<P><STRONG>[죽은 시인의 사회] Dead Poets Society</STRONG></P>
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<P>DEAD POET'S SOCIETY</P>
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<P>by Tom Shulman</P>
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<P>Dialogue Transcript<BR>____________________________________________________________________</P>
<P> MOTHER<BR> Now remember, keep your shoulders back. </P>
<P> MAN 1<BR> Okay. Put your arm around your brother. </P>
<P> MAN 1<BR> Okay, one more. </P>
<P> HABER<BR> Now just to review, you'll follow along <BR> with the procession until you get to the <BR> headmaster. At that point, he will <BR> indicate to you to light the candles of <BR> the boys'. </P>
<P> MAN 2<BR> All right, boys. Let's settle down. </P>
<P> MAN 3<BR> Banners up! </P>
<P> MR. NOLAN<BR> Ladies and gentlemen, boys, the light of <BR> the knowledge. </P>
<P> MR. NOLAN<BR> One hundred years ago, in 1859, forty-<BR> one boys sat in this room and were asked <BR> the same question that now greets you at <BR> the start of each semester. Gentlemen, <BR> what are the four pillars? </P>
<P> BOYS<BR> Tradition! Honor! Discipline! <BR> Excellence! </P>
<P> MR. NOLAN<BR> In her first year, Welton Academy <BR> graduated five students. Last year we <BR> graduated fifty-one and more than <BR> seventy-five percent of those went on to <BR> the Ivy League. This, this kind of <BR> accomplishment is the result of fervent <BR> dedication to the principles taught <BR> here. This is why you parents have been <BR> sending your sons. This is why we are <BR> the best preparatory school in the <BR> United States. </P>
<P> MR. NOLAN<BR> As you know, our beloved Mr. Portius of <BR> the English Department retired last <BR> term. You will have the opportunity <BR> later to meet his replacement Mr. John <BR> Keating, himself an honor's graduate of <BR> this school and who, for the past <BR> several years, has been teaching at the <BR> highly regarded Chester School in <BR> London. </P>
<P> MR. NOLAN<BR> Glad you could come by. </P>
<P> MR. ANDERSON<BR> Thrilling ceremony as usual, Dr. Nolan. </P>
<P> MR. NOLAN<BR> You've been away too long. </P>
<P> MRS. ANDERSON<BR> Hello, Dr. Nolan. </P>
<P> MR. NOLAN<BR> Good to have you. </P>
<P> MRS. ANDERSON<BR> This is our youngest, Todd. </P>
<P> MR. NOLAN<BR> Mr. Anderson, you have some big shoes to <BR> fill, young man. Your brother was one of <BR> our finest. </P>
<P> TODD<BR> Thank you. </P>
<P> MRS. PERRY<BR> Lovely ceremony. </P>
<P> MR. NOLAN<BR> Thank you. I'm so glad you liked it. </P>
<P> MR. PERRY<BR> Gale. </P>
<P> MR. NOLAN<BR> Tom. </P>
<P> MR. PERRY<BR> Good to see you again. </P>
<P> NEIL<BR> Hello, Mr. Nolan. </P>
<P> MR. NOLAN<BR> Neil, we expect great things from you <BR> this year. </P>
<P> NEIL<BR> Thank you, sir. </P>
<P> MR. PERRY<BR> Well, he won't disappoint us. Right, <BR> Neil? </P>
<P> NEIL<BR> I'll do my best, sir. </P>
<P> FATHER 1<BR> Come on, son. </P>
<P> MOTHER 1<BR> Chin up. </P>
<P> BOY 1<BR> Okay. </P>
<P> MOTHER 1<BR> Chin up. </P>
<P> FATHER 1<BR> No tears now. <BR> <BR> BOY 2<BR> I don't want to go here. </P>
<P> MOTHER 2<BR> Honey, I love you. </P>
<P> FATHER 1<BR> I'll walk you over. </P>
<P> MOTHER 2<BR> Do your lessons. </P>
<P> NEIL<BR> Hey. I hear we're gonna be roommates. <BR> I'm Neil Perry. </P>
<P> TODD<BR> I'm Todd Anderson. </P>
<P> NEIL<BR> Why'd you leave Balincrest? </P>
<P> TODD<BR> My brother went here. </P>
<P> NEIL<BR> Oh, so you're that Anderson! </P>
<P> FATHER<BR> This is for his sinuses. And, oh, if he, <BR> if he can't, uh, swallow, you give him <BR> one of these. And if he has trouble <BR> breathing, you give him-- </P>
<P> HABER<BR> All right, fine. </P>
<P> FATHER<BR> And, oh, did you remember your <BR> vaporizer? And the vapor-- </P>
<P> BOY<BR> Hey, how's it going, Neil? </P>
<P> CAMERON<BR> Neil? Study group tonight? </P>
<P> NEIL<BR> Yeah, sure. </P>
<P> CAMERON<BR> Business as usual, huh? Hey, I heard you <BR> got the new kid. Looks like a stiff. <BR> Oops. </P>
<P> NEIL<BR> Listen. Don't mind Cameron. He's, uh, <BR> born with his foot in his mouth. Know <BR> what I mean? </P>
<P> CHARLIE<BR> Rumor has it you did summer school. </P>
<P> NEIL<BR> Yep. Chemistry. My father thought I <BR> should get ahead. How was your summer, <BR> Slick? </P>
<P> CHARLIE<BR> Keen. Meeks, door, close. </P>
<P> MEEKS<BR> Yes, sir. </P>
<P> CHARLIE<BR> Gentlemen, what are the four pillars? </P>
<P> BOYS<BR> Travesty! Horror! Decadence! Excrement! </P>
<P> CHARLIE<BR> Okay, study group. Meeks aced Latin. I <BR> didn't quite flunk English. So if you <BR> want, we got our study group. </P>
<P> NEIL<BR> Sure. Cameron asked me too. Anyone mind <BR> including him? </P>
<P> CHARLIE<BR> What's his specialty? Bootlicking? </P>
<P> NEIL<BR> Uh, he's your roommate. </P>
<P> CHARLIE<BR> That's not my fault. </P>
<P> MEEKS<BR> Uh, I'm sorry. My name is Stephen Meeks. </P>
<P> NEIL<BR> Oh, this is Todd Anderson. </P>
<P> TODD<BR> Nice to meet you. </P>
<P> MEEKS<BR> Nice to meet you. </P>
<P> CHARLIE<BR> Charlie Dalton. </P>
<P> KNOX<BR> Knox Overstreet. </P>
<P> NEIL<BR> Todd's brother was Jeffrey Anderson. </P>
<P> CHARLIE<BR> Oh, yeah, sure. Valedictorian, National <BR> Merit Scholar. </P>
<P> MEEKS<BR> Oh, well! Welcome to Hellton. </P>
<P> CHARLIE<BR> It's every bit as tough as they say. <BR> Unless you're a genius like Meeks. </P>
<P> MEEKS<BR> He flatters me. That's why I'll help him <BR> with Latin. </P>
<P> CHARLIE<BR> And English, and trig. </P>
<P> NEIL<BR> It's open. </P>
<P> NEIL<BR> Father, I thought you'd gone. </P>
<P> CHARLIE<BR> Mr. Perry, sir. </P>
<P> MR. PERRY<BR> Keep your seats, fellas. Keep your <BR> seats. Neil, I've just spoken to Mr. <BR> Nolan. I think that you're taking too <BR> many extracurricular activities this <BR> semester. And I've decided that you <BR> should drop school annual. </P>
<P> NEIL<BR> But I'm the assistant editor this year. </P>
<P> MR. PERRY<BR> Well, I'm sorry, Neil. </P>
<P> NEIL<BR> But, father, I can't. It wouldn't be <BR> fair. </P>
<P> MR. PERRY<BR> Fellas? Would you excuse us for a <BR> moment? </P>
<P> MR. PERRY<BR> Don't you ever dispute me in public! Do <BR> you understand? </P>
<P> NEIL<BR> Father, I wasn't disputing you- </P>
<P> MR. PERRY<BR> After you've finished medical school and <BR> you're on your own, then you can do as <BR> you damn well please. But until then, <BR> you do as I tell you. Is that clear? </P>
<P> NEIL<BR> Yes, sir. I'm sorry. </P>
<P> MR. PERRY<BR> You know how much this means to your <BR> mother, don't you? </P>
<P> NEIL<BR> Yes, sir. </P>
<P> NEIL<BR> You know me. I'm always taking on too <BR> much. </P>
<P> MR. PERRY<BR> Well, that's my boy. Now, listen. You <BR> need anything, you let us know, huh? </P>
<P> NEIL<BR> Yes, sir. </P>
<P> CHARLIE<BR> Why doesn't he let you do what you want? </P>
<P> KNOX<BR> Yeah. Neil, tell him off. It couldn't <BR> get any worse. </P>
<P> NEIL<BR> Oh, that's rich! Like you guys tell your <BR> parents off, Mr. Future Lawyer and Mr. <BR> Future Banker? </P>
<P> KNOX<BR> Okay, so I don't like it any more than <BR> you do. </P>
<P> NEIL<BR> Well, stop telling me how to talk to my <BR> father. You guys are the same way. </P>
<P> KNOX<BR> All right, all right. Jesus. So what are <BR> you gonna do, then? </P>
<P> NEIL<BR> What I have to do. Drop the annual. </P>
<P> CHARLIE<BR> Well, I wouldn't lose too much sleep <BR> over it. It's just a bunch of jerks <BR> trying to impress Nolan. </P>
<P> NEIL<BR> I don't care. I don't give a damn about <BR> any of it. </P>
<P> MEEKS<BR> Well, uh, Latin, eight o'clock in my <BR> room? </P>
<P> NEIL<BR> Yeah. </P>
<P> KNOX<BR> I guess so. </P>
<P> MEEKS<BR> Todd, you're welcome to join us. </P>
<P> CHARLIE<BR> Yeah, come along, pal. </P>
<P> TODD<BR> Thanks. </P>
<P> McALLISTER<BR> Slow down, boys! Slow down, you horrible <BR> phalanx of pubescence! </P>
<P> SCIENCE TEACHER<BR> Pick three laboratory experiments from <BR> the project list and report on them <BR> every five weeks. The first twenty <BR> questions at the end of Chapter One are <BR> due tomorrow. </P>
<P> McALLISTER<BR> Agricolam. </P>
<P> BOYS<BR> Agricolam. </P>
<P> McALLISTER<BR> Agricola. </P>
<P> BOYS<BR> Agricola. </P>
<P> McALLISTER<BR> Agricolae. </P>
<P> BOYS<BR> Agricolae. </P>
<P> McALLISTER<BR> Agricolarum. </P>
<P> BOYS<BR> Agricolarum. </P>
<P> McALLISTER<BR> Agricolis. </P>
<P> BOYS<BR> Agricolis. </P>
<P> McALLISTER<BR> Agricolas. </P>
<P> BOYS<BR> Agricolas. </P>
<P> McALLISTER<BR> Agricolis. </P>
<P> BOYS<BR> Agricolis. </P>
<P> McALLISTER<BR> Again, please. Agricola. </P>
<P> BOYS<BR> Agricola. </P>
<P> HABER<BR> Your study of trigonometry requires <BR> absolute precision. Anyone failing to <BR> turn in any homework assignment will be <BR> penalized one point off their final <BR> grade. Let me urge you now not to test <BR> me on this point. </P>
<P> BOY 1<BR> Hey, Spaz! Spaz! </P>
<P> BOY 2<BR> Brian damaged. </P>
<P> KEATING<BR> Well, come on! </P>
<P> BOY<BR> Let's go. Let's go, guys. </P>
<P> KEATING<BR> "O Captain! My Captain!" Who knows where <BR> that comes from? Anybody. </P>
<P> KEATING<BR> Not a clue? It's from a poem by Walt <BR> Whitman about Mr. Abraham Lincoln. Now, <BR> this class, you can either call me Mr. <BR> Keating, or, if you're slightly more <BR> daring, "O Captain! My Captain." </P>
<P> KEATING<BR> Now let me dispel a few rumors, so they <BR> don't fester into facts. Yes, I, too, <BR> attended Hellton and have survived. And <BR> no, at that time, I was not the mental <BR> giant you see before you. I was the <BR> intellectual equivalent of a ninety-<BR> eight-pound weakling. I would go to the <BR> beach, and people would kick copies of <BR> Byron in my face. </P>
<P> KEATING<BR> Now, Mr. Pitts. That's rather <BR> unfortunate name. Mr. Pitts, where are <BR> you? </P>
<P> KEATING<BR> Mr. Pitts, will you open your hymnal to <BR> page 542? Read the first stanza of the <BR> poem you find there. </P>
<P> PITTS<BR> "To the Virgins, to Make Much of Time"? </P>
<P> KEATING<BR> Yes. That's the one. Somewhat <BR> appropriate, isn't it? </P>
<P> PITTS</P>
<P> Gather ye rosebuds while ye may, <BR> Old time is still a-flying: <BR> And this same flowers that smiles today, <BR> Tomorrow will be dying. </P>
<P> KEATING<BR> Thank you, Mr. Pitts. "Gather ye <BR> rosebuds while ye may." The Latin term <BR> for that sentiment is "Carpe diem". Now <BR> who knows what that means? </P>
<P> MEEKS<BR> Carpe diem. That's "seize the day." </P>
<P> KEATING<BR> Very good, Mr-- </P>
<P> MEEKS<BR> Meeks. </P>
<P> KEATING<BR> Meeks. Another unusual name. Seize the <BR> day. "Gather ye rosebuds while ye may." <BR> Why does the writer use these lines? </P>
<P> CHARLIE<BR> Because he's in a hurry. </P>
