스크랩 죽은시인의사회- 영어대본 포함

[김 수연(제34대 영문학과 회장)]

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Dead Poets Society (1989)  

by Tom Schulman.  

Final script.   

More info about this movie on IMDb.com  

1 INT WELTON ACADAMY DINING HALL - DAY - VARIOUS SHOTS 1  

CREDITS ROLL  

On the left is a life-sized mural depicting a group of young   

school boys looking up adoringly at a woman who represents   

liberty. On the right is a mural showing young men gathered   

around an industrialist in a corporate boardroom. Between the   

murals stands a boy.  

An odd, blaring MUSICAL SOUND starts and stops, interrupted   

by the noise of pumping. A teacher hurries to the boy,   

adjusts his tie, and leads him off.  

On another wall is a full-sized portrait of a 19th century   

Scotsman in a kilt. In front at this, young boys carrying   

banners, and several elderly men in old-fashioned costumes   

assembling into a processional formation. Nervous younger   

boys (7th graders) are shown their places in line and handed   

candles. They light each others.' candles until all their   

candles are lit.  

Suddenly the MUSIC BLASTS FORTH in its full splendor. It is   

a BAGPIPE. The bagpiper, in a kilt like the one in the   

portrait, begins a processional march.   

2 INT CORRIDOR ADJACENT THE DINING ROOM - SAME 2  

The bagpiper enters a long slate and stone hallway. The   

haunting timbre of his antiquated instrument reverberates   

through the building. Momentarily, he is followed by the   

other processional marchers. He leads them down the corridor   

and down a threshold staircase into:  

3 INT. WELTON'S OLD, STONE CHAPEL - CONTINUOUS 3  

Where two hundred high school-aged boys--most of whom wear   

black blazers--sit on either side of the central aisle   

watching the procession move onto the dais in front. Beside   

most of these boys are their parents.  

VARIOUS ANGLES ON THE PROCESSION  

FOUR 16-YEAR-OLD Boys CARRY BANNERS.  

Each boy is dressed in an archaic, turn-of-the-century   

outfit. On each banner is emblazoned a different word. One   

reads "TRADITION," another reads "HONOR",' a third reads   

DISCIPLINE, the last reads 'EXCELLENCE."  

THE ELDERLY MEN  

in their 70s and SOS, obviously the school's oldest alumni,   

each wearing a name tag and the uniform of his day, make their   

way toward the stage.  

THE SEVENTH GRADERS  

carrying candles are nervous and self-conscious. Most   

concentrate intently on keeping their candles lit while they   

march. One young boy's candle has gone cut and he can barely   

keep from crying.  

The bagpiper stands at the corner of the dais, marching in   

place. Behind him, in black robes, sit the school's 30-odd   

teachers. The processional's elderly alumni fill the chairs   

of honor on the dais.  

The four young BANNER CARRIERS peel off from the main aisle   

and take seats beside their parents in the audience. The 7th   

graders take seats with their parents too. A purple and black   

robed man who brings up the rear of the procession walks up to   

the podium. Me is HEADMASTER GALE NOLAN, a big man, in his   

mid-60s. The music stops.  

NOLAN  

Ladies and gentlemen, distinguished   

alumni, and students: This year marks   

the one hundredth year that Welton   

Academy has been in existence.  

Applause begins. Soon the whole room is standing in a   

thunderous ovation. After an appropriate amount of time,   

Nolan motions for everyone to be seated.  

NOLAN (CONT'D)  

One hundred years ago, in 1859, forty-one boys sat in this   

room and were asked the same question that now greets you at   

the start of each semester: Gentlemen, what are the four   

pillars?  

All of the students stand at attention. Find TODD ANDERSON   

sitting between his parents. Todd is 16, good looking, but he   

seems beaten down, lacking confidence, unhappy. He wears a   

name tag and no Welton blazer. When the others stand, Todd's   

mother nudges him. Todd stands. He watches as the other   

students:  

ALL THE BOYS IN UNISON   

Tradition! Honor! Discipline!   

Excellence!  

All the boys sit. Todd sits too. All is silent again.  

NOLAN  

In her first year, Welton Academy   

graduated five students. Last year we   

graduated fifty-one and over seventy-five   

percent of those went to the Ivy League!  

Applause. During it we rind KNOX OVERSTREET and CHARLIE   

DALTON, both 16, and both in Welton blazers. Knox (sitting   

between his parents) carries a banner. He has curly hair,   

looks outgoing, is short but well built. Charlie, also with   

his parents, has a handsome yet friendly face. He carries no   

banner but, when Nolan mentions Ivy League, both these boys   

fit the bill.  

NOLAN (CONT'D)  

This kind of accomplishment is the   

result of fervent dedication to the   

principles taught here. This is why you   

parents have been sending us your sons,   

and this is why we are the best   

preparatory school in the United States.  

(more applause)  

New students  

All turn to look at the new students the 7th graders and   

transfer students. Todd Anderson is among them and he looks   

incredibly self-conscious.  

NOLAN (CONT'D)  

The key to your success rests on our   

four pillars. These are the bywords of   

this school and they will become the   

cornerstones of your lives. Welton   

Society candidate Richard Cameron...  

In the audience, not far from Todd is Richard CAMERON, one of   

the banner carriers, 16, his father's little clone. He stands   

eagerly to attention. Too eagerly.  

CAMERON  

Yes sir!  

NOLAN  

What is Tradition?  

CAMERON  

Tradition, Mr. Nolan, is love of school,   

country, and family. Our tradition at   

Welton is to be the best!  

NOLAN  

Good, Mr. Cameron. Welton Society   

Candidate George Hopkins. Honor.  

Cameron sits. His father beams smugly.  

HOPKINS (O.S.)  

Honor is dignity and the fulfillment of   

duty!  

NOLAN  

Good, Mr. Hopkins. Honor Society   

Candidate, Knox Overstress  

Knox, as mentioned, is a banner-holder. He stands.  

KNOX  

Yes sir.  

NOLAN  

What is discipline?  

KNOX  

Discipline is respect for parents,   

teachers, headmaster. Discipline comes   

from within.  

NOLAN  

Thank you, Mr. Overstress. Honor   

Candidate Neil Perry.  

Knox sits. Knox's proud father and mother give him pats of   

encouragement. NEIL PERRY stands. Whereas some boys have two   

or three achievement pins an the lapels of their coats, Neil   

has a huge cluster of them on the pocket of his jacket. Neil   

is 16, intense, a born leader. However, there is more than a   

hint of anger and dissatisfaction in his eyes. Beside him   

sits his unsmiling father, MR. PERRY.  

NOLAN  

Excellence, Mr. Perry.  

NEIL (rote)  

Excellence is the result of hard work.   

Excellence is the key to all success, in   

school and everywhere.  

Neil sits. He doesn't look at his father nor does his father   

look at him.  

NOLAN  

Gentlemen, at Welton you will work   

harder than you have ever worked in your   

lives, and your reward will be the   

success that all of us expect of you. I   

would now like to call to the podium   

Welton's oldest living graduate- Mr.   

Alexander Carmichael, Jr., Class of 1866.  

An octogenarian on stage shuns help from those beside him and   

makes his way slowly--excruciatingly slowly--to the podium As   

the audience rises to another standing ovation  

DISSOLVE TO:  

4 EXT. THE WELTON ACADEMY - MAIN LAWN - DAY 4  

Welton Academy is a cluster of traditional weathered stone   

buildings. The time is 1959 but at Welton this is irrelevant.   

This school with its traditions is completely isolated from   

the politics or trends of the outside world.  

The students stand with their parents under a giant tent.   

Finger food, coffee, tea and punch are laid cut on white   

clothed tables.  

Charlie's mother stands dotingly fixing Charlie's hair. Then   

she kisses him.  

Knox's father has his hand affectionately around his son.  

Mr. Perry stands adjusting the achievement pins on Neil's   

jacket.  

Todd Anderson's parents stand chatting with another couple,   

paying no attention to Todd who looks very much alone.   

Mr.Nolan walks by and looks at Todd's name tag.  

NOLAN  

Ah, Mr. Anderson. You have some big   

shoes to fill, young man. Your brother   

was one of our best.  

TODD  

(faint, almost inaudible)  

Thank you.  

Neil's father, Neil in tow, approaches Nolan and interrupts.  

MR. PERRY  

(somewhat disturbed)  

Gale. what's this I hear about a new   

junior English teacher?  

NOLAN  

Mr. Gladden took the Headmaster's post   

at Malford, so we've hired John Keating.  

MR. PERRY  

(suspicious)  

A former student, I hear?  

NOLAN  

A star student, Mr. Perry. And he's   

spent the last ten years teaching at the   

McMillan School in Edinburgh.  

MR. PERRY  

(acting impressed)  

Oh. McMillan.  

Nolan looks around. He finds, then indicates:  

ACROSS THE LAWN a black-robed teacher stands with his back to   

us, staring at the beautiful Welton LAKE. As if he sensed he   

was being watched, he turns and faces us. This is JOHN   

KEATING, late 30s, sparkling eyes.  

Nolan puts his arm on Mr. Perry's shoulder and leads him off.  

NOLAN  

Come meet him. You'll like him.  

We watch Nolan escort Mr. Perry across the lawn and introduce   

him to Mr. Keating who walks up to greet them. Todd stands   

alone, looking around. Neil Perry, now left alone, does the   

same. Both watch the other students saying good-byes to their   

parents.  

5 EXT. THE WELTON ACADEMY PARKING LOT - DAY 5  

The 7th graders are saying good-bye to their parents. Chins   

quiver. Young eyes hold back tears. Some boys sob. For most   

of these young boys this is the first time in their lives that   

they will be away from their parents and their homes, and it   

is a devastating experience.  

LONG SHOT, WELTON ACADEMY - SAME  

Welton Academy sits in a lonely and isolated valley in woods   

of Vermont. Though the setting is beautiful, its isolation   

only highlights the loneliness that most of the 7th graders   

feel at this moment.  

6 OMIT 6  

7 INT. THE WELTON ACADEMY OAK PANELED HONOR ROOM - DAY 7  

The 50 or so members of the junior class sit in chairs or   

stand around the room. The students that were featured   

earlier are here: Todd Anderson, Neil Perry, Knox Overstress,   

Charlie Dalton, Richard Cameron. All except Todd wear Welton   

blazers. Todd sticks out and he knows it.  

A staircase against a wall leads to a 2nd-floor door. That   

door opens and down the stairs file five boys. An old teacher   

(DR. HAGER) comes to the door and calls out five names.  

HAGER  

Overstreet, Perry, Dalton, Anderson,   

Cameron.  

These boys file up the staircase. As they do, a seated boy   

(PITTS) leans to the boy next to him (STEVEN MEEKS). Meeks   

has sweet egghead looks and very short hair. He wears a   

pocket watch and chain.  

PITTS  

Who's the new boy?   

MEEKS  

(shrugs)  

Anderson.  

Old Hager sees this conversation.  

HAGER  

Misters Pitts and Meeks. Demerits.  

Pitts and Meeks look down. Pitts glances at Necks and rolls   

his eyes.  

HAGER (CONT'D)  

That's another demerit, Mr. Pitts.  

Pitts' smile vanishes. Hager closes the door.  

8 INT THE HEADMASTER'S OFFICE - SAME 8  

The five boys take seats in a row of chairs facing Mr. Nolan.  

Nolan sits behind his desk, a HUNTING DOG on the floor beside   

him.  

NOLAN  

Welcome. back, Mr. Dalton. How's your   

father?  

CHARLIE  

Doing fine, sir.  

NOLAN  

Your family move into that new house,   

Mr. Overstreet?  

KNOX  

Yes sir, about a month ago.  

NOLAN  

Wonderful. I hear It's beautiful. (he   

gives the dog a snack)  

Mr. Anderson, since. you're new here,   

let me explain that at Welton, I assign   

extracurricular activities on the basis   

of merit and desire. These activities   

are taken every bit as seriously as your   

class work... right, boys?  

CHARLIE, CAMERON, KNOX  

Yes sir!  

NOLAN  

Failure to attend required meetings will   

result in demerits. Mr. Dalton the   

school paper, the Service Club, soccer,   

rowing. Mr. Overstress Welton Society   

Candidates, the school paper, soccer,   

Sons of Alumni Club. Mr. Perry Welton   

Society Candidates, Chemistry Club,   

Mathematics Club, school annual, soccer.   

Mr. Cameron Welton Society Candidates,   

Debate Club, rowing, Service Club,   

forensics, Honor Council. Mr. Anderson   

based on your record at Balincrest,   

soccer, Service Club, school annual.   

Anything else I don't know about?  

Todd struggles. He looks like he is trying to speak but   

nothing is coming out of his mouth.  

NOLAN (CONT'D)  

Speak up, Mr. Anderson.  

TODD  

(barely audible)  

I would prefer rowing sir.  

It is apparent that Todd's fear of speaking is overwhelming.   

Nolan looks at him.  

NOLAN  

Rowing? Did he say rowing? It says here   

you played soccer at Balincrest.  

TODD  

(again barely audible)  

I...did...but...  

Sweat breaks out on Todd's brow. He clinches his hands,   

turning his knuckles white. He looks like he is going to   

burst into tears. The other boys look at him.  

NOLAN  

You'll like soccer here, Anderson.  

Dismissed.  

The boys stand and exit. Todd looks absolutely miserable.   

The teacher at the door calls out more names.  

9 EXT. WELTON CAMPUS - DAY 9  

The Welton students walk toward their dorms. Neil Perry   

approaches Todd Anderson who walks alone. Neil offers his   

handshake.  

NEIL  

I hear we're going to be roommates.   

Neil Perry.  

TODD  

(softly)  

Todd Anderson.  

Todd keeps walking. There is an awkward silence.  

NEIL  

Why'd you leave Balincrest?  

TODD  

(overlap)  

My brother went here.  

NEIL  

Oh, so you're that Anderson.  

10 INT. THE JUNIOR DORM LOBBY - CONTINUOUS 10  

Neil and Todd have walked into the dorm lobby.  

TODD  

My parents wanted me here all along but   

my grades weren't good enough. I had to   

go to Balincrest to pull them up.  

NEIL  

Well, you've won the booby prize. Don't   

expect to like it here.  

TODD  

I don't.  

11 INT. THE WELTON JUNIOR CLASS DORMITORY ROOM - DAY 11  

Each small room contains two single beds, two closets, and   

two desks. Suitcases sit on the floor. Neil enters. Richard   

Cameron sticks in his head.  

CAMERON  

Heard you got the new boy. He's a hell   

of a speaker, huh? Oops.  

Todd Anderson walks in. Cameron ducks out. Todd has heard   

Cameron s comment, but he ignores it. He puts his suitcase on   

his bed and begins unpacking.  

NEIL  

Don't mind Cameron. He's an asshole.  

There is a knock on the door. Knox Overstress, Charlie   

Dalton, and Steven Meeks enter. Charlie speaks to Neil.  

CHARLIE  

Hey, I heard you went to summer school?  

NEIL  

Yeah, chemistry. My father thought I   

should get ahead.  

CHARLIE  

Well, Meeks aced Latin and I didn't   

quite flunk English so if you want, we've   

got our study group.  

NEIL  

Sure, but Cameron asked me too. Anybody   

mind including him?  

CHARLIE  

What's his specialty, brown-nosing?  

Some chuckles.  

NEIL  

Hey, he's your roommate.  

CHARLIE  

That's not my fault.  

Nobody is excited about Cameron but no one objects.   

MEEKS  

(to Todd)  

I don't think we've met. I'm Steven   

Meeks.  

TODD  

(shyly extending his hand)  

Todd. Anderson.  

Knox and Charlie offer Todd handshakes.  

CHARLIE  

Charlie Dalton.  

KNOX  

Knox Overstreet.  

Todd shakes their hands.  

NEIL  

Todd's brother is Jeffrey Anderson.  

CHARLIE  

Oh yeah. Sure. Valedictorian, National   

Merit Scholar  

Todd nods affirmative.  

MEEKS  

Well, welcome to "Hell"ton.  

CHARLIE  

It's every bit as hard as they say.   

Unless you're a genius like Meeks.  

MEEKS  

He flatters me so I'll help him with   

Latin.  

CHARLIE  

And English, and trig  

Meeks smiles. There is a knock on the door.  

NEIL  

It's open.  

Neil's father enters. Neil is surprised.  

NEIL (CONT'D)  

Father. I thought you'd... gone.  

All the boys stand.  

MEEKS, CHARLIE, KNOX  

Mr. Perry.  

MR. PERRY  

Keep your seats, boys. How's it going?  

THE BOYS  

Fine, sir. Thank you.  

MR. PERRY  

Neil, I've decided that you're taking   

too many extracurricular activities.   

I've spoken to Mr. Nolan about it and you   

can work on the school annual next year.  

NEIL  

But father, I'm assistant editor.  

MR. PERRY  

I'm sorry, Neil.  

NEIL  

But father, it's not fair.  

MR. PERRY  

Fellows, would you excuse us a minute?  

Mr. Perry walks into the hall, Neil follows.  

12 INT. THE JUNIOR DORMITORY HALLWAY - SAME 12  

MR. PERRY  

I will not be disputed in public, do you   

understand me?  

NEIL  

Father, I wasn't disputing you.  

MR. PERRY  

When you've finished medical school and   

you're on your own, you can do as you   

please. Until then, you will listen to   

me.  

NEIL  

Yes sir. I'm sorry.  

MR. PERRY  

You know what this means to your mother,   

don't you?  

NEIL  

Yes sir.  

