blind? Is that what you're saying? <br /> Am I blind, Haig? <br /><br /> HAIG <br /> No sir! <br /><br /> Norton grabs the clipboard and thrusts it at Hadley. <br /><br /> NORTON <br /> What about you? You blind? Tell me <br /> what this is! <br /><br /> HADLEY <br /> Last night's count. <br /><br /> NORTON <br /> You see Dufresne's name? I sure do! <br /> Right there, see? "Dufresne." He <br /> was in his cell at lights out! <br /> Stands to reason he'd still be here <br /> this morning! I want him found! Not <br /> tomorrow, not after breakfast! Now! <br /><br /> Haig scurries out, gathering men. Norton spins to Red. <br /><br /> NORTON <br /> Well? <br /><br /> RED <br /> Well what? <br /><br /> NORTON <br /> I see you two all the time, you're <br /> thick as thieves, you are! He <br /> must'a said something! <br /><br /> RED <br /> No sir, he didn't! <br /><br /> Norton spreads his arms evangelist-style, spins slowly around.<br /><br /> NORTON <br /> Lord! It's a miracle! Man up and <br /> vanished like a fart in the wind! <br /> Nothin' left but some damn rocks on <br /> the windowsill and that cupcake on <br /> the wall! Let's ask her! Maybe she <br /> knows! What say there, Fuzzy- <br /> Britches? Feel like talking? Guess <br /> not. Why should you be different? <br /><br /> Red exchanges looks with the guards. Even they're nervous. <br /> Norton scoops a handful rocks off the sill. He hurls them at<br /> the wall one at a time, shattering them, punctuating his words:<br /><br /> NORTON <br /> It's a conspiracy! (SMASH) That's <br /> what this is! (SMASH) It's one big <br /> damn conspiracy! (SMASH) And <br /> everyone's in on it! (SMASH) <br /> Including her! <br /><br /> He sends the last rock whizzing right at Racquel. <br /> No smash. <br /><br /> It takes a moment for this to sink in. All eyes go to her. The <br /> rock went through her. There's a small hole in the poster <br /> where her navel used to be. <br /><br /> You could hear a pin drop. Norton reaches up, sinks his finger <br /> into the hole. He keeps pushing...and his entire hand <br /> disappears into the wall. <br /><br />221 ANGLE FROM BEHIND POSTER 221<br /><br /> as Norton rips the poster from before our eyes. Stunned faces <br /> peer in. CAMERA PULLS SLOWLY BACK...to reveal the long <br /> crumbling tunnel in the wall. <br /><br />222 INT -- ANDY'S CELL -- MINUTES LATER (1966) 222<br /><br /> RORY TREMONT, a guard barely out of his teens, tries not to <br /> look nervous as they lash a rope around his chest. He's <br /> getting instructions from six different people at once. <br /><br /> RED (V.O.) <br /> They got this skinny kid named Rory <br /> Tremont to go in the hole. He wasn't <br /> much in the brains department, but <br /> he possessed the one most important <br /> qualification for the job... <br /> (they slap a flashlight <br /> in his hands) <br /> ...he was willing to go. <br /><br />223 INT -- TUNNEL -- DAY (1966) 223<br /><br /> Rory squeezes down the tunnel on his belly. <br /><br /> RED (V.O.) <br /> Probably thought he'd win a Bronze <br /> Star or something. <br /><br />224 INT -- VERTICAL SHAFT -- DAY (1966) 224<br /><br /> Dark as midnight. Concrete walls rise on both sides. If you <br /> imagine them as two huge slices of bread, the meat of this <br /> particular sandwich is about three feet of airspace and a dark<br /> tangle of pipes between the cellblocks. Rory's appears, shining<br /> his flashlight down the shaft. Somewhere, a rat SQUEAKS. <br /><br /> RED (V.O.) <br /> It was his third day on the job. <br /><br /> RORY <br /> Warden? There's a space here <br /> between the walls 'bout three feet <br /> across! Smells pretty damn bad! <br /><br /> NORTON (O.S.) <br /> I don't care what it smells like! <br /><br /> HADLEY (O.S.) <br /> Go on, boy! We got a hold of you! <br /><br /> Looking none too happy about it, Rory squeezes from the tunnel <br /> and dangles into the shaft. He gets lowered, shining his <br /> light, smothered by darkness. Not having a good time. <br /><br /> RORY <br /> Hoo-whee! Smell's gettin' worse! <br /><br /> NORTON (O.S.) <br /> Never mind, I said! Just keep going! <br /><br /> RORY <br /> Smells pretty damn bad, Warden! In <br /> fact, it smells just like shit. <br /><br /> His feet touch the ground -- or what he assumed was the <br /> ground. It's not. In fact, it's just what it smells like. He <br /> sinks in past his ankles. He slips and sits heavily in it. <br /><br /> RORY <br /> Oh God, that's what it is, it's <br /> shit. oh my God it's shit. pull me <br /> out 'fore I blow my groceries, oh <br /> shit it's shit, oh my Gawwwwwwd! <br /><br />225 INT -- ANDY'S CELL -- DAY (1966) 225<br /><br /> Red and others listen to violent barfing from below. <br /><br /> RED (V.O.) <br /> And then came the unmistakable <br /> sound of Rory Tremont losing his <br /> last few meals. The whole cellblock <br /> heard it. I mean, it echoed. <br /><br /> That's it for Red. He starts laughing. Laughing, hell, he's <br /> bellowing laughter, laughing so hard he has to hold himself, <br /> laughing so hard tears are pouring down his cheeks. The look <br /> of rage on Norton's face makes him laugh all the harder. <br /><br />226 INT -- SOLITARY WING -- NIGHT (1966) 226<br /><br /> Abrupt silence. LOW ANGLE on