<P> KEATING<BR> No! Ding! Thank you for playing anyway. <BR> Because we are food for worms, lads. <BR> Because, believe it or not, each and <BR> every one of us in this room is, one <BR> day, gonna stop breathing, turn cold, <BR> and die. I would like you to step <BR> forward over here and peruse some of the <BR> faces from the past. You've walked past <BR> them many times, but I don't think <BR> you've really looked at them. </P>
<P> KEATING<BR> They're not that different from you, are <BR> they? Same haircuts, full of hormones <BR> just like you. Invincible just like you <BR> feel. The world is their oyster. They <BR> believe they're destined for great <BR> things, just like many of you. Their <BR> eyes are full of hope, just like you. <BR> Did they wait until it was too late to <BR> make from their lives even one iota of <BR> what they were capable? Because, you <BR> see, gentlemen, those boys are now <BR> fertilizing daffodils. But if you listen <BR> real close, you can hear them whisper <BR> their legacy to you. Go on, lean in. <BR> Listen. Do you hear it? </P>
<P> KEATING<BR> Carpe. Hear it? Carpe. Carpe diem. Seize <BR> the day, boys. Make your lives <BR> extraordinary. </P>
<P> PITTS<BR> That was weird. </P>
<P> NEIL<BR> But different. </P>
<P> KNOX<BR> Spooky if you ask me. </P>
<P> CAMERON<BR> He'll test us on that stuff? </P>
<P> CHARLIE<BR> Oh, come on, Cameron. Don't you get <BR> anything? </P>
<P> CAMERON<BR> What? What? <BR> TEACHER: Let's go, boys. Hustle up in <BR> here. That means you, Dalton. </P>
<P> MEEKS<BR> All right, who's up for our study group <BR> tonight, guys? </P>
<P> BOY 1<BR> Sure. </P>
<P> BOY 2<BR> Me. </P>
<P> BOY 3<BR> Me, me, me. </P>
<P> KNOX<BR> Well, I can't make it, guys. I have to <BR> have dinner at the Danburrys' house <BR> tonight. </P>
<P> CHARLIE<BR> Ooh, the Danburrys. </P>
<P> NEIL<BR> Who are the Danburrys? </P>
<P> CHARLIE<BR> Big alums! How'd you swing that? </P>
<P> KNOX<BR> Friends of my dad's. They're probably in <BR> their nineties or something. Sounds <BR> great, doesn't it? </P>
<P> NEIL<BR> Anything's better than Hellton hash. </P>
<P> CHARLIE<BR> I'll second that. </P>
<P> MEEKS<BR> Yeah, well, we'll see. </P>
<P> NEIL<BR> Hey! Want to come to the study group <BR> tonight? </P>
<P> TODD<BR> Uh, no. No. I've, I-I've got some <BR> history I wanna do. </P>
<P> NEIL<BR> Suit yourself. </P>
<P> HABER<BR> Ready, Overstreet? </P>
<P> KNOX<BR> Ready to go, sir. </P>
<P> MRS. DANBURRY <BR> Chet, can you get that? </P>
<P> CHET<BR> I can't, Mom. </P>
<P> CHRIS<BR> I'll get it. </P>
<P> CHRIS<BR> Can I help you? </P>
<P> KNOX<BR> Hi. K-Knox Overstreet. Uh, Dr. Hager. </P>
<P> CHRIS<BR> Hi. </P>
<P> KNOX<BR> This is the Danburrys', right? </P>
<P> CHRIS<BR> Are, are you here to see Chet? </P>
<P> KNOX<BR> Mrs. Danburry? </P>
<P> CHRIS<BR> No. </P>
<P> MRS. DANBURRY<BR> I'm sorry. Thank you, Chris. I'm Mrs. <BR> Danburry. You must be Knox. </P>
<P> KNOX<BR> Yes. </P>
<P> MRS. DANBURRY<BR> Back by nine? Please, come on in. </P>
<P> CHET<BR> Chris, come on. What are you doing? </P>
<P> CHRIS<BR> Chet, I'm coming. </P>
<P> MR. DANBURRY<BR> Knox! How are you? Joe Danburry. </P>
<P> KNOX<BR> Nice to meet you, sir. </P>
<P> MR. DANBURRY<BR> Well, he's the spitting image of his <BR> father, isn't he? How is he? Come on in. </P>
<P> KNOX<BR> He's great. He just did a big case for <BR> G.M. </P>
<P> MR. DANBURRY<BR> Yeah, I know where you're headed. Like <BR> father, like son, huh? </P>
<P> BOY 1<BR> Yes! </P>
<P> BOY 2<BR> Oh, sacrifice bishop to queen six. </P>
<P> BOY 1<BR> Another game? </P>
<P> BOY 2<BR> What do you mean?<BR> <BR> PITTS<BR> Boo! </P>
<P> CAMERON<BR> Replace, uh, these numbers here with X-- <BR> For X and Y. </P>
<P> NEIL<BR> Of course. </P>
<P> CAMERON<BR> Of course. So what's the problem? </P>
<P> CHARLIE<BR> How was dinner? </P>
<P> KNOX<BR> Huh? </P>
<P> CHARLIE<BR> How was dinner? </P>
<P> KNOX<BR> Terrible. Awful. </P>
<P> CHARLIE<BR> What? What happened? <BR> <BR> KNOX<BR> Tonight I met the most beautiful girl I <BR> have ever seen in my entire life. </P>
<P> NEIL<BR> Are you crazy? What's wrong with that? </P>
<P> KNOX<BR> She's practically engaged. To Chet <BR> Danburry. </P>
<P> CHARLIE<BR> The guy could eat a football. </P>
<P> PITTS<BR> Too bad. </P>
<P> KNOX<BR> Too bad? It's worse than too bad, Pitts. <BR> It's a tragedy. A girl this beautiful in <BR> love with such a jerk? </P>
<P> PITTS<BR> All the good ones go for jerks, you know <BR> that. </P>
<P> CAMERON<BR> Yeah, forget her. Open your trig book <BR> and try and figure out problem five. </P>
<P> KNOX<BR> I can't just forget her, Cameron. And I <BR> certainly can't think about trig! </P>
<P> PITTS<BR> We got it! </P>
<P> HABER<BR> All right, gentlemen, five minutes. <BR> Let's go. </P>
<P> CHARLIE<BR> Did you see her naked? </P>
<P> KNOX<BR> Very funny, Dalton. </P>
<P> HABER<BR> That wouldn't be a, uh, radio in your <BR> lap, wouldn't it, Mr. Pitts? </P>
<P> PITTS<BR> No, sir. A science experiment. Radar. </P>
<P> KEATING<BR> Gentlemen, open your texts to page 21 of <BR> this introduction. Mr. Perry, will you <BR> read the opening paragraph of the <BR> preface entitled "Understanding Poetry"? </P>
<P> NEIL<BR> "'Understanding Poetry,' by Dr. J. Evans <BR> Pritchard, Ph.D. To fully understand <BR> poetry, we must first be fluent with its <BR> meter, rhyme and figures of speech, then <BR> ask two questions: 1) How artfully has <BR> the objective of the poem been rendered <BR> and 2) How important is that objective? <BR> Question 1 rates the poem's perfection; <BR> question 2 rates its importance. And <BR> once these questions have been answered, <BR> determining the poem's greatness becomes <BR> a relatively simple matter." </P>
<P> NEIL<BR> "If the poem's score for perfection is <BR> plotted on the horizontal of a graph and <BR> its importance is plotted on the <BR> vertical, then calculating the total <BR> area of the poem yields the measure of <BR> its greatness." </P>
<P> NEIL<BR> "A sonnet by Byron might score high on <BR> the vertical but only average on the <BR> horizontal. A Shakespearean sonnet, on <BR> the other hand, would score high both <BR> horizontally and vertically, yielding a <BR> massive total area, thereby revealing <BR> the poem to be truly great. As you <BR> proceed through the poetry in this book, <BR> practice this rating method. As your <BR> ability to eval‎uate poems in this matter <BR> grows, so will, so will your enjoyment <BR> and understanding of poetry." </P>
<P> KEATING<BR> Excrement. That's what I think of Mr. J. <BR> Evans Pritchard. We're not laying pipe. <BR> We're talking about poetry. How can you <BR> describe poetry like American Bandstand? <BR> "Oh, I like Byron. I give him a 42, but <BR> I can't dance to it." Now, I want you to <BR> rip out that page. </P>
<P> KEATING<BR> Go on. Rip out the entire page. You <BR> heard me. Rip it out. Rip it out! Go on. <BR> Rip it out! </P>
<P> KEATING<BR> Thank you, Mr. Dalton. Gentlemen, tell <BR> you what. Don't just tear out that page, <BR> tear out the entire introduction. I want <BR> it gone. History. Leave nothing of it. <BR> Rip it out! Rip! Be gone, J. Evans <BR> Pritchard, Ph.D. Rip. Shred. Tear. Rip <BR> it out! I want to hear nothing but <BR> ripping of Mr. Pritchard. We'll <BR> perforate it, put it on a roll. It's not <BR> the Bible. You're not gonna go to hell <BR> for this. </P>
<P> KEATING<BR> Go on. Make a clean tear. I want nothing <BR> left of it. </P>
<P> CAMERON<BR> We shouldn't be doing this. </P>
<P> KEATING<BR> Rip! Rip! Rip! Rip it out! Rip! </P>
<P> KEATING<BR> Rip it out! </P>
<P> McALLISTER<BR> What the hell is going on here? </P>
<P> KEATING<BR> I don't hear enough rips! </P>
<P> McALLISTER<BR> Mr. Keating. </P>
<P> KEATING<BR> Mr. McAllister. </P>
<P> McALLISTER<BR> I'm sorry. I, I didn't know you were <BR> here. </P>
<P> KEATING<BR> I am. Ah. </P>
<P> McALLISTER<BR> So you are. Excuse me. </P>
<P> KEATING<BR> Keep ripping, gentlemen! This is a <BR> battle. A war. And the casualties could <BR> be your hearts and souls. Thank you, <BR> Dalton. Armies of academics going <BR> forward, measuring poetry. No! We'll not <BR> have that here. No more Mr. J. Evans <BR> Pritchard. Now, my class, you will learn <BR> to think for yourselves again. You will <BR> learn to savor words and language. No <BR> matter what anybody tells you, words and <BR> ideas can change the world. Now I see <BR> that look in Mr. Pitts' eye, like 19th-<BR> century literature has nothing to do <BR> with going to business school or medical <BR> school. Right? Maybe. Mr. Hopkins, you <BR> may agree with him, thinking, "Yes, we <BR> should simply study our Mr. Pritchard <BR> and learn our rhyme and meter and go <BR> quietly about the business of achieving <BR> other ambitions." I've a little secret <BR> for you. Huddle up. Huddle up! </P>
<P> KEATING<BR> We don't read and write poetry because <BR> it's cute. We read and write poetry <BR> because we are members of the human <BR> race. And the human race is filled with <BR> passion. And medicine, law, business, <BR> engineering -- these are noble pursuits <BR> and necessary to sustain life. But <BR> poetry, beauty, romance, love -- these <BR> are what we stay alive for. To quote <BR> from Whitman <BR> O me! O life! of the question of these <BR> recurring, <BR> Of the endless trains of the faithless, <BR> of cities fill'd with the foolish... <BR> What good amid these O me, O life? <BR> Answer <BR> That you are here--That life exists and <BR> identity, <BR> That the powerful play goes on, and you <BR> may contribute a verse. </P>
<P> KEATING<BR> "That the powerful play goes on, and you <BR> may contribute a verse." What will your <BR> verse be? </P>
<P> BOYS<BR> For what we are about to receive, may <BR> the Lord make us truly grateful. Amen. </P>
<P> McALLISTER<BR> Quite an interesting class you gave <BR> today, Mr. Keating. </P>
<P> KEATING<BR> Sorry if I shocked you, Mr. McAllister. </P>
<P> McALLISTER<BR> Oh, there's no need to apologize. It was <BR> very fascinated, misguided though it <BR> was. </P>
<P> KEATING<BR> You think so? </P>
<P> McALLISTER<BR> You take a big risk by encouraging them <BR> to become artists, John. When they <BR> realize that they're not Rembrandts, <BR> Shakespeares or Mozarts, they'll hate <BR> you for it. </P>
<P> KEATING<BR> We're not talking artist, George. We're <BR> talking free thinkers. </P>
<P> McALLISTER<BR> Free thinkers at seventeen? </P>
<P> KEATING<BR> Funny. I never pegged you as a cynic. </P>
<P> McALLISTER<BR> Not a cynic. A realist. "Show me the <BR> heart unfettered by foolish dreams and <BR> I'll show you a happy man." </P>
<P> KEATING<BR> "But only in their dreams can men be <BR> truly free. 'Twas always thus, and <BR> always thus will be." </P>
<P> McALLISTER<BR> Tennyson? </P>
<P> KEATING<BR> No. Keating. </P>
<P> NEIL<BR> Hey, I found his senior annual in the <BR> library. </P>