Using the pressures of guilt and punishment, Mr. Perry is the   

most subtle of bullies. Neil's resolve crumbles in front of   

his authoritarian father. Neil fills the pause.  

NEIL (CONT'D)  

You know me, always taking on too much.  

MR. PERRY  

Good boy. Call us if you need anything.  

He turns and walks off.  

13 INT. NEIL'S ROOM 13  

The others wait in silence. A chastened Neil enters.  

CHARLIE  

Why doesn't he let you do what you want?  

KNOX  

Yeah! Tell him off! It couldn't get   

any worse.  

NEIL  

Oh that's rich. Like you tell your   

parents off, Mr. Future Lawyer and Mr.   

Future Banker!  

Neil takes the school annual achievement pin off his shirt   

and hurls it at his desk.  

KNOX  

Wait a minute. I don't let my parents   

walk on me.  

NEIL  

Yeah, you just do everything they say!   

You'll be in daddy's law firm as sure as   

I'm standing here.   

(to Charlie)  

And you'll be approving loans till you   

croak.  

CHARLIE  

Okay, so I don't like it any more than   

you do. I'm just saying  

NEIL  

Then don't tell me how to talk to my   

father when you're the same way. All   

right?!  

KNOX  

All right. Jesus, what are you gonna   

do?  

NEIL  

What I have to do. Screw the annual.  

MEEKS  

I certainly wouldn't lose any sleep over   

it. It's just a bunch of people trying   

to impress Nolan.  

NEIL  

(bitterly)  

Screw it all. I don't give a damn about   

any of it.  

He slams his hand into his pillow and lies back silently.   

Everyone is quiet, sensing Neil's disappointment. Finally,   

Charlie breaks the silence.  

CHARLIE  

I don't know about anyone else, but I   

could use a refresher in Latin. Eight   

o'clock in my room?  

NEIL  

Sure.  

CHARLIE  

You're welcome to join us, Todd.  

KNOX  

Yeah, come along.  

TODD  

Thank you.  

The boys leave. Neil lies in silence. He sees the   

achievement pin that he threw and picks it up. Todd continues   

to unpack. He unpacks a photo of his mother and father with   

their arms around an older boy who is obviously Todd's brother   

Jeffrey. Todd stands to one side, slightly apart from the   

family group. Todd unpacks an engraved leather desk set   

(pens, blotter, etc.) and puts it on his desk.  

NEIL  

So what do you think of my father?  

TODD  

(softly, to himself)   

I'll take him over mine.  

NEIL  

What?  

TODD  

Nothing.  

NEIL  

Todd, if you're gonna make it around   

here, you've gotta speak up. The meek   

might inherit the earth but they don't   

get into Harvard. know what I mean?  

Todd nods.  

NEIL (CONT'D)  

The goddamn bastard!  

He presses the metal point of the pin into his thumb, drawing   

blood. Todd winces. Neil doesn't. Neil hurls the pin again.  

14 INT. A CHEMISTRY CLASSROOM - DAY 14  

The classroom is a laboratory: filled with flasks, etc.   

Neil, Todd, Knox, Charlie, Cameron, Meeks and other members of   

the junior class sit around the room. A bespectacled teacher   

stands in front, passing out thick textbooks.  

CHEMISTRY TEACHER  

In addition to the assignments in the   

text, you will each pick three lab   

experiments from the project list and   

report on one every five weeks. The   

first twenty problems at the end of   

chapter one are due: tomorrow.  

ANGLE ON CHARLIE DALTON as the thick textbooks arrive at his   

desk. He shoots a disbelieving glance at Knox Overstreet who   

can only acknowledge with a shake of his head. Todd takes his   

books without reacting.  

15 INT. LATIN CLASS - DAY 15  

The same students sit before a Latin teacher in his early   

60's He declines a Latin noun with a thick Scottish brogue.  

LATIN TEACHER (McALLISTER)  

Agricola, agricolae, agricolas,   

Agricolas, agricolatis, agricolatus  

ANGLE FAVORING TODD, NEIL, KNOX AND THE OTHERS as they   

struggle to follow along with McAllister's lesson.  

16 INT. A MATHEMATICS CLASS - DAY 16  

Mathematical charts hang on the walls. The elderly bald   

teacher (the one from Nolan's doorway), Dr. Hager, passes out   

books. The students' work load is huge.  

HAGER  

Your study of trigonometry requires   

absolute precision. Anyone failing to   

turn in any homework assignment will be   

penalized one point off his final grade.   

Let me urge you now not to test me on   

this point. Who would like to begin by   

defining a cosine?  

Richard Cameron stands.  

CAMERON  

A cosine is the sin of the compliment of   

an angle or arc. If we define an angle   

A, then...  

17 INT. ENGLISH CLASSROOM - DAY 17  

The junior students--Todd, Neil, Knox, Charlie, Cameron,   

Meeks and some of the others we've seen--enter. They are   

loaded down with books and look weary. Sitting in the front   

of the room, staring out the window is JOHN KEATING, the   

teacher we glimpsed earlier. He wears a collared shirt, tie,   

no jacket.  

The boys take seats and settle in. Keating stares out the   

window a long time. The students start to shuffle   

uncomfortably. Finally Keating stands, picks up a yardstick,   

and begins slowly strolling the aisles. He stops and stares   

into the face of one of the boys.  

KEATING  

(to the blushing boy)  

Don't be embarrassed.  

He moves off, then stops in front of Charlie Dalton.  

KEATING (CONT'D)  

(as if discovering   

something known only to   

himself)  

Uh-huh  

(he moves to Todd Anderson)  

Uh-huh  

(he moves to Neil Perry)  

Ha!  

Keating slaps his free hand with the yardstick, then strides   

to the front of the room.  

KEATING (CONT'D)  

Nimble young minds!  

He steps up onto the desk, turns and faces the class.  

KEATING (CONT'D)  

(energetically)  

Oh Captain, My Captain. Who knows where   

that's from?  

No one raises a hand.  

KEATING (CONT'D)  

It was written by a poet named Walt   

Whitman about Mr. Abraham Lincoln. In   

this class you may refer to me as either   

Mr. Keating, or Oh Captain, My Captain.  

Keating steps down and starts. strolling the aisles.  

KEATING (CONT'D)  

So that I become the source of as few   

rumors as possible, let me tell you that   

yes, I was a student at this institution   

many moons ago, and no, at that time I   

did not possess this charismatic   

personality. However, should you choose   

to emulate my manner, it can only help   

your grade. Pick up a textbook from the   

back, gentlemen, and let's retire to the   

honor room.  

He steps off the desk and walks out. The students sit, not   

sure what to do, then realize they are to follow him. They   

quickly gather their books, pick up texts, and follow.  

18 INT. THE WELTON OAK PANELED HONOR ROOM - DAY 18  

This is the room where the boys waited earlier. The walls   

are lined with class pictures: dating back into the 1800s.   

School trophies of every description fill trophy cases and   

shelves. Keating leads the students in, then faces the class.  

KEATING  

Mister...  

(Keating looks at his roll)  

Pitts. An unfortunate name. Stand up,   

Mister Pitts.  

Pitts stands.  

KEATING (CONT'D)  

Open your text, Pitts, to page forty and read for us the   

first stanza of the poem.  

Pitts looks through his book. He finds the poem.  

PITTS  

To The Virgins to Make Much Of Time?  

KEATING  

That's the one.  

Giggles in the class. Pitts reads.  

PITTS  

Gather ye rosebuds while ye may  

Old time is still a flying  

And this same flower that smiles today  

Tomorrow will be dying.  

KEATING  

Gather ye rosebuds while ye may. The   

Latin term for that sentiment is "Carpe   

Diem." Anyone know what that means?  

MEEKS  

Carpe Diem... seize the day.  

KEATING  

Very good, Mr._?  

MEEKS  

Meeks.  

KEATING   

Seize the day while you're young, see   

that you make use of your time. Why does   

the poet write these lines?  

A STUDENT  

Because he's in a hurry?  

KEATING  

Because we're food for worms, lads!   

Because we're only going to experience a   

limited number of springs, summers, and   

falls. One day, hard as it is to   

believe, each and every one of us is   

going to stop breathing, turn cold, and   

die! Stand up and peruse the faces of   

the boys who attended this school sixty   

or seventy years ago. Don't be timid, go   

look at them.  

The boys get up. Todd, Neil, Knox, Meeks, etc. go over to   

the class pictures that line the honor room walls.  

ANGLES ON VARIOUS PICTURES ON THE WALLS. Faces of young men   

stare at us from out of the past.  

KEATING  

They're not that different than any of   

you, are they? There's hope in their   

eyes, just like in yours. They believe   

themselves destined for wonderful things,   

just like many of you. Well, where are   

those smiles now, boys? What of that   

hope?  

THE BOYS are staring at the pictures, sobered by what Keating   

is saying.  

KEATING (CONT'D)  

Did most of them not wait until it was   

too late before making their lives into   

even one iota of what they were capable?  

In chasing the almighty deity of success   

did they not squander their boyhood   

dreams? Most of those gentlemen are   

fertilizing daffodils! However, if you   

get very close, boys, you can hear them   

whisper. Go ahead, lean in. near it?  

(loud whisper)  

'Carpe Diem, lads. Seize the day. Make   

your lives extraordinary. -  

Todd, Neil, Knox, Charlie, Cameron,   

Meeks, Pitts all stare into the pictures   

on the wall. All are lost in thought.  

19 EXT. THE WELTON CAMPUS - DAY 19  

The class files out of the honor room. Todd, Neil, Knox,   

Charlie, Cameron, Necks, and Pitts walk together, books in   

hand. All thinking about what just happened in class.  

PITTS  

Weird.  

NEIL  

But different.  

KNOX  

Spooky if you ask me.  

CAMERON  

You think he'll test us on that stuff?  

CHARLIE  

Oh come on, Cameron, don't you get   

anything?  

EXT. THE WELTON CAMPUS - CONTINUOUS  

MEEKS  

How about a trig study group? Right   

after dinner.  

VARIOUS BOYS  

Good by me. Sure. Great.  

KNOX  

I can't make it. I got a sign-out to   

have dinner at the Danburrys' house.  

PITTS  

Who are the Danburrys?  

CAMERON  

Big alum,. How'd you pull that?  

KNOX  

They're friends of my dad. Probably in   

their nineties or something.  

NEIL  

Listen, anything's, better than mystery   

meat.  

CHARLIE  

I'll second that.  

The group disperses. Neil finds himself walking near Todd   

who has been silent through this whole discussion.  

NEIL  

Want to come to the study group?  

TODD  

Thanks but I'd better do history.  

20 INT. TODD AND NEIL'S DORM ROOM - LATE AFTERNOON 20  

Todd enters alone. He puts down his books and sits at his   

desk. Flipping through the stack of books in front of him, he   

sighs at the work load that is piling up.  

Todd takes out his notebook and opens his history book. He   

stares at his notebook for a moment, then writes "SEIZE THE   

DAY" in big letters. He looks at the words that he's written,   

sighs, tears the page off, then plunges into his homework.  

A21 EXT. THE WELTON CAMPUS - DUSK - WIDE SHOT A21  

The autumnal colors are muted by the onset of nightfall. Old   

Dr. Hager drives the school "woody" station wagon out of the   

campus.  

B21 EXT. WALTON VILLAGE (NEW CASTLE) - DUSK - WOODY DRIVE-BY B21  

21 EXT./INT. A LARGE MANSION - DUSK 21  

Knox Overstreet gets out of the woody. Dr. Hager pulls away.   

Knox walks to the door of the home and is admitted by a maid.   

Knox is amazed by this palatial home.  

22 INT. THE DANBURRY MANSION LIBRARY - DUSK 22  

JOE DANBURRY is a sharp looking man of about 40, well   

dressed, friendly. His wife, an attractive blonde about the   

same age, sits beside him.  

JOE DANBURRY  

Knox, come in. Joe Danburry. This is   

my wife, Janette.  

KNOX  

(surprised)  

Nice to meet you.  

MRS. DANBURRY   

You're the spitting image of your   

father. How is he?  

KNOX  

Great. Just did a big case for GM.  

JOE DANBURRY  

Ah. I know where you're headed. Like   

father like son, eh?   

(looking off screen)   

Ginny. Come meet Knox.  

GINNY DANBURRY--15, cute, shy, a shock of misplaced hair--  

enters.  

MRS. DANBURRY   

Knox, this is our daughter, Virginia.  

GINNY  

Ginny, mom.  

Knox shakes her hand. His "hello" is polite. Her "hi" is   

shy.  

CHET DANBURRY--a tall jock of a guy a couple of years older   

than Knox--enters. With him is a lovely teenage brunette,   

CHRIS NOEL, in a short tennis dress. Soft glowing eyes,   

athletic figure, this girl is stunning.  

CHET  

Dad, can I take the Buick?  

JOE DANBURRY  

What's wrong with your car?  

MRS. DANBURRY   

Chet, where are your manners? Knox,   

this is my son Chet and his girlfriend   

Chris Noel. This is Knox Overstreet.   

Excuse me while I check on dinner.  

CHET  

(perfunctorily)  

Hi.  

Knox shakes Chet's hand. Knox is THUNDERSTRUCK by Chris.   

Chris offers Knox her hand and a smile. Knox shakes her hand1   

his mouth practically hanging open.  

CHRIS  

Pleased to meet you.  

KNOX  

The pleasure is mine.  

CHET  

Come on, Dad, why is this always a big   

deal?  

JOE DANBURRY  

Because I bought you a sports car and   

suddenly you want my car all the time.  

CHET  

Chris' mom feels safer when we're in a   

bigger car. Right, Chris?  

Chet shoots her a wicked smile. Chris blushes.  

CHRIS  

It's all right, Chet.  

CHET  

It's not all right. Come on, Dad  

Joe Danburry walks out of the room. Chet follows him.  

CHET (CONT'D)  

Come on, Dad.  

Knox, Ginny, and Chris remain in the room. Knox smiles at   

Chris.  

KNOX  

So, uh, where are you in school?  

CHRIS  

Ridgeway High. How's Henley Hall, Gin?  

Ginny  

(flat)  

Okay.  

CHRIS  

(to Knox)  

That's your sister school, right?  

KNOX  

Sort of.  

CHRIS  

(to Ginny)  

You going out for the Henley Hall play?   

(to Knox)  

They're doing "A Midsummer Night's   

Dream."  

GINNY  

Maybe.  

KNOX  

How did you meet Chet?  

(both girls look at him)   

I mean... Er...  

CHRIS  

He plays on the Ridgeway football team   

and I'm a cheerleader. He used to go to   

Welton but he flunked out.  

(to Ginny)  

You should do it, Gin. You'd be great.  

Ginny looks down, shyly. Chet comes to the door.  

CHET  

Chris. We got it. Let's go.  

CHRIS  

Nice meeting you, Knox. Bye, Gin.  

KNOX  

(dying inside)  

Nice meeting you. Chris.  

Chris and Chet exit. Through the window, we see Chet and   

Chris walk out and put their arms around each other.  

GINNY  

(confiding to Knox)  

Chet just wants the Buick so they can go parking.  

KNOX  

Oh.  

Outside, Chris and Chet get in the Buick and kiss. Knox   

stares with envy.  

GINNY  

something wrong?   

KNOX  

Nah.   

23 EXT. DANBURRY HOUSE - DUSK 23  

Chet and Chris drive off.  

24 INT. THS JUNIOR CLASS LOUNGE - NIGHT 24  

The dorm is quiet. Neil, Cameron, Weeks, Charlie and Pitts   

are gathered studying math. As they do, Pitts works to   

assemble a small crystal radio. Todd is in his room, studying   

alone. Knox, looking shell-shocked, shuffles into the lobby.  

CHARLIE  

How was dinner?  

KNOX  

Terrible. Awful! I met the most   

beautiful girl I've ever seen in my life!  

NEIL  

Are you crazy? What's wrong with that?  

KNOX  

She's practically engaged to Chet   

Danburry. Mr. Mondo Jocko himself.  

PITTS  

Too bad.  

KNOX  

It's not too bad. It's a tragedy! Why   

does she have to be in love with a jerk?!  

PITTS  

All the good ones go for jerks, you know   

that. Forget her. Take out your trig   

book and figure out problem twelve.  

KNOX  

I can't just forget her, Pitts. And I   

certainly can't think about math!  

MEEKS  

Sure you can. You're off on a tangent--  

so you're halfway into trig already  

CAMERON  

Duh, Meeks!  

MEEKS  

(sheepishly)  

I thought it was clever.  

KNOX  

(sitting down)  

You really think I should forget her?  

PITTS  

You have another choice.  

Knox drops to his knee like he is proposing.  

KNOX  

Only you, Pittsie.  

Pitts pushes Knox away. Knox sits back down but despair is   

beginning to wash over him.  

25/26 OMIT 25/26  

26A EXT: WELTON CAMPUS - MORNING 26A  

The Welton bagpiper marches on the lawn, practicing. Students   

emerge from their dorms and head to breakfast.  

27 INT. KEATING'S ENGLISH CLASS - DAY 27  

The lights are out and shades are drawn. Keating sits in a   

chair beside the teacher's desk. He looks solemn. All is   

still.  

KEATING  

(soft and soothing voice)  

Boys, quietly open your texts to page   

54  

The boys follow instructions. Keating reads the following in   

a tone of quiet reverence.  

KEATING (CONT'D)  

Little Boy Blue, by Eugene Field:  

The little toy dog is covered with dust,  

But sturdy and staunch he stands.  

And the little toy soldier is red with rust,  

And his musket moulds in his hands;  

Time was when the little toy dog was new,  

And the soldier was passing fair;  

And that was the time when our Little Boy Blue,  

Kissed them and put them there.  

