Rebel Without A Cause
REBEL WITHOUT A CAUSE
CAST OF CHARACTERS
JIM'S GRANDMA: A chic, domineering woman in her sixties who
has made her son Frank dependent upon her for every
breath he takes. She is the irritant in the
household--the silent ruler--the silent enemy of
JIM'S FATHER: Frank is an unfeathered man who has never been
able to have fun. He is anxious to be a real father
to Jim, but has never learned how.
JIM'S MOTHER: Tense and immature, she has never found the
husband she married. Upset by the presence of her
mother-in-law, mated with an ineffectual and joyless
man, she takes out her disappointment on him and on
JIM: The angry victim and the result. At seventeen he is
filled with confusion about his role in life. Because
of his "nowhere" father, he does not know how to be a
man. Because of his wounding mother, he anticipates
destruction in all women. And yet he wants to find a
girl who will be willing to receive his tenderness.
JUDY'S FATHER: a junior partner in a law firm. Boyish,
attractive and debonair. Because he is frightened by
the adolescence of his daughter, Judy, his only
recourse is to criticize her.
JUDY'S MOTHER: Self-centered and frightened by the coming of
middle-age. She feels that Judy's blossoming youth
is threatening her wifely position as the desirable
object of the husband's attentions.
JUDY: The victim and the result. At sixteen, she is in a
panic of frustration regarding her father--needing his
love and suffering when it is denied. This forces her
to invite the attention of other men in order to
BEAU: Judy's brother. Because he is very young he is a
danger to nobody and thus will grow up happily--
certain of the love of his father who feels comfortable
in giving it.
PLATO: Son of a divided family--an absent father and a
traveling mother--he feels himself the target of
desertion. At fifteen he wants to find a substitute
family for himself so that he need no longer feel
cold, and especially a friend who will supply the fatherly
protection and warmth he needs and cannot find.
BUZZ: A sado-masochistic boy of seventeen, who acts out
aggressively his idea of what a man should be in order
to hide his real sensitivities and needs. He was
probably rejected by both parents and must constantly
court danger and must constantly court danger in order
to achieve any sense of prestige or personal worth.
HELEN, CRUNCH, MOOSE, GOON, CHICK, COOKIE, MIL: All
searching for recognition in the only way available
to them; all suffering from unfulfilled hungers at
home; all creating an outside world of chaos in order
to bear the chaos they feel inside. They are
soldiers in search of an enemy.
A deep night sky. Matte shot. Camera searches slowly
upward through the heavens and the silver tone of a bell is
heard sounding the strokes of midnight.
On the final note of the bell, camera is full on the Milky
Way and there it rests, just long enough for a burst of
Easter singing to arise. The hymn is sung by the crude,
unmatched voices of children. Camera pans down to include:
Spire of a church. Camera continues its downward pan as the
singing continues and we pass a window beyond which is the
source of the singing. Camera pans off window to show--
Long shot. City. Night. Suddenly revealed--crisp and
sparkling with lights. Camera pans down and over:
A lonely street full of parked cars. The singing diminishes
but a thread of it remains. A car has just parked. The
headlights snap off. A MAN emerges whistling the same
melody and pulls some gifts from the front seat. He slams
the door and starts down the street in the direction of a
house with bright windows. He must pass an empty lot full
of rusty grass and litter which lies in darkness between two
As the MAN walks by the lot, still whistling, a GROUP OF
FIGURES rises silently from the grass, figures who have been
lying in concealment until now. They step noiselessly onto
the pavement and follow the MAN. At the sound of their
boots the whistling stops.
The MAN glances behind him and sees the figures walking
after him, filling the pavement. A street light shows them
to be boys and girls and all quite young. The MAN moves on
more swiftly and the sound of their pursuit increases. He
begins to run toward the lighted house and the following
steps run too. Suddenly he stops under the next street
light and turns to face the figures. They are upon him and
around him quickly. Nobody speaks for a moment, then one of
the boys grins. His name is BUZZ. He is big and filled
with an awareness of his own masculinity.
That was pretty what you were
whistling. Whistle some more.
The MAN whistles a nervous phrase, trying to make a joke of
the situation which he doesn't understand.
You got a cigarette?
Oh, I think so--
The MAN fumbles in his pocket, finds a pack and drops it in
his nervousness. The FIGURES wait until he picks it up. He
offers one to BUZZ.
You smoke it. Smoke it, Dad.
Smiling uncertainly, the MAN puts the cigarette in his mouth.
BUZZ, still smiling, takes out a packet of wooden matches.
I'll light it for you, Dad.
BUZZ ignites a match and holds it near the Man's face for a
second, searching it. Then he ignites the whole box under
his nose. The MAN shrieks, and his packages fall. BUZZ
slaps him sharply, his smile gone.
The camera pans away as the figures enclose him, and holds
on a small mechanical monkey which has dropped from its
wrappings. It begins to dance madly on the pavement, then
The feet of the figures scatter past the unmoving monkey.
Then camera rises to show that the man has disappeared.
There is a moment of awful stillness, then we see a boy
coming down the street alone. He is quite drunk, and he
slips once. This is JIM, a good-looking kid of seventeen
with a crew-cut and wearing a good suit. The spilled
packages on the pavement stop him. He bends down to see
what they are and picks up the mechanical monkey from the
wreckage. He smiles and winds it up. He sets it on the
sidewalk and sits down. He watches it dance for a moment,
happily. A siren is heard distantly, growing louder. JIM
pays no attention to it as he winds the monkey again and
releases it for its dance.
SUPERIMPOSE TITLE: "REBEL WITHOUT A CAUSE" STARRING ____ as
siren rises piercingly close, and JIM looks up, we:
Close shot. Throbbing light of police car. Night. The
siren screaming wildly, then dying. The sound of brakes.
Camera moves to reveal the police car stopped at the
entrance of a Precinct Station. Two officers dismount,
bearing between them the struggling JIM. They bear him up
the steps and in through the double doors.
Inside precinct station. Reception area. A large open space
onto which several corridors converge. In the middle is a
Sergeant's desk, really a quadrangular counter in the center
of which the SERGEANT stands. There are a few glass-walked
interviewing rooms which open off the area, and several
benches lining the walls. The scene is one of confusion,
activity and waiting. Phones ring. The arrested pass in
custody of officers. Present among others at JIM's entrance
are: JUDY, who is blonde and sixteen. She sits on a crowded
bench wearing an expression of downcast bitterness. On a
bench across the way from her are three remarkably dirty
little Mexican children without shoes or socks. The oldest
is a BOY of four who is protecting his little SISTER who in
turn mothers an infant crying on the bench beside her.
Standing at a corner of the desk is a docile, undersized boy
of fifteen named JOHN "PLATO" CRAWFORD. He is shivering.
With him is a large NEGRO WOMAN, his maid. JIM comes
through the doors and is led to the desk. One of the
officers presents a brief report to the SERGEANT, who
Mixed up in that beating on Twelfth
No. Plain drunkenness.
This says he was picked up there.
They had him on the carpet for an
hour at Headquarters. He's clear.
Young squirt. All right--You want
to lean him against something?
Stand him over there.
The officer leads JIM to JUDY's bench and stands him against
the wall beside it.
JIM is frisked, a look of prayer on his upturned face. The
OFFICER finds the toy monkey in his pocket and would take
it, but when JIM asks to keep it, the OFFICER hands it back
and moves away. Another officer enters and leads the
prisoner who is sitting next to JUDY into another room. JIM
sits beside her. He smiles at her but receives only a
chilling look. He winds the monkey up and sets it dancing
on the floor, but she is not amused. Camera pans to show
others reacting to the monkey with pleasure. We see PLATO
look up and smile a little. Camera stops on the MEXICAN
CHILDREN who are smiling too. A bald JUVENILE OFFICER named
GENE, squats before them, smiling.
You going to tell me your name now?
The little boy shakes his head.
(touching GENE's bald pate)
Where's your hair?
It's all gone.
Did you get a haircut?
No--it just fell out!
GENE laughs as another Juvenile Officer enters and pauses to
look at the children. His name is RAY.
What gang does he belong to?
Give him a couple of years.
Where's your mamma, honey?
I don't know.
RAY and GENE exchange looks, then RAY moves across to JUDY--
camera following. He looks down at her, consults the file
in his hand.
Judy--we're ready for you now.
He hates me.
He hates me.
She rises. RAY leads her to one of the glass-walled offices.
Camera moves with them. JIM watches them go.
What makes you think he hates you,
I don't think. I know. He looks
at me like I'm the ugliest thing in
the world. He doesn't like my
RAY leads her into the office.
Inside small office as JUDY comes in, RAY following. He
indicates a chair for her while he sits down behind a desk.
He doesn't like anything about me--
he calls me--he calls me--
She starts to cry. She doesn't hide it, but keeps wiping
the tears with the palms of her hands.
He makes you feel pretty unhappy?
He calls me a dirty tramp--my own
Do you think your father means that?
Yes! I don't know! I mean maybe
he doesn't mean it but he acts like
he does. We're altogether and
we're going to celebrate Easter and
catch a double bill. Big deal. So
I put on my new dress and I came
out and he--
Yes--he started yelling for a
grabbed my face and he rubbed all
my lipstick off--he rubbed till I
thought I wouldn't have any lips
left. And all the time yelling at
me--that thing--the thing I told
you he called me. Then I ran out
of the house.
Is that why you were wandering
around at one o'clock in the morning?
I was just talking a walk. I tried
to call the kids but everybody was
out and I couldn't find them. I
hate my life. I just hate it.
You weren't looking for company,
Did you stop to talk to anyone,
(she is silent)
Do you enjoy that?
No. I don't even know why I do it.
Do you think you can get back at
your Dad that way? I mean
sometimes if we can't get as close
to somebody as we'd like we have to
try making them jealous--so they'll
have to pay attention. Did you
ever think of that?
I'll never get close to anybody.
Some kids stomped a man on Twelfth
You know where they picked me up!
Twelfth Street! I wasn't even near
Would you like to go home if we can
(no answer; to WOMAN OFFICER)
Did you notify the parents?
She wouldn't give me their number.
What's your number, Judy? We'll
see if your Dad will come and get you.
JUDY looks up hopefully.
Unless you really don't want to go
Would you rather stay here?
Camera moves close on JUDY. She looks up and speaks very
The wail of a siren is heard. JUDY looks off through the
glass wall toward JIM. RAY is heard dialing.
Med. shot. JIM's bench. JIM sits with his head back, eyes
closed. As the siren mounts louder, JIM opens his mouth and
imitates it--a long, forlorn wail.
Med. shot, PLATO and NEGRO WOMAN. PLATO smiles faintly and
moves out toward JIM, NEGRO WOMAN following. Camera pans
with them. PLATO sits by JIM. She stands over them. JIM's
Med. shot. JIM, PLATO, NEGRO WOMAN. An OFFICER moves into
JIM continues for a moment.
Hey! That's enough static out of you.
Want me to imitate a stupid cop?
Cut it out now. I'm warning you.
The OFFICER moves out. The NEGRO WOMAN bends over PLATO who
is shivering violently.
You shivering, John? You cold?
PLATO shakes his head. JIM notices him.
Want my jacket?
PLATO looks up at JIM.
You want my jacket? It's warm.