<P> NEIL<BR> Listen to this. "Captain of the soccer <BR> team, Editor of the school annual, <BR> Cambridge bound, Thigh man, and Dead <BR> Poets Society." </P>
<P> CAMERON<BR> "Man most likely to do anything." </P>
<P> CHARLIE<BR> Thigh man! Mr."K" was a hell-raiser. </P>
<P> PITTS<BR> What's the Dead Poets Society? </P>
<P> NEIL<BR> I don't know. </P>
<P> MEEKS<BR> Is there a picture in the annual? </P>
<P> CAMERON<BR> No. </P>
<P> NEIL<BR> Nothing. No other mention of it. </P>
<P> MR. NOLAN<BR> That boy there, see me after lunch. </P>
<P> NEIL<BR> Mr. Keating! Mr. Keating! Sir? </P>
<P> CHARLIE<BR> Say something. </P>
<P> NEIL<BR> O Captain! My Captain! </P>
<P> KEATING<BR> Gentlemen. </P>
<P> NEIL<BR> We were just looking in your old annual. </P>
<P> KEATING<BR> Oh, my God. No, that's not me. Stanley <BR> "The Tool" Wilson. </P>
<P> KEATING<BR> God. </P>
<P> NEIL<BR> What was the Dead Poets Society? </P>
<P> KEATING<BR> I doubt the present administration would <BR> look too favorably upon that. </P>
<P> NEIL<BR> Why? What was it? </P>
<P> KEATING<BR> Gentlemen, can you keep a secret? </P>
<P> NEIL<BR> Sure, yeah. </P>
<P> KEATING<BR> The Dead Poets was dedicated to "sucking <BR> the marrow out of life." That's a phrase <BR> from Thoreau we would invoke at the <BR> beginning of every meeting. You see, we <BR> would gather at the old Indian cave and <BR> take turns reading from Thoreau, <BR> Whitman, Shelly -- the biggies -- even <BR> some of our own verse. And, in the <BR> enchantment of the moment, we'd let <BR> poetry work its magic. </P>
<P> KNOX<BR> You mean, it was a bunch of guys sitting <BR> around reading poetry? </P>
<P> KEATING<BR> No, Mr. Overstreet, it wasn't just guys. <BR> We weren't a Greek organization. We were <BR> Romantics. We didn't just read poetry, <BR> we let it drip from our tongues like <BR> honey. Spirits soared, women swooned and <BR> gods were created, gentlemen. Not a bad <BR> way to spend an evening, eh? Thank you, <BR> Mr. Perry, for this stroll down Amnesia <BR> Lane. Burn that, especially my picture. </P>
<P> NEIL<BR> Dead Poets Society. </P>
<P> CHARLIE<BR> What? </P>
<P> NEIL<BR> I say we go tonight. </P>
<P> CHARLIE<BR> Tonight? </P>
<P> CAMERON<BR> Now, wait a minute. </P>
<P> NEIL<BR> Everybody in? </P>
<P> PITTS<BR> Where's this cave he's talking about? </P>
<P> NEIL<BR> It's beyond the stream. I know where it <BR> is. </P>
<P> PITTS<BR> That's miles! </P>
<P> CAMERON<BR> Sounds boring to me. </P>
<P> CHARLIE<BR> Don't come. </P>
<P> CAMERON<BR> Do you know how many demerits we're <BR> talking, Dalton? </P>
<P> CHARLIE<BR> So don't come. Please. </P>
<P> CAMERON<BR> Look, all I'm saying is that we have to <BR> be careful. We can't get caught. </P>
<P> CHARLIE<BR> No shit, Sherlock. </P>
<P> HABER<BR> You boys there, hurry up! </P>
<P> NEIL<BR> All right. Who's in? </P>
<P> CAMERON<BR> Oh, come on, Neil. Hager's the- </P>
<P> NEIL<BR> Forget Hager! No. Who's in? </P>
<P> CHARLIE<BR> I'm in. </P>
<P> HABER<BR> I'm warning you! Move! </P>
<P> CAMERON<BR> Me, too. </P>
<P> PITTS<BR> I don't know, Neil. </P>
<P> NEIL<BR> What? </P>
<P> CHARLIE<BR> Pitts! Pittsie, come on! </P>
<P> MEEKS<BR> His grades are hurting, Charlie. </P>
<P> NEIL<BR> You can help him, Meeks. </P>
<P> PITTS<BR> What is this, a midnight study group? </P>
<P> NEIL<BR> Forget it, Pitts, you're coming. Meeks, <BR> your grades hurting, too? </P>
<P> MEEKS<BR> I'll try anything once. </P>
<P> CHARLIE<BR> Except sex. </P>
<P> CAMERON<BR> I'm in as long as we're careful. </P>
<P> CHARLIE<BR> What about you, Knox? </P>
<P> KNOX<BR> I don't know, Charlie. </P>
<P> CHARLIE<BR> Come on, Knox. I'll help you get Chris. </P>
<P> KNOX<BR> Yeah? How? </P>
<P> CHARLIE<BR> Women swoon! </P>
<P> KNOX<BR> But why do they swoon? Charlie, tell me <BR> why they swoon. Charlie! </P>
<P> NEIL<BR> You're not listening. Any questions? <BR> Look, you follow the stream to the <BR> waterfall. It's right there. It's gotta <BR> be like that. </P>
<P> CAMERON<BR> I don't know. It's starting to sound <BR> dangerous. </P>
<P> CHARLIE<BR> Oh. Why don't you just stay home? </P>
<P> CAMERON<BR> Hey, you're crazy. </P>
<P> McALLISTER<BR> For God's sake, stop chattering and sit <BR> down! </P>
<P> NEIL<BR> Todd, are you coming tonight? </P>
<P> TODD<BR> No. </P>
<P> NEIL<BR> Why not? God, you were there. You heard <BR> Keating. Don't you want to do something <BR> about-- </P>
<P> TODD<BR> Y-Yes, but-- </P>
<P> NEIL<BR> But, but what? </P>
<P> TODD<BR> Keating said that everybody took turns <BR> reading and I don't wanna do that. </P>
<P> NEIL<BR> Gosh. You really have a problem with <BR> that, don't you? </P>
<P> TODD<BR> N-No, I, I don't have a problem. Neil, I <BR> just-- I don't wanna do it, okay? </P>
<P> NEIL<BR> All right. What if you didn't have to <BR> read? What if you just came and <BR> listened? </P>
<P> TODD<BR> That's not how it works. </P>
<P> NEIL<BR> Forget how it works! What if, what if <BR> they said it was okay? </P>
<P> TODD<BR> What? What, are you gonna go up and ask <BR> them if-- No, no. </P>
<P> NEIL<BR> I'll be right back. </P>
<P> TODD<BR> Neil? Neil? </P>
<P> McALLISTER<BR> Oh, shut up, will you? </P>
<P> BOY 1<BR> It's my stuff for my asthma, okay? Could <BR> you give that back, please? Could you <BR> give that back? </P>
<P> BOY 2<BR> What's the matter? Don't you like <BR> snakes? </P>
<P> NEIL<BR> You're in. </P>
<P> BOY 1<BR> Get away from me, okay? </P>
<P> BOY 3<BR> Spaz, why don't you check your pockets? </P>
<P> BOY 4<BR> Come, Spaz. I have to brush my teeth. </P>
<P> BOY 5<BR> Hurry up! Get off. </P>
<P> HABER<BR> Cut out that racket in there. </P>
<P> NEIL<BR> Come on. Let's get out. Go! Go! </P>
<P> CHARLIE<BR> I'm a dead poet! </P>
<P> MEEKS<BR> Charlie. </P>
<P> CHARLIE<BR> Guys, over here! </P>
<P> MEEKS<BR> You're funny. You're real funny. </P>
<P> PITTS<BR> It's too wet. </P>
<P> CAMERON<BR> Charlie, you trying to smoke us out of <BR> here? </P>
<P> NEIL<BR> No, no, the smoke's going right up this <BR> opening. </P>
<P> PITTS<BR> You okay? </P>
<P> MEEKS<BR> Oh, God. Clods. </P>
<P> NEIL<BR> All right, all right. Forget the fire. </P>
<P> CHARLIE<BR> Forget it, forget it. </P>
<P> NEIL<BR> Lets go, gentlemen. </P>
<P> MEEKS<BR> Can't light a swamp. </P>
<P> NEIL<BR> I hereby reconvene the Dead Poets <BR> Society, Welton Chapter. The, uh, <BR> meetings will be conducted by myself and <BR> the other new initiates now present. Uh, <BR> Todd Anderson, because he prefers not to <BR> read, will keep the minutes of the <BR> meetings. </P>
<P> NEIL<BR> I'll now read the traditional opening <BR> message by society member, Henry David <BR> Thoreau. "I went to the woods because I <BR> wanted to live deliberately. I wanted to <BR> live deep and suck out all the marrow of <BR> life." </P>
<P> CHARLIE<BR> I'll second that. </P>
<P> NEIL<BR> "To put to rout all that was not life, <BR> and not, when I had come to die, <BR> discover that I had not lived." </P>
<P> NEIL<BR> And, uh, Keating's marked a bunch of <BR> other pages. </P>
<P> CHARLIE<BR> All right, intermission. Dig deep. Right <BR> here, right here, lay it down. </P>
<P> MEEKS<BR> On the mud? We're gonna put our food on <BR> the mud? </P>
<P> CHARLIE<BR> Meeks, put your coat down. Picnic <BR> blanket. </P>
<P> MEEKS<BR> Yes, sir! Excuse me. </P>
<P> PITTS<BR> Use Meeks' coat. </P>
<P> CHARLIE<BR> Don't keep anything back, either. You <BR> guys are always bumming my smokes. </P>
<P> MEEKS<BR> Raisins? </P>
<P> CHARLIE<BR> Yeah. Wait a minute. Who gave us half a <BR> roll? </P>
<P> CAMERON<BR> I'm eating the other half. </P>
<P> CHARLIE<BR> Come on. </P>
<P> CAMERON<BR> What? You want me to put it back? </P>
<P> NEIL<BR> It was a dark and rainy night. And this <BR> old lady, who had a passion for jigsaw <BR> puzzles, sat by herself in her house at <BR> her table to complete the new jigsaw <BR> puzzle. As she pieced the puzzle <BR> together, she realized to her <BR> astonishment that the image that was <BR> formed was her very own room, and the <BR> figure in the center of the puzzle as <BR> she completed it was herself. And with <BR> trembling hands, she placed the last <BR> four pieces and stared in horror at the <BR> face of a demented madman at the window. <BR> The last thing that this old lady ever <BR> heard was the sound of breaking glass. </P>
<P> KNOX<BR> No shit. </P>
<P> NEIL<BR> Yes. This is true. This is true. </P>
<P> CAMERON<BR> I've got one that's even better than <BR> that. I do. There's a young married <BR> couple and they're driving through the <BR> forest at night from a long trip. And <BR> they run out of gas and there's a madman <BR> on the loose. </P>
<P> CHARLIE<BR> Oh, that thing with the hands? </P>
<P> PITTS<BR> This is the madman on the roof? </P>
<P> CAMERON<BR> I love that story. </P>
<P> CHARLIE<BR> I told you that one. </P>
<P> CAMERON<BR> You did not. I got that in, uh, camp in <BR> sixth grade. </P>
<P> CHARLIE<BR> Yeah. Were you six last year? </P>
<P> PITTS<BR> "In a mean abode in the Shankill Road <BR> lived a man named William Bloat. Now he <BR> had a wife, the plague of his life, who <BR> continually got his goat. And one day at <BR> dawn with her night shift on, he slit <BR> her bloody throat." Oh, and it gets <BR> worse. </P>
<P> CHARLIE<BR> Do you wanna hear a real poem? </P>
<P> MEEKS<BR> Want this? </P>
<P> CHARLIE<BR> All right? No, I don't need it. You take <BR> it. </P>
<P> MEEKS<BR> What, did you bring one? </P>
<P> NEIL<BR> You memorized a poem? </P>
<P> CHARLIE<BR> I didn't memorize a poem. Move up. </P>
<P> MEEKS<BR> An original piece by Charlie Dalton. </P>
<P> KNOX<BR> An original piece. </P>
<P> PITTS<BR> Take center stage. </P>
<P> NEIL<BR> You know this is history. Right? This is <BR> history. </P>
<P> MEEKS<BR> Oh, wow. </P>
<P> CAMERON<BR> Where did you get that? </P>
<P> CHARLIE</P>
<P> Teach me to love? Go teach thyself more <BR> wit: <BR> I, chief professor, am of it. <BR> The god of love, if such a thing there <BR> be, <BR> May learn to love from me. </P>
<P> NEIL<BR> Wow! Did you write that? </P>
<P> CHARLIE<BR> Abraham Cowley. Okay, who's next? </P>
<P> NEIL<BR> Alfred Lord Tennyson. <BR> Come my friends, <BR> 'Tis not too late to seek a newer world <BR> for my purpose holds to sail beyond the <BR> sunset. <BR> And though we are not now that strength <BR> which in old days <BR> Moved earth and heaven; that which we <BR> are, we are;-- <BR> One equal temper of heroic hearts, <BR> Made weak by time and fate, but strong <BR> in will. <BR> To strive, to seek, to find, and not to <BR> yield. </P>
<P> MEEKS</P>
<P> Then I had religion, then I had a <BR> vision. <BR> I could not turn from their revel in <BR> derision. <BR> Then I saw the Congo creeping through <BR> the black, <BR> cutting through the forest with a golden <BR> track. <BR> Then I saw the Congo creeping through <BR> the black- </P>