'Now don't you go till I come,' he said,  

'And don't you make any noise!'  

So toddling off to his trundle bed  

He dreampt of pretty toys;  

And as he was dreaming, an angel song,  

Awakened our Little Boy Blue--  

Oh the years are many, the years are   

long,  

But the little toy friends are true.  

Ay, faithful to Little Boy Blue they stand,  

Each in the same old place--  

Awaiting the touch of a little hand,  

The smile of a little face.  

And they wonder, as waiting the long years thru,  

In the dust of that little chair,  

What has become of our Little Boy Blue,  

Since he kissed them and put them there.  

Keating is a masterful reader. With his marvelous voice, he   

has milked this sentimental poem for everything it is worth.   

Many of the boys are on the verge of tears. Suddenly Keating   

shouts  

KEATING (CONT'D)  

AHHGGGG!!  

The students jump halfway out of their seats.  

KEATING (CONT'D)  

Treacle! Mawkish treacle! Rip it out   

of your books. Rip out the entire page!   

I want this sentimental rubbish in the   

trash where it belongs!  

He marches down the aisles with the trash can and waits for   

each boy to deposit the page from his textbook. The boys,   

having been led down the sentimental path, cannot help but   

laugh at this sudden change of mood.  

KEATING (CONT'D)  

Make a clean tear. I want nothing left   

of it! Eugene Field! Disgraceful.  

27A INT.MCALLISTER'S CLAS5RDOM - DAY 27A  

Mr. McAllister, the Scottish Latin teacher, exits his room   

and walks across the hall to Keating's classroom. He peeks in   

the door window and sees boys ripping pages out of their   

books. Alarmed, McAllister opens the door and enters   

Keating's room.  

27B INT. KEATING'S CLASSROOM - SAME 27B  

McAllister is about to reprimand the boys when suddenly he   

sees Keating.  

McALLISTER  

What the... Sorry, I didn't think you   

were in here, Mr. Keating.  

Baffled and embarrassed, McAllister exits. Keating strides   

back to the front of the room, Flits the trash can on the   

floor, and jumps into it. He stomps the trash a few times,   

then kicks the can away.  

KEATING  

This is battle, boys. War! You are   

souls at a critical juncture. Either you   

will succumb to the will of hoi polloi   

and the fruit will die on the vine--or   

you will triumph as individuals. It may   

be a coincidence that part of my duties   

are to teach you about Romanticism, but   

let me assure you that I take the task   

quite seriously. You will learn what   

this school wants you to learn in my   

class, but if I do my job properly, you   

will also learn a great deal more. You   

will learn to savor language and words   

because they are the stepping stones to   

everything you might endeavor to do in   

life and do well. A moment ago I used   

the term 'hoi polloi.' Who knows what it   

means? Come on, Overstreet, you twirp.  

(laughter)  

Anderson, are you a man or a boil?  

More laughter. All eyes are on Todd. He visibly tenses all   

over. He cannot bring himself to speak. He shakes his head   

jerkily "no.'. Meeks raises his hands and speaks:  

MEEKS  

The hoi polloi. Doesn't it mean the   

herd?  

KEATING  

Precisely, Meeks. Greek for the herd.   

However, be warned that, when you say   

"the hoi polloi" you are actually saying   

the the herd. Indicating that you too   

are "hoi polloi."  

Keating grins wryly. Meeks smiles. More chuckles. Keating   

paces to the back of the room.  

KEATING (CONT'D)  

Now, many will argue that nineteenth--  

century literature has nothing to do with   

business school or medical school. They   

think we should I read our Field and   

Pipple, learn our rhyme and meter, and   

quietly go about it our business of   

achieving other ambitions.  

He slams his hand on the wall behind him. The wall booms   

like a drum. The boys jump and turn around.  

KEATING (CONT'D)  

(defiant whisper)  

Well, I say drivel! One reads poetry   

because he is a member of the human race   

and the human race is filled with   

passion! Medicine, Law, Banking-these   

are necessary to sustain life-but poetry,   

romance, love, beauty! These are what we   

stay alive for. I read from Whitman.  

Oh me, Oh life of the questions of these   

recurring. OF the endless trains of the   

faithless of cities filled with the   

foolish... skipping... What good amid these O   

me, O life? Answer: That you are here-  

That life exists and identity That the   

powerful play goes on, and you may   

contribute a verse."  

Keating pauses. The class sits, taking this in.  

KEATING (CONT'D)  

(awestruck tone)  

"That the powerful play goes on, and you   

may contribute a verse." Incredible.  

(pause)  

Poetry is rapture, lads. Without it we are doomed.  

Keating waits a long moment.   

KEATING (CONT'D)  

What will your verse be?  

CLOSE ON the faces of NEIL, KNOX, CHARLIE, MEEKS, CHAMERON,   

PITTS, and TODD as they contemplate this question. Softly,   

Keating breaks the mood:  

KEATING (CONT'D)  

Let's open our textbooks to page sixty   

and learn about Wordsworth notion of   

romanticism...  

25 INT. THE WELTON DINING ROOM - DAY 25  

On the dais in the front of the room is the teacher's dining   

table. Below them are the students' tables. Mr. McAllister   

sits to Keating's right.  

McALLISTER  

Quite an interesting class you had   

today, Mr. Keating.  

KEATING  

Sorry if I shocked you.  

McALLISTER  

No need to apologize. It was quite   

fascinating, misguided though it was.  

KEATING  

You heard it all?  

McALLISTER  

You're hardly a Trappist monk.  

McAllister smiles. So does Keating.  

McALLISTER (CONT'D)  

You take a big risk encouraging them to   

be artists, John. When they realize   

they're not Rembrants or Shakespeares or   

Picassos, they'll hate you for it.  

KEATING  

Not artists, George, free thinkers. And   

I hardly pegged you as a cynic.  

McALLISTER  

A cynic? A realist! Show me the heart   

unfettered by foolish dreams and I'll   

show you a happy man.   

He chews a bite.  

McALLISTER (CONT'D)  

But I will enjoy listening to your   

lectures  

Keating grins with amusement  

ANOTHER ANGLE - THE DINNING ROOM - SAME  

Todd, Knox, Charlie, Cameron, Pitts, and Meeks sit at a table   

eating. Neil enters and joins them.  

NEIL  

I found his senior annual in the   

library.  

Neil opens the annual and reads.  

NEIL (CONT'D)  

Captain of the soccer team, editor of   

the annual, Cambridge bound, Man most   

likely to do anything, Thigh man, Dead   

Poets Society.   

Hands grab the old annual away from Neil.  

CHARLIE  

Thigh man? Mr. "K" was a hell raiser.  

KNOX  

What is the Dead Poets Society?  

MEEKS  

Any group pictures in the annual?  

NEIL  

Nothing. No mention of it.   

CHARLIE  

Nolan.  

Mr. Nolan approaches the boys' table. Under the table,   

Cameron insistently hands the annual to Todd. Todd looks at   

Cameron, then takes it.   

NOLAN  

Enjoying your classes, Mr. Perry?  

NEIL  

Yes sir. Very much.  

NOLAN  

And our Mr. Keating. Finding him   

interesting, boys?  

CHARLIE  

Yes sir. We were just talking about   

that.   

NOLAN  

Good. We're very excited about him. He   

was a Rhodes Scholar, you know.   

Nolan exits. Todd looks at the annual that he hides in his   

lap under the table, then continues eating.   

29 EXT. THE CAMPUS - LATER 29  

Keating walks across the school lawn wearing his sport coat   

and a scarf, carrying his books. Pitts, Neil, Cameron, Knox,   

Charlie, Meeks and Todd approach him.   

NEIL  

Mr. Keating? Sir? Oh Captain My Captain.   

(Keating stops)   

What was the Dead Poets Society?  

KEATING  

Ah, so you boy's have been snooping.  

NEIL  

I was just looking in an old annual and...  

KEATING  

Nothing wrong with research.  

The boys wait for more.  

NEIL  

But what was it?  

Keating checks around to be sure they are unwatched.  

KEATING  

The Dead Poets was a secret   

organization. I don't know how the   

present administration would look upon it   

but I doubt the reaction would be   

favorable. Can you keep a secret?  

An instant sea of nods.  

KEATING  

The Dead Poets Society was dedicating to   

sucking the marrow out of life. That   

phrase is by Thoreau and was invoked at   

every meeting. A small group of us would   

meet at a cave and there we would take   

turns reading Shelley, Thoreau, Whitman,   

our own verse-any number of poets-and, in   

the enchantment of the moment, let them   

work their magic on us.   

KNOX  

You mean it was a bunch of guys sitting   

around reading poetry?  

KEATING  

(amused)  

Both sexes participated, Mr. Overstreet.   

And, believe me, we did not simply read,   

we let it drip from our tongues like   

honey. Women swooned, spirits soared...   

Gods were created, gentlemen.   

The boys think a minute.   

NEIL  

What did the name mean. Did you only   

read dead poets.   

KEATING  

All poetry was acceptable. The name   

simply referred to the fact, that to join   

the organization, you had to be dead.  

SEVERAL  

What?  

KEATING  

Full membership required a lifetime of   

apprenticeship. The living were simply   

pledges. Alas, even I am still a lowly   

initiate.  

The boys don't quite know what to say.  

KEATING (CONT'D)  

The last meeting must have been 25 years   

ago. Hasn't been another since.  

Keating exits. The boys stand watching. Neil turns to them.  

NEIL  

I say we go tonight. Everybody in?  

PITTS  

Where is this cave he's talking about?  

NEIL  

Beyond the stream. I think I know.  

PITTS  

That's miles.  

CAMERON  

Sounds boring to me.  

CHARLIE  

Don't come.  

CAMERON  

You know how many demerits we're   

talking?  

CHARLIE  

So don't goddam come! Please.  

CAMERON  

All I'm saying is we have to be careful.   

We can't get caught.  

CHARLIE  

(sarcastic)  

Well, no shit, Sherlock  

NEIL  

Who's in?  

CHARLIE  

I'm in.  

Neil looks at Knox, Pitts, and Weeks.  

PITTS  

Well...  

CHARLIE  

Oh come on, Pitts...  

MEEKS  

His grades are hurting, Charlie.  

NEIL  

Then you can help him.  

PITTS  

What is this, a midnight study group?  

NEIL  

Forget it, Pitts, you're coming. Meeks,   

your grades hurting too?  

Laughter.  

MEEKS  

All right. I'll try anything once.   

CHARLIE  

Except sex.  

More laughter. Meeks blushes.  

CAMERON  

I'm in as long as we're careful.  

CHARLIE  

Knox?  

KNOX  

I don't know. I don't get it.  

CHARLIE  

Come on. It'll help you get Chris.  

KNOX  

It will? How do you figure?  

CHARLIE  

Women swoon!  

KNOX  

But why?  

The group walk off. Knox holds, then follows,  

KNOX (CONT'D)  

Why do they swoon?! Charlie, tell me   

why they swoon!  

Knox moves off after the others. Todd remains behind. No one   

asked Todd and he moves off by himself.  

30 INT. THE STUDY HALL - LATE AFTERNOON 30  

Students study. Neil sits near Todd.  

NEIL  

(hushed voice)  

Listen, I'm inviting you. You can't   

expect everybody to think of you all the   

time. Nobody knows you.  

TODD  

Thanks but it's not a question of that.  

NEIL  

What is it then?  

TODD  

I... I just don't want to come.  

NEIL  

But why? Don't you understand what   

Keating is saying? Don't you want to do   

something about it?  

TODD  

Yes. But  

NEIL  

Put what? Goddamn it, tell me.  

TODD  

I don't want to read.  

NEIL  

What?  

TODD  

Keating said everybody took turns   

reading. I don't want to do it.  

NEIL  

God, you really have a problem, don't   

you? How can it hurt you to read? I   

mean isn't that what this is all about?   

Expressing yourself?  

31 INT. THE DORM - LATE NIGHT 31  

Old Dr. Hager, the resident dorm marshal, putters in his   

room, door ajar, making tea. Neil, Charlie, Knox, Meeks,   

Pitts, Cameron, and Todd sneak silently past his door and out.  

32 EXT. THE WELTON CAMPUS - NIGHT 32  

The school hunting dog comes up and growls at the boys. Pitts   

slips the dog a piece of food and it goes away.  

33 EXT. THE SCHOOL GROUNDS - NIGHT 33  

The stars are out and the wind is blowing. A SERIES of SHOTS   

show the boys crossing the campus. They reach a stone wall   

with an old iron gate that is chained shut. The boys squeeze   

through the gate and disappear into the woods beyond.  

34 EXT. THE WELTON WOODS AND STREAM - NIGHT 34  

The boys make their way through the eerie forest searching   

for the cave. They reach the bank of the stream and begin   

looking for an appropriate spot amongst the tree roots and   

erosion. Charlie suddenly looms out of the cave entrance.  

CHARLIE  

Yaa, I'm a dead poet!  

MEEKS  

(frightened)  

Ahh!  

(then recovering)  

Eat it, Dalton!  

CHARLIE  

This is it.  

SHORT DISSOLVE TO:  

34A INT. THE CAVE - A BIT LATER 34A  

A newly lit fire comes to life The boys huddle around the   

flames.  

NEIL  

I hereby reconvene the Welton Chapter of   

the Dead Poets Society. These meetings   

will be conducted by myself and by the   

rest of the new initiates now present.   

Todd Anderson, because he prefers not to   

read, will keep minutes of the meetings.  

Todd is unhappy with this role but he tries not to show it.  

NEIL (CONT'D)  

I will now read the traditional opening   

message from society member Henry David   

Thoreau.  

Neil opens Keating's copy of Thoreau's Walden, and reads.  

NEIL (CONT'D)  

I went to the woods because I wanted to   

live deliberately."  

(skips thru the text)  

I wanted to live deep and suck out all   

the marrow of life!"  

CHARLIE  

All right. I'll second that.  

NEIL  

To put the rout all that was not life.  

(skips thru the text)  

And not, when I came to die, discover   

that I had not lived. Pledge Overstreet.  

Knox steps up. Neil hands him Walden. Knox flips thru the   

book until he finds another underlined passage. He reads.  

KNOX  

The millions are awake enough for   

Physical labor; but only one in a million   

is awake enough for effective   

intellectual exertion, only one in a   

hundred millions to a poetic or divine   

life. To be awake is to be alive.  

CHARLIE  

Hey, this is great.  

Knox hands the bock to Cameron. Cameron reads.  

CAMERON  

If one advances confidently in the   

direction of his dreams and endeavors to   

live the life which he has imagined, he   

will meet with a success unexpected in   

common hours.  

KNOX  

Yes! I want success with Chris!  

Cameron hands the book to Todd. Todd holds the book, frozen.   

Before the others notice Todd's fear, Neil takes the book from   

Todd and hands it to Meeks.  

MEEKS  

If you have built castles in the air,   

your work need not be lost. That is   

where they should be. Now put   

foundations under them.  

NEIL  

God, I want to do everything! I'm going   

to explode.  

Neil looks imbued with the desire to break out of his mold.   

He slams the palms of his hands together with an expression‎‍ of   

determination. Charlie opens a book he brought and flips   

through it.  

CHARLIE  

Listen to this: Out of the night that   

covers me, Black as the Pit from pole to   

pole, I thank whatever gods may be for my   

unconquerable soul!"  

PULL BACK from this small band of boys standing huddled in   

the night. Something is swirling their heads, something alive   

and exciting like the wind and the swaying trees that surround   

them. Charlie raises his hands in the air.  

CHARLIE (CONT'D)  

I here and now commit myself to daring!  

DISSOLVE TO:  

35 INT. KEATING'S CLASSROOM - DAY 35  

KEATING  

So avoid using the word 'very' because   

it's lazy. A man is not very tired, he   

is exhausted. Don't use very sad, use   

morose. Language was invented for one   

reason, boys--to woo women--and, in that   

endeavor, laziness will not do. It also   

won't do in your essays.  

The class laughs appreciatively. Keating closes his book,   

then walks over and raises a map that covers the blackboard in   

the front of the room. On the board is a quote, which Keating   

reads aloud:  

KEATING (CONT'D)  

Creeds and schools in abeyance I   

permit to speak at every hazard, Nature   

without check, with original energy. --   

Walt Whitman. Ah, but the difficulty of   

ignoring those creeds and schools,   

conditioned as we are by our parents, our   

traditions, by the modern age. How do   

we, like Whitman, permit our own true   

natures to speak? How do we strip   

ourselves of prejudices, habits,   

influences? The answer, my dear lads, is   

that we must constantly endeavor to find   

a new point of view.  

He leaps onto his desk.  

KEATING (CONT'D)  

Why do I stand here? To feel taller   

than you? I stand on my desk to remind   

myself that we must constantly force   

ourselves to look at things differently.   

The world looks different from up here.   

If you don't believe it, stand up here   

and try it. All of you. Take turns.  

Keating jumps off. The boys, with the notable exception of   

Todd, go to the front of the room and a few at a time take   

turns standing on Keating's desk. As they do, Keating strolls   

up and down the aisles.  

KEATING (CONT'D)  

Try never to think about anything the   

same way twice. If you're sure about   

something, force yourself to think about   

it another way, even if you know it's   

wrong or silly. When you read, don't   

consider only what the author thinks, but   

take the time to consider what you think.   

You must strive to find your own voice,   

boys, and the longer you wait to begin,   

the less likely you are to find it at   

all. Thoreau said, "Most men lead lives   

of quiet desperation." I ask, why be   

resigned to that? Risk walking new   

ground. Now. A flame in your hearts   

could change the world, lads. Nurture  

it.  