steel door. <br /><br /> RED (V.O.) <br /> I laughed myself right into <br /> solitary. Two week stretch. <br /><br />227 INT -- SOLITARY -- NIGHT (1966) 227<br /><br /> RED <br /> It's shit, it's shit, oh my God <br /> it's shit... <br /><br /> He starts laughing all over again, fit to split. <br /><br /> RED (V.O.) <br /> Andy once talked about doing easy <br /> time in the hole. Now I knew what <br /> he meant. <br /><br />228 EXT -- SHAWSHANK PRISON -- WIDE SHOT -- DAY (1966) 228<br /><br /> Virgin landscape. Charming rural road. Suddenly, State Police<br /> cruisers rocket up the road with SIRENS AND LIGHTS. <br /><br /> RED (V.O.) <br /> In 1966, Andy Dufresne escaped from <br /> Shawshank Prison. <br /><br />229 EXT -- FIELD -- DAY (1966) 229<br /><br /> Shawshank is half a mile distant. WE TRACK ALONG a muddy creel<br /> as STATE TROOPERS and PRISON GUARDS scour the brush. A TROOPEE<br /> fishes a prison uniform out of the creek with a long stick. <br /><br /> RED (V.O.) <br /> All they found of him was a muddy <br /> set of prison clothes, a bar of <br /> soap, and an old rock-hammer damn <br /> near worn down to the nub. <br /><br /> TROOPER g2 pulls the rock-hammer from the weeds. SWISH PAN <br /> to a POLICE PHOTOGRAPHER. His FLASHBULB GLARE produces: <br /><br />230 A BLACK AND WHITE STILL PHOTO 230<br /><br /> of the hapless cops posing with Andy's reeking uniform and the<br /> worn rock-hammer. PUSH IN on the hammer. <br /><br /> RED (V.O.) <br /> I remember thinking it would take a <br /> man six hundred years to tunnel <br /> through the wall with it. Andy did <br /> it in less than twenty. <br /><br />231 INT -- ANDY'S CELL -- NIGHT (1949) 231<br /><br /> Once again, we see Andy using the rock-hammer to scratch his<br /><br /> name into the cement. Suddenly, a palm-sized chunk of cement <br /> pops free and hits the floor. He stares down at it. <br /><br />232 INT -- ANDY'S CELL -- NIGHT (1949) 232<br /><br /> Andy lies in the dark, studying the chunk of concrete in his <br /> hands. Considering the possibilities. Wrestling with hope. <br /><br /> RED (V.O.) <br /> Andy loved geology. I imagine it <br /> appealed to his meticulous nature. <br /> An ice age here, a million years of <br /> mountain-building there, plates of <br /> bedrock grinding against each other <br /> over a span of millennia... <br /><br />233 INT -- ANDY'S CELL -- NIGHT (1949) 233<br /><br /> Andy stands peering at the small hole left by the fallen <br /> chunk. Carefully runs his fingertip over it. <br /><br /> RED (V.O.) <br /> Geology is the study of pressure <br /> and time. That's all it takes, <br /> really. Pressure and time. <br /><br />234 INT -- ANDY'S CELL -- NIGHT (1951) 234<br /><br /> Rita is now on the wall, hanging down over Andy's back. <br /><br /> RED (V.O.) <br /> That and a big damn poster. <br /><br /> TRACK IN to reveal Andy scraping patiently at the concrete. <br /><br /> RED (V.O.) <br /> Like I said. In prison, a man'll do <br /> most anything to keep his mind <br /> occupied. <br /><br /> He hears FOOTSTEPS approaching. He smoothes the poster down and <br /> dives into bed. A GUARD strolls by a moment later, shining his <br /> flashlight into the cell. <br /><br />235 EXT -- PRISON YARD -- DAY (1953) 235<br /><br /> Andy strolls along, whistling softly, hands in both pockets. <br /> TILT DOWN to his pantleg. Concrete grit trickles out. <br /><br /> RED (V.O.) <br /> It turns out Andy's favorite hobby <br /> was totin' his wall out into the <br /> exercise yard a handful at a time... <br /><br />236 INT -- 2ND TIER -- NIGHT (1962) 236<br /><br /> A GUARD strolls the tier, shining his flashlight into the <br /> cells. He pauses at Andy's bars, playing the beam over the <br /> sleeping form huddled under the blankets. <br /><br /> p37 REVERSE ANGLE (FROM INS1DE ANDY'S CELL) 237<br /><br /> We see what the guard doesn't: instead of Andy's head under <br /> the blanket, it's a wadded-up pillow. The flashlight plays <br /> across the cell, pinning Marilyn Monroe in a circle of light. <br /><br />238 ANGLE FROM BEHIND POSTER 238<br /><br /> The light illuminates her face through the paper. WIDEN to <br /> reveal Andy lying in his tunnel, holding his breath. The <br /> light clicks off. The FOOTSTEPS move on. He gets back to work. <br /><br /> RED (V.O.) <br /> While the rest of us slept, Andy <br /> spent years workin' the nightshift... <br /><br />239 INT -- SHAFT -- NIGHT (1965) 239<br /><br /> BOOMING SLOWLY UP the shaft. Rats scurry the pipes. Suddenly, r<br /> piece of concrete the size of a quarter jumps free and plummets<br /> down the shaft as the rock-hammer pushes through. The pick <br /> withdraws, replaced by Andy's peering eye. <br /><br />240 A SERIES OF DISSOLVES (1965 through 1966) 240<br /><br /> takes us through the widening of the hole. First as big as a <br /> tea cup. Then a saucer. Then a dinner plate. <br /><br /> RED (V.O.) <br /> Probably took him most of a year <br /> just to get his head through. <br /><br /> Andy finally gets his head through, scraping his ears. He's <br /> got a penlight clenched in his teeth. He peers down into the <br /> shaft. At the very bottom, maybe 20 feet down, a big ceramic <br /> pipe runs the length of the cellblock. Beneath its coat of <br /> grime and dust, the