<P> CHARLIE<BR> Meeks, Meeks. </P>
<P> MEEKS</P>
<P> ...cutting through the forest with a <BR> golden track.<BR> Then I saw the Congo creeping through <BR> the black, <BR> cutting through the forest with a golden <BR> track. <BR> Then I saw the Congo creeping through <BR> the black, <BR> cutting through the forest with a golden <BR> track. <BR> Then I saw the Congo creeping through <BR> the black, <BR> cutting through the forest with a golden <BR> track. </P>
<P> BOYS</P>
<P> Then I saw the Congo creeping through <BR> the black, <BR> cutting through the forest wit...</P>
<P> KNOX<BR> Morose? </P>
<P> KEATING<BR> Exactly! Morose. Now, language was <BR> developed for one endeavor, and that is? <BR> Mr. Anderson? Come on! Are you a man or <BR> an amoeba? </P>
<P> KEATING<BR> Mr. Perry? </P>
<P> NEIL<BR> Uh, to communicate. </P>
<P> KEATING<BR> No! To woo women. Today we're going to <BR> be talking about William Shakespeare. </P>
<P> BOY<BR> Oh, God! </P>
<P> KEATING<BR> I know. A lot of you looked forward to <BR> this about as much as you look forward <BR> to root canal work. We're gonna talk <BR> about Shakespeare as someone who writes <BR> something very interesting. Now, many of <BR> you have seen Shakespeare done very much <BR> like this, "O Titus, bring your friend <BR> hither." But if any of you have seen Mr. <BR> Marlon Brando, you know, Shakespeare can <BR> be different. "Friend, Romans, <BR> countrymen, lend me your ears." You can <BR> also imagine, maybe, John Wayne as <BR> Macbeth going, "Well, is this a dagger I <BR> see before me?" </P>
<P> KEATING<BR> "Dogs, sir? Oh, not just now. I do enjoy <BR> a good dog once in a while, sir. You can <BR> have yourself a three-course meal from <BR> one dog. Start with your canine <BR> crudites, go to your Fido flambe for <BR> main course and for dessert, a Pekingese <BR> parfait. And you can pick your teeth <BR> with a little paw." </P>
<P> KEATING<BR> Why do I stand up here? Anybody? </P>
<P> CHARLIE<BR> To feel taller. </P>
<P> KEATING<BR> No! Thank you for playing, Mr. Dalton. I <BR> stand upon my desk to remind yourself <BR> that we must constantly look at things <BR> in a different way. </P>
<P> KEATING<BR> You see, the world looks very different <BR> from up here. You don't believe me? Come <BR> see for yourself. Come on. Come on! </P>
<P> KEATING<BR> Just when you think you know something, <BR> you have to look at it in another way. <BR> Even though it may seem silly or wrong, <BR> you must try! Now, when you read, don't <BR> just consider what the author thinks. <BR> Consider what you think. </P>
<P> KEATING<BR> Boys, you must strive to find your own <BR> voice. Because the longer you wait to <BR> begin, the less likely you are to find <BR> it at all. Thoreau said, "Most men lead <BR> lives of quiet desperation." Don't be <BR> resigned to that. Break out! Don't just <BR> walk off the edge like lemmings. Look <BR> around you. </P>
<P> KEATING<BR> There! There you go, Mr. Priske. Thank <BR> you! Yes! Dare to strike out and find <BR> new ground. Now, in addition to your <BR> essays, I would like you to compose a <BR> poem of your own, an original work. </P>
<P> KEATING<BR> That's right! You have to deliver it <BR> aloud in front of the class on Monday. <BR> Bonne chance, gentlemen. </P>
<P> KEATING<BR> Mr. Anderson? Don't think that I don't <BR> know that this assignment scares the <BR> hell out of you, you mole. </P>
<P> MR. NOLAN<BR> Take a power train in two! Three! Keep <BR> your eyes in the boat! </P>
<P> MEEKS<BR> We got it, Pittsie. We got it! Radio <BR> Free American! </P>
<P> NEIL<BR> I found it. </P>
<P> TODD<BR> You found what? </P>
<P> NEIL<BR> What I wanna do right now. What's <BR> really, really inside me. </P>
<P> TODD<BR> "A Midsummer Night's Dream"? </P>
<P> NEIL<BR> This is it. </P>
<P> TODD<BR> What is this? </P>
<P> NEIL<BR> It's a play, dummy. </P>
<P> TODD<BR> I know that. I-- Wh-Wh-What does it have <BR> to do with you? </P>
<P> NEIL<BR> Right. They're putting it on at Henley <BR> Hall. Open tryouts. Open tryouts! </P>
<P> TODD<BR> Yes, so? </P>
<P> NEIL<BR> So, I'm gonna act. Yes, yes! I'm gonna <BR> be an actor! Ever since I can remember, <BR> I've wanted to try this. I even tried to <BR> go to summer stock auditions last year, <BR> but, of course, my father wouldn't let <BR> me. For the first time in my whole life <BR> I know what I wanna do, and for the <BR> first time I'm gonna do it whether my <BR> father wants me to or not! Carpe diem! </P>
<P> TODD<BR> Neil, Neil, hold on a minute. How are <BR> you gonna be in a play if your father <BR> won't let you? </P>
<P> NEIL<BR> First I gotta get the part, then I can <BR> worry about that. </P>
<P> TODD<BR> Yeah, but won't he kill you if he finds <BR> out you went to an audition and didn't <BR> even tell him? </P>
<P> NEIL<BR> No, no, no, no. As far as I'm concerned, <BR> he won't have to know about any of this. </P>
<P> TODD<BR> Well, that's impossible. </P>
<P> NEIL<BR> Bullshit! Nothing's impossible. </P>
<P> TODD<BR> Well, why don't you just call him and <BR> ask him? And m-maybe he'll say yes. </P>
<P> NEIL<BR> That's a laugh! If I don't ask him, at <BR> least I won't be disobeying him. </P>
<P> TODD<BR> Yeah, but if he said-- </P>
<P> NEIL<BR> Jesus, Todd! Whose side are you on? </P>
<P> NEIL<BR> I mean, I haven't even gotten the part <BR> yet. Can't I even enjoy the idea for a <BR> little while? </P>
<P> NEIL<BR> You're coming to the meeting this <BR> afternoon? </P>
<P> TODD<BR> I don't know. Maybe. </P>
<P> NEIL<BR> Nothing Mr. Keating has to say means <BR> shit to you, does it, Todd? </P>
<P> TODD<BR> W-What is that supposed to mean? </P>
<P> NEIL<BR> You're in the club! Being in the club <BR> means being stirred up by things. You <BR> look about as stirred up as a cesspool. </P>
<P> TODD<BR> S-- You want me out? </P>
<P> NEIL<BR> No! I want you in, but being in means <BR> you gotta do something. Not just say <BR> you're in. </P>
<P> TODD<BR> Well, listen, Neil. I-I appreciate this <BR> concern, but I-I'm not like you. All <BR> right? You, you, you say thing and <BR> people listen. I'm, I'm not like that. </P>
<P> NEIL<BR> Don't you think you could be? </P>
<P> TODD<BR> No! I--I, I don't know, but that's not <BR> the point. The, the, the point is that <BR> there's nothing you can do about it, so <BR> you can just butt out. I can take care <BR> of myself just fine. All right? </P>
<P> NEIL<BR> No. </P>
<P> TODD<BR> What do you mean, "no"? </P>
<P> NEIL<BR> No. </P>
<P> TODD<BR> Give me-- Neil. Neil, give that back. </P>
<P> NEIL<BR> "We are dreaming of a--" Poetry! I'm <BR> being chased by Walt Whitman! Okay, <BR> okay. </P>
<P> CAMERON<BR> What are you guys doing? I'm sure-- You <BR> see this chemistry- Hey, give me-- Neil, <BR> give me-- Don't be immature. Come on. I <BR> need my- </P>
<P> CHARLIE<BR> Give it to me! Give it to me! </P>
<P> NEIL<BR> Charlie, help me. </P>
<P> COACH<BR> Okay, everybody on the bus. Let's go, <BR> boys. Come on, let's go. On the bus, <BR> boys. Now! </P>
<P> KEATING<BR> Now, devotees may argue that one sport <BR> or game is inherently better than <BR> another. For me, sport is actually a <BR> chance for us to have other human beings <BR> push us to excel. I want you all to come <BR> over here and take a slip of paper and <BR> line up single file. </P>
<P> KEATING<BR> Mr. Meeks, time to inherit the earth. <BR> Mr. Pitts, rise above your name. I want <BR> you to hand these out to the boys, one <BR> apiece. </P>
<P> KEATING<BR> You know what to do, Pitts. </P>
<P> PITTS<BR> "Oh to struggle against great odds. To <BR> meet enemies undaunted." </P>
<P> KEATING<BR> Sounds to me like you're daunted. Say it <BR> again like you're undaunted. </P>
<P> PITTS<BR> "Oh to struggle against great odds. To <BR> meet enemies undaunted." </P>
<P> KEATING<BR> Now go on. </P>
<P> KEATING<BR> Yes! Next. </P>
<P> BOY 1<BR> "To be a sailor of the world, bound for <BR> all ports." </P>
<P> KEATING<BR> Next. Louder! </P>
<P> BOY 2<BR> "Oh, I live to be the ruler of life, not <BR> a slave." </P>
<P> BOY 3<BR> "To mount the scaffolds. To advance to <BR> the muzzle of guns with perfect <BR> nonchalance." </P>
<P> KEATING<BR> Come on, Meeks! Listen to the music. </P>
<P> MEEKS<BR> "To dance, clap hands, exalt, shout, <BR> skip, roll on, float on." </P>
<P> KEATING<BR> Yes! </P>
<P> HOPKINS<BR> "Oh, to have life henceforth the poem of <BR> new joys." </P>
<P> KEATING<BR> Oh! Boo! Come on, Charlie, let it fill <BR> your soul! </P>
<P> CHARLIE<BR> "To indeed be a god!" </P>
<P> NEIL<BR> Charlie, I got the part! I'm gonna play <BR> Puck! I'm gonna play Puck! </P>
<P> MEEKS<BR> What did he say? </P>
<P> PITTS<BR> Puck? </P>
<P> NEIL<BR> That's the main part. </P>
<P> KNOX<BR> Great, Neil. </P>
<P> NEIL<BR> Charlie, I got it! </P>
<P> CHARLIE<BR> Congratulations. Good for you, Neil. <BR> Good for you. </P>
<P> NEIL<BR> Okay, okay, okay, okay. </P>
<P> TODD<BR> Neil, how are you gonna do this? </P>
<P> NEIL<BR> They need a letter of permission from my <BR> father and Mr. Nolan. </P>
<P> TODD<BR> You're not gonna write it. </P>
<P> NEIL<BR> Oh yes, I am. </P>
<P> TODD<BR> Oh, Neil. Neil, you're crazy. </P>
<P> NEIL<BR> Okay. "I am writing to you on behalf of <BR> my son Neil Perry." This is great. </P>
<P> KNOX<BR> "To Chris." </P>
<P> BOY 1<BR> Who's Chris? </P>
<P> BOY 2<BR> Mmm, Chris. </P>
<P> KNOX</P>
<P> I see a sweetness in her smile. <BR> Blight light shines from her eyes. <BR> But life is complete; contentment is <BR> mine, <BR> Just knowing that... just knowing that <BR> she's alive. </P>
<P> KNOX<BR> Sorry, Captain. It's stupid. </P>
<P> KEATING<BR> No, no. It's not stupid. It's a good <BR> effort. It touched on one of the major <BR> themes, love. A major theme not only in <BR> poetry, but life. Mr. Hopkins, you were <BR> laughing. You're up. </P>
<P> HOPKINS<BR> "The cat sat on the mat." </P>
<P> KEATING<BR> Congratulations, Mr. Hopkins. Yours is <BR> the first poem to ever have a negative <BR> score on the Pritchard scale. We're not <BR> laughing at you, we're laughing near <BR> you. I don't mind that your poem had a <BR> simple theme. Sometimes the most <BR> beautiful poetry can be about simple <BR> things, like a cat, or a flower or rain. <BR> You see, poetry can come from anything <BR> with the stuff of revelation in it. Just <BR> don't let your poems be ordinary. Now, <BR> who's next? </P>
<P> KEATING<BR> Mr. Anderson, I see you sitting there in <BR> agony. Come on, Todd, step up. Let's put <BR> you out of your misery. </P>
<P> TODD<BR> I, I didn't do it. I didn't write a <BR> poem. </P>
<P> KEATING<BR> Mr. Anderson thinks that everything <BR> inside of him is worthless and <BR> embarrassing. Isn't that right, Todd? <BR> Isn't that your worst fear? Well, I <BR> think you're wrong. I think you have <BR> something inside of you that is worth a <BR> great deal. </P>