PLATO wants it but shakes his head "no."
Full shot. JUDY's office. RAY and JUDY seated as before.
JUDY is still gazing through the glass.
Your mother will be down in a few
Your mother will be down in a few
RAY signals to a WOMAN OFFICER just outside and leads JUDY
to the door.
Outside door as RAY turns JUDY over to the WOMAN OFFICER.
She's being called for.
You said you'd call my father.
Goodbye, Judy. Take it easy.
JUDY doesn't answer. RAY goes back inside as camera leads
the WOMAN OFFICER and JUDY past JIM's bench. Camera stops
on JIM, PLATO and the NEGRO WOMAN. JIM stares at JUDY and
whistles but gets no reaction. GENE enters and comes to the
Come with me, John.
PLATO rises and goes with GENE, the NEGRO WOMAN following.
JIM is alone. He closes his eyes, throws his head back and
gives another siren wail as camera moves close on his face.
JIM looks up suddenly, scared. Then he smiles mysteriously
and staggers to his feet.
Low angle. Tight three. JIM's parents and grandma framed
in the doorway, frozen. They are all dressed in evening
clothes. The MOTHER is a very chic but rather hard-faced
woman. The FATHER is an unfeathered man. The GRANDMA is
the smallest, also very chic and very bright-eyed.
Med. shot. JIM as he faces them.
Tight shot. The family.
Where were you tonight? They
called us at the club and I got the
fright of my life!
Where were you tonight, Jimbo?
Close shot. JIM. He says nothing.
Close shot. FATHER laughing uncomfortably.
Med. shot. JIM.
You think I'm funny?
JIM turns suddenly and walks to the glass wall of the office
behind which PLATO, the NEGRO WOMAN and GENE are visible.
He looks through the glass partition which separates him
Why didn't you take my jacket?
Inside office. JIM is seen through the glass. He moves
away. PLATO is still shivering, cracking his knuckles.
Do you know why you shot those
Is that what they call you or do
you have a nickname?
You talk to the man nice now, hear?
He's going to help you.
Nobody can help me.
Can you tell me why you killed the
No, sir. I just went next door to
look at them like I always do.
They were nursing on their mother
and I did it. I guess I'm just no
What do you think's going to
happen, you do things like that?
I don't know. End up in the
Where did you get the gun?
In my mother's drawer.
She keep it to protect herself, sir.
She scared without a man in the house.
Where's your mother tonight, Plato?
Seems like she's always going
somewhere. She got a sister in
Chicago and she go for the holiday.
She says her sister is all the
family she has.
Where's your father?
PLATO is silent.
They not together, sir. We don't
see him in a long time now.
Do you hear from him, son?
PLATO looks up as JIM and his family move into the next
office. JIM smiles at PLATO, who returns it feebly, then
You know if the boy ever talked to
(smiling a bit)
Oh, Mrs. Crawford don't believe in
Well maybe she better start.
Other office. JIM, his parents, GRANDMA and RAY are
gathered in the small room. JIM is humming THE RIDE OF THE
VALKRYIES to himself as if he had absolutely no interest in
what is happening around him. RAY suspects this is
something more than mere disinterest, so lets the humming go
on, in order to discover its real purpose. GRANDMA watches
everything like a tennis match, reacting with soft little
sounds of terror or astonishment or sympathy. No one pays
any attention to her. For a moment no one talks. RAY
watches JIM as he hums. Then the FATHER shakes his head and
I don't see what's so bad about
taking a little drink.
No. I definitely don't. I did the
He's a minor, Mr. Stark, and it
looks to me like he had more than a
(to JIM: in intimate,
JIM merely rolls his eyes at her, then away--but continues
I guess I cut pretty loose in my
Really, Frank? When was that?
Listen--can't you wait till we get
Whoa! Whoa! I know you're a
little upset but--
What about you, Jim? Got anything
to say for yourself?
JIM stops humming and shrugs.
Not interested, huh?
JIM shakes his head.
Can't you answer? What's the
matter with you anyhow?
He's just loaded, honey.
I was talking to Jim.
Let me just explain to you--we just
moved here, y'understand? The kid
has no friends yet and--
Tell him why we moved here.
Hold it, Jim.
You can't protect me.
You mind if I try? You have to
slam the door in my face?
I try to get to him--what happens?
Don't I give you everything you
want? A bicycle--you get a bicycle.
You buy me many things. Thank you.
Not just buy! You hear all this
talk about not lovely your kids
enough. We give you love and
affection, don't we?
Silence; JIM is fighting his emotion but his eyes grow wet.
Then what is it? I can't even
touch you anymore but you pull away.
I want to understand you. Why'd
you get drunk? You must have had a
JIM stares straight ahead, trying not to listen.
Was it because we went to that
You know what kind of drunken
brawls those parties turn into--
it's no place for kids.
A minute ago you said you didn't
care if he drinks.
He said a little drink.
You're tearing me apart!
Stop tearing me apart! You say one
thing and he says another and then
everybody changes back--
That's a fine way to behave!
Well you know who he takes after!
Outside, Jim. Come outside.
RAY pushes him out the door firmly, and into office vacated
by PLATO and GENE.
Excuse us a minute?
GENE's office. RAY and JIM alone.
Someone should put poison in her
No answer. JIM turns away from RAY.
Hang loose, boy. I'm warning you.
Wash up and go home.
Big tough character. You don't kid
me, pal. How come you're not
wearing your boots?
Suddenly JIM flings himself at RAY who deftly flips him past
and drops him near the desk.
Too bad you didn't connect. You
could have gone to Juvenile Hall.
That's what you want, isn't it?
Sure it is. You want to bug us
till we have to lock you up. Why?
Leave me alone.
I don't know why--!
Go on--don't give me that. Someone
giving you hard looks?
I just get so--
Boy, sometimes the temperature goes
Okay. Okay. Let it out.
JIM starts crying.
You feel like you want to blow your
wheels right now?
All the time! I don't know what
gets into me--but I keep looking
for trouble and I always--I swear
you better lock me up. I'm going
to smash somebody--I know it.
Try the desk.
JIM smashes his fist against it, letting loose for a moment.
RAY watches, then sits near him.
That why you moved from the last
town? 'Cause you were in trouble?
You can talk about it if you want
to--I know about it anyway.
And they think they are protecting
my by moving.
You were getting a good start in
the wrong direction back there.
Why did you do it?
Mess that kid up?
RAY just nods.
He called me chicken.
And your folks didn't understand?
They never do.
So then you moved?
They think I'll make friends if we
move. Just move and everything'll
be roses and sunshine.
But you don't think that's a solution.
JIM is silent; he picks at his nails.
Things pretty tough for you at home?
She eats him alive and he takes it.
JIM stares at his family through hole in door.
What a zoo!
A zoo. He always wants to be my
pal, you know? But how can I give
him anything when he's--I mean I
love him and I don't want to hurt
him--but I don't know what to do
anymore except maybe die.
Pretty mixed up?
If he could--
"If he could" what? You mean your
I mean if he had the guts to knock
Mom cold once I bet she'd be happy
and I bet she'd stop picking. They
make mush out of him. Just mush.
One thing I know is I never want to
be like him.
I bet you see right through me,
How can anyone grow up in this circus?
You got me, Jim--but they do. Want
(as RAY gets a cup of
water from cooler)
Boy--if I had one day when I didn't
have to be all confused and ashamed
of everything--or I felt I belonged
(giving him water)
Here. Look, will you do something
for me? If the pot starts boiling
again, will you come and see me
before you get yourself in a jam?
Even if you just want to talk--come
in and shoot the breeze. It's
easier sometimes than talking to
Any time--day or night. You calmed
down enough to go back now?
RAY smiles and opens the door.
RAY's office as JIM comes towards his MOTHER and forces
himself to kiss her.
All right, darling.
She rises and takes his arm. They start out through the
door into the hall, followed by GRANDMA and FATHER.
This was all very unfortunate, but
he made a mistake and he's sorry--
so we're not going to have any more
trouble. He's always been a lovely
Lovely! Grandma--if you tell
another lie you're going to turn to
Luck, Jim. Don't forget.
(offering RAY three cigars)
Have some cigars.
No thanks, I don't smoke.
Go on--Give 'em to your friends.
No--thanks, very much, Mr. Stark.
Frank--he doesn't want any.
JIM grins at RAY who nods. They all leave. RAY looking
after them, shakes his head and lights a cigarette. We see
JIM and his family pass through the main door. Waiting to
enter, in the custody of some uniformed police, are BUZZ and
the kids we saw at the opening, sullen and truculent. As
they march into the lobby and JIM grows smaller in the
distance, the music comes up and out.
Low angle. Alley. Morning. A rabbit comes running down
the alley followed by a group of young kids, screaming with
As camera pans with the group, the littlest, a boy of five,
stops near us looking after the disappearing group. The
shouts of the children wane.
JUDY rushes out from a backyard beyond him. She is carrying
school books and a bag lunch. She wears a polo coat against
the winter wind.
The boy, who is her brother, BEAU, looks up but doesn't move.
JUDY stops at her gate. A car careens down the alley, past
Long shot. JUDY and BEAU seen through a window in JIM's
house. JIM is in f.g. looking out through the curtains. He
What are you trying to do, get
Your eggs are on the table, dear.
JIM turns from window and passes camera.
Full shot JIM's dining room. The MOTHER is just settling a
plate of eggs at JIM's place. They FATHER is seated,
drinking coffee and looking at the newspaper. GRANDMA comes
in from kitchen. JIM is neatly dressed in tie, tweed jacket
Sit down and eat--you'll be late.
It'd stick in my throat, Mom. I'm
nervous or something--
It's a wonder we don't all have TB
or some other terrible disease
after living in all those smokey
Well, drink your milk anyhow.
There aren't so many factories here.
(still standing; he drinks)
You make any sandwiches?
My first day of school, mother'd
make me eat and by golly I could
never even swallow till recess--
(bringing bag of
lunch from buffet)
There's nothing to be nervous about.
Here's peanut butter and meat loaf--
JIM makes a mouth-stuck-together-with-peanut-butter sound.
What did I tell you? Peanut butter!
Well, there's a thermos of orange
juice and some apple-sauce cake in
the wax paper to wash it down.
I baked that!
(kisses her cheek)
So long, young fella. Knock 'em
dead, like your old man used to!
(gets to door and turns)
You know something? I have a
feeling we're going to stay here.
And listen--watch out about the
pals you choose--Know what I mean?
Don't let them choose you--
But JIM is on his way out.
Full shot. JIM's backyard as JIM comes out of the kitchen
door into the early sunshine.
Come out of the alley, Beau! This
is the last time I'm going to call
JIM blinks, pauses and sees JUDY. He takes off his tie and
puts it in his pocket. Then he starts across the backyard,
camera panning with him to:
Full shot. The Alley with JIM coming out his gate, JUDY and
BEAU visible beyond. He stops again.
Beau! All right--go to school alone!
She starts down the alley. BEAU skips after her and starts
tightrope-walking the gutter gravel.
JUDY glances at him briefly, but continues. JIM follows a
few yards, but on his side of the alley.
Hey, didn't I see you before some
JUDY ignores him, but something self-conscious happens to
her walk. JIM runs across the alley.