Keating goes to the door. He locks at the class, then   

flashes the room lights on and off over and over. He makes a   

noise like crashing thunder.  

KEATING (CONT'D)  

In addition to your essays, I want you   

each to write a poem--something your own   

to be delivered aloud in class. See  

you Monday.  

He exits. Momentarily, he pops his head back in.  

KEATING (CONT'D)  

(impish grin)  

And don't think I don't know this   

assignment scares you to death, Mr.   

Anderson, you mole.  

Keating holds out his hands and pretends he is sending   

lightning bolts at Todd. The class laughs. Todd forces a   

hint of a smile.  

A36 INT./EXT. WELTON CAMPUS, AFTERNOON - VARIOUS LOCATIONS A36  

Pitts and Meeks climb up the inside of the bell tower that   

sits atop the Welton Chapel. They affix Pitts' crystal radio   

antenna to the chapel cross. momentarily, they tune in a   

fuzzy rock 'n roll station.  

PITTS  

Radio Free America.  

They try to tune in the music but it soon dissolves into   

static. They jiggle the radio in frustration.  

36 36  

Some of the Welton students run on the green, kicking soccer   

balls.  

37 37  

Down at the lake, the Welton crew team is practicing. Mr.   

Nolan sits in a rowboat, smoking a pipe, watching.  

38 38  

Knox rides down a wooded lane on his bike. He comes to   

RIDGEWAY HIGH SCHOOL. Beyond a fence, uniformed boys practice   

football. Not far from them, cheerleaders practice. Knox   

stops. He sees:  

Among the cheerleaders is Chris. She laughs as she practices   

the cheers with the other girls. Knox watches her with   

intense longing in his eyes.  

Chet Danburry catches a pass in front of Chris, struts for   

her amusement, then moves on. Chris laughs.  

Knox gets back on his bike and pedals away  

39 INT. TODD AND NEIL'S ROOM - AFTERNOON 39  

Todd sits at his bed, a pad of paper beside him. He starts   

to write something, scratches it out, then covers his face in   

frustration. The door opens. Neil enters, looking like he's   

just seen God. He lets his books fall to his desk.  

NEIL  

I've found it.   

TODD  

Found what?  

NEIL  

What I want to do! Right now. What is   

really inside of me.  

He hands Todd a piece of paper. Todd reads it.  

TODD  

A Midsummer Night's Dream. What is it?  

NEIL  

A play, dummy.  

TODD  

I know that. What's it got to do with   

you?  

NEIL  

They're putting it on at Henley Hall.   

See, open try-outs.  

TODD  

So?  

NEIL  

So I'm gonna act! Ever since I can   

remember I've wanted to try it. Last   

summer I even tried to go to summer stock   

auditions but of course my father   

wouldn't let me.  

TODD  

And now he will?  

NEIL  

Hell no, but that's not the point. The   

point is for the first time in my whole   

goddamned life, I know what I want, and   

for the first time I'm gonna do it   

whether my father wants me to or not!   

Carpe diem, goddamn it!  

Neil picks up the play and reads a coupe of lines aloud. They   

delight him. He clenches his fists in the air with joy.  

TODD  

Neil, how are you gonna be in a play if   

your father won't let you?  

NEIL  

First I gotta get the part, then I'll   

worry about that.  

TODD  

Won't he kill you if you don't let him   

know you're auditioning?  

NEIL  

As far as I'm concerned, he won't have   

to know about any of it.  

TODD  

Come on, that's impossible.  

NEIL  

Horseshit. Nothing's impossible.  

TODD  

Why don't you ask him first? Maybe   

he'll say yes.  

NEIL  

That's a laugh. If I don't ask, at   

least I won't be disobeying him.  

TODD  

But if he said no before then...  

NEIL  

Jesus Christ, whose side are you on? I   

haven't even gotten the part yet. Can't   

I enjoy the idea even for a little while?  

Todd turns back to his work. Neil sits on the bed and starts   

reading the play.  

NEIL (CONT'D)  

By the way, there's a meeting this   

afternoon. You coming?  

TODD  

(blase)  

I guess.  

Neil puts down his play and looks at Todd.  

NEIL  

None of what Mr. Keating has to say   

means shit to you, does it?  

TODD  

What is that supposed to mean?  

NEIL  

Being in the club means being stirred up   

by things. You look about as stirred up   

as a cesspool.  

TODD  

You want me out... is that what you're   

saying?  

NEIL  

No, I want you in. But being in means   

you gotta do something. Not just say   

you're in.  

TODD  

(turns angrily)  

Listen Neil, I appreciate your interest   

in me but I'm not like you. When you say   

things, people pay attention. People   

follow you. I'm not like that.  

NEIL  

Why not? Don't you think you could be?  

TODD  

No! I don't know, I'll probably never   

know. The point is, there's nothing you   

can do about it so butt out, all right?   

I can take care of myself just fine. All   

right?  

NEIL  

Er No.  

TODD  

No? What do you mean 'no'?  

NEIL  

(shrugs matter-of-factly)  

No.  

Neil opens his play. Todd waits for Neil to relent. He   

doesn't.  

40 OMIT 40  

A41 EXT. CAVE - AFTERNOON A41  

The boys enter the cave.  

41 INT. THE CAVE - AFTERNOON 41  

It is a clear, crisp fall afternoon. Charlie, Knox, Todd,   

Necks, Neil, Cameron, and Pitts sit around. Neil recites from   

Thoreau.  

NEIL  

"I went to the woods because I wished to   

live deliberately. I wanted to live deep   

and suck out all the marrow of life."  

KNOX (moans)  

God, I want to suck all the marrow out   

of Chris. I'm so in love, I feel like   

I'm going to die!  

NEIL  

You know what the dead poets would say:   

Gather ye rosebuds while ye may...  

KNOX  

But she's in love with: the moron son of   

my father's best friend. What would the   

dead poets say about that?  

Knox walks away from the group. Despair is washing over him.  

CHARLIE  

I feel like I've never been alive. For   

years I've been risking nothing. I have   

no idea what I am or what I want to do!   

Neil, you know you want to act. Knox   

wants Chris.  

KNOX  

Needs Chris! Must have Chris!  

CHARLIE  

Meeks, you're the brain here. What do   

the dead poets say about somebody like   

me?  

MEEKS  

The romantics were passionate   

experimenters, Charles. They dabbled in   

many things before settling, if ever.  

CAMERON  

There aren't too many places to be an   

experimenter at Welton, Meeks.  

Charlie paces a moment, then gets an idea. He addresses the   

group.  

CHARLIE  

I hereby declare this the Charles Dalton   

Cave for Passionate Experimentation. In   

the future, anyone wishing entry must   

have permission from me.  

PITTS  

Wait a minute, Charlie. This should   

belong to the club.  

CHARLIE  

It should, but I found it and now I   

claim it. carpe cavern, guys. Seize the   

cave.  

Charlie grins. The boys look at each other and shake their   

heads. Neil heads out.  

NEIL  

I gotta get to the tryouts. Wish me   

luck.  

MEEKS  

Good luck.  

Neil exits. Charlie finds a rock and begins carving his name   

on a wall of the cave. Pitts shakes his head.  

42 EXT. SOCCER FIELD - AFTERNOON 42  

Gusts of wind blow across the field. About 50 boys stand in   

their sweats, moving around, trying to keep warm. Among them   

are Todd, Charlie, Pitts, and Knox who is in a state of   

lovesick despair. Keating walks up, carrying same soccer   

balls under one arm and a case under the other.  

PITTS  

Say, look who's the soccer instructor.  

KEATING  

Here here, there are quite a few of us   

so we have to be quiet if we're to get   

anything accomplished. Who has the roll?  

SENIOR STUDENT  

I do, sir.  

SENIOR STUDENT  

Keating takes the three-page roll and examines it.  

KEATING  

Answer "present." please. Chapman?  

STUDENT (CHAPMAN)  

Present.  

KEATING  

Perry? (no answer) Neil Perry?  

Keating glances at Todd. Todd doesn't know what to say.  

KEATING (CONT'D)  

Hmmmm. Watson? (no answer) Richard   

Watson? Absent too, eh?  

SOMEONE  

Watson's sick, sir.  

KEATING  

Hmm. Sick indeed. I suppose I should   

give Watson demerits. But if I give   

Watson demerits, I will also have to give   

Perry demerits and I like Perry.  

He crumples the roll up and tosses it away.  

KEATING (CONT'D)  

Boys, you don't have to be here if you   

don't want to. Anyone who wants to play,   

follow me.  

Keating marches off. Astonished and delighted by this   

capriciousness, most of the boys excitedly follow.  

43 NEW ANGLE - FAR SOCCER FIELD - LATER 43  

Most of the boys from earlier sit on the ground. Keating   

stands before them.  

KEATING  

Devotees may argue that one game or   

sport is inherently better than another.   

For me the most important thing in all   

sport is the way other human beings can   

push us to excel. Plato, a gifted man   

like myself, said, "Only the contest made   

me a poet, a sophist, an orator." Each   

person take a slip of paper and line up   

single file.  

He passes out slips of paper to the curious students.  

44 EXT. THE SOCCER FIELD - LATER 44  

The boys form a long line. Todd stands listlessly at the   

rear. Ten feet in front of the boy at the head of the line, a   

soccer ball rests on the ground.  

KEATING  

You know what to do... Now go!  

McAllister walks past the soccer field. He watches in   

fascination as the boy at the head of the line steps out and   

reads loudly from his slip of paper.  

FIRST BOY  

Oh to struggle against great odds, To   

meet enemies undaunted!  

He runs and kicks the ball at the goal, missing. Keating   

puts down another ball, then puts a record on a portable   

record player. Classical music starts. The second boy, Knox,   

steps out.  

KEATING  

Rhythm, boy! Rhythm is important.  

SECOND BOY (KNOX)  

To be entirely alone with them, to find   

out how much one can stand!  

Knox too runs and kicks the ball. Just before he smashes it   

with his foot, he yells: "CHET!" ball. Keating puts down   

another ball  

THIRD BOY (MEEKS)  

To look strife, torture, prison, popular   

odium face to face!  

Meeks runs and kicks the ball with great intent. Next,   

Charlie steps out and reads.  

CHARLIE  

To indeed be a God!  

With determination, Charlie kicks the ball through the goal.   

McAllister smiles and walks on.  

45 OMIT 45  

46 INT. NEIL AND TODD'S ROOM - NIGHT 46  

Todd sits at his desk, a half-composed poem before him. He   

adds a line, then breaks the pencil in frustration. He paces,   

sighs, then picks up another pencil and tries to again.  

47 INT. THE DORM HALLWAY - SAME 47  

Neil enters, looking stunned.  

NEIL  

I got it. Hey, everybody, I got the   

part! I'm going to play Puck. Hey, I'm   

Puck!  

VOICE FROM A ROOM  

Puck you! Pipe down.  

CHARLIE AND OTHERS  

All right, Neil. Congratulations!  

48 INT. NEIL AND TODD'S ROOM - NIGHT 45  

Neil enters and closes the door. Incredibly excited, he   

pulls out an old typewriter and begins to type. Todd watches.  

TODD  

Neil, how are you gonna do this?  

NEIL  

Sssh. That's what I'm taking care of.   

They need a letter of permission.  

TODD  

From you?  

NEIL  

From my father and Nolan.  

TODD  

Neil, you're not gonna...  

NEIL  

Quiet. I have to think.  

Neil mumbles lines from the play, giggles to himself, then   

keeps typing. Todd shakes his head in disbelief.  

49 INT. KEATING'S CLASSROOM - DAY 49  

Knox stands before class reading the poem he wrote.  

KNOX  

I see a sweetness in her smile  

Bright light shines from her eyes  

But life is complete: contentment mine  

Just knowing that she--  

Knox stops. He lowers his paper.  

KNOX  

I'm sorry. It's stupid.  

Knox walks back to his seat.  

KEATING  

It's fine, Knox. Good effort.  

(to the class)  

What Knox has done demonstrates an   

important point, not only in writing   

poetry, but in every endeavor. That is,   

deal with the important things in life   

love, beauty, truth, justice.  

Keating paces.  

KEATING (CONT'D)  

And don't limit poetry to the word.   

Poetry can be found in a work of art,   

music, a photograph, in the way a meal is   

prepared--anything with the stuff of   

revelation in it. It can exist in the   

most everyday things but it must never,   

never be ordinary By all means, write   

about the sky or a girl's smile but when   

you do, let your poetry conjure up   

salvation day, doomsday, any day, I don't   

care, as long as it enlightens us,   

thrills us and--if it's inspired--makes   

us feel a bit immortal.  

MEEKS  

Oh, Captain, My Captain. Is there poetry   

in math?  

Chuckles from the class.  

KEATING  

Absolutely, Mr. Dalton, there is   

elegance in mathematics. If everyone   

wrote poetry, the planet would starve,   

for God's sake. But there must be   

poetry--and we must stop to notice it--in   

even the simplest acts of living, or we   

will have wasted the truly wonderful   

opportunity that life as human beings   

offers us. That said, who wants to   

recite next? Come on. I'll get to   

everyone eventually.  

Keating looks around. No one volunteers. Keating grins.  

KEATING (CONT'D)  

Look at Mr. Anderson. In such agony.   

Step up, lad, and let's put you out of   

your misery.  

All eyes are on Todd. He is dying inside. He stands and   

walks slowly to the front of the class like a condemned man on   

his way to his execution.  

KEATING (CONT'D)  

Todd, have you prepared your poem?  

Todd shakes his head no.  

KEATING (CONT'D)  

Mr. Anderson believes that everything he   

has inside of him is worthless and   

embarrassing. Correct, Todd? Isn't that   

your fear?  

Todd nods jerkedly yes.  

KEATING (CONT'D)  

Then today you will see that what is   

inside of you is worth a great deal.  

Keating strides to the blackboard. Rapidly, he writes:  

"I SOUND MY BARBARIC YAWP? OVER THE ROOFTOPSOF THE WORLD.--  

Walt Whitman  

KEATING (CONT'D)  

A yawp, for those who don't know, is a   

loud cry or yell. Todd, I would like you   

to give us a demonstration of a barbaric   

yawp.  

TODD  

(barely audible)  

A yawp?  

KEATING  

A barbaric yawp.  

Keating pauses, then suddenly moves fiercely at Todd.  

KEATING (CONT'D)  

Good god, boy! Yell!  

TODD  

(frightened)  

Yawp!  

KEATING (CONT'D)  

Again! Louder!  

TODD  

YAWP!  

KEATING  

LOUDER!  

TODD  

AHHHHHH!  

KEATING  

All right! Very good! There's a   

barbarian in there after all!  

Keating claps. The class claps too. Todd, red-faced, swells   

a bit.  

KEATING (CONT'D)  

Todd, there's a picture of Whitman over   

the door. What does he remind you Of?   

Quickly, Anderson, don't think about it.  

TODD  

A madman.  

KEATING  

A madman. Perhaps he was. What kind of   

madman? Don't think! Answer.  

TODD  

A crazy madman.  

KEATING  

Use your imagination! First thing that   

pops to your mind, even if it's   

gibberish!  

TODD  

A... A sweaty-toothed madman.  

KEATING  

Now there's the poet speaking! Close   

your eyes and think of the picture.   

Describe what you see. NOW!  

TODD  

I... I close my eyes. His image floats   

beside me.  

KEATING  

(prompting)  

A sweaty-toothed madman  

TODD  

A sweaty-toothed madman with a stare   

that pounds my brain.  

KEATING  

Excellent! Have him act. Give it   

rhythm!  

TODD  

His hands reach out and choke me All the   

time he mumbles slowly. Truth... Truth is   

like a blanket that always leaves your   

feet cold.  

This brings chuckles from the class. This angers Todd.  

KEATING  

To hell with them, most about the   

blanket!  

Todd opens his eyes and addresses the class in defiant   

cadence.  

TODD  

Stretch it, pull it, it will never cover   

any of us. Kick at it, beat at it, it   

will never be enough-  

KEATING  

Don't stop!  

TODD  

(struggling, but getting it   

out)   

From the moment we enter crying to the   

moment we leave dying, It will cover   

just your head as you wail and cry and   

scream!  

Todd stands still for a long time. Both he and the students   

have felt the magic or what has just taken place. Neil starts   

applauding. Others join in. Todd swells and, for the first   

time, there is a hint of confidence in him. The applause   

stops. Keating walks to Todd.  

KEATING  

Don't forget this.  

49A EXT. THE SOCCER FIELD - DAY 49A  

A soccer ball careens off a kicking foot. Beethoven's Ninth   

symphony, fourth movement, "Ode To Joy," blares forth. Keating   

stands on the sidelines beside his portable record player,   

watching the boys play soccer, waving his arms like an   

orchestra conductor. In front of Keating the boys play soccer   

to this spectacular music. They run, kick, pass, fall, block,   

head, dribble, take--all to the overpowering chorus of one of   

the most inspirational pieces of music ever written.  

50A EXT DEAD POETS CAVE - AFTERNOON 50A  

Boys enter the cave.  

50 INT. DEAD POETS CAVE - AFTERNOON 50  

Neil hurries in carrying a small, broken statue. The other   

pledges of the Dead Poets Society are assembled around   

Charlie who sits silently cross-legged before them. His eyes   

are closed and, in one hand, he holds an old saxophone.  

NEIL  

Look at this.  

PITTS  

What is it?  

NEIL  

The god of the cave.  