<P> KEATING<BR> "I sound my barbaric yawp over the <BR> rooftops of the world." W. W. Uncle Walt <BR> again. Now, for those of you who don't <BR> know, a yawp is a loud cry or yell. Now, <BR> Todd, I would like you to give us a <BR> demonstration of a barbaric "yawp." Come <BR> on. You can't yawp sitting down. Let's <BR> go. Come on. Up. </P>
<P> KEATING<BR> You gotta get in "yawping" stance. </P>
<P> TODD<BR> A yawp. </P>
<P> KEATING<BR> No, not just a yawp. A barbaric yawp. </P>
<P> TODD<BR> Yawp. </P>
<P> KEATING<BR> Come on, louder. </P>
<P> TODD<BR> Yawp. </P>
<P> KEATING<BR> No, that's a mouse. Come on. Louder. </P>
<P> TODD<BR> Yawp. </P>
<P> KEATING<BR> Oh, good God, boy. Yell like a man! </P>
<P> TODD<BR> Yawp! </P>
<P> KEATING<BR> There it is. You see, you have a <BR> barbarian in you, after all. Now, you <BR> don't get away that easy. </P>
<P> KEATING<BR> The picture of Uncle Walt up there. What <BR> does he remind you of? Don't think. <BR> Answer. Go on. </P>
<P> TODD<BR> A m-m-madman. </P>
<P> KEATING<BR> What kind of madman? Don't think about <BR> it. Just answer again. </P>
<P> TODD<BR> A c-crazy madman. </P>
<P> KEATING<BR> No, you can do better than that. Free up <BR> your mind. Use your imagination. Say the <BR> first thing that pops into your head, <BR> even if it's total gibberish. Go on, go <BR> on. </P>
<P> TODD<BR> Uh, uh, a sweaty-toothed madman. </P>
<P> KEATING<BR> Good God, boy, there's a poet in you, <BR> after all. There, close your eyes. Close <BR> your eyes. Close 'em. Now, describe what <BR> you see. </P>
<P> TODD<BR> Uh, I-I close my eyes. </P>
<P> KEATING<BR> Yes? </P>
<P> TODD<BR> Uh, and this image floats beside me. </P>
<P> KEATING<BR> A sweaty-toothed madman? </P>
<P> TODD<BR> A sweaty-toothed madman with a stare <BR> that pounds my brain. </P>
<P> KEATING<BR> Oh, that's excellent. Now, give him <BR> action. Make him do something. </P>
<P> TODD<BR> H-His hands reach out and choke me. </P>
<P> KEATING<BR> That's it. Wonderful. Wonderful. </P>
<P> TODD<BR> And, and all the time he's mumbling. </P>
<P> KEATING<BR> What's he mumbling? </P>
<P> TODD<BR> M-Mumbling, "Truth. Truth is like, like <BR> a blanket that always leaves your feet <BR> cold." </P>
<P> KEATING<BR> Forget them, forget them. Stay with the <BR> blanket. Tell me about that blanket. </P>
<P> TODD<BR> Y-Y-Y-You push it, stretch it, it'll <BR> never be enough. You kick at it, beat <BR> it, it'll never cover any of us. From <BR> the moment we enter crying to the moment <BR> we leave dying, it will just cover your <BR> face as you wail and cry and scream. </P>
<P> KEATING<BR> Don't you forget this. </P>
<P> CHARLIE<BR> Attaboy, Pittsie, inhale deeply. </P>
<P> MEEKS<BR> My dad collects a lot of pipes. </P>
<P> CHARLIE<BR> Really? Mine's got thirty. </P>
<P> PITTS<BR> Your parents collect pipes? Oh, that's <BR> really interesting. </P>
<P> CHARLIE<BR> Come on, Knox. Join in. </P>
<P> MEEKS<BR> Yeah, Knox, we're from the government. <BR> We're here to help, man. </P>
<P> CHARLIE<BR> What's wrong? </P>
<P> PITTS<BR> It's Chris. Here's a picture of Chris <BR> for you. </P>
<P> MEEKS<BR> Smoke that. Put that in your pipe and <BR> smoke it. </P>
<P> KNOX<BR> That's not funny. </P>
<P> CHARLIE<BR> Knock it off. Smoke your pipes. </P>
<P> MEEKS<BR> Neil! </P>
<P> NEIL<BR> Friend, scholar, Welton men. </P>
<P> MEEKS<BR> What is that, Neil? </P>
<P> PITTS<BR> Duh. It's a lamp, Meeks. </P>
<P> NEIL<BR> No. This is the god of the cave. </P>
<P> MEEKS<BR> The god of the cave. </P>
<P> PITTS<BR> Charlie, what are you doing? </P>
<P> CHARLIE<BR> What do you say we start this meeting? </P>
<P> BOY 1<BR> Y-Yeah, just-- I need a light. I just <BR> gotta- </P>
<P> BOY 2<BR> Got my earplugs? </P>
<P> CHARLIE<BR> Gentlemen, "Poetrusic" by Charles <BR> Dalton. </P>
<P> BOY 3<BR> Oh, boy. He's gonna play. <BR> BOY:Oh, no. </P>
<P> CHARLIE<BR> Laughing, crying, tumbling, mumbling. <BR> Gotta do more. Gotta be more. </P>
<P> CHARLIE<BR> Chaos screaming, chaos dreaming. Gotta <BR> do more! Gotta be more! </P>
<P> MEEKS<BR> Wow! </P>
<P> PITTS<BR> That was nice. That was great. Where did <BR> you learn to play like that? </P>
<P> CHARLIE<BR> My parents made me take the clarinet for <BR> years. </P>
<P> CAMERON<BR> I love the clarinet. </P>
<P> CHARLIE<BR> I hated it. The saxophone. The saxophone <BR> is more sonorous. </P>
<P> CAMERON<BR> Oh. </P>
<P> MEEKS<BR> Vocabulary. </P>
<P> KNOX<BR> I can't take it anymore. If I don't have <BR> Chris, I'm gonna kill myself. </P>
<P> CHARLIE<BR> Knoxious, you've gotta calm down. </P>
<P> KNOX<BR> No, Charlie. That's just my problem. <BR> I've been calm all my life. I'll do <BR> something about that. </P>
<P> NEIL<BR> Where are you going? </P>
<P> CHARLIE<BR> What are you gonna do? </P>
<P> KNOX<BR> I'm gonna call her. Yes! </P>
<P> CHRIS<BR> Hello? </P>
<P> KNOX<BR> She's gonna hate me. The Danburrys will <BR> hate me. My parents will kill me. </P>
<P> KNOX<BR> All right, goddamn it. You're right. <BR> "Carpe diem." Even if it kills me. </P>
<P> CHRIS<BR> Hello? </P>
<P> KNOX<BR> Hello, Chris? </P>
<P> CHRIS<BR> Yes. </P>
<P> KNOX<BR> Hi. This is Knox Overstreet. </P>
<P> CHRIS<BR> Oh, yes. Knox. Glad you called. </P>
<P> KNOX<BR> She's glad I called. </P>
<P> CHRIS<BR> Listen, Chet's parents are going out of <BR> town this weekend, so he's having a <BR> party. Would you like to come? </P>
<P> KNOX<BR> Would I like to come to a party? </P>
<P> CHARLIE<BR> Yes. Say, yes. </P>
<P> CHRIS<BR> Friday? Um- </P>
<P> KNOX<BR> Well, sure. </P>
<P> CHRIS<BR> About seven? </P>
<P> KNOX<BR> Okay, great. I-I'll be there, Chris. </P>
<P> CHRIS<BR> Okay. </P>
<P> KNOX<BR> Friday night at the Danburrys'. O-Okay. <BR> Thank you. </P>
<P> CHRIS<BR> Okay. Bye. </P>
<P> KNOX<BR> Thank you. I'll see you. Bye. </P>
<P> KNOX<BR> Yawp! Can you believe it? She was gonna <BR> call me. She invited me to a party with <BR> her. </P>
<P> CHARLIE<BR> At Chet Danburrys' house. </P>
<P> KNOX<BR> Yeah. </P>
<P> CHARLIE<BR> Well? </P>
<P> KNOX<BR> So? </P>
<P> CHARLIE<BR> So, you don't really think she means <BR> you're going with her? </P>
<P> KNOX<BR> Well, of course not, Charlie. But that's <BR> not the point. That's not the point at <BR> all. </P>
<P> CHARLIE<BR> What is the point? </P>
<P> KNOX<BR> The point, Charlie, is, uh-- </P>
<P> CHARLIE<BR> Yeah? </P>
<P> KNOX<BR> -- that she was thinking about me. I've <BR> only met her once, and already she's <BR> thinking about me. Damn it. It's gonna <BR> happen, guys. I feel it. She is going to <BR> be mine. Carpe. Carpe! </P>
<P> KEATING<BR> No grades at stake, gentlemen. Just take <BR> a stroll. </P>
<P> KEATING<BR> There it is. </P>
<P> KEATING<BR> I don't know, but I've been told-- </P>
<P> BOYS<BR> I don't know, but I've been told-- </P>
<P> KEATING<BR> Doing poetry is old-- </P>
<P> BOYS<BR> Doing poetry is old-- </P>
<P> KEATING<BR> Left, left, left-right-left. Left, left, <BR> left-right-left. Left, halt! </P>
<P> KEATING<BR> Thank you, gentlemen. If you noticed, <BR> everyone started off with their own <BR> stride, their own pace. Mr. Pitts, <BR> taking his time. He knew he'll get there <BR> one day. Mr. Cameron, you could see him <BR> thinking, "Is this right? It might be <BR> right. It might be right. I know that. <BR> Maybe not. I don't know." Mr. <BR> Overstreet, driven by deeper force. Yes. <BR> We know that. <BR> All right. Now, I didn't bring them up <BR> here to ridicule them. I brought them up <BR> here to illustrate the point of <BR> conformity: the difficulty in <BR> maintaining your own beliefs in the face <BR> of others. Now, those of you -- I see <BR> the look in your eyes like, "I would've <BR> walked differently." Well, ask <BR> yourselves why you were clapping. Now, <BR> we all have a great need for acceptance. <BR> But you must trust that your beliefs are <BR> unique, your own, even though others may <BR> think them odd or unpopular, even though <BR> the herd may go, "That's bad." Robert <BR> Frost said, "Two roads diverged in a <BR> wood and I, I took the one less traveled <BR> by, and that has made all the <BR> difference." Now, I want you to find <BR> your own walk right now. Your own way of <BR> striding, pacing. Any direction. <BR> Anything you want. Whether it's proud, <BR> whether it's silly, anything. Gentlemen, <BR> the courtyard is yours. </P>
<P> KEATING<BR> You don't have to perform. Just make it <BR> for yourself. Mr. Dalton? You be joining <BR> us? </P>
<P> CHARLIE<BR> Exercising the right not to walk. </P>
<P> KEATING<BR> Thank you, Mr. Dalton. You just <BR> illustrated the point. Swim against the <BR> stream. </P>
<P> NEIL<BR> Todd? Hey. </P>
<P> TODD<BR> Hey. </P>
<P> NEIL<BR> What's going on? </P>
<P> TODD<BR> Nothing. Today's my birthday. </P>
<P> NEIL<BR> Is today your birthday? Happy birthday. </P>
<P> TODD<BR> Thanks. </P>
<P> NEIL<BR> What's you get? </P>
<P> TODD<BR> My parents gave me this. </P>
<P> NEIL<BR> Isn't this the same desk set- </P>
<P> TODD<BR> Yeah, yeah. They gave me the same thing <BR> as last year. </P>
<P> NEIL<BR> Oh. </P>
<P> TODD<BR> Oh. </P>
<P> NEIL<BR> Maybe they thought you needed another <BR> one. </P>
<P> TODD<BR> Maybe they weren't thinking about <BR> anything at all. Uh, the funny thing is <BR> about this is I, I didn't even like it <BR> the first time. </P>
<P> NEIL<BR> Todd, I think you're underestimating the <BR> value of this desk set. I mean, who <BR> would want a football or a baseball, or-<BR> - </P>
<P> TODD<BR> Or a car. </P>
<P> NEIL<BR> Or a car if they could have a desk set <BR> as wonderful as this one? I mean, if, if <BR> I were ever going to buy a, a desk set <BR> twice, I would probably buy this one <BR> both times. In fact, its, its shape is, <BR> it's rather aerodynamic, isn't it? I can <BR> feel it. This desk set wants to fly. </P>
<P> NEIL<BR> Todd? The world's first unmanned flying <BR> desk set. </P>
<P> TODD<BR> Oh, my! </P>
<P> NEIL<BR> Well, I wouldn't worry. You'll get <BR> another one next year. </P>
<P> BOYS<BR> "To live deep and suck out all the <BR> marrow of life. To put to rout all that <BR> was not life" </P>
<P> CAMERON<BR> Oh, my God! </P>
<P> GLORIA<BR> Is this it? </P>
<P> CHARLIE<BR> Yeah, this is it. Go ahead, go on in. <BR> It's my cave. Watch your step. </P>
<P> TINA<BR> We're not gonna slip, are we? </P>
<P> GLORIA<BR> Uh-oh. Hi. </P>
<P> BOY<BR> Hello. </P>
<P> GLORIA<BR> Hello. </P>
<P> CHARLIE<BR> Hi, you guys. Meet, uh, Gloria and-- </P>
<P> TINA<BR> Tina. </P>
<P> CHARLIE<BR> Tina. This is the pledge class of the <BR> Dead Poets Society. <BR> BOY:Hello. How do you do? </P>
<P> NEIL<BR> Hello. </P>
<P> GLORIA<BR> Hi. Hi. </P>
<P> CHARLIE<BR> Guys, move. Move. Come on, folks. It's <BR> Friday night. Let's get on with the <BR> meeting. <BR> BOY:Sorry. Excuse-Excuse me. </P>