Med. shot. JUDY stopping as JIM enters. BEAU tight-rope
walking on down the hill.
Hi. I saw you before.
Bully for you.
You don't have to be unfriendly.
Now that's true!
"Life is crushing in on me."
"Life can be beautiful." Hey, I
know where it was.
Where what was.
Where I saw you.
Everything going okay now?
You live around here?
See, I'm new.
Won't mother be proud.
You're really flipped--aren't you.
JUDY looks up a little surprised.
Where's Dawson High School?
You going there?
Dig the square wardrobe!
Yeah. So where's the high school?
University and 10th--Want to carry
An auto horn, stuck, in the distance.
I was just getting my car. I could
The horn approaches, loud.
The kids take me.
Another angle. JIM and JUDY as the car, horn blowing,
wheels into view above them and comes careening into the
alley. JUDY sees it and moves a step away from JIM.
I'll bet you're a real yo yo.
(yelling over horn)
Goodbye! See you!
I'm not so bad.
JUDY is moving toward the car.
Med. shot. Car full of kids as it comes to a jolting stop
near JUDY. The boys wear suede coats, leather jackets,
black peggers, boots. Their clothing is not uniform--it is
the air they assume which is uniform: swaggering, self-
conscious, piratical. Someone is always combing his hair.
The driver is BUZZ, whom we recognize as the leader of the
stomp gang we met on Easter. He wears a leather jacket.
With him are CHICK, a slight bespectacled lad; CRUNCH,
BUZZ's first lieutenant; COOKIE, a hanger-on; GOON, a
character; and the girls HELEN and MILLIE. The kids are
screaming as BUZZ jams on the brakes. JUDY comes forward.
JIM hangs back.
JUDY comes to them quickly, smiling.
Wanna make the colored lights go
around and around?
JUDY and BUZZ kiss ardently and without love. JIM goes for
(looks after JIM then
A new disease.
(a little suspicious)
Friend of yours?
I'm glad they let you out.
I heard about it. You're lucky he
They always live.
During this JIM has gotten his car and has driven up.
Where's University and 10th?
Simultaneously, the kids laugh wildly. The radio blares.
JUDy lays her head on BUZZ's shoulder and his arm goes
around her as the car zooms away. JIM looks after them a
moment, then follows.
Close shot. Bicycle rack. Wheels spin in, one after
another and drive straight into their slots. As the nearest
bike moves in:
Med. shot. PLATO just getting off his motor scooter. He
comes forward, passes camera which pans with him then
stops--as the school is suddenly revealed. Music starts
with a crash and keeps mounting through the following.
PLATO sighs and moves away from us to join the parade of
students filling the Main approach.
Parking lot as cars scream into their places noisily. JIM
gets out of one and comes forward. A motorcycle roars by,
just missing him. JIM stares off and starts to move as
camera pans with him to:
Another angle. School. Another crash of music. JIM moves
toward the parade.
Full shot. Mid-way down main approach. A number of kids
pass, gossiping happily as they greet each other for the
first time since vacation. Camera searches over them and
stops upon our special group moving toward us--BUZZ, JUDY
and the rest, all abreast. Others must park at their
passage or be elbowed out of the way, staring resentfully,
but not daring to challenge the group's priority. PLATO
runs forward, past them.
Door from within bouncing from hand to hand as students
enter. PLATO moves through the door and disappears in a
milling of kids. JUDY enters with her group and moves on
Med. shot. Monitor (inside corridor). The Monitor is an
athletic letter-sweater boy with an arm brassard that bears
the letters "HC". Kids pour past him. JIM enters.
Hi--can you tell we where I go?
I'm just starting here.
(pointing at brassard)
Mr. Bassett's office--203. He'll
tell you where your home room is--
Thanks a lot.
JIM moves out.
Angle shot. Corridor. Shooting past a row of steel lockers.
The clash and slam of doors as kids throw in coats, pull out
books and primp for the day ahead. PLATO comes to his
locker, which is the nearest, and opens it.
Full shot. Corridor. JIM moves toward us from the distance.
Crowded at the entrance to a classroom in f.g. are JUDY and
her pals. They are sneaking a smoke, passing the cigarette
from one cupped hand to another. As JIM comes near, JUDY
sees him. So do the others. They fold their arms across
their chests and whistle "We are the girls of the
institute"--all but JUDY. JIM glances at her and continues
on past camera. A bell starts ringing crazily over the music.
Close shot. PLATO. He is straightening his tie in the
mirror. Above it, pasted to the locker door, is a still of
Alan Ladd. In the mirror we can see JIM moving past. PLATO
sees him too. He wheels around and stares.
The strident music of the students diminishes. The ringing
of the bell stops. There remain only JIM's footsteps.
Long shot. JIM moving off down the corridor. PLATO is in
f.g. looking after him. He slams his locker and starts
after JIM, moving at the same speed and hovering near the
wall. The footsteps of the two boys echo stonily. They are
alone. JIM stops at a bulletin board near a bend in the
corridor. PLATO stops too.
Bulletin board. JIM looking at the notices. PLATO drifts
in several yards away and hangs near the wall watching JIM
who doesn't see him. JIM reads:
Insert: Bulletin board, "Attention All Juniors and Seniors"--
Planetarium field trip--2 pm--Sharp!"
Another angle. JIM and PLATO as JIM turns from bulletin
board and starts away.
(clearing his throat)
You remember me?
No. I don't think so--
I'm sorry--I made a mistake.
JIM starts toward camera as PLATO after another look, turns
in the opposite direction and walks away from us, smashing
his fist against the wall as he goes. JIM stops, full in
camera. His face clouds, trying to remember. He turns full
around to look after PLATO, then turns back and continues on
his way. The footsteps fade.
Full shot. Planetarium seen from the parking lot--a great
dome crowns it--the city lies below. Camera picks up JIM's
car maneuvering through the crowded lot. In b.g. a few
other late-comers are dashing up steps to Planetarium. JIM
drives into a small lot behind observator, parks, then runs
to observatory entrance.
Full shot. Lobby as JIM runs through, opens door of theater
and passes inside.
Long shot. Sky full of stars seen past JIM's head.
Darkness. This is not our sky. It is a replica of it
projected onto the dome of the Planetarium. The stars slide
their tentative ways in an ever-changing pattern. One of
them is much larger than the rest and increases in size as
we watch. Music of the spheres is heard--a high threatening
For many days before the end of our
earth people will look into the
night sky and notice a star,
increasingly bright and increasingly
JIM looks around for a seat and passes down aisle. Seen
beyond him is the projector, moving slowly, its great dumb-
bell head sparkling with pin-points of light. JIM takes a
seat in front row. PLATO, in the row behind him, moves over
a seat to be nearer. They exchange looks.
Full shot. Normal students watching intently.
As this star approaches us, the
weather will change. The great
polar fields of the north and south
will rot and divide, and the seas
will turn warmer.
Low angle. LECTURER. A dry, elderly man in a stiff white
collar. He is seated at a desk, the light from the reading
lamp spilling upward onto his face.
The last of us search the heavens
and stand amazed. For the stars
will still be there, moving through
their ancient rhythms.
Angle shot. Students. Some watching, some taking notes.
An OLD LADY TEACHER in f.g. taps the heads of two kids in
the row before her. They stop their whispering. She smiles
The familiar constellations that
illuminate our night will seem as
they have always seemed, eternal,
unchanged and little moved by the
shortness of time between our
planet's birth and its demise.
Med. shot. PLATO staring upward.
Orion, the Hunter.
PLATO looks off.
Med. shot. JIM (from PLATO's angle). JIM is seated in the
row ahead of PLATO. His lips are parted as he looks up.
Once you been up there, you know
you been some place!
Gemini, the Twins.
Two shot. JUDY and BUZZ. BUZZ has his arm around her. He
is nuzzling her ear. She is blandly watching the dome.
Cancer, the Crab.
BUZZ pokes JUDY who looks at him. He curves his wrist
toward her, opening and closing his first two fingers like
the pincers of a crab.
I'm a crab!
She laughs. So do the others.
Med. shot. JIM (PLATO behind). Seen from JUDY's angle. JIM
turns at the sound of the laughter, and smiles.
Taurus, the Bull.
(in good imitation)
He waits for approval.
Angle shot. JUDY, BUZZ and group (seen from JIM's angle).
He is in f.g. They are staring at him. Nobody laughs.
Moo. That's real cute. Moo.
Hey, he's real rough--
I bet he fights with cows.
They turn from him. JIM withers and looks front. JUDY
smiles a little and looks away so the others cannot notice
Sagittarius and Aries--all as they
have ever been.
PLATO leans in and touches JIM's shoulder, lightly at first,
then harder. JIM turns to him.
You shouldn't monkey with him.
He's a wheel. So's she. It's hard
to make friends with them.
I don't want to make friends.
He turns back, unhappy at having revealed himself.
Another shot. JUDY, BUZZ, CRUNCH. JIM seen in b.g. The
kids are whispering among themselves and pointing at JIM,
who looks up and notices. He is getting uncomfortable.
And while the flash of our
beginning has not yet traveled the
light years into distance--
Full shot. The dome. The star rushes nearer, looming
larger and larger. The music rises in tension and volume.
Has not yet been seen by planets
deep within the other galaxies, we
will disappear into the blackness
of the space from which we came.
Two shot. JIM and PLATO staring upward, cringing back into
their seats as the light on their faces increases. Music is
Full shot. The dome seen past PLATO's head. The heavens
grow brighter as the star plummets near. Music at crescendo.
Destroyed as we began in a burst of
gas and fire.
The sky is blasted by a wild flash of light. Music reaches
explosion. The stars appear again.
Moving shot. Faces of normal kids watching seriously--very
The heavens are still and cold once
more. In all the complexity of our
universe and the galaxies beyond,
the Earth will not be missed.
Med. shot. JIM and PLATO looking up.
Through the infinite reaches of
space, the problems of Man seem
trivial and naive indeed. And Man,
existing alone, seems to be an
episode of little consequences.
PLATO ducks his head down on the back of JIM's chair. JIM
looks at him.
That's all. Thank you very much.
The lights go on. The rustle and confusion of kids
stretching after sitting too long. Scattered applause. JIM
rises and ruffles PLATO's hair.
Hey, it's over. The world ended.
PLATO looks up at him.
What does he know about Man alone?
Med. shot. LECTURER as he reaches over and turns a dial.
"Morning Song" by Grieg comes on softly.
Low angle. OLD LADY TEACHER rising. She stares around at
the bustling students and claps her hands sharply, but the
noise is barely heard above the tumult.
May I have your attention? May I
please have your attention?
Classes will meet at the busses
outside. May I have your attention?
The heck with it.
She picks up her coat and bag.
Planetarium parking lot. School busses and autos, some new
and some heaps, are parked in f.g. Beyond is the dome of
the Planetarium. Kids mill about, some already driving off
in their cars. One bus, already full, pulls past camera.
Med. shot. Front of bus seen from within. Driver in f.g.
Kids swarm up the steps and enter. PLATO is among them, but
keeps looking back for JIM. PLATO boards the bus and pauses
near the driver to peer through windshield. His face clouds.
Long shot. JUDY and group. Seen from PLATO's angle through
windshield. They are standing idly in a loose line near
BUZZ's car. They are looking back toward Planetarium.