word "SEWER" is stenciled. <br /><br />241 EXT -- LOADING DOCK ACCESS -- NIGHT (1966) 241<br /><br /> ANGLE LOOKING STRAIGHT DOWN. Below us, Tommy Williams lies <br /> facedown at Norton's feet. Blood is spreading, fanning out oa <br /> the pavement. Norton turns, strolls out of frame. <br /><br /> RED (V.O.) <br /> I guess after Tommy was killed, <br /> Andy decided he'd been here just <br /> about long enough. <br /><br /> Again we see: Andy working. Norton pokes his head in. <br /><br /> NORTON <br /> Lickety-split. I wanna get home. <br /><br /> ANDY <br /> Just about done, sir. <br /><br /> Norton crosses to the wall safe and works the dial, his back <br /> turned. This time, though, we stay on Andy: <br /><br /> He pulls up his sweater, yanks out a large black book and a <br /> stack of files, lays them on the desk. He then grabs the real <br /> ledger and files, jams them down his pants and smoothes his <br /> sweater down. He picks up the bogus stack, crosses to Norton, <br /> and shoves everything in. <br /><br />243 INT -- HALLWAY -- NIGHT (1966) 243<br /><br /> Norton exits his office and strolls off whistling. PUSH IN on <br /> the open door. We see Andy at the guard's desk, pulling <br /> Norton's dress shoes from their box. <br /><br /> RED (V.O.) <br /> Andy did like he was told. Buffed <br /> those shoes to a high mirror shine. <br /><br />244 INT -- NORTON'S OFFICE -- MINUTES LATER (1966) 244<br /><br /> Andy sorts through Norton's three suits. He pauses, checking <br /> the gray pinstripe. Nice. <br /><br />245 INT -- CELLBLOCK FIVE -- NIGHT (1966) 245<br /><br /> The guard BUZZES Andy through. Andy walks toward us. <br /><br /> RED (V.O.) <br /> The guard simply didn't notice. <br /> Neither did I. I mean, seriously, <br /> how often do you really look at a <br /> man's shoes? <br /><br /> TILT DOWN as he passes by. Yep, he's wearing Norton's shoes. <br /><br />246 INT -- ANDY'S CELL -- NIGHT (1966) 246<br /><br /> The lights go out. Andy places the last chess piece. Gazes up <br /> at Racquel. Smiles. Pulls the rope from under his pillow. <br /> He stands and unbuttons his prison shirt, revealing Norton's <br /> gray pinstripe suit underneath. A FLASH OF LIGHTNING floods the <br /> cell, throwing wild shadows. <br /><br />247 INT -- ANDY'S CELL -- NIGHT (1966) 247<br /><br /> The storm rages. Andy, naked, carefully slips Norton's folded <br /> suit into a large industrial Zip-Lock bag. Next to go in are the<br /> shoes, chess pieces (already in a smaller bag), black ledger en<br /> files. Last but not least, a bar of soap wrapped in a towel. <br /><br />248 INT -- TUNNEL -- NIGHT (1966) 248<br /><br /> Andy, again wearing prison clothes, inches down the tunnel. <br /><br />249 INT -- SHAFT -- NIGHT (1966) 249<br /><br /> Andy squeezes through the hole head-first, emerges to the waist,<br /> He reaches for the opposite wall, manages to snag a steel <br /> conduit with his fingers. <br /><br /> Suddenly, a huge rat darts for his hand. Andy yanks away and <br /> almost plummets head-first down the shaft. He dangles wildly <br /> upside-down for a moment, arms windmilling, then gets his <br /> hands pressed firmly against the opposite wall. The rat <br /> scurries off, pissed. <br /><br /> Andy snags the conduit again. He contorts out of the hole and<br /> dangles into the shaft. We now see the purpose for the rope: the<br /> plastic bag hangs from his ankle with about two feet of slack,<br /><br /> He kicks his legs across the shaft, gets his feet braced. Wit3<br /> his back against one wall and feet against the other, he <br /> starts down the shaft. Sliding dangerously. Using pipes for <br /> handholds. Flinching as rats dart this way and that, scurrying<br /> in the shadows. He drops the last few feet to the bottom. <br /><br /> He approaches the ceramic sewer pipe and kneels before it. <br /> Pulls out the rock-hammer and says a quick silent prayer. <br /> Raises the rock-hammer high and swings it down with all his <br /> might. Once, twice -- third time lucky. An enormous eruption <br /> of sewage cascades into the air as if rocket-propelled, the <br /> Mount St. Helens of shit. Andy is instantly coated black. He <br /> turns away and heaves his guts out. The shit keeps coming. <br /><br />250 INT -- SEWER PIPE -- NIGHT (1966) 250<br /><br /> Andy peers down through the hole, playing his penlight aroun5,<br /> The inside diameter is no more than two feet. Tight squeeze. <br /> Coated with crud. It seems to go on for miles. <br /><br /> No turning back. He wriggles into the pipe and starts <br /> crawling, plastic bag dragging behind. <br /><br /> RED (V.O.) <br /> Andy crawled to freedom through <br /> five hundred yards of shit-smelling <br /> foulness I can't even imagine. Or <br /> maybe I just don't want to. <br /><br />251 EXT -- FIELD -- NIGHT (1966) 251<br /><br /> Rain is falling in solid sheets. Shawshank is half a mile <br /> distant. BOOM DOWN to reveal the creek...and PUSH IN toward the <br /> mouth of the sewer pipe that feeds into it. <br /><br /> RED (V.O.) <br /> Five hundred yards. The length of <br /> five football fields. Just shy of <br /> half a mile. <br /><br /> Fingers appear, thrusting through the heavy-gauge wire mesh <br /> covering the mouth of the pipe. Andy's face looms