<P> CHARLIE<BR> Guys, I have an announcement to make. In <BR> keeping with the spirit of passionate <BR> experimentation of the Dead Poets, I'm <BR> giving up the name Charlie Dalton. From <BR> now on, call me Nuwanda. </P>
<P> PITTS<BR> Nuwanda? </P>
<P> NEIL<BR> Nuwanda? </P>
<P> CHARLIE<BR> Okay. </P>
<P> KNOX<BR> Hello? Hello, Chris? </P>
<P> CHRIS<BR> Knox! </P>
<P> KNOX<BR> Hi. </P>
<P> CHRIS<BR> You made it. Great! Bring anybody? </P>
<P> KNOX<BR> No. </P>
<P> CHRIS<BR> No. Ginny Danburry's here. Wait. I have <BR> to go find Chet. Why don't you go <BR> downstairs where everybody is? </P>
<P> CHRIS<BR> Make yourself at home. </P>
<P> KNOX<BR> But I-- </P>
<P> GUY 1<BR> Hey, you Mutt Sanders' brother? Bubba, <BR> this guy look like Mutt Sanders to you <BR> or what? </P>
<P> BUBBA<BR> You're his brother? </P>
<P> KNOX<BR> No relation. Never heard of him. Sorry, <BR> guys. </P>
<P> BUBBA<BR> Where's your manners? Mutt Sanders' <BR> brother, we don't even offer him a <BR> drink. Here. Go have some whiskey, pal. </P>
<P> GUY 1<BR> Yeah. </P>
<P> KNOX<BR> Whoa, I, uh, I don't really drink-- </P>
<P> BUBBA<BR> To Mutt. </P>
<P> GUY 1<BR> To Mutt. </P>
<P> KNOX<BR> To Mutt. </P>
<P> BUBBA<BR> Now, how the hell is old Mutt, anyway? </P>
<P> GUY 1<BR> Yeah. What's ol' Mutter been up to, huh? </P>
<P> KNOX<BR> I don't really know Mutt. </P>
<P> BUBBA<BR> To Mighty Mutt. </P>
<P> GUY 1<BR> To Mighty Mutt. </P>
<P> KNOX<BR> To Mighty Mutt. </P>
<P> BUBBA<BR> Well, listen, I gotta go find Patsy. Say <BR> hello to Mutt for me, okay? </P>
<P> KNOX<BR> Will do. </P>
<P> GUY 1<BR> Yeah. Hell of a guy, your brother Mutt. </P>
<P> CHARLIE<BR> We gonna have a meeting or what? </P>
<P> GLORIA<BR> Yeah. If you guys don't have a meeting, <BR> how do we know if we wanna join? </P>
<P> NEIL<BR> Join? </P>
<P> CHARLIE<BR> "Shall I compare thee to a summer's day? <BR> Thou art more lovely and more <BR> temperate." </P>
<P> TINA<BR> That's so sweet. </P>
<P> CHARLIE<BR> I made that up just for you. </P>
<P> TINA<BR> You did? </P>
<P> CHARLIE<BR> I'll write one for you too, Gloria. <BR> She walks in beauty like the night. <BR> She walks in beauty like the night. <BR> Of cloudless climes and starry skies. <BR> All that's best, dark and bright, <BR> Meet in her aspect and her eyes. </P>
<P> GLORIA<BR> That's beautiful. </P>
<P> CHARLIE<BR> There's plenty more where that came <BR> from. </P>
<P> KNOX<BR> God help me. Carpe diem. </P>
<P> BUBBA<BR> Chet! Chet! Look! </P>
<P> CHET<BR> What? </P>
<P> BUBBA<BR> It's Mutt Sanders' brother. </P>
<P> CHET<BR> Huh? </P>
<P> CHRIS<BR> Knox, what-- </P>
<P> BUBBA<BR> And he's feeling up your girl! </P>
<P> CHRIS<BR> What are you doing? </P>
<P> CHET<BR> What the hell are you doing? </P>
<P> CHRIS<BR> Chet! Chet, don't. </P>
<P> KNOX<BR> Now, Chet, I know this looks bad, but <BR> you've gotta- </P>
<P> CHRIS<BR> Chet, no! You'll hurt him! No! No! Stop <BR> it! Leave him alone! </P>
<P> CHET<BR> Goddamn! </P>
<P> CHRIS<BR> Chet, stop it! </P>
<P> CHET<BR> Bastard! </P>
<P> CHRIS<BR> Knox, are you all right? </P>
<P> CHET<BR> Chris, get the hell away from him! </P>
<P> CHRIS<BR> Chet, you hurt him! </P>
<P> CHET<BR> Good! </P>
<P> KNOX<BR> I'm sorry. I'm so sorry. </P>
<P> CHRIS<BR> It's okay. It-It's okay. </P>
<P> CHET<BR> Next time I see you, you die. </P>
<P> TINA<BR> Go ahead, pass it around. </P>
<P> MEEKS<BR> Me and Pitts are working on a hi-fi <BR> system. It shouldn't be that hard to, <BR> uh, to put together. </P>
<P> PITTS<BR> Yeah. Uh, I might be going to Yale. Uh, <BR> uh, but, I, I might not. </P>
<P> GLORIA<BR> Don't you guys miss having girls around <BR> here? </P>
<P> MEEKS<BR> Yeah. </P>
<P> CHARLIE<BR> That's part of what this club is about. <BR> In fact, I'd like to announce I <BR> published an article in the school <BR> paper, in the name of the Dead Poets. </P>
<P> CAMERON<BR> What? </P>
<P> CHARLIE<BR> Demanding girls be admitted to Welton. </P>
<P> PITTS<BR> You didn't. </P>
<P> CHARLIE<BR> So we can all stop beating off. </P>
<P> NEIL<BR> How did you do that? </P>
<P> CHARLIE<BR> I'm one of the proofers. I slipped the <BR> article in. </P>
<P> MEEKS<BR> Look, uh, it's, it's over now. </P>
<P> CHARLIE<BR> Why? Nobody knows who we are. </P>
<P> CAMERON<BR> Well, don't you think they're gonna <BR> figure out who wrote it? They're gonna <BR> come to you and ask to know what the <BR> Dead Poets Society is. Charlie, you had <BR> no right to do something like that. </P>
<P> CHARLIE<BR> It's Nuwanda, Cameron. </P>
<P> GLORIA<BR> That's right. It's Nuwanda. </P>
<P> CHARLIE<BR> Are we just playing around out here, or <BR> do we mean what we say? For all we do is <BR> come together and reach a bunch of poems <BR> to each other. What the hell are we <BR> doing? </P>
<P> NEIL<BR> All right, but you still shouldn't have <BR> done it, Charlie. This could mean <BR> trouble. You don't speak for the club. </P>
<P> CHARLIE<BR> Hey, would you not worry about your <BR> precious little neck? If they catch me, <BR> I'll tell them I made it up. </P>
<P> MR. NOLAN<BR> Sit. </P>
<P> MR. NOLAN<BR> In this week of Welton's Honor there <BR> appeared a profane and unauthorized <BR> article. Rather than spend my valuable <BR> time ferreting out the guilty persons -- <BR> and let me assure you I will find them -<BR> - I'm asking any and all students who <BR> knows anything about this article to <BR> make themselves known here and now. <BR> Whoever the guilty persons are, this is <BR> your only chance to avoid expulsion from <BR> this school. </P>
<P> CHARLIE<BR> Welton Academy. Hello. Yes, he is. Just <BR> a moment. Mr. Nolan, it's for you. It's <BR> God. He says we should have girls at <BR> Welton. </P>
<P> MR. NOLAN<BR> Wipe that smirk off your face. If you <BR> think, Mr. Dalton, that you're the first <BR> to try to get thrown out of this school, <BR> think again. Others have had similar <BR> notions and have failed just as surely <BR> as you will fail. Assume the position. </P>
<P> MR. NOLAN<BR> Count aloud, Mr. Dalton. </P>
<P> CHARLIE<BR> One. Two. Three. Four. Five. </P>
<P> MR. NOLAN<BR> What is this Dead Poets Society? I want <BR> names. </P>
<P> NEIL<BR> You kicked out? </P>
<P> CHARLIE<BR> No. </P>
<P> NEIL<BR> So what happened? </P>
<P> CHARLIE<BR> I'm to turn everybody in, apologize to <BR> the school and all will be forgiven. </P>
<P> NEIL<BR> So, what are you gonna do? Charlie! </P>
<P> CHARLIE<BR> Damn it, Neil. The name is Nuwanda. </P>
<P> MR. NOLAN<BR> Excuse me. May we have a word, Mr. <BR> Keating? </P>
<P> KEATING<BR> Certainly. </P>
<P> MR. NOLAN<BR> This was my first classroom, John. Did <BR> you know that? My first desk. </P>
<P> KEATING<BR> Didn't know you taught, Mr. Nolan. </P>
<P> MR. NOLAN<BR> English. Oh, long before your time. It <BR> was hard giving it up, I can tell you. <BR> I'm hearing rumors, John, about some <BR> unorthodox teaching methods in your <BR> classroom. I'm not saying they've <BR> anything to do with the Dalton boy's <BR> outburst. But I don't think I have to <BR> warn you boys his age are very <BR> impressionable. </P>
<P> KEATING<BR> Well, your reprimand made quite an <BR> impression, I'm sure. </P>
<P> MR. NOLAN<BR> What was going on in the courtyard the <BR> other day? </P>
<P> KEATING<BR> Courtyard? </P>
<P> MR. NOLAN<BR> Yeah. Boys marching, clapping in unison. </P>
<P> KEATING<BR> Oh, that. That was an exercise to prove <BR> a point. Dangers of conformity. </P>
<P> MR. NOLAN<BR> Well, John, the curriculum here is set. <BR> It's proven it works. If you question, <BR> what's to prevent them from doing the <BR> same? </P>
<P> KEATING<BR> I always thought the idea of educating <BR> was to learn to think for yourself. </P>
<P> MR. NOLAN<BR> At these boys' ages? Not on your life! <BR> Tradition, John. Discipline. Prepare <BR> them for college, and the rest will take <BR> care of itself. </P>
<P> CHARLIE<BR> Creak. He started walking around towards <BR> my left. Creak. Creak. "Assume the <BR> position, Mr. Dalton." </P>
<P> KEATING<BR> It's all right, gentlemen. </P>
<P> CHARLIE<BR> Mr. Keating. </P>
<P> KEATING<BR> Mr. Dalton. That was a pretty lame stunt <BR> you pulled today. </P>
<P> CHARLIE<BR> You're siding with Mr. Nolan? What about <BR> Carpe diem and sucking all the marrow <BR> out of life and all that? </P>
<P> KEATING<BR> Sucking the marrow out of life doesn't <BR> mean choking on the bone. Sure there's a <BR> time for daring and there's a time for <BR> caution, and a wise man understands <BR> which is called for. </P>
<P> CHARLIE<BR> But I thought you'd like that. </P>
<P> KEATING<BR> No. You being expelled from school is <BR> not daring to me. It's stupid, 'cause <BR> you'll miss some golden opportunities. </P>
<P> CHARLIE<BR> Yeah. Like what? </P>
<P> KEATING<BR> Like, if nothing else, the opportunity <BR> to attend my classes. Got it, Ace? </P>
<P> CHARLIE<BR> Aye, aye, Captain. </P>
<P> KEATING<BR> Keep your head about you. That goes for <BR> the lot of you. </P>
<P> BOYS<BR> Yes, Captain. </P>
<P> KEATING<BR> Phone call from God. If it had been <BR> collect, it wouldn't been daring. </P>
<P> CHARLIE<BR> All right. Go on, play. </P>
<P> DIRECTOR<BR> We're trying to rehearse, okay? Start. </P>
<P> LYSANDER<BR> A good persuasion, therefore hear me, <BR> Hermia. </P>
<P> DIRECTOR<BR> Wait, please. Excitement. I don't hear <BR> any excitement about this play. And take <BR> her hand. Bring her down the stage and <BR> stop. And "There, gentle Hermia." Okay? <BR> Try again. </P>
<P> BOY 1<BR> What's for dinner? </P>
<P> BOY 2<BR> Spaghetti and meatballs! </P>
<P> NEIL<BR> Save some for me. "But, room, Fairy! <BR> Here comes Oberon." </P>
<P> NEIL<BR> Father. </P>
<P> MR. PERRY<BR> Neil. </P>
<P> NEIL<BR> Wait a minute. Before you say anything, <BR> please let me ex- </P>
<P> MR. PERRY<BR> Don't you dare talk back to me! It's bad <BR> enough that you've wasted your time with <BR> this, this absurd acting business. But <BR> you deliberately deceived me! How, how, <BR> how did you expect to get away with <BR> this? Answer me. Who put you up to it? <BR> Was it this new man? This, uh, Mr. <BR> Keating? </P>
<P> NEIL<BR> No. Nobody-- I thought I'd surprise you. <BR> I've gotten all A's in every class. </P>
<P> MR. PERRY<BR> Did you think I wasn't going to find <BR> out? "Oh, my niece is in a play with <BR> your son," says Mrs. Marks. "No, no, <BR> no," I say, "you must be mistaken. My <BR> son's not in a play." You made me a liar <BR> of me, Neil! Now, tomorrow you go to <BR> them and you tell them that you're <BR> quitting. </P>
<P> NEIL<BR> No, I can't. I have the main part. The <BR> performance is tomorrow night. </P>
<P> MR. PERRY<BR> I don't care if the world comes to an <BR> end tomorrow night. You are through with <BR> that play. Is that clear? Is that clear? </P>
<P> NEIL<BR> Yes, sir. </P>
<P> MR. PERRY<BR> I made a great many sacrifices to get <BR> you here, Neil, and you will not let me <BR> down. </P>