Med. shot. Front of bus, seen from within. PLATO turns
suddenly and pushes his way past the kids who are boarding.
Excuse me. Excuse me.
Full shot. Parking lot. Bus in f.g. Beyond it JUDY and
the group are visible. PLATO squeezes out.
John, where you going?
I forgot something. I'll get a hitch.
PLATO moves quickly past the teacher who climbs in. The
door slams, the bus moves away. PLATO stops and looks after
it. The last cars are clearing the lot. Only JIM's and
BUZZ's remain. PLATO looks at the small, waiting group.
Med. shot. The group seen from the rear. PLATO in the
distance facing them.
What you looking at?
Med. shot. PLATO wild-eyed with fear.
He runs off, camera panning with him. His goal is the
Planetarium Entrance, visible beyond. He races toward it
Med. shot. The group looking off after PLATO. BUZZ,
nearest camera, pulls a switch-knife from his pocket and
pops the long blade open. JUDY stares at it, then looks up
at BUZZ apprehensively. CRUNCH sits down on the bumper and
lights a cigarette.
Display lobby. Planetarium as PLATO rushes in, out of
breath, stops and looks around. In distance he sees JIM
leaning over the pendulum pit, smoking quietly. PLATO
doesn't move. JIM hasn't even looked up.
(screaming as if he
were yelling "fire!")
What's your name!
Jim. What's yours?
(a little quieter)
Plato. It's a nickname.
JIM nods. PLATO goes over to him, camera following, until
they are close together, both leaning over the rail.
Listen, I told you not to fool with
them. Now they're waiting for you.
I know. That's why I came back.
I just don't want trouble.
He has a knife.
I saw it. Gee, look at that thing
swing, will you? Do you think it
No. It's perpetual motion.
Oh, I bet some little guy comes in
here at night and pushes it. Go-
PLATO walks cautiously to the door and starts outside,
Long shot. Kids (corner of Observatory) with PLATO leaning
out of door, seeing them, pulling back quickly.
Inside display lobby as PLATO pulls back through the door.
JIM seems to have disappeared. PLATO stares around frightened.
JIM is looking at another exhibit whose mechanical voice is
(coming with him)
They're still there!
JIM nods. They watch the exhibit a while longer.
Jim--Do you think when the end of
the world comes it'll be at night?
No. In the morning.
PLATO looks up questioning. JIM smiles and shrugs.
I just have a feeling.
They start moving, camera leading.
If you don't want trouble, I know a
place we can go--
JIM looks up at him.
It's a big mansion and we could
sneak around there and they
wouldn't even know. You could be
They turn a corner quickly.
Doors to balcony (from inside) as JIM and PLATO come to them
from behind camera, fling the doors open and step outside.
Balcony as JIM and PLATO come onto it, lean on the parapet.
PLATO points off.
There it is.
High long shot. Mansion. (Matte). It is falling into
elegant ruin, casting long afternoon shadows on the great
lawns and promenades.
Closeup PLATO looking urgently at JIM.
Should we go?
Two shot. JIM and PLATO. PLATO's back is to us. JIM looks
past him and sees something.
The shadows are getting long.
PLATO turns to look too.
Long high shot. Parking lot. JIM's car is where he left it.
Into the driveway, like logs driven before a sea, the
shadows of the waiting kids appear and advance until the
kids themselves come into view. They pause there a moment,
then look up.
Le soleil tombe dans la mer.
Laughter. The kids scatter along the wall at the foot of
the balcony stairs. BUZZ goes to JIM's car, knife in hand,
and stands silently.
Low angle. Two shot. JIM and PLATO staring down from
balcony parapet. At last JIM moves out past camera.
Low angle. Long shot. JIM and PLATO. JUDY in f.g. The
two boys walk down the stairs. Camera pans with them as
they reach parking lot level and start walking past other
members of the group.
Traveling shot. JIM and PLATO coming forward.
Dolly shot. BUZZ from JIM's angle. As camera moves in
toward BUZZ standing alone at the car, he suddenly bends
down and slashes JIM's tire. Camera stops. There is the
hiss of air escaping. BUZZ straightens and smiles past camera.
Close shot. JIM inhaling sharply in shock and suppressed
Full shot over JIM's car. Group in b.g. motionless. JIM
and PLATO approach the car. JIM stops and looks down. BUZZ
stands smiling and puts away the knife.
Close shot. Rear wheel. The tire slashed, the wheel rests
on the ground.
Full shot. Car. Shooting between group and BUZZ toward
backs of JIM and PLATO, who are looking down at car which
rests on its rims. JIM turns and moves toward group. He
stops, looks from one to the other and smiles nervously.
Then he looks straight at BUZZ.
You know something?
You watch too much television.
Med. shot. The group and JIM. JUDY has come to BUZZ,
stands on the wall above him.
Hey, he's real abstract and different.
I'm cute, too.
Suddenly GOON starts clucking softly like a chicken. One by
one the others pick it up. BUZZ, the last, crows. Silence.
Med. shot. The group and JIM.
The group gives a quick, short laugh.
Med. shot. JIM as he takes off his glasses, smiles. Shakes
his head disapprovingly.
You shouldn't call me that.
Close shot. PLATO watching anxiously.
Med. shot. BUZZ with JUDY watching above him. JIM enters
shot until he is close to BUZZ's face. He looks up at JUDY.
Camera closes in until we are tight on the three. The heads
are nearly touching.
(softly to JUDY)
You always at ringside? You always
travel in this rank company?
BUZZ clutches JIM's hair and jerks his head up. He cracks
JIM smartly across the face with the palm of his hand.
Close shot. JUDY looking at JIM. Her eyes clear in
Another angle. The group and JIM as JIM tears free and
comes at BUZZ, slugging. But BUZZ, with a laugh, leaps onto
the parapet and turns, the knife in his hand again. JIM
stops short. The group and PLATO move in around him.
I thought only punks fought with
Who's fighting? This is the test,
man. It's a crazy game.
Les jeux de courage!
Close-up. CRUNCH. He is smiling. His arms are around the
shoulders of the kids who flank him.
(wetting his lips)
Med. shot. Group.
Somebody find him a knife.
Close shot. PLATO seen between heads of MIL and COOKIE.
COOKIE holds up a switch knife and tosses it over into the
Full shot. Circle as the knife falls at JIM's feet. JIM
stoops and picks up his weapon, then faces BUZZ. Then he
springs his blade.
You know the action? No cutting.
Just sticking--jab real cool.
BUZZ hops from the parapet. They begin stalking each other.
BUZZ slides his knife from hand to hand trying to hypnotize
JIM. Suddenly he pokes out and pricks JIM's shirt. The
group sighs "Ole!" JIM makes no effort at self-defense.
Silence. BUZZ pricks JIM again, "Ole!"
(as he maneuvers)
What you waiting on, Toreador? I
thought you wanted some action!
JIM cuts out half-heartedly.
Big brave bull. Hah! Toro! Hah!
Come on--Fascinate us. Impress us.
What's happening? Let's go!
I don't want trouble.
You crud chicken! You're wasting
BUZZ viciously slaps JIM across the face. JIM lashes out
and misses. BUZZ hops back.
Yeah--that's pretty close. How
about a little closer, Toreador?
Cut off a button and you get to
join the club!
Outside entrance of parking lot. A uniformed GUIDE of
middle-age stares past camera. Cries of "Ole," are heard in
Mr. Minton! Mr. Minton! Trouble!
The LECTURER appears running. He stops short at what he
sees, and blinks in the sunlight.
Look. There's your audience.
Oh, I don't think so. From the
Inside circle. JIM is covered with sweat and about to drop.
He is getting the worst of it, still refusing to defend
Close shot. PLATO. He is looking on in despair.
Suddenly, with a cry, PLATO pushes through.
Inside circle as PLATO comes through. His eyes are wild.
He holds a tire chain in his hand.
Buzzy! Look out! He's got a chain!
(smiling as he sees PLATO)
Hey! Chicken Little!
BUZZ trips PLATO quickly and kicks him while he's down.
CRUNCH grabs the chain.
All right--you want it, you got it!
Suddenly JIM transforms. He bores forward expertly--pricks
BUZZ again and again. Cries of Ole greet him. BUZZ is
Full shot. Group. We hear only the breathing of the
combatants. Beyond we see the GUIDE approaching swiftly.
The LECTURER trails at a safe distance.
Closeup. CRUNCH. He looks up. His smile fades.
Honk. Let's split.
Group as they look off and see the GUIDE and LECTURER
approach. BUZZ and JIM are both breathing hard. PLATO is
getting to his feet.
Split for what? Couple old poopheads?
He folds up his knife and puts it away. So does JIM.
You satisfied or you want more?
How 'bout you? Say the word and
you're cold, Jack--you're dead.
Buzzie--we better get out of here.
What's eating you, Judy? You want
Where can we meet?
Know the Millertown bluff?
The bluff, Buzz! That's dangerous
Draw him a picture, Chicken Little.
Eight o'clock. Cookie, you call
Moose and get a couple cars. We're
going to have us some real kicks.
Little chickie-run. You been on
Sure--that's all I do.
The GUIDE bursts in among them. The LECTURER remains on the
All right--all of you--start moving!
You mean l'il ol' us? What's the
matter with the nice man?
Don't clown with me.
Why'nt you go suck on something sweet?
You think you're tough? I got a
son twice your size and I can still
Don't lose control, Mr. Jamison. I
think if we just explain--
Explain to these? They think they
own the world!
The world is round!
The world is flat!
All the world's a stage!
There is wild laughter from the kids as they close around
the GUIDE and start edging him away, up the steps toward the
The world goes round the sun!
Goodbye proud world!
I got the world on a string!
The world's my oyster!
Hey! A fish-eater! Brain food.
They are gone. The LECTURER looks after them then comes to
JIM. JIM looks down at his shirt. There are spots of blood.
PLATO opens it, spits on a handkerchief and starts to wipe
the blood away.
(smiling wanly, to JIM)
Sometimes the world is too much
with us, isn't it, son? What was
You're bleeding. Are you all right?
I scratched my mosquito bites. I'm
LECTURER goes. JIM impatiently closes his shirt.
Are you really going to meet them?
Who knows. Plato?
What's a chickie-run?
Downstairs hall. JIM's house. A single light is burning.
JIM steals in from the kitchen, peers cautiously into the
living room, then starts up the stairs. A crash is heard
above. JIM stops, undecided whether to go or stay, then
moves quickly up the stairs, no longer trying to be quiet.
Upper hall. JIM's house as JIM rises into view at the top
of stairs. He sees a figure on hands and knees mopping
something off the rug. Leaklight from the staircase dims
details. An apron is tied around the figure's waist and its
bow sticks bravely in the air.
The figure straightens and turns around, smiling. It is the
FATHER. He is neatly dressed in his business suit but wears
a Mary Petty apron.
JIM leans against the wall, shaking his head and trying not
to laugh. The FATHER laughs unhappily, trying to make it
all seem a joke.
You thought I was Mom?
It's just this get-up. The girl's
out and I was bringing Mom's supper.
And you dropped it?
I better clean this up before she
He starts dabbing among the spilled dishes with a wet cloth.
JIM watches him.
Let her see. What could happen.