The statue has a stake sticking cut of its head with a candle   

stuck in it. Neil plants the statue in ground and lights the   

candle. It illuminates a red and blue drummer boy, face   

pitted from exposure, yet noble in its visage. Charlie, who   

hasn't moved, clears his throat. All turn to him and settle  

in.  

CHARLIE  

Gentlemen, "Poetrusic" by Charles   

Dalton.  

He blows scattered notes on the saxophone. Random, blaring,   

they sound like bad John Cage. Suddenly Charlie stops.  

CHARLIE (CONT'D)  

(trance-like, run-on   

delivery)   

Laughing, crying, tumbling, mumbling,   

gotta do more. Gotta be more  

He plays more notes on the sax, then:  

CHARLIE (CONT'D)  

(more rapid than before)   

Chaos screaming, chaos dreaming, crying,   

flying, gotta be more!! Gotta be more!!  

Charlie plays a simple but absolutely gorgeous melody. The   

skeptical looks on the faces of the boys disappear. As   

Charlie gets lost in the music, so do the others. The melody   

ends with a long, beautiful, haunting note.  

NEIL  

Charlie, That was great! Where did you   

learn to play like that?  

CHARLIE  

My parents made me take clarinet but I   

hated it.  

(putting on a mock British   

accent)   

The sax is more sonorous.  

Knox stands. He backs away, full of torment and frustration.  

KNOX  

God, I can't take it anymore! If I   

don't have Chris, I'll kill myself.  

CHARLIE  

Knox, you gotta calm down.  

KNOX  

No, I've been calm all my life! If I   

don't do something, it's gonna kill me.  

NEIL  

Where are you going?  

KNOX  

I'm calling her!  

51 INT. THE DORM PHONE ROOM - LATER 51  

All of the boys stand around. Knox picks up the phone,   

boldly dials some numbers, then waits.  

52 INT. CHRIS' HOUSE - AFTERNOON 52  

Chris is in wet hair and a damp towel, but she looks   

stunning. She enters and answers the phone.  

CHRIS  

Hello?  

53 INT. THE DORM PHONE ROOM/STAIRWELL - AFTERNOON 53  

Knox hears Chris' voice. He starts to speak, then hangs up   

the phone.  

KNOX  

She's gonna hate me! The Danburrys will   

hate me. My parents will kill me!  

He looks at the faces of the others. No one says a word.  

KNOX (CONT'D)  

All right, goddamn it, you're right!   

'Carpe diem' even if it kills me.  

He picks up the phone and dials again.  

54 INT. CHRIS~ HOUSE - SAME 54  

Again the phone rings. Again Chris enters and answers.   

CHRIS  

Hello?  

55 INT. THE DORM - SAME 55  

KNOX  

Hello Chris, this is Knox Overstress.  

56 INT. CHRIS' HOUSE - SAME 56  

CHRIS  

Knox. Oh yes, Knox. I'm glad you   

called.  

57 INT. THE DORM - SAME  

KNOX  

You are?  

(excitedly to his friends)  

She's glad I called!  

58 INT. CHRIS' HOUSE - SAME 58  

I wanted to call you but I didn't have   

the number. Chet's parents are going out   

of town this weekend so Chet's having a   

party. Would you like to come?  

59 INT. THE DORM - SAME 59  

KNOX  

Well, sure!  

60 INT. CHRIS' HOUSE - SAME 60  

CHRIS  

Chet's parents don't know about it, so   

please keep it quiet. But you can bring   

someone if you like.  

61 INT. DORM - SAME 61  

KNOX  

I'll be there. The Danburrys. Friday   

night. Thank you, Chris.  

He hangs up the phone. He is thunderstruck. He lets out a   

yelp.  

KNOX (CONT'D)  

Can you believe it? She was gonna call   

me! She invited me to a party with her!  

CHARLIE  

At Chet Danburry's house.  

KNOX  

Yeah.  

CHARLIE  

Well?  

KNOX  

So?  

CHARLIE  

So you really think she means you're   

going with her?  

KNOX  

Well hell no, Charlie, but that's not   

the point. That's not the point at all!  

CHARLIE  

What is the point?  

KNOX  

The point is she was thinking about me!   

I've only met her once and already she's   

thinking about me. Damn it, it's gonna   

happen! I feel it. She's going to be   

mine!  

He exits the phone room, his head in a cloud. The others   

look at each other, not sure what to think.  

62 EXT. THE HENDLY HALL AUDITOMUM - DAY 62  

The buildings at this school are white brick. Neil parks his   

bicycle and enters the auditorium.  

63 INT. THE AUDITORIUM STAGE - LATER 63  

High school actors are on stage rehearsing Shakespeare's "A   

Midsummer Night's Dream." Neil stands center stage, playing   

Puck. He holds a stick with a bell accoutered jester's head   

on one end of it.  

NEIL (AS PUCK)  

Yet but three? Come one more.  

Two of both kinds makes up four.  

Here she comes, curst and sad.  

Cupid is a knavish lad  

Thus to make poor females mad.  

Enter Ginny Danburry playing Hermia, crawling on stage,   

looking exhausted. As she starts her lines, the DIRECTOR of   

the play, a woman in her 40s, interrupts.  

DIRECTOR  

Good, Neil. I really get the feeling   

your Puck knows he's in charge. Remember   

that he takes great delight in what he's   

doing.  

NEIL  

(broadly, boldly impish)   

Cupid is a knavish lad Thus to make poor   

females mad!"  

DIRECTOR  

Excellent. Continue, Ginny.  

As Ginny re-enters and starts her lines-  

GINNY (AS HERMIA)  

Never so weary, never so in woe,   

Bedabbled with the dew, and torn with   

briars I can no further crawl, no further   

go."  

64 EXT. THLE WELTON DORMS - NIGHT 64  

Neil rides up on his bike and parks it. As he starts into   

the dorm, he spots a figure sitting motionless on a wall.  

NEIL  

Todd?  

Neil walks over to get a better look. It is Todd, sitting in   

the dark without a coat.  

NEIL (CONT'D)  

What's going on?  

Todd doesn't answer.  

NEIL (CONT'D)  

Todd, what's the matter?  

TODD  

It's my birthday.  

NEIL  

It is? Happy Birthday. You get   

anything?  

Todd is motionless. Then he points to a box. Neil looks. In   

the box seems to be the monogrammed desk set that we've seen   

on Todd's desk.  

NEIL (CONT'D)  

This is your desk set.   

(pause)  

I don't get it.  

TODD  

They gave me the exact same thing as   

last year!  

NEIL  

Oh..  

TODD  

Oh.  

(mocking)  

Long pause.  

NEIL  

Well, maybe they thought you'd need   

another one. Maybe they thought...  

TODD  

Maybe they don't think at all unless   

it's about my brother! His birthday's   

always a big to-do.  

(pause: looks at the desk   

set)  

The stupid thing is, I didn't even like   

the first one.  

He puts the desk set down.  

NEIL  

Look, Todd, you're obviously under-  

estimating the value of this desk set.  

TODD  

what?  

NEIL  

I mean, this is one special gift! Who   

would want a football or a baseball bat   

or a car when they could get a desk set   

as wonderful as this one!  

TODD  

Yeah! And just look at this ruler!  

They laugh. A silence falls.  

TODD (CONT'D)  

(thoughtful)  

You know what Dad called me when I was   

growing up? "Five ninty-eight." That's   

what all the chemicals in the human body   

would be worth if you bottled them raw   

and sold them. He told me that was all   

I'd ever be worth unless I worked every   

day to improve myself. "Five ninety-  

eight."  

Neil shakes his head.  

TODD (CONT'D)  

When I was little, I thought all parents   

automatically loved their kids. That's   

what my teachers told me. That's what I   

read in the books they gave me. That's   

what I believed. Well, my parents might   

have loved my brother but they did not   

love me.  

He takes a deep, anguished breath. Neil is groping for   

something to say. Todd walks into the dorm.  

65 EXT. A WELTON BRICK COURTYARD - DAY 65  

The class pours into the courtyard expectantly. Another   

Keating stunt? Keating addresses them.  

KEATING  

People, I am delighted with your   

progress as reflected in your essays and   

poems. However, I know the school policy   

is to encourage study groups and I   

believe that a dangerous though   

inevitable element of conformity has been   

seeping into your work. Misters Pitts,   

Cameron, Overstreet, and Chapman line up   

please over here.  

Keating indicates for the four boys to stand near him.  

KEATING (CONT'D)  

On the count of four, begin walking   

together around the courtyard. Nothing   

to think about. No grade here. One,   

two, three, go.  

The boys begin walking. They go down one side of the   

courtyard, across the back, up the other side, then across the   

front.  

KEATING (CONT'D)  

That's the way. Please continue.  

As the boys walk around the courtyard again, they begin to   

walk together in step. Soon it becomes like a march,   

producing a one-two-three-four cadence. Keating begins to   

clap.  

KEATING (CONT'D)  

There it is Hear it?   

(clapping louder in time)  

One two, one two, one two, one two  

ANGLE THROUGH A WINDOW  

McAllister sits in his empty classroom, reading a book. He   

sees the commotion in the courtyard and watches.  

ANGLE FROM ABOVE  

The marching boys get into it. The class joins in clapping.   

Soon the tour boys are marching vigorously to the rhythmic   

clapping of the entire class.  

NEW ANGLE  

Inside his second-story office, Nolan is looking out his   

window at the marching boys below.  

ANGLE ON KEATING  

KEATING (CONT'D)  

All right, stop. You way have noticed   

how at the beginning Mister Overstress   

and Pitts: seemed to have a different   

stride than the others, but soon they   

were all walking in the same cadence.   

Our encouragement made it even more   

marked. Now this experiment was not to   

single out Pitts or Overstress. What it   

demonstrates is how difficult it is for   

any of us to listen to our own voice or   

maintain our own beliefs in the presence   

of others. If any of you believe you   

would have marched differently, then ask   

yourself why you participated in the   

clapping. Lads, there is a great need in   

all of us to be accepted. However, that   

need can be like a nasty current,   

whisking us away unless we're strong and   

determined swimmers. Don't insist on the   

separate path simply to be different or   

contrary, but trust what is unique about   

yourselves even if it's odd or unpopular.   

As Mr. Robert Frost said, "Two roads   

diverged in a wood, and I... I took the one   

less traveled by, And that has made all   

the difference."  

A bell rings, signifying the end of class. Keating walks   

off.  

ANGLE ON NOLAN IN HIS OFFICE  

Nolan moves away from the window.  

ANGLE ON McALLISTER IN HIS CLASSROOM  

Amused at Keating's antics, he turns back to his book.  

66 INT. ENTRANCE TO THE DEAD POETS CAVE - NIGHT 66  

Todd. Neil, Cameron, Pitts, and Meeks sit around. A fog has   

moved in and the trees sway in the breeze.  

MEEKS  

where's Knox?  

PITTS  

Getting ready for that party.  

CAMERON  

What about Charlie? He's the one who   

insisted on this meeting.  

NEIL  

I went to the woods because I wanted to   

live deliberately. To live deep and suck   

out all the marrow of life-~  

In the woods there is a noise the sound of girls' laughter.  

GIRL'S VOICE  

I can't see a thing.  

CHARLIE'S VOICE  

It's just over here.  

Charlie and TWO GIRLS arrive at the cave. One is pretty, the   

other is plain. The girls are about 20, blonde, beers in   

their hands. They aren't the type to be seriously interested   

in Charlie or the other boys. They're just here for a good   

time.  

CHARLIE  

Hey guys, meet Gloria and...  

PLAIN GIRL (TINA)  

Tina.  

CHARLIE  

Tina and Gloria, this is the pledge   

class of the Dead Poets society.  

GLORIA  

It's such a strange name! Won't you   

tell us what it means?  

CHARLIE  

I told you, that's a secret.  

GLORIA  

Isn't he precious?  

Gloria gives Charlie an affectionate hug. The other members   

or the club are flabbergasted. These girls are wild, exotic   

creatures, the kind whose unashamed love of men causes young   

boys' hearts to come to rest in young boys'   

The girls giggle.  

TINA  

I can't call you Charlie anymore?   

(Puts her arm around   

Charlie)  

What does Numama mean, honey?  

CHARLIE  

It's Nuwanda, and I made it up.  

GLORIA  

I'm cold.  

Charlie puts his arm around Gloria.  

MEEKS  

Let's build a fire.  

Charlie shoots Meeks a look. As the boys move off to gather   

wood, Charlie scrapes some mud off the wall of the cave and   

wipes it on his face like an Indian brave. Me shoots Gloria   

his sexiest stare, then goes off with the other boys. The   

girls whisper and giggle together.  

67 EXT. THE DANBURRY HOUSE - NIGHT 67  

Knox parks his bicycle along the side of the house. He takes   

off his overcoat, and stuffs it in the bike saddle bag. He   

straightens his tie, then goes to the front door. He knocks.   

He can hear music inside. He knocks again. Finally, since no   

one comes to the door, Knox opens it.  

68 INT. THE DANBURRY HOUSE - SAME 68  

Knox enters. "Open the Door to Your Heart" by Darrell Banks   

is playing on the Hi-Fi. On the entrance hall couch is a   

couple, making out like crazy. Up and down the stairs are   

other couples doing the same. Knox stands there, not knowing   

what to do. Momentarily, Chris walks through, her hair an   

uncombed mass.  

KNOX  

Chris!  

Chris turns and sees Knox.  

CHRIS  

Oh, hi. I'm glad you made it. Did you   

bring anybody?  

KNOX  

No.  

CHRIS  

Ginny Danburry's here. Look for her.  

KNOX  

But, Chris...  

CHRIS  

I gotta find Chet. Make yourself at   

home.  

She exits. Knox watches her. He slumps in dejection.  

69 EXT. THE WOODS AROUND THE CAVE 69  

Charlie is gathering wood. Neil, Pitts, Todd and the other   

boys surround him.  

NEIL  

Charlie...  

CHARLIE  

It's Nuwanda.  

NEIL  

Nuwanda, what is going on?  

CHARLIE  

Nothing, unless you object to having   

girls here.  

PITTS  

Well, of course not. It's just that...   

You could have warned us.  

CHARLIE  

I thought I'd be spontaneous. I mean,   

that's the point of this whole thing,   

isn't it?  

NEIL  

Where'd you find them?  

CHARLIE  

They were walking along the fence past   

the soccer field. Said they were curious   

about the school so I invited them to the   

meeting.  

CAMERON  

Do they go to Henley Hall?  

CHARLIE  

I don't think they're in school.  

CAMERON  

They're townies?!  

CHARLIE  

Cameron, what is the matter with you.   

You act like they're your mother or   

something. You afraid of them?  

CAMERON  

Hell no, I'm not afraid of them just, if   

we get caught with them, we're dead.  

GLORIA (O.S.}  

Say, what's going on out there?  

CHARLIE  

Just gathering wood.  

(low, to Cameron)  

You just keep your mouth shut, jerkoff,   

and there's nothing to worry about.  

CAMERON  

Watch who you call a jerkoff.  

NEIL  

Oh calm down, Cameron.  

Charlie gives Cameron an expression‎‍ of mock fear, then heads   

off. The others follow. Cameron watches Charlie and Neil for   

a moment, then walks after them.  

70 INT. THE DANBURRY PANTRY - NIGHT 70  

Knox, looking suicidal, wanders through the crowded party and   

ends up in the pantry. Kids stand talking. A couple in the   

corner is involved in a long kiss. His hand keeps wandering   

to her knee and her hand keeps pushing his away, yet the kiss   

never breaks. This happens over and over through the entire   

next scene.  

Ginny Danburry is in the corner and she and Knox exchange   

smiles. At the sink a guy stands making bourbon and Cokes.   

The guy eyes Knox.  

GUY  

You Mutt Sanders' brother?  

Knox shakes his head no.  

GUY (CONT'D)  

Bubba...  

BUBBA is a big, drunk jock leaning on the refrigerator.  

GUY (CONT'D)  

This guy look like Mutt Sanders?  

BUBBA  

You his brother?  

KNOX  

No relation. Never heard of him.   

Sorry.  

BUBBA  

Say Steve, where's your manners? Here's   

Mutt's brother and you don't offer him a   

drink? Want some bourbon?  

KNOX  

Actually I don't  

Steve puts a glass in Knox's hand and fills it with bourbon,   

adding only a hint of Coke. Bubba clinks the glass with him.  

BUBBA  

To Mutt.  

STEVE  

To Mutt.  

KNOX  

To Mutt.  

Bubba and Steve drain their glasses. Knox follows their   

lead, then bursts into a coughing fit. Steve pours everyone   

more bourbon.  

BUBBA  

So what the hell's Mutt been up to?  

KNOX  

(coughing fitfully)  

Actually I don't really know Mutt.  

BUBBA  

(toasting)  

To fucking Mutt.  

STEVE  

To fucking Mutt.   

KNOX  

Fucking Mutt  

They drain their glasses again. Knox continues coughing.  

BUBBA  

Well, I'd better find Patsy.  

(slaps Knox on the back)  

Say hello to Mutt for me.  

KNOX  

Will do.  

Knox and Ginny exchange knowing smiles. Bubba leaves Knox,   

who is still coughing. Ginny wanders out. Steve pours him   

and Knox more bourbon.  

71 INT. THE CAVE - NIGHT 71  

The boys have lit a fire and the girls are warming their   

hands. The candle on the head of the "cave god" FLUTTERS.   

Tina notices the pitted statue.  

TINA  

I heard you guys were weird but not this   

weird.  

She takes out a pint of whiskey and offers some to Neil. He   

takes it and sips. He obviously hasn't had much whiskey in   

his life but he tries to act like he has. He hands it back.  

TINA (CONT'D)  

Go ahead, pass it around.  