<P> NEIL<BR> No, sir. </P>
<P> KEATING<BR> It's open. </P>
<P> KEATING<BR> Neil, what's up? </P>
<P> NEIL<BR> Can I speak to you a minute? </P>
<P> KEATING<BR> Certainly. Sit down. </P>
<P> NEIL<BR> I'm sorry. Here. </P>
<P> KEATING<BR> Excuse me. Get you some tea? </P>
<P> NEIL<BR> Tea. Sure. </P>
<P> KEATING<BR> Like some milk or sugar in that? </P>
<P> NEIL<BR> No, thanks. </P>
<P> NEIL<BR> Gosh, they don't give you much room <BR> around here. </P>
<P> KEATING<BR> No, it's part of the monastic oath. They <BR> don't want worldly things distracting me <BR> from my teaching. </P>
<P> NEIL<BR> She's pretty. </P>
<P> KEATING<BR> She's also in London. Makes it a little <BR> difficult. </P>
<P> NEIL<BR> How can you stand it? </P>
<P> KEATING<BR> Stand what? </P>
<P> NEIL<BR> You can go anywhere. You can do <BR> anything. How can you stand being here? </P>
<P> KEATING<BR> 'Cause I love teaching. I don't wanna be <BR> anywhere else. </P>
<P> KEATING<BR> What's up? </P>
<P> NEIL<BR> I just talked to my father. He's making <BR> me quit the play at Henley Hall. <BR> Acting's everything to me. I-- But he <BR> doesn't know. He-- I can see his point. <BR> We're not a rich family like Charlie's, <BR> and we-- But he's planning the rest of <BR> my life for me, and I-- H-He's never <BR> asked me what I want. </P>
<P> KEATING<BR> Have you ever told your father what you <BR> just told me? About your passion for <BR> acting. You ever show him that? </P>
<P> NEIL<BR> I can't. </P>
<P> KEATING<BR> Why not? </P>
<P> NEIL<BR> I can't talk to him this way. </P>
<P> KEATING<BR> Then you're acting for him, too. You're <BR> playing the part of the dutiful son. I <BR> know this sounds impossible, but you <BR> have to talk to him. You have to show <BR> him who you are, what your heart is. </P>
<P> NEIL<BR> I know what he'll say. He'll tell me <BR> that acting's a whim, and I should <BR> forget it. That how they're counting on <BR> me. He'll just tell me to put it out of <BR> my mind, "for my own good." </P>
<P> KEATING<BR> You are not an indentured servant. If <BR> it's not a whim for you, you prove it to <BR> him by your conviction and your passion. <BR> You show him that And if he still <BR> doesn't believe you, well, by then <BR> you'll be out of school and you can do <BR> anything you want. </P>
<P> NEIL<BR> No. What about the play? The show's <BR> tomorrow night. </P>
<P> KEATING<BR> Well, you have to talk to him before <BR> tomorrow night. </P>
<P> NEIL<BR> Isn't there an easier way? </P>
<P> KEATING<BR> No. </P>
<P> NEIL<BR> I'm trapped. </P>
<P> KEATING<BR> No, you're not. </P>
<P> KNOX<BR> Chris! </P>
<P> KNOX<BR> Chris Noel. Do you know where she is? </P>
<P> GIRL<BR> Um, I think she's in room 111. </P>
<P> KNOX<BR> Thanks. </P>
<P> KNOX<BR> Excuse me. Chris. </P>
<P> CHRIS<BR> Knox, what are you doing here? </P>
<P> KNOX<BR> I came to apologize for the other night. <BR> I brought you these and a poem I wrote <BR> for you. </P>
<P> CHRIS<BR> Knox, don't you know that, if Chet finds <BR> you here he'll kill you? </P>
<P> KNOX<BR> I can't care. I love you, Chris. </P>
<P> CHRIS<BR> Knox, you're crazy. </P>
<P> KNOX<BR> Look, I acted like a jerk and I know it. <BR> Please, accept these. Please. </P>
<P> CHRIS<BR> No. No-- I, I can't. Forget it. </P>
<P> CHRIS<BR> Knox, I don't believe this. </P>
<P> KNOX<BR> All I'm asking you to do is listen. <BR> The heavens made a girl named Chris <BR> With hair and skin of gold. <BR> To touch her would be paradise. </P>
<P> CHARLIE<BR> Get out of here. Cameron, you fool. Hey, <BR> how'd it go? Did you read it to her? </P>
<P> KNOX<BR> Yeah. </P>
<P> PITTS<BR> What'd she say? </P>
<P> KNOX<BR> Nothing. </P>
<P> CHARLIE<BR> Nothing. What do you mean, nothing? </P>
<P> KNOX<BR> Nothing. But I did it. </P>
<P> CHARLIE<BR> What did she say? I know she had to say <BR> something. </P>
<P> PITTS<BR> Come here, Knox. </P>
<P> KNOX<BR> Seize the day! </P>
<P> KEATING<BR> Did you talk to your father? </P>
<P> NEIL<BR> Uh, he didn't like it one bit, but at <BR> least he's letting me stay in the play. <BR> He won't be able to make, make it. He's <BR> in Chicago. But, uh, I think he's gonna <BR> let me stay with acting. </P>
<P> KEATING<BR> Really? You told him what you told me? </P>
<P> NEIL<BR> Yeah. He wasn't happy. But he'll be gone <BR> at least four days. I don't think he'll <BR> make the show, but I think he'll let me <BR> stay with it. "Keep up the school work." <BR> Thanks. </P>
<P> PITTS<BR> Beautiful baby. </P>
<P> MEEKS<BR> Beautiful baby. Henley Hall, here I <BR> come. </P>
<P> CAMERON<BR> Excuse me, just a moment. Yes. You're so <BR> cute. Come on, Todd. I'm trying to fix <BR> this. </P>
<P> TODD<BR> Come on, Nuwanda. You're gonna miss <BR> Neil's entrance. </P>
<P> PITTS<BR> He said something about getting red <BR> before we left. </P>
<P> CAMERON<BR> Getting red? What does that mean? </P>
<P> PITTS<BR> I, uh-- Well, you know Charlie. </P>
<P> TODD<BR> So, Charlie, what's this "getting red" <BR> bit? </P>
<P> TODD<BR> W-What is that? </P>
<P> CHARLIE<BR> It's an Indian warrior symbol for <BR> virility. Makes me feel potent, like it <BR> can drive girls crazy. </P>
<P> TODD<BR> Oh, come on, Charlie. The girls are <BR> waiting. </P>
<P> KNOX<BR> Chris. </P>
<P> KNOX<BR> What are you doing here? </P>
<P> KEATING<BR> Gentlemen, let's go. </P>
<P> KNOX<BR> Go ahead, guys. I'll catch up. </P>
<P> CHARLIE<BR> Yeah, come on, guys. </P>
<P> KNOX<BR> Chris, you can't be in here. I-If they <BR> catch you, we're both gonna be in big <BR> trouble. </P>
<P> CHRIS<BR> Oh, but it's fine-- </P>
<P> CHRIS<BR> It's fine for you to come barging into <BR> my school and make a complete fool out <BR> of me? </P>
<P> KNOX<BR> I don't mean to make a fool out of you. </P>
<P> CHRIS<BR> Well, you did. Chet found out. And it <BR> took everything I could do to keep him <BR> from coming here and killing you. Knox, <BR> you have got to stop this stuff. </P>
<P> KNOX<BR> I can't, Chris. I love you. </P>
<P> CHRIS<BR> Knox, you say that over and over. You <BR> don't, you don't even know me. </P>
<P> KEATING<BR> Will you be joining us, Mr. Overstreet? </P>
<P> KNOX<BR> Go ahead, Captain. I'll walk. </P>
<P> CHRIS<BR> Knox, Knox, it just so happens that I <BR> could care less about you? </P>
<P> KNOX<BR> Then you wouldn't be here warning me <BR> about Chet. </P>
<P> CHRIS<BR> I have to go. I'm gonna be late for the <BR> play. </P>
<P> KNOX<BR> Are you going with him? </P>
<P> CHRIS<BR> Chet? To a play? Are you kidding? </P>
<P> KNOX<BR> Then come with me. </P>
<P> CHRIS<BR> Knox, you are so infuriating. </P>
<P> KNOX<BR> Come on, Chris. Just give me one chance. <BR> If you don't like me after tonight, I'll <BR> stay away forever. </P>
<P> CHRIS<BR> Uh-huh. </P>
<P> KNOX<BR> I promise. Dead Poets Honor. You come <BR> with me tonight. And then, if you don't <BR> want to see me again, I swear I'll bow <BR> out. <BR> <BR> CHRIS<BR> You know what would happen if Chet found <BR> out? </P>
<P> KNOX<BR> He won't know anything. We'll sit in the <BR> back and sneak away as soon as it's <BR> over. </P>
<P> CHRIS<BR> And I suppose you would promise that <BR> this would be the end of it. </P>
<P> KNOX<BR> Dead Poets Honor. </P>
<P> CHRIS<BR> What is that? </P>
<P> KNOX<BR> My word. </P>
<P> CHRIS<BR> You are so infuriating. </P>
<P> CHARLIE<BR> Hey, there he is! Hey, hey. </P>
<P> KEATING<BR> Shh, boys. </P>
<P> FAIRY</P>
<P> Either I mistake your shape and making <BR> quite, <BR> Or else you are that shrewd and knavish <BR> sprite <BR> Call'd Robin Goodfellow: </P>
<P> PUCK</P>
<P> Thou speak'st aright; <BR> I am that merry wanderer of the night. <BR> I jest to Oberon and make him smile <BR> When I a fat and bean-fed horse beguile, <BR> Neighing in likeness of a filly foal: <BR> And sometime lurk I in a gossip's bowl, <BR> In very likeness of a roasted crab, <BR> And when she drinks, against her lips I <BR> bob <BR> And on her wither'd dewlap pour the ale. <BR> The wisest aunt, telling the saddest <BR> tale, </P>
<P> CHARLIE<BR> He's good. He's really good. </P>
<P> PUCK</P>
<P> Sometime for three-foot stool mistaketh <BR> me; <BR> Then slip I from her bum, down topples <BR> she, <BR> And "tailor" cries, and falls into a <BR> cough; <BR> And then the whole quire hold their hips <BR> and laugh, <BR> And waxen in their mirth and neeze and <BR> swear <BR> A merrier hour was never wasted there. <BR> But, room, Fairy! here comes Oberon. </P>
<P> FAIRY</P>
<P> And here my mistress. Would that he were <BR> gone! </P>
<P> LYSANDER</P>
<P> Then by your side no bed-room me deny; <BR> For lying so, Hermia, I do not lie </P>
<P> HERMIA</P>
<P> Lysander riddles very prettily: <BR> Now much beshrew my manners and my <BR> pride, <BR> If Hermia meant to say Lysander lied. <BR> But, gentle friend, for love and <BR> courtesy <BR> Lie further off; in human modesty, <BR> Such separation as may well be said <BR> Becomes a virtuous bachelor and a maid, <BR> and, good night, sweet friend: <BR> Thy love ne'er alter till thy sweet life <BR> end! </P>
<P> LYSANDER</P>
<P> Amen, amen, to that fair prayer, say I; </P>
<P> DIRECTOR<BR> Neil. That's your cue, Neil. Come on, <BR> Neil. Here's your crown. Let's go. </P>
<P> PUCK</P>
<P> If we shadows have offended, <BR> Think but this, and all is mended, <BR> That you have but slumber'd here <BR> While these visions did appear. <BR> And this weak and idle theme, <BR> No more yielding but a dream, <BR> Gentles, do not reprehend: <BR> If you pardon, we will mend: <BR> And, as I am an honest Puck, <BR> If we have unearned luck <BR> Now to 'scape the serpent's tongue, <BR> We will make amends ere long; <BR> Else the Puck a liar call; <BR> So, good night unto you all. <BR> Give me your hands, if we be friends, <BR> And Robin shall restore amends. </P>
<P> CHARLIE<BR> Yawp! </P>
<P> KNOX<BR> Yeah, Neil! </P>
<P> MR. PERRY<BR> Excuse me, I'm Neil's father. I need to <BR> see him. </P>
<P> DIRECTOR<BR> Your father. He's- </P>
<P> MAN<BR> What did you think? <BR> WO<BR> MAN<BR> Really I thought you were all just <BR> wonderful! </P>
<P> MR. PERRY<BR> Excuse me. Excuse me. Excuse me. </P>
<P> CHARLIE<BR> Neil, Neil, you were great. </P>
<P> NEIL<BR> I can't, guys. </P>
<P> TODD<BR> Neil! Neil! </P>
<P> KEATING<BR> Neil. Neil. You have the gift. What a <BR> performance You left even me speechless. <BR> You have to stay with- </P>
<P> MR. PERRY<BR> Get in the car. Keating, you stay away <BR> from my son. </P>
<P> CHARLIE<BR> Neil! Neil! Mr. Perry, come on. </P>
<P> KEATING<BR> Don't make it any worse than it is. </P>
<P> CHARLIE<BR> Is it okay if we walk back? Captain? <BR> Knox. </P>
<P> MR. PERRY<BR> We're trying very hard to understand why <BR> it is that you insist on defying us. <BR> Whatever the reason, we're not gonna let <BR> you ruin your life. Tomorrow I'm <BR> withdrawing you from Welton and <BR> enrolling you in Braden Military School. <BR> You're going to Harvard and you're gonna <BR> be a doctor. </P>