from the <br /> darkness, peering out at freedom. He wrenches the mesh loose, <br /> pushes himself out, and plunges head-first into the creek. He <br /> comes up sputtering for breath. The water is waist-deep. <br /><br /> He wades upstream, ripping his clothes from his body. He gets <br /> his shirt off, spins it through the air over his head, flings <br /> the shirt away. He raises his arms to the sky, turning slowly, <br /> feeling the rain washing him clean. Exultant. Triumphant. A <br /> FLASH OF LIGHTNING arcs from horizon to horizon. <br /><br />252 INT -- ANDY'S TUNNEL -- DAY (1966) 252<br /><br /> Once again, we see stunned faces as CAMERA PULLS BACK. <br /><br /> RED (V.O.) <br /> The next morning, right about the <br /> time Racquel was spilling her <br /> little secret... <br /><br />253 INT -- CASCO BANK OF PORTLAND -- MORNING (1966) 253<br /><br /> The door opens. Spit-shined shoes enter. DOLLY the shoes to <br /> the counter. <br /><br /> RED (V.O.) <br /> ...a man nobody ever laid eyes on <br /> before strolled into the Casco Bank <br /> of Portland. Until that moment, he <br /> didn't exist -- except on paper. <br /><br /> FEMALE TELLER (O.S.) <br /> May I help you? <br /><br /> TILT UP to Andy. Smiling in Norton's gray pinstripe suit.<br /><br /> ANDY <br /> My name is Peter Stevens. I've come <br /> to close out some accounts. <br /><br />254 INT -- BANK -- SHORTLY LATER (1966) 254<br /><br /> The teller is cutting a cashier's check while the MANAGER <br /><br /> carefully examines Mr. Stevens' various I.D.s. <br /><br /> RED (V.O.) <br /> He had all the proper I.D. Driver's <br /> license, birth certificate, social <br /> security card. The signature was a <br /> spot-on match. <br /><br /> MANAGER <br /><br /> I must say I'm sorry to be losing <br /> your business. I hope you'll enjoy <br /> living abroad. <br /><br /> ANDY <br /> Thank you. I'm sure I will. <br /><br /> TELLER <br /> Here's your cashier's check, sir. <br /> Will there be anything else? <br /><br /> ANDY <br /> Please. Would you add this to your <br /> outgoing mail? <br /><br /> He hands her a package, stamped and addressed. Gives them a <br /> pleasant smile. Turns and strolls from the bank. <br /><br /> RED (V.O.) <br /> Mr. Stevens visited nearly a dozen <br /> banks in the Portland area that <br /> morning. All told, he blew town <br /> with better than 370 thousand <br /> dollars of Warden Norton's money. <br /> Severance pay for nineteen years. <br /><br />255 INT -- OFFICE -- DAY (1966) 255<br /><br /> A MAN in shirtsleeves is going through the mail on his desk. <br /> He finds Andy's package, rips it open. Pulls out the black <br /> ledger and files. Scans a cover letter. Holy shit. He dashes <br /> to his door and yanks it open, revealing the words on the <br /> glass: "PORTLAND DAILY BUGLE -- Editor In Chief." <br /><br /> MAN <br /> Hal! Dave! Get your butts in here! <br /><br />256 INT -- SHAWSHANK PRISON -- DAY (1966) 256<br /><br /> Norton walks slowly toward his office. Dazed. The morning <br /> paper in his hand. He goes wordlessly past the DUTY GUARD into <br /> his office. Shuts the door. Lays the paper on his desk. <br /><br /> The headline reads: "CORRUPTION AND MURDER AT SHAWSHANK." <br /> Below that, the sub-headline: "D.A. Has Ledger. Indictments <br /> Expected." Norton looks up as SIRENS SWELL in the distance.<br /><br />257 EXT -- SHAWSHANK PRISON -- WIDE SHOT -- DAY (1966) 257<br /><br /> For the second time, State Police cruisers go rocketing up the<br /> road with SIRENS AND LIGHTS. <br /><br />258 INT -- NORTON'S OFFICE -- DAY (1966) 258<br /><br /> Norton opens his safe and pulls out the "ledger" -- it's <br /> Andy's Bible. The title page is inscribed by hand: "Dear <br /> Warden. You were right. Salvation lay within." Norton flips to<br /> the center of the book -- and finds the pages hollowed out in<br /> the shape of a rock-hammer. <br /><br />259 EXT -- PRISON -- DAY (1966) 259<br /><br /> Police cruisers everywhere. A media circus. REPORTERS jostle<br /> for position. A colorless DISTRICT ATTORNEY steps forward into<br /> CLOSEUP, flanked by a contingent of S.ATE TROOPERS. <br /><br /> D.A. <br /> Byron Hadley? <br /><br /> ANGLE SHIFTS to reveal Captain Hadley. Staring. Waiting. <br /><br /> D.A. <br /> You have the right to remain <br /> silent. If you give up that <br /> right, anything you say will be <br /> used against you in court... <br /><br /> TROOPERS move in, cuffing Hadley's hands behind his back. The<br /> D.A. drones on. FLASHBULBS POP. Hadley says nothing. His face<br /> scrunches up. He begins to cry. <br /><br /> RED (V.O.) <br /> I wasn't there to see it, but I hear <br /> Byron Hadley was sobbing like a <br /> little girl when they took him away. <br /><br /> Hadley sobs all the way to the car. The D.A. snaps a gaze up<br /> toward Norton's window, motions his men to follow. <br /><br />260 INT -- NORTON'S OFFICE -- DAY (1966) 260<br /><br /> Norton is staring out the window as they approach the <br /> building. He goes to his desk, opens a drawer. Inside lies a<br /> revolver and a box of shells. <br /><br /> RED (V.O.) <br /> Norton had no intention of goin' <br /> that quietly. <br /><br />261 INT -- PRISON CORRIDORS -- DAY (1966) 261<br /><br /> The D.A. marches along amidst a