Neil does. It goes from boy to boy. Each boy tries to act   

like he likes the terrible bitterness he tastes. Unlike most   

of the others, Todd manages to keep from coughing as he   

swallows the whiskey. Everyone is impressed.  

GLORIA  

(to Todd)  

Yeah! (to the others) Don't you guys   

miss having girls here?  

CHARLIE  

Miss it? It drives us crazy. That's   

part of what this club is about. In   

fact, I'd like to announce that I've   

published an article in the school paper,   

in the name of the Dead Poets society,   

demanding girls be admitted to Welton, so   

we can all stop beating off.  

NEIL  

You what?! How did you do that?  

CHARLIE  

I'm one of the proofers. I slipped the   

article in.  

PITTS  

Oh God, it's over now!  

CHARLIE  

Why? Nobody knows who we are.  

PITTS  

Don't you think they'll figure out who   

did it?! Don't you know they'll come to   

you and demand to know what the Dead   

Poets Society is? Charlie, you had no   

right to do something like that!  

CHARLIE  

It's Nuwanda, Cameron.  

GLORIA  

(putting her arm around   

Charlie)  

That's right, it's Nuwanda.  

CHARLIE  

And are we just playing around out here   

or do we mean what we say? If all we do   

is come and read a bunch of poems to each   

other, what the hell are we doing?  

NEIL  

You still shouldn't have done it,   

Charlie. You don't speak for the club.  

CHARLIE  

Hey, would you not worry about your   

precious little necks? If they catch me,   

I'll tell them I made it up. All your   

asses are safe. Look, Gloria and Tina   

didn't come here to listen to us argue.   

Are we gonna have a meeting or what?  

GLORIA  

Yeah, how do we know if we want to join   

if you don't have a meeting?  

NEIL  

(casts a surprised lock at   

Charlie)  

Join?  

Charlie ignores this. He turns to Tina.  

CHARLIE  

"Shall I compare thee to a summer's day?   

Thou art more lovely and more temperate..."  

In his recital, Charlie has aimed these words directly at   

Tina. She melts into warm goo.  

TINA  

Oh, that's so sweet!  

Tina hugs Charlie. The other boys look at each other, trying   

unsuccessfully to hide their incredible jealousy.  

CHARLIE  

I wrote that for you.  

TINA  

You did?  

CHARLIE  

I'll write one for you too, Gloria.   

(closes his eyes then)  

"She walks in beauty like the night.."  

Charlie's eyes open. He has forgotten the words to this   

poem. Covering, he walks across the cave.  

CHARLIE (CONT'D)  

"She walks in beauty like the night..."  

Charlie turns his back, opens a book, and reads quickly to   

himself. He closes it, puts the bock down, and turns back to   

Gloria.  

CHARLIE (CONT'D)  

'of cloudless climes and starry skies;   

All that's best of dark and bright Meet   

in her aspect and her eyes.'  

Gloria squeals with delight.  

GLORIA  

Isn't he wonderful?!  

The other boys are absolutely appalled, but desperately   

jealous that Charlie is getting away with this. Gloria hugs   

Charlie.  

72 INT. THE DANBURRY LIVING ROOM - NIGHT 72  

Music by the Drifters is playing loudly. Every light in the   

room is out. The only illumination is moonlight through the   

windows. Only after our eyes get adjusted to the dark can we   

see that the room is filled with couples making out.  

Knox, carrying another drink and looking tipsy, enters. He   

walks a bit, then trips over a couple on the floor.  

ANGRY GUY'S VOICE  

Hey!  

KNOX  

Sorry.  

Knox falls onto the sofa. To his left sit a couple making   

out heavily. Their breathing is like that of some giant   

beast. To Knox' right is another couple, making out too. Knox   

tries to get up but the couple he tripped aver has now rolled   

against his shins, pinning him. Knox tries to get comfortable   

in his little spot on the sofa.  

The music stops. The room sounds like an artificial   

respiration ward. The couple to Knox' right look and sound as   

if they are going to chew each other's lips off. Knox glances   

at the couple to his left. He hears:  

BOY'S VOICE  

Oh Chris, you're so beautiful.  

The couple are Chris and Chet. Chris is sitting right next   

to Knox. Music starts again. It's "This Magic Moment" by the   

Drifters. Chris and Chet continue petting heavily. Knox   

tries to look away but can't keep his eyes off Chris.  

CHET  

Chris, you are so gorgeous.  

Chet kisses Chris hard and she leans against Knox. In the   

moonlight-filled room, Knox sees the outline of Chris' face,   

the nape of her neck, the curves of her breasts. He downs the   

rest of his drink and tries to look away.  

KNOX  

Oh my God help me.  

Chris obliviously continues to lean against Knox. Knox is   

struggling with temptation--trying not to even look--but he's   

losing. Suddenly, he turns and looks at Chris again. Every   

rational thing inside of him says "no" but his emotions are   

saying yes.  

KNOX (CONT'D)  

(to himself)  

carpe breastum. Seize the breast.  

CHRIS  

(to Chet)  

Huh?  

CHET  

I didn't say anything.  

Chet and Chris continue to kiss. As though his hand were   

being drawn by a magnet too powerful to resist, Knox' hand   

reaches out and begins to ever so lightly stroke the nape of   

Chris' neck down toward her breast. Chris obviously thinks   

that the hand is Chet's and she lets it continue. Knox moves   

his hand up and down her, sensuously. He closes his eyes,   

breathing heavily.  

CHRIS (IN THE DARK)  

Oh Chet, that feels fabulous,  

CHET (IN THE DARK)  

It does?  

(pause)  

What?  

CHRIS (IN THE DARK)  

You know,  

Knox pulls his hand away. Chet thinks a moment, then kisses   

Chris again.  

CHRIS (IN THE DARK)  

Don't stop.  

CHET (IN THE DARK)  

Stop what?  

CHRIS (IN THE DARK)  

Chet...  

Knox puts his hand back on Chris' neck. Again he starts   

rubbing her, ever so gently, moving down toward her breast.  

CHRIS (IN THE DARK)  

Oh... oh...  

We can see Chet's silhouette pausing over Chris, trying to   

figure out what she is talking about. Giving up, he goes back   

to kissing her. Chris continues to show her pleasure.  

Knox leans his head back on the sofa and his breathing   

becomes heavy. The music builds. Unable to resist, he rubs   

Chris' chest, getting dangerously close to her breast. Chris   

is breathing hard. Knox is slipping into ecstasy. His drink   

falls out of his hand.  

Suddenly Chet's hand grabs Knox's hand and a lamp light   

flicks on. Knox is face to face with a furious Chet and a   

confused Chris.  

CHET  

What are you doing?!  

CHRIS  

Knox?!  

KNOX  

(feigning surprise)  

Chet! Chris! What are you doing here?  

CHET  

why you...  

Chet smashes Knox in the face with his fist. Chet grabs Knox   

by the shirt, throws him to the floor, and jumps on him. He   

begins swinging at Knox's face which Knox is doing his best to   

protect.  

CHET (CONT'D)  

You fucked up little prick!  

CHRIS  

(beginning to feel sorry   

for Knox)   

Chet, you don't have to hurt him.  

Chet's fists hit Knox over and over.  

CHRIS (CONT'D)  

Chet, stop! He didn't mean anything.  

She pushes Chet off. Knox rolls over, holding his face.  

CHRIS (CONT'D)  

That's enough!  

Chet stands over Knox, who is holding his bloody nose and   

bruised face.  

KNOX  

I'm sorry, Chris. I'm sorry!  

CHET  

You want some more, you little son of a   

bitch? Huh?! Get the hell out of here!!  

He moves at Knox again, but Chris and some others hold him   

back. Others lead Knox out of the room.  

KNOX  

(drunk)  

Chris, I'm sorry!  

CHET  

Next time I see you, you're dead!  

73 OMIT 73  

74 INT. THE CAVE - NIGHT 74  

The fire casts warm light on the wall of the cave. Gloria   

sits with her arm around Charlie, staring adoringly. The   

bottle passes between Tina and the others.  

CHARLIE  

Hey guys, why don't you show Tina the   

Dead Poets garden?  

MEEKS  

Garden?  

PITTS  

What garden?  

Charlie silently motions with his eyes for Pitts and the   

others to vamoose. Neil elbows Pitts and makes a motion   

outside with his head. Suddenly Pitts gets it.  

PITTS (CONT'D)  

Oh. Right. That garden. Come on, guys.  

The boys head out with Tina.  

TINA  

This is so strange! You guys even have   

a garden?  

Meeks stands in the cave, still not getting it.  

MEEKS  

What are you guys talking about?  

All of the others are gone. Meeks looks at Charlie, who   

stares daggers at him.  

MEEKS (CONT'D)  

Charles, uh, Nuwanda, we don't have a   

garden.  

Neil comes back in and pulls Meeks out. Charlie waits for   

them to go.  

CHARLIE  

(to Gloria)  

God, for a smart guy, he's so stupid.  

Gloria stares into Charlie's eyes. Charlie smiles.  

GLORIA  

I think he's sweet.  

CHARLIE  

I think you're sweet.  

Charlie looks at her. He closes his eyes and leans slowly in   

to kiss her. Just as he is about to, she stands.  

GLORIA  

You know what really excites me about   

you?  

CHARLIE  

(blinking)  

What?  

GLORIA  

Every guy that I meet wants me for one   

thing my body. You're not like that.  

CHARLIE  

I'm not?  

GLORIA  

No! Anybody else would have jumped my   

bones by now but you're after my soul.   

Make me up some more poetry.  

CHARLIE  

But...  

GLORIA  

Please! It's so wonderful to be   

appreciated for my mind!  

She gets up and starts pacing. Charlie puts his hand over   

his face. Gloria turns and looks at him.  

GLORIA (CONT'D)  

Nuwanda? Please?  

CHARLIE  

All right! I'm thinking!  

(pause)  

"Let me not to the marriage of true   

minds  

Admit impediments; love is not love  

Which alters when it alteration finds  

Or bends with the remover to remove."  

Gloria emits sensual moans.  

GLORIA  

Don't stop.  

CHARLIE  

(more and more rapidly and   

punctuated by Gloria's moans)  

"O, no, it is an ever-fixed mark That   

looks on tempests and is never shaken; It   

is the star to every wandering bark whose   

worth's unknown, although his height be   

taken."  

GLORIA  

This is better than sex any day. This   

is romance!  

As a frustrated Charlie continues reciting  

DISSOLVE TO:  

75 INT. WELTON ACADEMY CHAPEL - DAY 75  

There is a buzz in the student body as they move to their   

seats, passing school newspapers amongst themselves. Knox's   

face is marked with bruises. Neil, Todd, Pitts, Necks,   

Cameron and especially Charlie's faces are marked with   

exhaustion.  

Pitts hands Charlie a briefcase.  

PITTS  

(low)  

All set.  

Charlie nods. Mr. Nolan enters. All put away the newspapers   

and stand. Nolan strides to the podium and motions for   

everyone to sit. All obey.  

NOLAN  

In this week's issue of Walter Honor,   

there appeared an unauthorized and   

profane article about the need for girls   

at Welton. Rather than spend my valuable   

time ferreting out the guilty parties--  

and let me assure you I will find them--I   

am asking any and all students who know   

anything about this article to make   

themselves known here and now. Whoever   

the guilty persons are, this is your only   

chance to avoid expulsion from this   

school.  

Suddenly, somewhere in the room there is the sound of a   

TELEPHONE RINGING. Charlie briskly lifts the briefcase into   

his lap and opens it. Inside the briefcase is a ringing   

telephone. Everyone in assembly is astounded. No one has   

ever done something this outrageous here. Charlie, undaunted,   

seemingly serious, answers the phone.  

CHARLIE (INTO PHONE)   

(for all to hear)  

Welton Academy, hello? Yes, he is, just   

a moment. Mr. Nolan, it's for you.  

NOLAN  

what?!  

Charlie places the receiver back to his ear.  

CHARLIE (INTO PHONE)  

It is? You do? I'll tell him. Mr.   

Nolan, it's God. He says we should have   

girls at Welton.  

There is a blast of laughter from the students. On stage   

with the teachers, Keating is surprised and amused, but   

worried. He and McAllister exchange concerned looks. Blood   

red, furious, Nolan strides down the aisle to Charlie. He   

sweeps the phone off of Charlie's lap.  

NOLAN  

I will not be mocked, Mr. Dalton!  

He takes Charlie by the arm and jerks him out of the   

assembly. Keating watches with concern.  

76 INT. NOLAN'S OFFICE - DAY 76  

Charlie stands in the middle of the room. Nolan paces   

furiously.  

NOLAN  

Who else was involved in this?  

CHARLIE  

No one, sir. It was just me. I did the   

proofing so I inserted my article in   

place of Rob Crane's.  

NOLAN  

Mr. Dalton, if you think you're the   

first to try to get thrown out of this   

school, think again. Others have had   

similar actions and they have failed just   

as surely as you will fail. Bend over   

and grab your shins.  

Charlie obeys and Nolan produces a paddle. The paddle has   

holes drilled in it to speed its progress. Nolan takes off his   

jacket and moves behind Charlie.  

NOLAN (CONT'D)  

Count aloud, Mr. Dalton.  

He slams the paddle into Charlie's buttocks.  

CHARLIE  

One  

Nolan swings the paddle again. This time he gets more power   

into it. Charlie winces.  

CHARLIE (CONT'D)  

Two  

Nolan delivers and Charlie counts. By the fourth lick, the   

pain is so intense that Charlie is barely audible. By the   

seventh lick, tears are flowing down Charlie's cheeks. The   

ninth and tenth licks have Charlie choking on his words,   

speechless. Nolan stops after ten licks.  

NOLAN  

Do you still insist that this was your   

idea and your idea alone?  

CHARLIE  

(choking back pain)   

Yes... sir.  

NOLAN  

What is this "Dead Potts Society"? I   

want names.  

CHARLIE  

(still in agony)  

It's only me, Mr. Nolan. I swear. I   

made it up.  

NOLAN  

If I find that there are others, Mr.   

Dalton, they will be expelled and you   

will remain enrolled. Stand up.  

Charlie obeys. His face is blood red. He fights back tears   

of pain and humiliation.  

NOLAN (CONT'D)  

Welton can forgive, Mr. Dalton, provided   

you have the courage to admit your   

mistakes. When you are ready to make   

your apology to the entire school, let me   

know.  

77 INT. THE JUNIOR DORM - AFTERNOON 77  

The boys are milling in their rooms, waiting for Charlie's   

return. Someone sees him coming. All pretend to be studying.  

Charlie enters, moving slowly, trying not to show his pain.   

As he walks toward his room, Neil, Todd, Knox (bruised face),   

Pitts, and Necks approach him.  

NEIL  

What happened? Were you kicked out?  

CHARLIE  

(not looking at anyone)  

No.  

NEIL  

What happened?  

CHARLIE  

I'm supposed to turn everybody in,   

apologize to the school and all will be   

forgiven.   

Charlie heads into his room. The others look at each other.  

NEIL  

What are you going to do? - Charlie?  

CHARLIE  

Damn it, Neil, the name is Nuwanda.  

Charlie gives the boys a pregnant look, then goes into his   

room and slams his door. Smiles of admiration cross the boys'   

faces. Charlie has not been broken.  

78 INT. WELTON CLASSROOM BUILDING - AFTERNOON 78  

Keating walks down the corridor. He is just about to stop   

and talk to McAllister when Nolan passes.  

NOLAN  

Mr. Keating, could we have a word?  

79 INT. KEATING'S EMPTY CLASSROOM - DAY 79  

Keating and Nolan enter. Keating turns on the light. Nolan   

looks around.  

NOLAN  

This was my first classroom, John, did   

you know that?  

(looks at Keating's desk)  

My first desk.  

KEATING  

I didn't know you taught.  

NOLAN  

English. Way before your time. It was   

hard giving it up, I'll tell you.  

(pause)  

I'm hearing rumors, John, of some   

unusual teaching methods in your   

classroom. I'm not saying they have   

anything to do with the Dalton boy's   

outburst, but I don't think I have to   

warn you that boys his age are very   

impressionable.  

KEATING  

Your reprimand made quite an impression   

I'm sure.  

NOLAN  

(letting this pass)  

What was going on in the courtyard the   

other day?  

KEATING  

Courtyard?  

NOLAN  

Boys marching. Clapping in unison.  

KEATING  

Oh that. That was an exercise to prove a   

point. About the evils of conformity.  

NOLAN  

John, the curriculum here is set. It's   

proven. It works. If you question it,   

what's to prevent them from doing the   

same?  

KEATING  

I always thought education was learning   

to think for yourself.  

NOLAN  

(almost laughs)  

At these boys' age? Not on your life!   

Tradition, John. Discipline.  

(pats Keating on the   

shoulder)   

Prepare them for college, and the rest   

will take care of itself.  

Mr. Nolan smiles and leaves. Keating stands, thinking. After   

a beat, McAllister sticks his head in the door.  

McALLISTER  

I wouldn't worry about the boys being   

too conformist if I were you.  

KEATING  

Why is that?  

McALLISTER  

Well, you yourself graduated from these   

hallowed halls, did you now?  

KEATING  

Yes?  

McALLISTER  

So if you want to raise a confirmed   

atheist, give him a rigid religious   

upbringing. Works every time.  

Keating stares at McAllister. He suddenly lets cut a laugh.   

McAllister smiles, then disappears down the hall.  

79A INT. THE JUNIOR CLASS DORM - AFTERNOON 79A  

Boys are walking out on the way to their activities. Keating   

enters and approaches Charlie, who is exiting with his   

friends.  