The FATHER continues dabbing.
The FATHER looks up at him.
JIM touches his FATHER's elbow, bringing him to his feet.
They look at each other a moment then JIM goes to his
bedroom. The FATHER goes back to mopping up the mess.
Inside JIM's room as he comes in, shuts the door and throws
himself miserably on his bed. He writhes as if the pain he
feels were physical. Outside, radios are heard in the
night--tuned to different stations. He feels under his
jacket and holds up his hand to the moonlight. There is
blood on it. He reaches up and takes his alarm clock and is
setting it as camera glides to his window and holds over the
Full shot. JUDY's backyard. Moonlight. JUDY stands near
camera looking up at the moon. The radios seem louder out
here. One breaks through.
Time now for the seven o'clock news.
Friends, the next time you go
JUDY'S FATHER (O.S.)
She wheels around.
Long shot. The FATHER standing erect on back porch,
silhouetted against a window.
What are you wishing for, Judy?
Med. shot. JUDY. She hasn't moved.
I wasn't wishing. I was looking at
Full shot. Backyard featuring the FATHER. We see him now
as a tall and handsome man. There is something boyish and
appealing about him.
"Man in the Moon, how came you
Up in the sky where you are
Floating so high in the frosty
Oh, say--Man in the Moon!"--
JUDY comes forward, stands below him on the step. Her look
How did you know that?
We used to sing it in school.
Don't look at me with such horror.
They had schools in those days.
But the same song. I think it's
We were romantic then too--
Are you and Mom home tonight?
Nothing, only it'd be nice to spend
an evening together for a change.
With us old creeps? Come on, we
have to eat.
He looks at her.
He turns away and goes into the house. She hesitates and
then follows. Something in the moods has changed. He has
neglected to hold the door for her.
Dining room. JUDY's house as the FATHER comes to the head
of the table and takes his seat. Three places are set.
JUDY follows. She stands above his chair, looking down at
him as he drinks his tomato juice.
Didn't you forget something?
JUDY doesn't answer, but leans down and kisses him quickly
on the lips.
What's the matter with you?
JUDY freezes, frightened. He collects himself a little.
You're too old for that kind of
stuff, kiddo. I thought you
stopped doing that long ago.
I didn't want to stop.
The mother enters briskly from another part of the house--an
attractive, brittle woman of thirty-five.
Didn't want to stop what?
I was talking to Dad.
I didn't kiss her so it's a big thing.
(calling to kitchen)
Bertha! You can serve the souffle!
You don't have to stand there,
darling. Drink your tomato juice.
JUDY slides into her chair reluctantly and unfolds her napkin.
I guess I just don't understand
I'm tired, Judy. I'd like to
change the subject.
I'd like to, that's all. Girls
your age don't do that. You need
Girls don't love their father?
Since when? Since I got to be
She half-rises to kiss him again.
Stop it now! Sit down!
Suddenly the FATHER slaps her. Even as he does it he is as
stunned as JUDY. The mother stops eating. She has never
seen such a display and is shocked. He tries to control
himself by buttering a piece of bread. There is a terrible
silence into which BEAU enters in his pajamas. He runs to
his FATHER's chair, then halts--looking from face to face.
The FATHER puts an arm around him, hugs him almost savagely.
JUDY rises, weeping.
May I please be excused?
She starts out. The FATHER rises and follows after her.
Hey, hey, Glamorpuss. I'm sorry.
She leaves the room, interrupting the joke he was going to
make. He turns back to the table and sits down. The MOTHER
rises and comes to him.
I don't know what to do. All of a
sudden she's a problem.
The mother stands behind his chair. She tips his head back
against her body and kneads his neck and shoulders.
She'll outgrow it, dear. It's just
(in a sudden burst)
The atomic age!
The door slams.
It's the age when nothing fits.
Inside JIM's room. We see him lying on his bed as before.
His eyes are open. The alarm clock goes off. JIM starts as
if shot, then stops the wild ringing. The time is seven-
forty-five. He makes no move to leave the bed. There is a
light tap on the door, then it opens and the FATHER is
there, seen in light from the hall and still wearing the apron.
Listen--I took a steak out of the
freezer. I thought we could have a
real old-fashioned stag party--just
the two of us, what do you say?
I'm not hungry.
The FATHER turns away.
Hey--I want to ask you something.
Suppose you knew that you had to do
something very dangerous--where you
have to prove something you need to
know--a question of honor. Would
you do it?
Is there some kind of trick answer?
What would you do, Dad?
I wouldn't do anything hasty.
Let's get a little light on the
The FATHER turns on the light and looks at JIM who is now
sitting on the edge of the bed. He removes his jacket and
the bloody shirt is revealed. The FATHER stares.
How'd that happen! What kind of
trouble you in?
The kind we've been talking about.
Can you answer me now?
Listen--nobody should make a snap
decision--This isn't something you
just--we ought to consider all the
pros and cons--
We don't have time.
We'll make time. Where's some
paper. We'll make a list and if
we're still stuck then we ought to
get some advice--
He goes out, to the study next door. JIM rises.
What can you do when you have to be
Just give me a direct answer!
You going to stop me from going, Dad?
You know I never stop you from
anything. Believe me--you're at a
wonderful age. In ten years you'll
look back on this and wish you were
a kid again.
Ten years? Now, Dad--I need an
I just want to show you how foolish
you are. When you're older you'll
laugh at yourself for thinking this
is so important--
During this, JIM has kicked off his shoes and put on his
boots and jacket and goes out.
Living room featuring stairs. JIM comes running down the
stairs and out the kitchen door.
Jim? Will you listen? You can't
go out till we--Jim!
The FATHER comes down the stairs, goes to the front door and
He goes to kitchen door, calls again, gets no answer, comes
back into the living room, sees he is still wearing the
apron. He rips it off and throws it down--then starts for
The Plateau. Moonlight. Wind shrieks over the exposed
plateau, which is several hundred yards long. It cuts into
the darkness like the prow of a ship and ends in empty air.
A dozen cars are scattered about, defining a sort of runway
in the center. There are twenty kids present, but very
little talk. Most of them belong to BUZZ's group but there
are a few whom we have not met before. They stand in small
clots, murmuring and smoking. The atmosphere is strung
tightly, like the moments before a dawn attack. In b.g.
near the cliff's edge, are two cars of similar make and
model. They face away from camera toward the edge of the
plateau. There are no headlights anywhere...blackout
MOOSE, a boy in a leather jacket and cheap yachting cap
stands guard between the cars, his back to us. His hands
are on his hips. His legs are spread. Some girls drift in.
Another angle. Plateau featuring PLATO as he wanders
through the crowd searching for JIM. He passes BUZZ's car
where BUZZ, JUDY and the rest are eating hamburgers. They
have all changed into fighting wardrobe.
Where's Toreador? He beg off?
He's not scared of you.
Goon! You seen that adolescent
He won't show.
Well, you going to wait all night?
I'm getting nervous, man! We got
to do something!
BUZZ snaps on the spotlight again and swings it off.
Full shot. JIM's car as JIM gets out and PLATO runs to him.
How'd you get here?
Boy, I bet you'd go to a hanging.
My personality's showing again.
Should I leave?
No. It's okay.
Come on. Let's see what we're
JIM gets out; PLATO starts to follow.
The two boys move away. PLATO looks after them, hurt, then
goes to side of JUDY and stands.
Dolly shot. JIM and BUZZ as they come forward.
What you say your name was?
Glad to meet you.
They shake hands briefly as they walk. They come to MOOSE
Got some goodies for you, Buzzie-boy.
MOOSE produces one and hands it to BUZZ who goes to one of
the guarded cars, motioning JIM to come, too.
Closer shot. BUZZ, JIM and MOOSE seen as hood is raised,
revealing their faces beneath it. BUZZ explores the motor
with the flashlight.
Clean as a whistle. They both got
Look good to you?
Sure. It's fine.
He closes the hood. Group moves across to other car.
JUDY and PLATO. The other kids are behind them. JUDY looks
to see that their attention isn't on her, then speaks
quietly to PLATO.
Is he your friend?
Yes. My best friend.
What's he like?
Oh, I don't know. You have to get
to know him. He doesn't say much
but when he does you know he means
it. He's sincere.
Well, that's the main thing--don't
you think so?
Maybe next summer he's going to
take me hunting with him--and
fishing. I want him to teach me
how and I bet he won't get mad if I
goof. His name's Jim. It's really
James but he likes Jim more.
People he really likes--he lets
call him "Jamie."
Want to finish my hamburger? I
only took a bite.
Full shot. Guarded cars. JIM is close in f.g. at wheel of
his car. BUZZ is beyond, at wheel of his. Both boys are
gunning their engines, listening critically. JIM lets his
JUDY, GOON and group. They watch in silent anticipation.
PLATO starts away from them.
Traveling shot. PLATO hurrying away from the group. He
stops, looking off.
JIM and BUZZ. PLATO in distance.
Better try the doors. Jump out.
JIM opens his door.
No--quick, man! You got to break
JIM shuts his door and tries again. So does BUZZ. Then
both boys walk forward to the edge. Neither says a word.
BUZZ puts his hand on JIM's shoulder.
High angle. The edge of the bluff (process). JIM and BUZZ
are directly below us. Under them the plateau falls steeply
away in a sheer drop of a hundred feet to the ocean below.
Two shot. JIM and BUZZ. JIM is staring below. He is
beginning to perspire. He lights a cigarette. Without
taking his hand from JIM's shoulder, BUZZ borrows the
cigarette from his lips, takes a drag and hands it back.
JIM takes another puff then tosses it into the abyss.
This is the edge, boy. This is the
I like you, you know?
Buzz? What are we doing this for?
We got to do something. Don't we?
Long shot. JIM and BUZZ with PLATO in f.g. JIM and BUZZ
appear to him as two close friends. Suddenly they break and
go, without speaking further, to their cars. They back up
to the opposite end of the plateau, headlights dark. PLATO
follows them with his gaze.
Group shot. GOON and others looking up as the cars glide by.
Med. shot. JUDY waiting as BUZZ and JIM move into starting
position next to her. JUDY goes to BUZZ. JIM is in b.g.--
Give me some dirt.
She bends out of sight for a moment as BUZZ goes on talking,
then hands him the dirt. He rubs it into his palms.
Hey, Toreador! She signals. We
head for the edge. The first guy
JUDY and BUZZ kiss, without much interest.
Good luck, Buzz.
She starts out, without kissing him again.
Med. shot. JIM's car as JUDY comes to him.
She looks at him a moment then bends and hands him some dirt.
Their heads touch for an instant.
She breaks the look and hurries away.
Long shot. The cars. They are lined up in two rows--
headlights facing each other. JUDY comes into shot. When
she gets near camera, she stops and turns back to face them.
Hit your lights!
Suddenly the headlights of all the cars come on full.
Reverse shot. JUDY. She is in the center of the glare.
Behind her we see the other kids filing out of their cars,
hurrying toward the edge of the bluff. The sound of the two
motors revving then dying and revving again.
Inside JIM's car. JIM grips the wheel firmly, relaxes his
hands to rub his palms together and crack his knuckles. He
grips the wheel again. Steps on the accelerator, winding
his engine into a roar. He lets up, looks tensely at--
BUZZ in his car. His chin juts forward. He lets go of the
wheel, starts to comb his hair.