phalanx of TROOPERS. <br /><br />262 INT -- NORTON'S OFFICE -- DAY (1966) 262<br /><br /> Norton sits blankly at his desk, revolver before him. The <br /> doorknob rattles, a VOICE is heard: <br /><br /> D.A. (O.S.) <br /> Samuel Norton? We have a warrant <br /> for your arrest! Open up! <br /><br /> The POUNDING starts. Norton dumps the box of bullets out on thr<br /> desk. He starts sorting them to see which ones he likes. <br /><br />263 OUTSIDE HIS OFFICE 263<br /><br /> Troopers hustle the hapless duty guard to Norton's door as he<br /> fumbles nervously with a huge key ring. <br /><br /> DUTY GUARD <br /> I'm not sure which one it is... <br /><br /> He starts trying keys in the lock. And as the keys go sliding<br /> in one after another... <br /><br />264 INT -- NORTON'S OFFICE -- DAY (1966) 264<br /><br /> ...so do the bullets. Norton is riveted to the door. For every<br /> key, he loads another bullet. Methodical and grim. He gets the<br /> final bullet in just as the right key slams home. The door <br /> bursts open. Men muscle in. Somebody SHOUTS. Troopers dive in<br /> all directions as Norton raises the gun -- <br /><br /> -- and jams it under his chin. his head snaps back as the wall<br /> goes red. His swivel chair does a slow half-turn and creaks to<br /> a final stop. Troopers rise slowly, gazing in horror. <br /><br /> RED (V.O.) <br /> I like to think the last thing that <br /> went through his head...other than <br /> that bullet...was to wonder how the <br /> hell Andy Dufresne ever got the <br /> best of him. <br /><br /> PUSH SLOWLY to the wall to reveal Mrs. Norton's framed sampler<br /> trickling blood and brains...and we get our final Bible lesson<br /> for today: "HIS JUDGMENT COMETH AND THAT RIGHT SOON." <br /><br />265 EXT -- PRISON YARD -- DAY (1966) 265<br /><br /> Mail call. Red hears his name. They pass him a postcard. <br /><br /> RED (V.O.) <br /> Not long after the warden deprived <br /> us of his company, I got a postcard <br /> in the mail. It was blank. But the <br /> postmark said, "McNary, Texas." <br /><br />266 INT -- LIBRARY -- DAY (1966) 266<br /><br /> Red sits with an atlas, tracing his finger down the page. <br /><br /> RED (V.O.) <br /> McNary. Right on the border. That's <br /> where Andy crossed. <br /> (shuts the book) <br /> When I picture him heading south in <br /> his own car with the top down, it <br /> makes me laugh all over again... <br /><br />267 EXT -- MEXICO -- HIGHWAY -- DAY (1966) 267<br /><br /> A red convertible rips along with Andy at the wheel, cigar <br /> jutting from his grin, warm wind fluttering his tie. <br /><br /> RED (V.O.) <br /> Andy Dufresne, who crawled through <br /> a river of shit and came out clean <br /> on the other side. Andy Dufresne, <br /> headed for the Pacific. <br /><br />268 INT -- MESS HALL -- DAY (1966) 268<br /><br /> Heywood is regaling the table with some anecdote about Andy. <br /><br /> RED (V.O.) <br /> Those of us who knew him best talk <br /> about him often. I swear, the stuff <br /> he pulled. It always makes us laugh. <br /><br /> A wild burst of laughter. PUSH IN on Red. Feeling melancholy.<br /><br /> RED (V.O.) <br /> Sometimes it makes me sad, though, <br /> Andy being gone. I have to remind <br /> myself that some birds aren't meant <br /> to be caged, that's all. Their <br /> feathers are just too bright... <br /><br />269 EXT -- FIELDS -- LATE DAY (1966) 269<br /><br /> Convicts hoe the fields. Guards patrol on horseback. <br /><br /> RED (V.O.) <br /> ...and when they fly away, the part <br /> of you that knows it was a sin to <br /> lock them up does rejoice...but still, <br /> the place you live is that much more <br /> drab and empty that they're gone. <br /><br /> A DISTANT RUMBLE OF THUNDER. Red pauses, gazes off. Storm <br /> clouds coming in, backlit by the sun. A light drizzle begins. <br /><br /> RED (V.O.) <br /> I guess I just miss my friend. <br /><br />270 INT -- PRISON CELL -- NIGHT (1966) 270<br /><br /> Red is sleeping. He wakes with a start. <br /><br /> RED (V.O.) <br /> But there are times I curse him for <br /> the dreams he left behind... <br /><br /> He senses a presence, looks over his shoulder. There's a Rita <br /> Hayworth poster on his wall. He gets out of bed. Rita just <br /><br /> keeps smiling, inscrutable. As Red watches, a brilliant <br /> round glow builds behind the poster, shining from the <br /> tunnel. The poster rips free, charred to ash in the blink <br /> of an eye as a shaft of holy white light stabs into the <br /> cell. Sunlight. Red staggers back against the glare. <br /><br /> A whirlwind kicks up, whipping everything into the air. The <br /> hole in the wall is like a giant vacuum cleaner -- papers, <br /> book, toiletries, bedding -- if it ain't nailed down, it gets <br /> sucked down the hole toward the light. Red fights it, but the <br /> suction drags him closer and closer... <br /><br />271 RED'S POV 271<br /><br /> ...and CAMERA rockets into the hole, getting sucked down an <br /> endless tunnel at impossible speed, the ROAR of air mixing <br /> with his drawn-out SCREAM, closer and closer to the light... <br /><br /> ...and erupting out the other side into total silence and a <br /> beautiful white beach. The Pacific Ocean before us. Enormous. <br /> Mind-blowing. Beautiful beyond description. All we hear now <br /> are the gentle sound of waves. <br /><br /> RED (V.O.) <br /> ...dreams where I am lost in a warm <br /> place with no memory. <br /><br /> A lone figure stands at water's edge. CAMERA KEEPS MOVING, <br /> coming up behind him and TRACKING AROUND to reveal -- Red. <br /><br /> RED (V.O.) <br /> An ocean so big it strikes me dumb. <br /> Waves so quiet they strike me deaf. <br /> Sunshine so bright it strikes me <br /> blind. It is a place that is blue <br /> beyond reason. Bluer than can <br /> possibly exist. Bluer than my mind <br /> can possibly grasp. <br /><br />272 AERIAL SHOT 272<br /><br /> Nothing for a million miles but beach, sky, and water. Red is <br /> a tiny speck at water's edge. Just another grain of sand. <br /><br /> RED (V.O.) <br /> I am terrified. There is no way home. <br /><br />273 INT -- RED'S CELL -- NIGHT (1966) 273<br /><br /> Red wakes from the nightmare. He gets out of bed. Moves to the <br /> barred window of his cell. Peers up at the stars. <br /><br /> RED (V.O.) <br /> Andy. I know you're in that place. <br /> Look at the stars for me just after <br /> sunset. Touch the sand...wade in <br /> the water...and feel free. <br /><br /> FADE TO BLACK <br /><br />274 AN IRON-BARRED DOOR 274<br /><br /> slides open with an enormous CLANG. A stark room beyond. <br /> CAMERA PUSHES through. SIX MEN AND ONE WOMAN sit at a long <br /> table. An empty chair faces them. We are again in: <br /><br /> INT -- SHAWSHANK HEARINGS ROOM -- DAY (1967) <br /><br /> Red enters, sits. 20 years older than when we first saw him.<br /><br /> MAN #1 <br /> Your file says you've served forty <br /> years of a life sentence. You feel <br /> you've been rehabilitated? <br /><br /> Red doesn't answer. Just stares off. Seconds tick by. The <br /> parole board exchanges glances. Somebody clears his throat. <br /><br /> MAN #1 <br /> Shall I repeat the question? <br /><br /> RED <br /> I heard you. Rehabilitated. Let's <br /> see now. You know, come to think of <br /> it, I have no idea what that means. <br /><br /> MAN #2 <br /> Well, it means you're ready to <br /> rejoin society as a-- <br /><br /> RED <br /> I know what you think it means. Me, <br /> I think it's a made-up word, a poli- <br /> tician's word. A word so young fellas <br /> like you can wear a suit and tie and <br /> have a job. What do you really want <br /> to know? Am I sorry for what I did? <br /><br /> - ----- <br /><br /> MAN g2 <br /> Well...are you? <br /><br /> RED <br /> Not a day goes by I don't feel <br /> regret, and not because I'm in here <br /> or because you think I should. I <br /> look back on myself the way I <br /> was...stupid kid who did that <br /> terrible crime...wish I could talk <br /> sense to him. Tell him how things <br /> are. But I can't. That kid's long <br /> gone, this old man is all that's <br /> left, and I have to live with that. <br /> (beat) <br /> Rehabilitated? That's a bullshit <br /> word, so you just go on ahead and <br /> stamp that form there, sonny, and <br /> stop wasting my damn time. Truth <br /> is, I don't give a shit. <br /><br /> The parole board just stares. Red sits drumming his fingers. <br /><br /> CLOSEUP -- PAROLE FORM <br /><br /> A big rubber stamp SLAMS down -- and lifts away to reveal the <br /> word "APPROVED" in red ink. <br /><br />275 EXT -- SHAWSHANK PRISON -- DAY 275 <br /><br /> TWO SHORT SIREN BLASTS herald the opening of the main gate. It <br /> swings hugely open, revealing Red standing in his cheap suit, <br /> carrying a cheap bag, wearing a cheap hat. He walks out, still <br /> looking stunned. <br /><br />276 INT -- BUS -- DAY 276 <br /><br /> Red rides the bus, clutching the seat before him, gripped by <br /> terror of speed and motion. <br /><br />277 EXT -- BREWSTER HOTEL -- LATE AFTERNOON 277 <br /><br /> Red arrives at the Brewster, three stories high and even less <br /> to look at than it used to be. <br /><br />27B INT -- BREWSTER -- LATE DAY 278 <br /><br /> A BLACK WOMAN leads Red up the stairs toward the top floor. <br /><br />279 INT -- RED'S ROOM -- LATE DAY 279 <br /><br /> Small, old, dingy. An arched window with a view of Congress<br /> Street. Traffic noise floats up. Red enters and pauses, <br /> staring up at the ceiling beam. Carved into the wood are the<br /> words: "Brooks Hatlen was here." <br /><br />280 INT -- FOODWAY MARKET -- DAY 280<br /><br /> Loud. Jangling with PEOPLE and NOISE. We find Red bagging <br /> groceries. Registers are humming, kids are shrieking. Red <br /> calls to the STORE MANAGER: <br /><br /> RED <br /> Sir? Restroom break sir? <br /><br /> MANAGER <br /> (motions him over) <br /> You don't need to ask me every <br /> time you go take a piss. Just go. <br /> Understand? <br /><br />28l INT -- EMPLOYEE RESTROOM -- DAY 281<br /><br /> Red steps to the urinal, stares at himself in the wall mirror. <br /><br /> RED (V.O.) <br /> Thirty years I've been asking <br /> permission to piss. I can't squeeze <br /> a drop without say-so. <br /><br /> A strange east Indian guitar-whine begins. The Beatles. George <br /> Harrison's "Within You Without You..." <br /><br />282 EXT -- STREET -- DAY 282<br /><br /> ...which carries through as Red walks. People and traffic. He <br /> keeps looking