CHARLIE  

(surprised)  

Mr. Keating!  

KEATING  

I don't know what misguided impulse   

caused you to pull that ridiculous stunt,   

Mr. Dalton, but, whatever it was, I hope   

you've learned your lesson.  

CHARLIE  

You're siding with Mr. Nolan?! What   

about carpe diem and sucking all the   

marrow out of life and all that?  

KEATING  

Sucking out the marrow doesn't mean   

getting the bone stuck in your throat,   

Charles. You still have responsibilities   

to yourself and those who care about you.  

CHARLIE  

But I thought-  

There is a place for daring and a place   

for caution as well, Charles, and a wise   

person understands which one is called   

for. Getting expelled from this school   

is not an act of wisdom. It's far from   

perfect but there are still opportunities   

to be had here.  

CHARLIE  

Yeah? Like what?  

KEATING  

Like, if nothing else, the opportunity   

to attend my classes, understand?  

CHARLIE  

(smiling)  

Yes sir.  

KEATING  

So keep your head about you--the lot of   

you--understood?  

NEIL, TODD, PITTS, MEEKS, CAMERON, KNOX  

Yes, Sir.  

Keating gives then' a slight smile, then exits.   

80 OMIT 80  

81 INT. KEATING'S CLASSROOM - DAY 81  

The boys are seated. Keating walks to the blackboard and in   

a big scrawl writes: "COLLEGE".  

KEATING  

Gentlemen, today we will consider a   

skill which I consider indispensable for   

getting the most out of college analyzing   

books you haven't read. College will   

probably destroy your love for poetry.   

Hours of boring analysis, dissection and   

criticism will see to that. College will   

also expose you to all manner of   

literature--much of it transcendent works   

of magic which you must devour; some of   

it utter drek which you must avoid like   

the plague.  

Keating pauses.  

KEATING (CONT'D)  

Suppose you are taking a course entitled   

"Modern Novels." All semester you have   

been reading masterpieces such as the   

touching PERE GORIER by Balzac and the   

moving FATHERS and SONS by Turgenev, but   

when you receive your assignment for your   

final paper, you discover that you are to   

write an essay on the theme of parental   

love in The Doubtful Debutante, a novel--  

and I use that term generously here--by   

none other than the professor himself.  

Keating looks at the boys with a raised eyebrow, then   

continues.  

KEATING (CONT'D)  

After reading the first three pages of   

the book, you realize that you would   

rather volunteer for combat than waste   

your precious earthly time infecting your   

mind with this sewage, but do you   

despair? Take an "F." Absolutely not   

because you are prepared.  

Keating paces.  

KEATING (CONT'D)  

Open The Doubtful Deb and learn from the jacket that the book   

is about Frank, a farm equipment salesman who sacrifices   

everything to provide his social climbing daughter Christine   

with the debut she so desperately desires. Begin your essay   

by disclaiming the need to restate the plot while at the same   

time regurgitating enough of it to convince the professor that   

you've read his book. Next shift to something pretentious and   

familiar. For instance, you might write, "What is remarkable   

to note are the similarities between the author's dire picture   

of parental love and modern Freudian theory. Christine is   

Electra, her father is a fallen Oedipus.' Finally, skip to   

the obscure and elaborate like this:  

Keating pauses, then...  

KEATING (CONT'D)  

what is most remarkable is the novel's   

uncanny connection with Hindu Indian   

philosopher Avesh Rahesh Non. Rahesh Non   

discussed in painful detail the   

discarding of parents by children for the   

three headed monster of ambition, money,   

and social success. Go on to discuss   

Rahesh Non's theories about what feeds   

the monster, how to behead it, etcetera   

etcetera. End by praising the   

professor's brilliant writing and   

consummate courage in introducing The   

Doubtful Deb to you.   

Meeks raises his hand.  

MEEKS  

Oh Captain, My Captain. What if we   

don't know anything about someone like   

Rahesh Non?  

KEATING  

Rahesh Non never existed, Mr. Meeks.   

You make him or someone like him up. No   

self important college professor such as   

this one would dare admit ignorance of   

such an obviously important figure and   

you will probably receive a comment   

similar to the one I received:  

Keating finds a paper on his desk and reads from it:  

KEATING (CONT'D)  

Your allusions to Rahesh Non were   

insightful and well presented. Glad to   

see that someone besides myself   

appreciates this great but forgotten   

Eastern master. A plus.  

He drops the paper.  

KEATING (CONT'D)  

Gentlemen, analyzing dreadful books you   

haven't read will be on your final exam,   

so I suggest you practice on your own.   

Now for some traps of college exams. Take   

cut a blue book and pencil, boys. This is   

a pop quiz.  

The boys obey. Keating passes out tests. He sets up a   

screen in the front Of the room, then goes to the back of the   

room and sets up a slide projector.  

KEATING (CONT'D)  

Big universities are crowded Sodoms and   

Gomorrahs filled with those delectable   

beasts we see so little of here: females.   

The level of distraction is dangerously   

high, but this quit is designed to   

prepare you. Let me warn you, this test   

will count. Begin.  

The boys begin their tests. Keating puts a slide in the   

projector. On the screen in the front of the room appears a   

blow-up of a beautiful girl, college age, leaning over to pick   

up a pencil. Her figure is quite remarkable, and, bending   

over as she is, you can see her panties. The boys glance up   

from their tests, then most do a double-take on the photo.  

KEATING (CONT'D)  

Concentrate on your tests, boys. You   

have twenty minutes.  

Keating changes the slide. This time we see a beautiful   

woman in scanty lingerie (an ad from "Vogue" or a similar   

magazine). The boys find it extremely difficult to   

concentrate on their tests. The slide show continues with   

slide after slide of beautiful women in revealing and   

provocative poses, tight blow-ups of naked female Greek   

statues, etc. The boys try in vain to take their tests. Knox   

writes "Chris, Chris, Chris" over and over on his paper.  

DISSOLVE TO:  

82-85 OMITTED 82-85  

86A EXT. THE WELTON CAPGUS - DUSK 86A  

Boys in heavy-hooded jackets and winter mufflers move from   

building to building. The wind blows leaves around in   

swirling torrents.  

ANGLE ON A PATH where Todd and Neil walk together. Todd   

holds a copy of "A Midsummer's Night's Dream." Neil is using   

his Puck jester's stick like a sword while practicing his   

lines.  

NEIL  

Here, villain, draw and ready. where art   

thou?  

TODD  

(reading)  

I will be with thee straight.  

NEIL  

(from memory)   

Follow me then to plainer ground. God,   

I love this!  

TODD  

This play?  

NEIL  

Yes, and acting! It's got to be one of   

the most wonderful things in the world.   

Most people, if they're lucky, live about   

half an exciting life! If I could get the   

parts, I could live dozens of lives.  

With a theatrical flourish, he runs and leaps onto a wall.  

NEIL (CONT'D)  

To be or net to be, that is the   

question! God, for the first time in my   

whole life, I feel completely alive! You   

have to try it.  

Neil jumps down from the wall.  

NEIL (CONT'D)  

You should come to rehearsals. I know   

they need people to work the lights and   

stuff.  

TODD  

No thanks.  

NEIL  

Lots of girls. The girl who plays   

Hermia is incredible.  

TODD  

I'll come to the performance.  

NEIL  

Chicken shit. Where were we?  

TODD  

Yea, art thou there?  

NEIL  

Put more into it!  

TODD  

YEA, ART THOU THERE?!  

NEIL  

That's it! "Follow my voice. We'll try   

no manhood here." See you at dinner.  

Neil and Todd have arrived at their dorm. Neil runs in. Todd   

shakes his head and walks off.  

86 INT. TODD AND NEIL'S DORM ROOM - DUSK 86  

Neil enters in a whirlwind of excitement, fencing the air   

with the Jester's stick. Neil turns and sees his father,   

sitting at his desk. Neil is shocked.  

NEIL  

Father!  

MR. PERRY  

Neil, you are going to quit this   

ridiculous play immediately.  

NEIL  

Father, I--  

Mr. Perry jumps to his feet and pounds his hand on the desk.  

MR. PERRY  

Don't you dare talk back to me! It's   

bad enough that you've wasted your time   

with this absurd acting business. But   

you deliberately deceived me!  

(paces furiously)  

Who put this in your head? How did you   

expect to get away with it? Answer me!  

NEIL  

Nobody- I thought I'd surprise you.   

I've got all As and-  

MR. PERRY  

Did you really think I wouldn't find   

out?! "My niece is in a play with your   

son," Mrs. Marks says. "You must be   

mistaken," I say. "My son isn't in a   

play." You made a liar out of me, Neil!   

Now you will go tomorrow and tell them   

you are quitting.  

NEIL  

Father, I have the main part. The   

performance is tomorrow night. Father,   

please.  

MR. PERRY  

(moves at Neil)  

I don't care if the world is coming to   

an end tomorrow night, you are through   

with that play! Is that clear? Is that   

clear!  

NEIL  

Yes sir.  

Mr. Perry stops. He stares hard at his son.  

MR. PERRY  

I've made great sacrifices to get you   

here, Neil. You will not let me down.  

He turns and exits. Neil stands there for a long time. He   

goes to his desk, then suddenly begins pounding his fist on   

it. He pounds and pounds as tears roll down his face.  

87 INT. THE WELTON DINING ROOM - EVENING 87  

All of the society "pledges" except Neil sit eating. It   

could be noticed that the boys--Charlie, Knox, Todd, Weeks,   

and Pitts--seem to be having difficulty eating. They look   

awkward. Old Hager approaches.  

Mr. Dalton, what is wrong, son? Are you   

having difficulty with your meal?  

CHARLIE  

No.  

Hager watches the boys.  

HAGER  

Misters Necks and Overstreet and   

Anderson, are you normally left-handed?  

BOYS  

No sir.  

HAGER  

Then why are you eating with your left   

hands?  

The boys look at each other. Knox speaks for the group:  

KNOX  

We thought it would be good to break old   

habits, sir.  

HAGER  

What is wrong with old habits, Mr.   

Overstreet?  

KNOX  

They perpetuate mechanical living, sir.   

They limit your mind.  

HAGER  

Mr. Overstreet, I suggest you worry less   

about breaking old habits and more about   

developing good study habits. Do you   

understand?  

KNOX  

Yes sir.  

HAGER  

That goes for all of you. Now eat with   

your correct hands.  

Hager watches. The boys obey. After he moves away, Charlie   

switches hands and begins eating with his left hand again.   

One by one, the others do the same.  

Neil enters, looking solemn and upset. He silently takes his   

seat at the table.  

NEIL  

Visit from my father.  

TODD  

Do you have to quit the play?  

NEIL  

I don't know.  

CHARLIE  

Why don't you talk to Mr. Keating about   

it?  

NEIL  

What good will that do?  

CHARLIE  

Maybe he'll have some advice. Maybe   

he'll even talk to your father.  

NEIL  

Are you kidding? Don't be ridiculous.  

88 EXT. KEATING'S ROOM - EVENING 88  

Keating's quarters are on the second floor of a dorm, but   

they are entered from the outside. Charlie, Todd, Pitts1 and   

Neil stand outside the door. Charlie knocks.  

NEIL  

This is stupid.  

CHARLIE  

It's better than doing nothing.  

No one comes to the door.  

NEIL  

He's not here.  

Charlie tries the door and it opens.  

CHARLIE  

Let's wait for him.  

Charlie goes in.  

OTHERS  

Charlie! Nuwanda!  

Charlie doesn't come out. Curiosity gets the best of the   

others, who reluctantly follow Charlie in.  

89 INT. KEATINGS ROOM - SAME 89  

The furniture is simple and spartan and the room looks almost   

lonely. The boys stand around looking uncomfortable.  

PITTS  

(low)  

Nuwanda, we shouldn't be in here.  

Charlie and the boys survey the room. There is a suitcase on   

the floor by the door. A few books lay by the bed. Charlie   

walks to the desk.  

CHARLIE  

Whoa, look at her!  

On the desk is a framed picture of a beautiful girl in her   

20s. Lying next to the picture is a half-written letter.   

Charlie picks it up and reads.  

CHARLIE (CONT'D) (reading)  

My darling Jessica. It's so lonely at   

times without you bla bla bla. All I can   

do to put myself at ease is study your   

beautiful picture or close my eyes and   

imagine your radiant smile--but my poor   

imagination is a dim substitute for you.   

Oh, how I miss you and wish--  

The other boys have sensed an extra presence in the room.   

They back away from Charlie. Suddenly Charlie stops and sees   

Mr. Keating.  

CHARLIE (CONT'D)  

Hello!  

Keating calmly takes the letter from Charlie and folds it.  

KEATING  

A woman is a cathedral, boys. Worship   

at one every chance you get.  

He OPENS a drawer.   

KEATING (CONT'D)  

Anything else you'd care to rifle   

through, Mr. Dalton?  

CHARLIE  

I'm sorry. I, we  

Keating puts the letter in the drawer and closes it. Charlie   

looks around for help. Neil steps forward.  

NEIL  

Oh Captain, My Captain, we came here so   

I could talk to you about something.  

KEATING  

Okay.  

NEIL  

Actually, I'd like to talk to you alone.  

Charlie and the others are glad to be let out.  

PITTS  

I gotta go study.  

OTHERS  

Yeah. See you, Kr. Keating.  

They hurry to leave.  

KEATING  

Drop by any time.  

BOYS  

Thank you, sir.  

PITTS  

(low, while exiting)  

Damn it, Nuwanda. You idiot.  

CHARLIE  

(also exiting)  

I couldn't stop myself.  

Keating can't help but smile to himself. Neil and Mr.   

Keating are alone. Neil paces, looking around.  

NEIL  

Gosh, they don't give you much room   

around here, do they?  

KEATING  

(wryly)  

Maybe they don't want worldly things   

distracting me from my teaching.  

NEIL  

Why do you do it? I mean, with all this   

seize-the-day business, I'd have thought   

you'd be out seeing the world or   

something?  

KEATING  

Ah, but I am seeing the world, Neil.   

The new world. Seeing a student like you   

take root and bloom. It's worth   

everything. That's why I came back here.   

A place like this needs at least one   

teacher like me.  

(smiles at his joke, then:)   

Did you come here to talk about my   

teaching?  

NEIL  

Mr. Keating, my father is making me quit   

the play at Henley Hall. When I think   

about carpe diem and all that, I feel   

like I'm in prison! I mean, I can see   

his point. We're not a rich family like   

Charlie's. But he's planned the rest of   

my life for me and he's never even asked   

me what I want!  

KEATING  

You can't live a life for someone else,   

Neil. You can only live for yourself.   

Have you told your father what you just   

told me? Have you shown him your passion   

about acting?  

NEIL  

Are you kidding? He'd kill me!  

KEATING  

Then you're playing a part for him too,   

aren't you? A dangerously self-  

destructive one.  

Keating watches Neil pace anxiously.  

KEATING (CONT'D)  

Neil, I know this seems impossible but   

you have to go to your father and show   

him what you're feeling. You have to let   

him see who you are- It's your only   

chance.  

NEIL  

I know what he'll say. He'll say that   

acting is just a whim and that it's   

frivolous and that I should forget about   

it. He'll tell me how they're counting   

on me and to put it out of my mind "for   

my own good."  

KEATING  

Well, if it's more than a whim, then   

you'll have to prove that to him. You'll   

have to show him with your passion and   

commitment that it's what you really want   

to do. If that doesn't work, at least by   

then you'll be eighteen and able to do   

what you want.  

NEIL  

Eighteen! That's two years! What about   

the play? The performance is tomorrow   

night!  

KEATING  

Give your father the benefit of the   

doubt. Talk to him. Let him see who you  

are.  

NEIL  

Isn't there an easier way?  

KEATING  

Not if you're going to stay true to   

yourself.  

Neil sits there for a long time.  

90/91 OMITTED 90/91  

92 INT. CHARLIE'S CAVE - NIGHT 92  

The boys sit in the candle-lit room. Charlie blows notes on   

his saxophone. Knox sits in the corner, mumbling to himself,   

working on a love poem to Chris. Todd sits writing something   

too. Cameron is studying. Pitts is scratching a quote out of   

a book into the wall. Knox looks at his watch.  

KNOX  

Ten minutes to curfew.  

Nobody responds. Knox looks at Todd.  

KNOX (CONT'D)  

What are you writing?  

TODD  

I don't know. A poem.  

KNOX  

For class?  

TODD  

I don't know.  

Charlie keeps playing the sax. Todd keeps writing. Knox   

looks at his love poem to Chris. He slaps it on the side of   

his leg.  

KNOX  

Damn. Damn! If I could just get Chris   

to read this poem!  

PITTS  

Why don't you read it to her? It worked   

for Nuwanda.  

KNOX  

She won't even see me, Pitts.  

PITTS  

Nuwanda recited poetry to Gloria and she   

jumped all over him... right, Nuwanda?  

Charlie stops blowing on his sax. He thinks a moment about   

his answer.  

CHARLIE  

Absolutely.  

He starts blowing notes again. Off in the distance, we hear   

a bell ring. Charlie finishes his melody, puts his sax in its   

case, and moves out. Todd, Cameron, and Pitts exit too. Knox   

stands there, alone, looking at his poem. then exits   

determinedly.  

KNOX  

Damn! Goddam! If it worked for him,   

it'll work for me.  

93A EXT. THE WELTON GROUNDS - EARLY MORNING 93A  

The dawn rises over the frozen Welton campus. Snow covers   

the ground. The school bagpiper stands, playing a haunting   

melody.  