Slow pan shot. Spectators staring off at the cars. A boy
has his arm around the girl in front of him, his cheek
against hers. Both are looking off. Some of the kids smoke.
All are involved in the blasting of engines.
PLATO among the spectators near edge of the bluff. He is
chewing his lip. Camera pans down to show that the fingers
of both his hands are tightly crossed.
Close shot. JUDY staring tensely into the glare. Suddenly
she raises her hands high above her head.
Close shot. JIM sweating it out. He leans forward,
Close shot. BUZZ. He puts his comb between his teeth and
clamps it hard. He settles himself for the run.
Long shot. Plateau. The cars are in close, seen from the
rear. JUDY is a small distant figure, arms stretched high.
The exhaust blasts. Now she drops her arms. The cars leap
Med. shot. JUDY. She whirls to see the cars snap by, then
begins running up the center of the plateau between the
lines of spectators.
Full shot. Spectators. Shooting over their shoulders as
the cars approach and scream past.
Pit shot. Cars. As they approach, gaining speed, and
thunder over the camera.
Inside JIM's car. (Process). He is tense.
Inside BUZZ's car. (Process). His hands hard on the wheel.
The comb is still between his teeth. He begins edging
toward the door on his left.
Moving close shot. JUDY biting hard on her finger, as she
Close shot. PLATO. Both hands cover his mouth. The
fingers are still crossed.
Inside JIM's car. (Process). As he edges to his left. He
is driving with one hand. He opens the door, gets set for
Inside BUZZ's car. (Process). He reaches for the door
handle and misses. As he raises his arm to reach again, the
strap of his windbreaker sleeve slips over the handle. He
looks down in panic, then back at the drop ahead. He tugs
but cannot get the sleeve loose.
Closeup. PLATO staring. He shuts his eyes tight and keeps
Shooting at backs of the two cars as they race through the
row of lights toward the edge.
Inside JIM's car. (Process). His face is soaked. He looks
once toward BUZZ--then ahead. His eyes widen in fear. He
shoves left and flings himself forward, and out.
Outside JIM's car as he sprawls forward--into camera.
Inside BUZZ's car. (Process). BUZZ leans way forward now.
He seems to rise in his seat. His mouth opens and the comb
Full shot spectators staring in disbelief. Suddenly a youth
ducks his face into the neck of his girlfriend so he cannot
see. At the same instant--
(in a single breath)
Rear view. Edge of the bluff as the two cars go over.
There is NO human sound.
Close shot. JIM as he stops rolling.
BUZZ's car in flight. (Special effects). The car soars
through the night, the vehicle of a terrible journey.
Med. shot. BUZZ. (Process). Surprise has gone. He rides
lightly on the thrill of his last moment--then suddenly, his
face twists in a spasm of protest and loss.
The kids staring at his flight.
JIM unaware of the disaster--glad he made it.
Low angle. Edge of the bluff. With headlights blazing,
both cars dive down.
Med. shot. JUDY standing frozen as the spectators shove
past and around her.
Wide angle. Edge of the bluff as spectators swarm to it,
stand looking down.
JIM on hands and knees, trying to rise. Legs rush by him,
knock him onto his face.
Long shot. (Special effects). Both cars plunge into the
JIM at edge of bluff. He is pushing through spectators.
(a harsh whisper)
Where's Buzz! Where's Buzz!
PLATO working his way through the crowd.
CRUNCH. CRUNCH looks up as he hears JIM's repeated cry.
JIM enters behind him, continuing blindly on his way.
Down there! Down there is Buzz!
JIM looks over the edge.
Rear view. Spectators. A siren wail approaches. The kids
wheel and scatter, panicking past the camera.
Close shot. MOOSE. Looks at JIM. Runs.
Close shot. GOON. Turns. Runs.
Med. shot. JIM seen between legs of hurrying kids. The
sirens and the pounding of their feet on the hard turf. JIM
is sitting on the edge of the bluff. PLATO rushes in, stops
short as he sees him.
Come on, Jim! We got to get out of
JIM doesn't move. PLATO grabs his arm and yanks.
Get up! Get up! Come on!
JIM stands. PLATO pushes him.
Go on! Move!
They start away, PLATO still pushing from behind.
Med. shot. JUDY. She is standing alone in the wind on the
emptying plateau. JIM and PLATO move past in the distance.
JIM sees her and stops.
Close shot. JUDY. She is shuddering violently but there
are no tears. She seems not to see or hear or be aware of
anything around her.
Full shot. JIM and PLATO watching JUDY. JIM moves toward
her, camera panning with him and leaving PLATO behind. JIM
stands before JUDY until she notices him. He shakes his
head for all the sorrow he feels, but no words come.
Tentatively he offers her his hand. After a moment, she
takes it. She knows only that help is being offered and
that she will accept it with trust. JIM leads her away
toward the car.
High long shot. JIM's street. Night. There is no movement
anywhere. In the house bordering the street a few lights
still burn. JIM's car approaches out of distance and slows
when it reaches the alley.
Med. shot. JIM's car as it slows and stops. JIM, JUDY and
PLATO in the front seat. JUDY has the door open before the
car even stops. She is shaking, agitated and withdrawn.
This is fine--
She gets out and starts away, leaving door open.
Judy. Will you be okay?
PLATO looks at him. JUDY hesitates. JIM raises a hand to
her in a shy farewell. She smiles vaguely, then hurries
away from them.
Near JIM's backyard (alley). JIM and PLATO.
I got to go in. You better get
Why don't you come home with me? I
mean nobody's home at my house--and
I'm not tired, are you? I don't
have many--people I can talk to.
If you want to come we could talk
and then in the morning we could
have breakfast like my dad used
excitedly as though
an idea had suddenly
Gee...if you could only have been
my father...we could...
Hey...you flipped--or something?
You better take off...
O.K. G'night. I got to pick up my
scooter. See you tomorrow.
PLATO turns, walks up the alley to the street. JIM goes
into his kitchen door.
Hallway. JUDY's house. Three doors open onto it: one is
closed--this is JUDY's room:--another, leading into BEAU's
room is open, but the room beyond is dark: the third, also
open, reveals the bedroom of JUDY's parents. As JUDY comes
into the hallway, the parents, who are reading in their
beds, look up. JUDY hesitates, then starts toward her own
Hello, little cute sister.
JUDY stops. BEAU appears at his door in white pajamas, a
small ghost. JUDY looks at him.
Hello, darling, baby-pie, glamor-
JUDY touches BEAU's head and tries to smile.
(calling from his bed)
Beau! You belong in bed!
BEAU flees. JUDY turns without another glance at her
parents, and opens the door of her room.
Inside bedroom of JUDY's parents. As JUDY slams her bedroom
door o.s., the FATHER reacts. Perhaps, he wishes she had
given him a chance to say goodnight. The MOTHER, who use
reading glasses, looks up at the slam. Then she looks over
at her husband, shrugs when she catches his gaze, and goes
back to her magazine.
Inside JIM's living room. The television is on, but only a
hum comes from it, and the screen is a flickering gray. The
FATHER sits lumpily in a chair by the fireplace, still
dressed but with his collar open. The sound of JIM's step
in the dining room makes him open his eyes. Fear of facing
his son makes him shut them again. The boy comes in, a
bottle of milk in his hand. Seeing his FATHER there, he
stops short--his impulse is to flee. Instead he comes in
and looks down at the sleeping man whose eyelids, fluttering
in the FATHER's masquerade of sleep, make him seem to be
having a dream. JIM is torn between his desire to leave and
his need to speak. He turns off the television quietly,
then lies down on the couch across the way. He mumbles the
things he would say to his FATHER and the answers he feels
he would get. The old man opens his eyes once, sees the boy
there, head banging upside down from the couch. Then he
shuts them again.
Upside down long shot. Room (JIM's viewpoint). Suddenly,
inverted in his vision, the MOTHER appears at the head of
the stairs, in bathrobe and nightgown. She pauses a moment,
then runs down crying:
He's home! You're home! You're
The camera rights itself suddenly.
JIM as he completes his turn, pulling his head up and sitting.
FATHER as he pretends to awaken with a start.
Full shot, room as the MOTHER hurries to JIM, holds him,
inspects him, kisses him.
What happened, darling. We were so
worried. I was going to take a
sleeping pill, but I wouldn't till
I knew you were home.
I have to talk to someone, Mom. I
have to talk to you both. And Dad
this time you got to give me an
I'm in terrible trouble.--You know
that big high bluff near Miller-
Sure--there was a bad accident
there. They showed the pictures on
I was in it.
It doesn't matter how. I was
driving a stolen car--
Do you enjoy doing this to me or
And you wanted him to make a list!
Will you let him tell it!
She never wants to hear. She
I guess when I nearly died giving
birth to you--that shows how much I
Just relax, please relax!
I told you Dad, it was a question
of honor. They called me chicken--
you know, chicken! I had to go or
I would never have been able to
face any of those kids again. So I
got in one of these cars and a boy
called Buzz got in the other. We
had to drive fast and jump before
the cars went over the edge of the
bluff. I got out okay but Buzz
didn't. He was killed.
I can't keep it to myself anymore--
Well, just get it off your chest, son.
That's not what I mean. I've never
done anything right. I've been
going around with my head in a
sling for years...I don't want to
drag you into this but I can't help
it. I don't think I can prove
anything by going around pretending
I'm tough any more, so maybe you
look like one thing but you still
feel like another.
You're absolutely right!
Are you listening to me? You're
involved in this! I want to go to
the police and tell them I was
mixed up in this thing tonight?
Did anyone see you there? I mean
did they get your license number or
I don't think so--
What about the other boys--Do you
think they'll go to the police?
What's that got to do with it?
Why should you be the only one.
Look Jim. Far be it from me to
tell you what to do, but there's--
Are you going to preach now? Are
we going to have a sermon?
I'm just explaining what you mean!
You can't be an idealist all your
life! Nobody thanks you for
sticking your neck out!
Will you wait a minute?
You don't want me to go.
No! I don't want you to go to the
police! There were other people
and why should you be the only one
But I am involved! We're all
involved, Mom! A boy was killed!
I don't see how we can get out of
that by pretending it didn't happen!
You know you did wrong. That's the
main thing, isn't it?
No! It's nothing! Just nothing!
You always told me to tell the
truth. You think you can just turn
He's not saying that! He's saying
Just tell a little white lie?
You'll learn as you get a little
I don't want to learn that!
Well, it doesn't matter anyhow--
because we're moving.
No! You're not tearing me loose
Do I have to spell it out?
You're not going to use me as an
excuse again, Mom. Every time you
can't face yourself you want to
move and you say it's because of me
or the neighborhood or some other
phony excuse. Now I want to do one
thing right and I'm not letting you
Son--this is all happening so fast--
You better give me something, Dad.
You better give me something
(stops as he sees the
emptiness in them)
Jimmy, you're very young--and a
foolish decision now could wreck
your whole life.
Dad--answer her--aren't you going
to stand up for me?
The FATHER is mute, helpless... Suddenly JIM screams.
He leaps at his FATHER, dragging him to his feet, hands at
the man's throat.
Stop it! You'll kill him! Jim!
Do you want to kill your father?