<P> NEIL<BR> But that's ten more years. Father, <BR> that's a lifetime! </P>
<P> MR. PERRY<BR> Oh, stop it. Don't be so dramatic. You <BR> make it sound like a prison term. You <BR> don't understand, Neil. You have <BR> opportunities that I never even dreamt <BR> of and I am not going to let you waste <BR> them. </P>
<P> NEIL<BR> I've got to tell you what I feel. </P>
<P> MRS. PERRY<BR> We've been so worried about-- </P>
<P> MR. PERRY<BR> What? What? Tell me what you feel. What <BR> is it? </P>
<P> MR. PERRY<BR> Is it more of this, this acting <BR> business? Because you can forget that. <BR> What? </P>
<P> NEIL<BR> Nothing. </P>
<P> MR. PERRY<BR> Nothing. Well, then, let's go to bed. </P>
<P> NEIL<BR> I was good. I was really good. </P>
<P> MRS. PERRY<BR> Go on, get some sleep. </P>
<P> MR. PERRY<BR> It's all right. It's going to be all <BR> right. </P>
<P> MR. PERRY<BR> What was that? </P>
<P> MRS. PERRY<BR> What? </P>
<P> MR. PERRY<BR> That sound. </P>
<P> MRS. PERRY<BR> What sound? Tom? </P>
<P> MRS. PERRY<BR> What is it? What's wrong? </P>
<P> MR. PERRY<BR> Neil. </P>
<P> MRS. PERRY<BR> Tom, what is it? What's wrong? Neil? </P>
<P> MR. PERRY<BR> Neil? </P>
<P> MRS. PERRY<BR> I'll look outside. Neil? </P>
<P> MR. PERRY<BR> No! </P>
<P> MR. PERRY<BR> Oh, Neil! Oh, my God! </P>
<P> MRS. PERRY<BR> Oh! No! </P>
<P> MR. PERRY<BR> Oh, my son! </P>
<P> MRS. PERRY<BR> He's all right. </P>
<P> MR. PERRY<BR> My son! My poor son! </P>
<P> MRS. PERRY<BR> He's all right! He's all right! He's all <BR> right! He's all right! He's all right! <BR> He's all right! </P>
<P> MR. PERRY<BR> Stop it! Stop it! Stop it. </P>
<P> CHARLIE<BR> Todd? Todd. </P>
<P> TODD<BR> Oh, Charlie. </P>
<P> TODD<BR> What is it? </P>
<P> CHARLIE<BR> Neil's dead. </P>
<P> TODD<BR> It's so beautiful. </P>
<P> CHARLIE<BR> Todd. It's okay, Todd. </P>
<P> PITTS<BR> Calm down. </P>
<P> CHARLIE<BR> It's all right, Todd. </P>
<P> PITTS<BR> Todd, it's okay. It's okay, Todd. </P>
<P> CHARLIE<BR> It's all right. Now, listen. </P>
<P> TODD<BR> He wouldn't-- He wouldn't have done it. </P>
<P> MEEKS<BR> You can't explain it, Todd. </P>
<P> TODD<BR> It was his father! </P>
<P> CHARLIE<BR> No! </P>
<P> TODD<BR> He wouldn't have left us. If he knew-- <BR> He wouldn't have. His dad was-- his, his <BR> father did it. </P>
<P> CHARLIE<BR> Todd. </P>
<P> TODD<BR> His father killed him. </P>
<P> MEEKS<BR> You can't explain it, Todd. </P>
<P> MEEKS<BR> Todd! </P>
<P> CHARLIE<BR> Leave him be. </P>
<P> BOYS<BR> All my life <BR> Thy light shall surely follow me <BR> And in God's house forevermore <BR> My dwelling place shall be <BR> Amen </P>
<P> MR. NOLAN<BR> The death of Neil Perry is a tragedy. He <BR> was a fine student. One of Welton's <BR> best. And he will be missed. We've <BR> contacted each of your parents to <BR> explain the situation. Naturally, <BR> they're all quite concerned. At the <BR> request of Neil's family, I intend to <BR> conduct a thorough inquiry into this <BR> matter. Your complete cooperation is <BR> expected. </P>
<P> CHARLIE<BR> You told him about this meeting? </P>
<P> PITTS<BR> Twice. </P>
<P> CHARLIE<BR> That's it, guys. We're all fried. </P>
<P> PITTS<BR> How do you mean? </P>
<P> CHARLIE<BR> Cameron's a fink. He's in Nolan's office <BR> right now, finking. </P>
<P> PITTS<BR> About what? </P>
<P> CHARLIE<BR> The club, Pissie. Think about it. The <BR> board of directors, the trustees and Mr. <BR> Nolan. Do you think for one moment <BR> they're gonna let this thing just blow <BR> over? Schools go down because of things <BR> like this. They need a scapegoat. </P>
<P> CAMERON<BR> What's going on, guys? </P>
<P> CHARLIE<BR> You finked, didn't you, Cameron? </P>
<P> CAMERON<BR> Finked? I didn't know what the hell <BR> you're talking about. </P>
<P> CHARLIE<BR> You told Nolan everything about the club <BR> is what I'm talking about. </P>
<P> CAMERON<BR> Look, in case you hadn't heard, Dalton, <BR> there's something called an honor code <BR> at this school, all right? If a teacher <BR> asks you a question, you tell the truth <BR> or you're expelled. </P>
<P> CHARLIE<BR> You little punk! </P>
<P> MEEKS<BR> Charlie! </P>
<P> CHARLIE<BR> He's a rat! He's in it up to his eyes, <BR> so he rattled to save himself. </P>
<P> KNOX<BR> Don't touch him, Charlie. You do and <BR> you're out. </P>
<P> CHARLIE<BR> I'm out anyway! </P>
<P> KNOX<BR> You don't know that, not yet. </P>
<P> CAMERON<BR> He's right there, Charlie. And if you <BR> guys are smart, you will do exactly what <BR> I did and cooperate. They're not after <BR> us. We're the victims. Us and Neil. </P>
<P> CHARLIE<BR> What's that mean? Who are they after? </P>
<P> CAMERON<BR> Why, Mr. Keating, of course. The <BR> "Captain" himself. I mean, you guys <BR> didn't really think he could avoid <BR> responsibility, did you? </P>
<P> CHARLIE<BR> Mr. Keating responsible for Neil? Is <BR> that what they're saying? </P>
<P> CAMERON<BR> Well, who else do you think, dumb ass? <BR> The administration? Mr. Perry? Mr. <BR> Keating put us up to all this crap, <BR> didn't he? If he wasn't for Mr. Keating, <BR> Neil would be cozied up in his room <BR> right now, studying his chemistry and <BR> dreaming of being called doctor. </P>
<P> TODD<BR> That is not true, Cameron. You know <BR> that. He didn't put us to anything. Neil <BR> loved acting. </P>
<P> CAMERON<BR> Believe what you want, but I say let <BR> Keating fry. I mean, why ruin our lives? </P>
<P> KNOX<BR> Charlie. </P>
<P> CAMERON<BR> You just signed your expulsion papers, <BR> Nuwanda. </P>
<P> CAMERON<BR> And if the rest of you are smart, you'll <BR> do exactly what I did. They know <BR> everything anyway. You can't save <BR> Keating, but you can save yourselves. </P>
<P> HABER<BR> Knox Overstreet. </P>
<P> TODD<BR> Meeks? </P>
<P> MEEKS<BR> Go away. I have to study. </P>
<P> TODD<BR> What happened to Nuwanda? </P>
<P> MEEKS<BR> Expelled. </P>
<P> TODD<BR> What'd you tell 'em? </P>
<P> MEEKS<BR> Nothing they didn't already know. </P>
<P> HABER<BR> Todd Anderson. </P>
<P> MR. ANDERSON<BR> Hello, son. </P>
<P> MRS. ANDERSON<BR> Hello, darling. </P>
<P> TODD<BR> Mom. </P>
<P> MR. NOLAN<BR> Have a seat, Mr. Anderson. </P>
<P> MR. NOLAN<BR> Mr. Anderson, I think we've pretty well <BR> put together what's happened here. You <BR> do admit to being a part of this Dead <BR> Poets Society? </P>
<P> MR. ANDERSON<BR> Answer him, Todd. </P>
<P> TODD<BR> Yes, sir. </P>
<P> MR. NOLAN<BR> I have here a detailed description of <BR> what occurred at your meetings. It <BR> describes how your teacher, Mr. Keating, <BR> encouraged you boys to organize this <BR> club and to use it as a source of <BR> inspiration for reckless and self-<BR> indulgent behavior. It describes how Mr. <BR> Keating, both in and out of the <BR> classroom, encouraged Neil Perry to <BR> follow his obsession with acting when he <BR> knew all along it was against the <BR> explicit order of Neil's parents. It was <BR> Mr. Keating's blatant abuse of his <BR> position as teacher that led directly to <BR> Neil Perry's death. </P>
<P> MR. NOLAN<BR> Read that document carefully, Todd. Very <BR> carefully. </P>
<P> MR. NOLAN<BR> If you've nothing to add or amend, sign <BR> it. </P>
<P> TODD<BR> What's gonna happen to Mr. Keating? </P>
<P> MR. ANDERSON<BR> I've had enough. Sign the paper, Todd. </P>
<P> McALLISTER<BR> Grass is gramen or herba. Lapis is <BR> stone. The entire building is <BR> aedificium. </P>
<P> MR. NOLAN<BR> Sit. I'll be teaching this class through <BR> exams. We'll find a permanent English <BR> teacher during the break. Who will tell <BR> me where you are in the Pritchard <BR> textbook? </P>
<P> MR. NOLAN<BR> Mr. Anderson. </P>
<P> TODD<BR> Uh, in the, in the Pr- </P>
<P> MR. NOLAN<BR> I can't hear you, Mr. Anderson. </P>
<P> TODD<BR> In the, in the, in the Pritchard? </P>
<P> MR. NOLAN<BR> Kindly inform me, Mr. Cameron. </P>
<P> CAMERON<BR> We skipped around a lot, sir. We covered <BR> the Romantics and some of the chapters <BR> on Post Civil War literature. </P>
<P> MR. NOLAN<BR> What about the Realists? </P>
<P> CAMERON<BR> I believe we skipped most of that, sir. </P>
<P> MR. NOLAN<BR> All right, then, we'll start over. What <BR> is poetry? </P>
<P> MR. NOLAN<BR> Come. </P>
<P> KEATING<BR> Excuse me. I came for my personals. <BR> Should I come back after class? </P>
<P> MR. NOLAN<BR> Get them now, Mr. Keating. </P>
<P> MR. NOLAN<BR> Gentlemen, turn to page 21 of the <BR> introduction. Mr. Cameron, read aloud <BR> the excellent essay by Dr. Pritchard on <BR> "Understanding Poetry." </P>
<P> CAMERON<BR> That page has been ripped out, sir. </P>
<P> MR. NOLAN<BR> Well, borrow somebody else's book. </P>
<P> CAMERON<BR> They're all ripped out, sir. </P>
<P> MR. NOLAN<BR> What do you mean, they're all ripped <BR> out? </P>
<P> CAMERON<BR> Sir, we, uh- </P>
<P> MR. NOLAN<BR> Never mind. </P>
<P> MR. NOLAN<BR> Read! </P>
<P> CAMERON<BR> "Understanding Poetry by Dr. J Evans <BR> Pritchard, Ph.D. To fully understand <BR> poetry, we must first be fluent with its <BR> meter, rhyme and figures of speech, then <BR> ask two questions: 1) How artfully has <BR> the objective of the poem been rendered <BR> and 2)..." </P>
<P> CAMERON<BR> "... How important is that objective? <BR> Question 1 rates the poem's perfection; <BR> question 2 rates its importance. And <BR> once these questions have been answered, <BR> determining the poem's greatness becomes <BR> a relatively simple matter. If the <BR> poem's score for perfection is plotted <BR> on the horizontal of a graph--" </P>
<P> TODD<BR> Mr. Keating! They made everybody sign <BR> it. </P>
<P> MR. NOLAN<BR> Quiet, Mr. Anderson. </P>
<P> TODD<BR> You gotta believe me. It's true. </P>
<P> KEATING<BR> I do believe you, Todd. </P>
<P> MR. NOLAN<BR> Leave, Mr. Keating. </P>
<P> TODD<BR> But it wasn't his fault! </P>
<P> MR. NOLAN<BR> Sit down, Mr. Anderson! One more <BR> outburst from you or anyone else, and <BR> you're out of this school! Leave, Mr. <BR> Keating. I said leave, Mr. Keating. </P>
<P> TODD<BR> O Captain! My Captain! </P>
<P> MR. NOLAN<BR> Sit down, Mr. Anderson! </P>
<P> MR. NOLAN<BR> Do you hear me? Sit down! Sit down! This <BR> is your final warning, Anderson. How <BR> dare you? Do you hear me? </P>
<P> KNOX<BR> O Captain! My Captain! </P>
<P> MR. NOLAN<BR> Mr. Overstreet, I warn you! Sit down! </P>
<P> MR. NOLAN<BR> Sit down! Sit down. All of you. I want <BR> you seated. Sit down. Leave, Mr. <BR> Keating. </P>
<P> MR. NOLAN<BR> All of you, down. I want you seated. Do <BR> you hear me? </P>
<P> MR. NOLAN<BR> Sit down! </P>
<P> KEATING<BR> Thank you, boys. Thank you. <BR> <BR> </P>
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첫댓글 와우, 이것까지 있을 줄은 몰랐어요 ㅜㅜ 정말 멋진 영화.... captin, my captin도 그렇고 명대사가 많아요 흑