93 EXT. THE JUNZOR DORMZTORY - SAME 93  

Knox comes out of the dorm building, bundled against the   

freezing weather. Be hurries onto his bike and speeds away.  

94 EXT. RIDGEWAY HIGH SCHOOL 94  

A large sign proclaims Ridgeway High School. Knox bikes up   

to the school at full speed. He now carries a bouquet of   

flowers. Out of breath, he quickly discards the bike and runs   

into the school.  

95 INT. THE HALLWAYS OF RIDGEWAY HIGH - MORNING 95  

Students of both sexes move through the hallways of this   

public school. Students are at their lockers, putting up   

their coats and getting out their books. Knox runs through,   

erratically looking around. He hurries down one hallway,   

stops and asks a student something, then runs up a flight of   

stairs.  

A96 INT. ANOTHER RIDGEWAY HIGH HALLWAY - SAME A96  

Chris stands in front of her locker, chatting with a couple   

of girlfriends1 taking out some books. Knox spots her and   

approaches.  

KNOX  

Chris!  

CHRIS  

Knox! what are you doing here?  

She pulls Knox away from her girlfriends.  

KNOX  

I came to apologize for the other night.   

I brought you these and a poem I wrote.  

He holds out the flowers and the poem. Chris sees them, but   

doesn't take them.   

CHRIS  

If Chet sees you, he'll kill you, don't   

you know that?  

KNOX  

I don't care. I love you, Chris. You   

deserve better than Chet and I'm it.  

Please accept these.  

CHRIS  

Knox, you're crazy.  

A bell rings. People clear the halls.  

KNOX  

Please. I acted like a jerk and I know   

it. Please?  

She looks at the flowers as if she's thinking about accepting   

them.  

CHRIS  

No! And stop bugging me.  

She walks into the classroom and closes the door. The   

hallway clears. Knox stands holding his flowers and his poem.   

There is a moment's hesitation, then he opens the door and   

walks into the classroom.  

96 INT. CHRIS' CLASSROOM - SAME 96  

Class hasn't started but students are taking their seats. The   

teacher leans over a student's desk, helping her with her   

homework. Knox enters and walks to Chris' desk.  

CHRIS  

Knox, I don't believe this!  

KNOX  

All I'm asking you to do is listen.  

(he opens his poem and   

reads)  

"The heavens made a girl named Chris,   

With hair and skin of gold  

To touch her would be paradise To kiss   

her glory untold."  

Chris turns red with embarrassment. Her friends restrain   

giggles. Knox continues reading.  

KNOX (CONT'D)  

They made a goddess and called her   

Chris, How? I'll never know. But though   

my soul is far behind, My love can only   

grow.  

The rest of the class has now seen what is happening and all   

eyes are on Knox. Chris covers her face but Knox continues.  

KNOX (CONT'D)  

I see a sweetness in her smile, Bright   

light shines from her eyes, But life is   

complete--contentment is mine, just   

knowing that she's alive."  

Knox lowers the poem. Chris looks up at him, utterly   

embarrassed. Knox puts the poem and the flowers on her desk.  

KNOX (CONT'D)  

I love you, Chris.  

He turns and leaves.  

97 INT. KEATING'S ENGLISH CLASSROOM - DAY 97  

The boys sit. Keating hasn't arrived. Momentarily, Knox   

enters and hurries to his desk.  

CHARLIE  

How'd it go? Did you read it to her?  

KNOX  

Yep.  

PITTS  

All right! What'd she say?  

KNOX  

I don't know.  

CHARLIE  

What do you mean you don't know?  

KNOX  

I'll tell you later.  

The door to the room opens. In walks Keating, wearing his   

usual scarf and jacket. He puts his books on his desk, then   

looks out over the class.  

KEATING  

Neil, could I see you a moment.  

He walks into the hallway.  

98 INT. THE HALLWAY OUTSIDE THE CLASSROOM - SAME 98  

The corridor is empty except for Neil and Keating. Keating   

closes the door to the classroom.  

KEATING  

What did your father say? Did you talk   

to him?  

NEIL  

(lying)  

Yeah.  

KEATING  

Really? You told your father what you   

told me? You let him see your passion for   

acting?  

NEIL  

Yeah. He didn't like it one bit but at   

least he's letting me stay in the play. Of   

course, he won't be able to come. He'll   

be in Chicago on business. But I think he's   

gonna let me stay with acting. As long as   

I keep my grades up.  

Neil heads back into the classroom. Keating watches.  

99 INT. THE DORM PHONE ROOM/STAIRWELL - NIGHT 99  

Todd, Knox, Cameron, Pitts, and Meeks all wear coats and ties.   

They mill in the dorm lobby. Knox is off to himself, still   

looking morose.  

MEEKS  

Where's Nuwanda? We're gonna miss Neil's   

entrance.  

PITTS  

He said something about getting red before   

he left.  

CAMERON  

What the hell does that mean?  

PITTS  

You know Charlie.  

Charlie scampers down the stairs.  

MEEKS  

What's this getting red?  

Charlie checks around, then opens his shirt, revealing that he   

has painted a red lightning bolt on his chest.  

TODD  

What's it for?  

CHARLIE  

It's an Indian warrior symbol for virility.   

Makes me feel potent. Like I can drive girls   

crazy.  

PITTS  

But what if they see it, Nuwanda?  

CHARLIE  

(winks)  

So much the better.  

The others shoot each other looks, confirm‎‍ing their mutual   

suspicion that Charlie has finally lost his marbles. As they   

head out of the lobby, they pass Chris who is entering.  

KNOX  

Chris!  

CHRIS  

Knox, why are you doing this to me?  

KNOX  

(looking around)   

You can't be in here.  

He leads her out of the dorm.  

99A EXT. THE DORM BUILDING - NIGHT 99A  

It is snowing. Knox ushers Chris out of the building and down   

the sidewalk away from the others.  

KNOX  

If they catch you here, we'll both be in   

big trouble.  

CHRIS  

Oh, but it's fine for you to come barging   

into my school and make a complete fool out   

of me?  

KNOX  

I didn't mean to make a fool of you.  

CHRIS  

Well, you did! Chet found out and he's   

nuts. It took everything I could do to   

keep him from coming here and killing you.   

You have to stop this stuff, Knox.  

KNOX  

But I love you.  

CHRIS  

You say that over and over but you don't   

even know me!  

At the dorm, the others are waiting. Knox waves them on.  

KNOX  

Go ahead. I'll catch up.  

The others walk on. Knox waits for them to disappear.  

KNOX (CONT'D)  

Of course I know you! From the first time   

I saw you, I knew you had a wonderful soul.  

CHRIS  

Just like that?! You just knew?  

KNOX  

Of course just like that. That's how you   

always know when it's right.  

CHRIS  

And if it so happens that you're wrong? If   

it just so happens that I could care less   

About you?  

KNOX  

Then you wouldn't be here warning me   

about Chet.  

This gives Chris pause.  

CHRIS  

Look, I've got to go. I'm gonna be   

late for the play.  

KNOX  

Are you going with Chet?  

CHRIS  

Chet? To a play? Are you kidding?  

KNOX  

Then come with me.  

CHRIS  

Knox, you are so infuriating!  

KNOX  

Just give me one chance. If you don't   

like me after tonight, I'll stay away   

forever.  

CHRIS  

Uh-huh.  

KNOX  

I promise. Dead Poets honor. Come with me  

tonight, then if you don't want to see me   

again, I swear I'll bow out.  

CHRIS  

God, if Chet found out he'd...  

KNOX  

Chet won't know anything. We'll sit in   

back and sneak away as soon as it's over.  

CHRIS  

Knox, if you promise that this will be the   

end of it-  

KNOX  

Dead Poets honor.  

CHRIS  

What is that?   

KNOX  

My Word  

He crosses his heart with his fingers and looks sincere. He leads   

a reluctant Chris off.  

CHRIS  

I must be losing my mind.  

100 INT. HENSLEY HALL AUDITORIUM AND STAGE - NIGHT 100  

The auditorium is filled to near capacity with families, teachers   

and students. Charlie, Todd, Meeks, Cameron, and Pitts find seats   

in the back. They spot Mr. Keating a few rows over and wave at him.  

Beside him is Mr. McAllister.  

The lights go down. A small musical accompaniment--panpipes,   

bongos, triangle--plays. The curtain rises. As the actors make   

their entrances, they are applauded by their friends and families.  

As the actors begin the play, Charlie notices out of the corner   

of his eye Knox entering with Chris. They find seats and sit   

down together. Charlie shoots Knox a surprised lock of excitement.  

Knox gives a little nod.  

SHORT DISSOLVE TO:  

101 THE STAGE 101  

Neil makes his entrance as Puck, he wears a crown of flowers.   

The members of the Dead Poets Society cheer loudly. For a moment   

Neil looks lost. Todd crosses his fingers.  

NEIL (AS PUCK)  

"flow now, spirit. wither wander you?"  

HIGH SCHOOL ACTOR (AS FAIRY)  

Over hill, over dale, through bush,   

through brier...  

Keating glances back at the Dead Poets and gives them the   

thumbs up for luck for Neil. They acknowledge with gestures   

of their own.  

NEIL (AS PUCK)  

Thou speakest aright:  

I am that merry wanderer of the night.  

I jest to Oberon and make him smile  

when I a fat and bean-fed horse beguile,  

Neighing in likeness of a filly foal  

ANGLE ON THE "DEAD POETS"  

intently watching the show. As Neil delivers his lines,   

getting laughs in the right places, Todd sits mouthing the   

lines with him, as if this might help Neil get through it.   

Neil clearly needs no help, though, and his performance is   

quite winning. Charlie leans to the others.  

CHARLIE  

(excited whisper)  

He's good! He's goddamned good!  

Someone from behind whispers '"Sssh." Charlie whispers   

"sssh" back at them, then turns back and watches the show.   

Suddenly he does a double-take. He sees:  

Mr. Perry enters in the rear of the auditorium, and stands   

alone beside the door.  

CHARLIE  

Oh my God.  

TODD  

What?  

Charlie indicates for the others to lock. Todd and the   

others glance back and see Mr. Perry.  

TODD (CONT'D)  

Jesus  

All turn back and watch the play, though they are now quite   

tense about Mr. Perry's presence.  

102 THE PLAY 102  

On stage are the characters of Lysander and Hermia. Hermia   

is played by Ginny Danburry, who is fetching1y dressed in a   

costume of leaves and twigs.  

LYSANDER  

One turf shall serve as pillow for us both, One heart, one   

bed, two bosoms, and one troth.  

GINNY (AS HERMIA)  

Nay good Lysander. For my sake, my   

dear, Lie further off yet: do not lie so   

near.  

ANGLE ON THE DEAD POETS  

Charlie is looking through the program.  

CHARLIE  

Hermia's Ginny Danburry. Knox is crazy.   

She's beautiful!  

Meeks holds his finger to his lips for Charlie to be quiet.  

THE STAGE  

GINNY (AS HERMIA)  

But gentle friend, for love and courtesy  

Lie further off, in human modesty.  

Such separation as may well be said  

Becomes a virtuous bachelor and a maid,  

So far be distant: and goodnight, sweet   

friend.  

Thy love ne'er alter till they sweet   

life end.  

Charlie sits absolutely enraptured by her.  

ANGLE BACKSTAGE  

As Ginny and Lysander play their scene, Neil stands in the   

wings looking out. He spots his father sitting in the back of   

the auditorium. There is no panic on Neil's face, however.   

His expression‎‍ is calm.  

ON STAGE  

LYSANDER  

Here is my bed. Sleep give thee all his   

rest!  

GINNY (AS HERMIA)  

With half that wish the wisher's eyes be   

pressed!  

Lysander and Ginny lie down on the stage and their characters   

go to sleep. The musical accompaniment plays, beginning a   

musical interlude.  

DISSOLVE TO:  

HERE is where my copy of the script ends. Pages are missing  

The section below are just the cut sections from the end of the movie   

After the play, the boys (minus Neil) return to the cave.   

Cameron is conspicuously missing. Knox brings Chris and Charlie   

brings Ginny. Then Mr. Keating himself arrives at the cave,   

thanking Charlie for inviting him. Someone brought wine and they   

all raise their glasses in a toast to Neil.   

KEATING  

Now we mustn't be glum. Neil wouldn't want  

it that way. He did something special   

tonight and worth celebrating. Let us join  

with the howling night.   

Keating exits the cave. The others follow. Chris and Ginny look  

at Knox and Charlie.   

GINNY  

Knox, what exactly is this?   

CHARLIE  

You'll see.   

CHRIS  

I have to go home. Chet might call.   

KNOX  

It's just for a little while. You promised.   

Charlie leads Ginny off. Chris reluctantly follows Knox. The   

moon is full, the stars are out, the night is clear and cold.  

Every tree is covered with icicles. A freeze has turned the   

otherwise barren forest into a wintertime marvel. Mother Nature   

has covered the world with sparkling diamonds. Keating leads   

the group up a wooded path to a spot on a cliff overlooking the  

creek. The boys and girls look around. It's an especially scenic   

place. All stand in silence for a moment, taking it in.   

KEATING  

We used to meet here on special occasions.  

Who would like to convene the meeting?   

MEEKS  

"We went to the woods because we wanted to   

suck all the marrow out of life." Anybody   

want to read?   

Keating begins gathering up some firewood. Others help.   

KEATING  

Come on boys, don't be shy.   

TODD  

I have something.   

CHARLIE  

The thing you've been writing?   

TODD  

Yeah.   

Todd's volunteering surprises everyone. Todd steps forward and   

takes out some papers from his pocket. He passes slips of paper   

to each of the others.   

TODD  

Everybody read this between verses.   

Todd opens his poem and reads.   

TODD  

"We are dreaming of tomorrow and   

tomorrow isn't coming,   

We are dreaming of a glory that   

we don't really want.   

We are dreaming of a new day   

when the new day's here already.   

We are running from the battle   

when it's one that must be fought."   

Todd nods. All read:   

ALL  

"And still we sleep."   

TODD  

"We are listening for the calling   

but never really heeding,   

Hoping for the future   

when the future's only plans.   

Dreaming of the wisdom   

that we are dodging daily,   

Praying for a savior   

when salvation's in our hands."   

ALL  

"And still we sleep."   

TODD  

"And still we dream.   

And still we pray.   

And still we fear.   

(pause)   

And still we sleep."   

Todd closes his poem. There is a big applause.   

MEEKS  

That was great!   

Todd beams, taking it all in. As he steps down, he gets   

congratulatory slaps on the back. Keating smiles with great   

pride at his student's progress. He plucks a ball-shaped icicle   

from a tree.   

KEATING  

I hold in my hand a crystal ball. In it I   

see great things for Todd Anderson.   

Todd faces Mr. Keating, then suddenly, powerfully, they hug.   

They break, then Keating strikes a match to light the fire.  

The scene with Keating and the boys continues, interspersed with   

Neil's final scenes.   

KEATING  

And now, "General William Booth Enters Into   

Heaven," by Vachel Lindsay. When I pause, you   

ask, "Are you washed in the blood of the Lamb?"   

(recites)   

"Booth led boldly with his big brass drum..."   

ALL  

"Are you washed in the blood of the Lamb?"   

Reciting loudly, Keating takes off trotting through the woods. All   

trot after him:   

KEATING  

"The Saints smiled gravely and they said,   

'He's come.'..."   

ALL  

"Are you washed in the blood of the Lamb?"   

The group follows Keating through the woods, past icy trees,   

over snow-covered hills, reciting Vachel Lindsay's poem.   

KEATING  

"Walking lepers followed rank on rank,   

Lurching bravos from the ditches dank,   

Drabs from the alleyways and drug fiends pale--   

Minds still passion ridden, soul-powers frail:"   

ALL  

"Are you washed in the blood of the Lamb?"   

Keating stands before a towering, frozen waterfall. This gorgeous,  

icy sculpture seems to defy the laws of gravity. The night sky is  

incredibly clear. The people in the group are lit by moonlight off  

the snow.   

KEATING  

"Christ came gently with a robe and crown,   

For Booth the soldier, while the throng knelt down.   

He saw King Jesus. They were face to face,   

And he knelt a-weeping in that holy place."   

ALL  

"Are you washed in the blood of the Lamb?"   

Keating stops. He turns and looks at the fields, valley, and   

the magnificent sky that surrounds them. All are out of breath,   

but exhilarated.   

KEATING  

"We may or may not be the stuff of eternity,   

people, but, while we are here, we are part   

of a vast, awesome magnificence."  

He raises his hands to the heavens.   

KEATING  

Don't waste a second of it, people. Exalt in it.   

He holds his head back and shouts to the heavens.   

KEATING  

ALIVE!! ALIVE!!   

The others do the same. Shouts go up, cries of joy and ecstasy.  

Knox looks at Chris. Tears are streaming down both their faces.   

They turn to each other and kiss.  

When Todd learns of Neil's death, he runs to the bathroom   

instead of outside into the snow.   

After Charlie decks Cameron, there is a scene at the cemetery   

for Neil's burial. After everyone places flowers on the coffin,   

Mr. Perry walks up to Mr. Keating and says "I hold you responsible  

for this!"   

Todd refuses to sign the paper that implicates Mr. Keating in   

Neil's death.   

NOLAN  

That's all right! We don't need his signature.  

Let him suffer the consequences.   

Nolan walks around his desk to Todd.   

NOLAN  

You think you can save Mr. Keating?   

You saw it, boy, we have the signatures   

of all the others. But, if you don't sign,  

you're on disciplinary probation for the   

rest of the year. You'll do work duty every  

afternoon and every Saturday. And, if you   

set foot off campus, you'll be expelled.  

End