Suddenly JIM loosens his hands and rises. He looks swiftly
at each of them--moves a few steps toward the door, looks
back at them again--then rushes out of the house. The
parents stand frozen.
Outside Precinct Station. JIM's car comes to a stop at the
curb. JIM gets out and approaches the flight of steps
leading up the entrance. A bare bulb on either side is the
only illumination. As he mounts the first step, the double
doors above him swing open revealing several people. JIM
stops short. So do they.
Low angle. CRUNCH, MOOSE and their parents. JIM's back in
f.g. The boys stare down at him.
High angle. JIM (from the boys' point of view) as he stares
up at them. MOOSE's father takes his arm and starts him
down the stairs, the others moving too.
Let go of me--
You want a good crack in the mouth?
JIM starts forward up the steps. CRUNCH grabs him.
This place appeal to you or something?
They move down the steps as JIM breaks away and continues up.
He goes through the doors.
Inside doors as JIM comes through and stops. He looks back
through the glass. We see the group reach the curb where
their cars are parked. There is a brief discussion which we
cannot hear, then CRUNCH and MOOSE move off to MOOSE's car.
JIM turns back. He looks worried as he passes camera.
Med. shot. CRUNCH and MOOSE. They stop at MOOSE's car and
look back at the entrance. The parents are seen beyond
them, getting into their cars. CRUNCH is near tears with
What's he going to pull--
Nothing, Crunch. They picked him
up like the rest of--
You see any cops?
You monsters start home. We're
We're following you so better get
You see any cops?
He's going to cheese, I tell you.
Nobody arrested him!
I think I should go home.
No. We're going to bring him down.
Crunch--my father's--You going to
You clean out of your head? Come on!
CRUNCH gets into the car. MOOSE follows. They gun the
motor and throw the car into a sharp U-turn. MOOSE'S FATHER
jumps into his car. He steps on the starter but nothing
happens--just the empty whirring, over and over. Finally it
starts, but the boys have gone.
Inside Precinct Station. Juvenile division. A desk
sergeant is writing in the record book. Facing him across
the desk and handcuffed to an officer is a young hoodlum,
very different in appearance from the kids we have met--a
typical duck-tail 'cat'.
O-W-I-C-Z. Wojtowicz. What's the
matter, man? That's the craziest
name in town! It swings!
Excuse me--but--You know where I
can find--I mean I don't remember
his last name--
Look--can't you see I'm writing?
(combing his duck-tail)
Man, this cat never stops. He just
keeps going like Big Jay at a session!
He's writing a book about me--
What I could write about you they
I think his first name's Ray--I
have to see him. It's very important.
What's the charge?
Assault with a deadly weapon.
He's not here. He's not at
Juvenile Hall. I don't know where
he is. He's out on a call and
he'll be out all night. How old
My parents know I'm out. They know
Come back tomorrow.
I'll wait for him.
Why don't you come back tomorrow,
Ever been booked before?
JIM turns away, notices a phone on the wall--puts in a coin,
asks for a number.
Bedroom of JUDY's parents. Through an open door we hear a
radio playing-- a late disc-jockey show for teenagers in
which numbers are dedicated by request. JUDY'S MOTHER and
FATHER are in bed, FATHER has phone in his hand.
Who wants her? Who? Jim who?
Never heard of you.
He hangs up phone, looks at his wife. She rolls over in bed.
The FATHER turns off the bed lamp, then sits up, worried in
JUDY's bedroom. It is her radio we have heard. She turns
off light, opens the door a crack, and looks out toward her
Traveling shot. PLATO. He is coming up the walk to his
house. When PLATO has come a few feet, somebody whistles.
PLATO and camera stop. Short, quiet whistles come from the
boxwood and shrubbery on both sides of the walk. PLATO
turns and starts to run, camera following. He gets to his
door, tries the key, but in his panic it will not go into
the lock. Suddenly a hand reaches in and jerks him around.
CRUNCH stands above him. GOON closes in from the other side.
All very tense and hotted up!
What do you want!
You know what we want. We want
We got eyes for him.
Listen, you guys ought to go home.
The cops are cruising every--
Where does he live?
PLATO reaches up swiftly and rings the bell. GOON grabs him.
CRUNCH cracks him.
You better tell us and I'm not
My old man's got a gun.
His old man's got a gun. What do
you think of that!
(drives a hard blow
at PLATO's belly)
Your friend talked--
(belts him again)
Now you talk! Talk!
The door opens and the NEGRO WOMAN is there. CRUNCH sends
PLATO spinning into the house past her. He falls.
What you doing! What you doing to
him! You clear out of here 'fore I
call the police!
She swings at CRUNCH who faces her, challenging.
Clear out. Go on! Go on now!
Let's go, Crunch.
They turn and move past camera. PLATO gets up off the floor.
We hear the sound of a heap starting. The NEGRO WOMAN
closes the door.
Inside PLATO's foyer as NEGRO WOMAN bolts the door.
Why you like to mix with bad boys
like that? Why you get in trouble
I have to go out. I have to warn him.
He starts up the stairs. She follows him heavily.
You not going anywhere! You
staying home while your mama's away.
Bedroom of PLATO's mother, a lacy affair with imported dolls
on the pillows. PLATO rushes in, opens the drawer of the
night-table and pulls out a gun. He checks to see that it
is loaded. The NEGRO WOMAN appears in the door and stares
at him, turns on the light which illuminates the bed-lamp.
John! What you doing with that!
You leave that be! Put it down
before you hurt yourself. Hear me?
But PLATO moves past her and out of the room. She turns
John! You stay home! John! John!
The slam of a door is heard below.
JIM's garage. Night. JUDY waiting inside. JIM's car pulls
in, a radio going softly. He turns the motor off and is
about to turn off the radio when we hear the announcer:
Coming up now another request--this
time from the boys down at Anna's
Pizza Paradise--A new arrangement
of a great oldie in rhythm and
blues. Jim, this is dedicated to
JIM stares at the radio, then turns it off.
They'll be looking for you.
They saw where I jumped! I didn't
chicken! What do I have to do--
It doesn't matter to them.
You were looking for me, weren't you?
(a small voice)
No--I was just--maybe--
I tried to call you before.
I thought so.
Want some milk?
JUDY comes forward.
That's all I can do when I'm
nervous. Drink milk. Here--have a
She shakes her head. He takes a sip.
You still pretty upset?
She is shuddering a little.
Even if I'm near a fire, I'm cold.
I guess just about everybody's cold.
I swear, sometimes, you just want
to hold onto somebody! Judy, what
am I going to do? I can't go home
Neither can I.
No? Why not?
You know something? Sometimes I
figure I'll never live to see my
next birthday. Isn't that dumb?
Every day I look in the mirror and
say, "What? You still here?" Man!
They laugh a little.
Hey! You smiled!
JUDY shakes her head--beginning to warm to him.
Like even today. I woke up this
morning, you know? And the sun was
shining and everything was nice.
Then the first thing that happens
is I see you and I thought this is
going to be one terrific day so you
better live it up, boy, 'cause
tomorrow maybe you'll be nothing.
I'm sorry I treated you mean today.
You shouldn't believe what I say
when I'm with the kids. Nobody
Why'd you get mixed up with them?
You don't have to prove anything.
If you knew me you wouldn't say that.
I don't think you trust anybody, do
I'm getting that way, too.
(looks at him)
Have you ever gone with anyone who--
Sure. Lots of times.
So have I. But I've never been in
love. Isn't that awful?
Awful? No. It's just lonely.
It's the loneliest time.
She looks up. He kisses her forehead.
Why did you do that?
I felt like it.
Your lips are soft when you kiss.
Where you going?
I don't know, but we can't stay here.
Where can we go? I can't go back
into that zoo.
I'm never going back.
Listen! I know a place! PLATO
showed me before. An old deserted
mansion near the planetarium
Would you go with me?
You can trust me, Judy.
I feel as if I'm walking under water.
They start out.
Inside bathroom. JIM's house. The water is running in the
sink and JIM's father is fixing a stomach settler. Gradually
he grows aware of a heavy pounding which insinuates itself
above the splash of water. The FATHER pauses, then turns
off the tap. The pounding continues. JIM'S MOTHER appears
at the bathroom door. She is seen in the mirror tying her
Frank? I'm frightened.
What's that pounding?
I don't know. First I thought it
was Jim but--
He's home. I heard the car.
Are you going down there?
Look--just relax, will you?
The pounding ceases.
See? It stopped.
I still think you should go down.
He goes out of the bathroom, into the hall.
Foyer. JIM's house as the FATHER comes down the stairs,
turning on the light as he comes. He reaches the door and
pauses. The MOTHER stops midway down the stairs.
(through the door)
(low; at balustrade)
The FATHER opens the door and looks up sharply.
Close shot. Door. FATHER's head in f.g. as he stares at it.
Nailed to the door by its outstretched wings, its head
hanging in an attitude of crucifixion, is the freshly killed
carcass of a chicken. Low whistles are heard from outside.
The FATHER, frightened, looks out into the night.
Full shot. Front lawn and street. Shooting over the
FATHER's head. The whistling continues.
Who's out there?
Where's your son?
Where's your baby boy gone to,
Daddy? We want him.
Suddenly the FATHER slams the door and rushes past us into
Full shot. Foyer as the FATHER rushes to the bottom of the
Look in his room!
The MOTHER disappears.
The FATHER dashes into the living room, then into the hall
again and down through the kitchen door.
Back yard as the FATHER comes out. He closes the door
quietly and calls in a low voice:
He stares around the yard, then hurries to the garage.
JIM's car is missing. He looks up suddenly.
Reverse shot. JUDY'S FATHER seen across the alley wall. He
is standing in his own back yard.
Is anything wrong? I'm your neighbor.
Med. shot. JIM'S FATHER. He smiles feebly.
Oh, no, thanks. I just wanted to--
to be sure my garage was closed.
JIM'S FATHER closes his garage door and walks back toward
Is he there?
No, honey. No, he's not here.
He starts for the house again after a quick look in the
direction of JUDY'S FATHER.
Full shot. JUDY's back yard. JUDY'S FATHER watches MR.
STARK disappear, then...
The alley by JIM's house. PLATO drives up on scooter. He
checks the garage, sees JIM's car is gone, is about to take
off in confusion, hears door slam in JIM's back yard, shuts
off engine, fixes tie, combs hair, goes in the fence gate to
JIM's back yard.
Full shot. JIM's back yard. JIM'S FATHER is coming toward
him. JIM'S FATHER and PLATO simultaneously say:
What are you doing?
I don't know. Do you--do you know
where he is?
No. No, I don't.
Closeup. PLATO remembers about the mansion--then almost to
I know where--
Back to full shot. FATHER and PLATO.
Hope I didn't bother you. Goodnight.
He runs to scooter.
Hey, come back here. Who are you?
Split screen montage. It begins with a telephone ringing
alone in the corner of the screen. As camera moves back we
see that the phone is in an office at Juvenile Hall. RAY is
standing by, trying to make sense out of the incoming reports.
The other part of the screen lights up and becomes:
Bedroom of PLATO'S MOTHER where the NEGRO WOMAN is speaking
hysterically into the phone.
Bedroom of JUDY's parents. The FATHER is on the phone.