at the women. An alien species. <br /><br /> RED (V.O.) <br /> Women, too, that's the other thing. <br /> I forgot they were half the human <br /> race. There's women everywhere, <br /> every shape and size. I find myself <br /> semi-hard most of the time, cursing <br /> myself for a dirty old man. <br /><br /> TWO YOUNG WOMEN stroll by in cut-offs and t-shirts. <br /><br /> RED (V.O.) <br /> Not a brassiere to be seen, nipples <br /> poking out at the world. Jeezus, <br /> pleeze-us. Back in my day, a woman <br /> out in public like that would have <br /> been arrested and given a sanity <br /> hearing. <br /><br />283 EXT -- PARK -- DUSK 283<br /><br /> Red finds the park filled with HIPPIES. Hanging out. <br /> Happening. Here's the source of the music: a radio. A HIPPIE <br /> GIRL gyrates to the Beatles, stoned, in her own world. <br /><br /> RED (V.O.) <br /> They're calling this the Summer of <br /> Love. Summer of Loonies, you ask me. <br /><br />284 INT -- PAROLE OFFICE -- DAY 284<br /><br /> Red sits across from his PAROLE OFFICER. The P.O. is filling<br /> out his report. <br /><br /> P.O. <br /> You staying out of the bars, Red? <br /><br /> RED <br /> Yes sir. That I am. <br /><br /> P.O. <br /> How you doing otherwise? Adjusting <br /> okay? <br /><br /> RED <br /> Things got different out here. <br /><br /> P.O. <br /> Tell me about it. Young punks <br /> protesting the war. You imagine? <br /> Even my own kid. Oughtta bust his <br /> fuckin' skull. <br /><br /> RED <br /> Guess the world moved on. <br /><br />285 INT -- FOODWAY -- DAY 285<br /><br /> Bagging groceries. CHILDREN underfoot. One points a toy gun at<br /> Red, pumping the trigger. Red focuses on the gun, listening to<br /> it CLICKETY-CLACK. Sparky wheel grinding. <br /><br /> The kids get swept off by MOM. Red starts bagging the next <br /> customer. SLOW PUSH IN on Red. Surrounded by MOTION and NOISE.<br /> Feeling like the eye of a hurricane. People everywhere, <br /> whipping around him like a gale. Strange. Loud. Dizzying. It<br /> gets distorted and weird, slow and thick, pressing in on him<br /> from all sides. The noise level intensifies. The hollering of<br /> children deepens and distends into LOW EERIE HOWLS. <br /><br /> He's in the grip of a major anxiety attack. Tries to shake<br /> himself out of it. Can't. Fumbles the final items into the<br /> bag. Walks away. Trying not to panic. Trying not to run. <br /><br /> He makes his way through the store. Blinking sweat. He bumps<br /> into a lady's cart, mumbles an apology, keeps going. Breaks <br /> into a trot. Down the aisle, cut to the left, through the door<br /> into the back rooms, faster and faster, running now, slamming<br /> through a door marked "Employees Only" into -- <br /><br />286 INT -- EMPLOYEE RESTROOM -- DAY 286<br /><br /> -- where he slams the door and leans heavily against it, <br /> shutting everything out, breathing heavily. Alone now. <br /><br /> He goes to the sink, splashes his face, tries to calm down. <br /> He can still hear them out there. They won't go away. He <br /> glances around the restroom. Small. Not small enough. <br /><br /> He enters a stall. Locks the door. Puts the toilet lid down <br /> and sits on the john. Better. He can actually reach out and <br /> touch the walls now. They're close. Safe. Almost small enough. <br /> He draws his feet up so he can't be seen if somebody walks in. <br /><br /> He'll just sit here for a while. Until he calms down. <br /><br />287 EXT -- STREET -- DUSK 287<br /><br /> Red is walking home. <br /><br /> RED (V.O.) <br /> There is a harsh truth to face. <br /> No way I'm gonna make it on the <br /> outside. <br /><br /> He pauses at a pawnshop window. An array of handguns. <br /><br /> RED (V.O.) <br /> All I do anymore is think of ways <br /> to break my parole. <br /><br /> The SHOPKEEPER appears at the glass, locking the door and <br /> flipping the sign: CLOSED. <br /><br />288 INT -- RED'S ROOM -- NIGHT 288<br /><br /> Red lies smoking in bed. Unable to sleep. <br /><br /> RED (V.O.) <br /> Terrible thing, to live in fear. <br /> Brooks Hatlen knew it. Knew it all <br /> too well. All I want is to be back <br /> where things make sense. Where I <br /> won't have to be afraid all the time. <br /><br /> He glances up at the ceiling beam. "Brooks Hatlen was here." <br /><br /> RED (V.O.) <br /> Only one thing stops me. A promise <br /> I made to Andy. <br /><br />289 EXT -- COUNTRY ROAD -- MORNING 289<br /><br /> A pickup truck rattles up the road trailing dust and pulls to <br /> a stop. Red hops off the back, waves his thanks. The truck <br /><br /> drives on. Red starts walking. PAN TO a roadside sign: BUXTON. <br /><br />290 EXT -- MAINE COUNTRYSIDE -- DAY 290<br /><br /> High white clouds in a blazing blue sky. The trees fiery with <br /> autumn color. Red walks the fields and back-roads, cheap <br /> compass in hand. Looking for a certain hayfield. <br /><br />291 EXT -- COUNTRYSIDE -- DAY 291<br /><br /> Walking. Searching. The day turning late. Red finds himself <br /> staring at a distant field. There's a long rock wall, like <br /> something out o f a Robert Frost poem. Big oak tree. Red checks <br /> his compass. North end. He crosses a dirt road into the field. <br /><br />292 EXT -- HAYFIELD -- DAY 292<br /><br /> Red walks the long rock wall, nearing the tree. A squirrel <br /> scolds him from a low branch, scurries up higher. Red studies<br /> the base of the wall. Nothing unusual here. Just a bunch of<br /> rocks set in stone. He sighs. Fool's errand. Turns to go. <br /><br /> Something catches his eye. He walks back, squats, peering <br /> closer. Wets a fingertip and rubs a stone. A layer of dust comes <br /> off. Volcanic glass. Gleaming black. He tries to get the rock <br /> out, anticipation growing. It won't come; it's too smooth. He <br /> pulls a pocketknife and levers the rock free. It tumbles at his <br /> feet, leaving a ragged hole. <br /><br /> Red leans down and solves the mystery at last, staring at the <br /> object buried under the rock. Stunned. It's an envelope wrapped <br /> in plastic. Written on it is a single word: "Red." <br /><br /> Red pulls the envelope out and rises. He just stares at it for <br /> a while, almost afraid to open it. But open it he does. Inside <br /> is a smaller envelope and a letter. Red begins to read: <br /><br /> ANDY (V.O.) <br /> Dear Red. If you're reading this, <br /> you've gotten out. And if you've <br /> come this far, maybe you're willing <br /> to come a little further. You <br /> remember the name of the town, <br /> don't you? I could use a good man <br /> to help me get my project on <br /> wheels. I'll keep an eye out for <br /> you and the chessboard ready. <br /> (beat) <br /> Remember, Red. Hope is a good <br /> thing, maybe the best of things, <br /> and no good thing ever dies. I will <br /> be hoping that this letter finds <br /> you, and finds you well. Your <br /> friend. Andy. <br /><br /> By now, tears are spilling silently down Red's cheeks. He <br /> opens the other envelope and fans out a stack of new fifty- <br /> dollar bills. Twenty of them. A thousand dollars. <br /><br />293 INT -- RED'S ROOM -- DAY (1967) 293<br /><br /> Red is dressed in his suit. He finishes knotting his tie, puts <br /> his hat on. His bag is by the door. He takes one last look <br /> around. Only one thing left to do. He pulls a wooden chair to <br /> the center of the room and gazes up at the ceiling beam. <br /><br /> RED (V.O.) <br /> Get busy living or get busy dying. <br /> That is goddamn right. <br /><br /> He steps up on the chair. It wobbles under his weight. <br /><br />294 INT -- BREWSTER -- RED'S DOOR -- DAY (1967) 294<br /><br /> The door opens. Red exits with his bag and heads down the <br /> stairs, leaving the door open. CAMERA PUSHES through, BOOMING <br /> UP to the ceiling beam which reads: "Brooks Hatlen was here." <br /><br /> A new message has been carved alongside the old: "So was Red." <br /><br />295 INT -- GREYHOUND BUS STATION -- DAY (1967) 295<br /><br /> TRACKING SHOT reveals a long line of people at the counter. <br /><br /> RED (V.O.) <br /> For the second time in my life, I <br /> am guilty of committing a crime. <br /><br /> CAMERA brings us to Red, next in line, bag by his feet. <br /><br /> RED (V.O.) <br /> Parole violation. I doubt they'll <br /> toss up any roadblocks for that. <br /> Not for an old crook like me. <br /><br /> RED <br /> (steps up) <br /> McNary, Texas? <br /><br />296 EXT -- TRAVELING SHOT -- DAY (1967) 296<br /><br /> A gorgeous New England landscape whizzes by, fields and trees <br /> a blur of motion. ANGLE SHIFTS to reveal a Greyhound Sceni- <br /> Cruiser barreling up the road, pulling abreast of us. CAMERA <br /> TRAVELS from window to window, passing faces. We finally come <br /> to Red gazing out at the passing landscape. <br /><br /> RED (V.O.) <br /> I find I am so excited I can barely <br /> sit still or hold a thought in my <br /> head. I think it is the excitement <br /> only a free man can feel, a free <br /> man at the start of a long journey <br /> whose conclusion is uncertain... <br /> 297 THE BUS 297<br /><br /> ROARS past camera, dwindling to a mere speck on the horizon. <br /><br /> RED (V.O.) <br /> I hope I can make it across the <br /> border. I hope to see my friend <br /> and shake his hand. I hope the <br /> Pacific is as blue as it has been <br /> in my dreams. <br /> (beat) <br /> I hope. <br /><br />298 EXT -- BEACH -- WIDE PANORAMIC SHOT -- DAY (1967) 298<br /><br /> A distant boat lies on its side in the sand like an old wreck <br /> that's been left to rot in the sun. There's someone out there. <br /><br />299 CLOSER ON BOAT 299<br /><br /> A MAN is meticulously stripping the old paint and varnish by <br /> hand, face hidden with goggles and kerchief mask. <br /><br /> Red appears b.g., a distant figure walking out across the <br /> sand, wearing his cheap suit and carrying his cheap bag. <br /><br /> The man on the boat pauses. Turns slowly around. Red arrives <br /> with a smile as wide as the horizon. The other man raises his <br /> goggles and pulls down his mask. Andy, of course. <br /><br /> ANDY <br /> You look like a man who knows how <br /> to get things. <br /><br /> RED <br /> I'm known to locate certain things <br /> from time to time. <br /><br /> Red shrugs off his jacket and picks up a sander. Together, <br /> they start sanding the hull as we <br /><br /> FADE OUT <br /><br /> THE ENDEelveEhttp://www.blogger.com/profile/04343357520043384445noreply@blogger.com0