BEAU has awakened and is crying. His MOTHER tries to divert
JIM's bedroom. JIM'S FATHER sits disconsolately on the bed,
the phone in his hand. He is talking earnestly.
During this the sound of the telephone ringing has increased
to become the sound of many and this has been submerged in a
deep rising riot of sirens whose wail mounts higher and
Full shot. Planetarium. Moonlight. A lone siren wails in
distance. Aside from this, all is very still. Camera pans
past the dome and settles on an isolated mansion set high on
a hill nearby. Stone balustrades drop down to sunken
gardens where the grass has gone to seed around a waterless
Closer shot. Mansion. Night. A Mediterranean villa with a
large domed solarium which is connected to the main building
by a low enclosed arcade. A crash and the falling of
splintered glass is heard.
Long shot. Promenade. Shooting through pillars of the main
entrance portico, down the long promenade outside arcade.
Two figures, seen in the distance, are disappearing through
a window. Camera tracks down promenade until it reaches a
broken window through which JIM is just disappearing. When
he gets inside, he reaches back and takes his leather jacket
which has been spread on the sill to protect them from
splinters, shakes it out and puts it on. Running footsteps
are heard approaching. JIM looks out nervously. PLATO
bursts in, out of breath.
How'd you find me? What's happening?
They're looking for you!--
Everybody! Crunch and Goon and
everybody! I think they're going
to kill you.
They think you told the police on
them. They--who's in there?
Help me in!
JIM gives PLATO a hand over the windowsill.
Inside arcade. JIM and JUDY are seen in an entering shaft
of moonlight. PLATO hits the floor and disappears into
Hey where'd you go?
I'm here. Shut up.
Come out come out wherever you are!
Shut up. Are you nuts?
No. I'm scared.
A match flares and lights a candle on an antique Spanish
candelabra. PLATO is revealed bending over it. He lights
the other candles through the following:
We're safe here. I hope.
(holds up candelabra)
What do you think?
Wow! Well now-there-then!
His wonderment is justified. The floor of the arcade is
marble and there are marble benches and neo-Roman busts
lining the walls.
Isn't it crazy?
Wowee ow wow! Let's take it for
No--come on. Should we rent or are
we in a buying mood, dear?
You decide, darling. Remember our
Don't give it a thought. Only
three million dollars a month!
Oh, we can manage that! I'll
scrimp and save and work my fingers
to the bone...
Why don't we just rent it for the
You see, we've just--oh, you tell
him, darling. I'm so embarrassed I
There's just one thing. What about--
Children? Well, we really don't
encourage them. They're so noisy
and troublesome, don't you agree?
Yes. And so terribly annoying when
they cry. I just don't know what
to do when they cry, do you dear?
Of course. Drown them like puppies.
See, we're very modern.
Shall I show you the nursery? It's
far away from the rest of the house.
If you have children--Oh I hate the
word!--or if you decide to adopt
one--they can carry on and you'll
never even notice. In fact, if you
lock them in you never have to see
them again, much less talk to them.
Talk to them! Heavens!
Nobody talks to children! They
just tell them one thing and mean
It's wonderful that you understand
so well--and so young too! You
know the most wonderful feature
about the nursery?
There's only one key.
We'll take it!
PLATO leads them away from us down the arcade, the candelabra
casting wild shadows on the walls. They are laughing as
they disappear through the glass doors at the end and their
laughter echoes stonily.
Med. shot. A street and an alley. Night seen through the
windshield of a police car. Its radio is on low. Two
officers are in the front seat. One of them drinks coffee
from a container. Suddenly MOOSE's heap moves past on the
street ahead. In it are MOOSE, GOON and CRUNCH.
Full shot. The street as MOOSE's heap continues up the
empty street. The police car slides out of the alley where
it has been concealed, and follows at a distance. Its
headlights are off.
Close shot. CRUNCH, GOON and MOOSE (Process). They are in
the front seat of MOOSE's heap.
What time is it?
Hang loose. We got all night.
That maid saw us. She could
identify us too.
You still want to go home, Moose?
Then shut your mouth before your
guts run out!
Inside glass solarium. A swimming pool lies at the center.
There is no water in it. Framing the pool is a flagstone
walk with marble benches spotted here and there. The great
glass room had once been planted thickly with tropical
But now what palms and lianas remain are withered and dead
with lack of care. At the edge of the pool, near the deep
end, a blanket has been spread and a candelabra burns upon
it. In its mysterious light our three kids are revealed:
JIM, bouncing precariously at the end of the diving board;
JUDY on the blanket nearby; PLATO on the pool's bottom. All
three are laughing hysterically when suddenly JIM starts to
lose his balance.
Quick! Fill the pool!
JIM falls in. PLATO rushes to him.
Let's see how long we can stay under.
Man, you're schizoid!
(in another outburst
I'm what? What?
You can't talk underwater!
I bet you hear everything I say!
Isn't he schizoid?
Hey! How 'bout that!
They laugh again. JIM swings up the ladder and goes to JUDY.
Haven't you noticed your personality
They all sit on the blanket.
How do you know so much about this
I had to go to a head-shrinker. I
only went twice though. My mother
said it cost too much, so she went
to Hawaii instead.
JIM lies back with his head in JUDY's lap. She strokes his
hair and smiles at him. PLATO looks away.
No. Seriously. What's your trouble?
PLATO hesitates a moment, then leans back, cuddling between
the two of them.
I don't know but whatever it is,
it's gone now. I mean I'm happy
JIM puts his arm under PLATO's chin.
I came here before.
When was that?
When I was here? When I ran away.
I used to run away a lot but they
always took me back.
Mom and Dad. I used to be in my
crib and I'd listen to them fight.
You remember that far back? Boy, I
can't even remember yesterday.
Plato, where's your father now?
He's dead. He was a hero in the
You told me he's a big wheel in New
I did? Well, he might as well be
dead. What's the difference?
It's all right.
PLATO closes his eyes. JUDY hums a lullaby as she strokes
JIM's lips with a finger. He snaps at it. Then he kisses
her hand, looks at her palm. They whisper.
You have a long life-line.
She takes his palm and examines it.
So have you.
She kisses it, holds her cheek against it.
Ever been in a place like this before?
Not exactly. It's certainly huge.
How many rooms do you think there are?
I don't know.
Should we explore?
She looks at PLATO. JIM shrugs--tests to see if the boy is
awake, but there is no reaction.
Carefully, they crawl to their feet. JIM supporting PLATO's
head with his hands as they do so. JIM takes the other
blanket and covers PLATO with it. JUDY kneels on the other
side and tucks it in. They look at each other across him
and smile. Then suddenly JUDY bends down and kisses PLATO's
cheek very softly. JUDY and JIM rise.
JIM takes a candle from the candelabra and leads JUDY along
the edge of the pool to the glass doors beyond. Silence
except for their footfalls on the flagstone. In the
distance we see the doors open and the couple pass through.
When they close again, a sob comes from PLATO.
High angle closeup. PLATO lying as they left him, but his
eyes are open and he is crying. Camera booms up as PLATO
throws off the blanket and looks after them. Camera booms
higher until he is revealed as a small and lonely figure
sitting by himself. The pool echoes his weeping.
Inside library. Mansion. Night. The door opens slowly and
JIM appears with the candle. JUDY lingers at the door. The
flickering light reveals a formerly lavish room, paneled in
oak. There is a tapestry couch, empty bookcases, some dim
portraits, a leather table and several chairs around a great
Hey! Will you look at this room!
(looks behind him)
She comes forward. JIM drips wax on the table-top and
sticks the candle on it. His hand shakes. JUDY sits on the
Want to read any books? Take your
(sits beside her)
Isn't this the craziest?
He takes her hand. She looks at him and smiles.
Your hand's all wet and it's shaky.
You're so funny.
I don't know--you just are.
Leaving a light for Plato. That
Maybe he's scared of the dark.
JIM snuffs out the candle. They are left in moonlight. A
Here we are--
out of cigarettes--
Junior's in the nurs'ry--
See how late it gets--
You don't need to do that.
There's something I should tell
I know already. We don't have to
What a relief!
He leans back, relaxed at last. She snuggles close to him.
Is this what it's like to love
(mussing her hair)
Funny Jimmy. You're so clean and
you--this is silly.
You smell like baby powder.
So do you.
I never felt so clean before.
It's not going to be lonely, Judy.
Not for you and not for me.
I love somebody. All the time I've
been looking for someone to love me
and now--I love somebody. And it's
so easy. Why is it easy now?
It is for me too.
I love you, Jim. I really mean it.
She kisses his lips gently and looks into his face. He
returns the kiss. Their arms go around each other.
I mean it too.
He kisses her again--
Full shot. Road near Planetarium. MOOSE's heap crawls up
and turns left. A moment later, the police car appears and
does likewise--still holding its distance.
Full shot. The mansion as MOOSE's heap moves past on the
road below. Suddenly it stops.
Inside MOOSE's heap. CRUNCH looks off, curious.
What you stopping for?
You scam a car up there?
Nobody's lived in that hunk of junk
for five-six years.
He switches on the spotlight. It illuminates JIM's heap.
Well, what do you know! I feel a
kick coming on!
He turns off all the lights and gets out. The others follow.
Med. shot. Police car. It has halted. One of the officers
gets out and draws his gun. The other makes radio contact
in a low voice:
This is Unit 17. Unit 17.
Come in, Unit 17.
We just zeroed three kids in a heap.
Crest Drive and Observatory. Looks
like house-breaking. Send us some
help. They may be armed. Over.
Close shot. PLATO asleep on the blanket. Only a single
candle burns in the candelabra. The same low whistles heard
earlier come from all around him and rise in volume.
Suddenly his eyes open. He doesn't move, but he has come
Low shot. PLATO lying in f.g. Next to his face are a pair
of booted feet. He looks up. Camera pans up to show CRUNCH.
He is smiling. He holds a tire chain in his hand which he
Full shot. The swimming pool. GOON and MOOSE are behind
CRUNCH. They too are armed with tire chains. They all
laugh. PLATO rolls away from them and runs toward the deep
end of the pool.
Moose! Take the steps! Goon! The
The boys run to their assigned places. PLATO sees no exit.
He flings himself down the ladder and into the pool. He
feints this way and that, the boys responding as if they
were fencing. CRUNCH swings down the ladder and his boots
make a loud report as they hit the pool. MOOSE advances
down the steps at the shallow end. GOON climbs onto the
pool bottom at the opposite side. The feinting continues,
wordlessly, as the circle closes around PLATO. The only
sounds are the stamping of their boots as they try to
distract him from side to side, and the animalistic grunts
they make to scare him. Suddenly PLATO sees an opening and
plunges past MOOSE, pushing him over, and stumbles up the
Come on! Let's make it!
They stream out of the pool after PLATO. He reaches the
glass doors first, streaks though, and bangs them shut
Traveling shot. Arcade. PLATO's face is visible only when
the moonlight strikes him through the passing windows. The
sound of running steps behind him.
Full shot. Main room. A pattern of moonlight on the bare
floor as PLATO dashes in and through it. He falls over a
piece of furniture and comes scurrying in to camera, wheels
around on hands and knees to face the door. The boys plunge
into the moonlit square and stop. PLATO tries not to
breathe. A match is struck. CRUNCH looks around, but can
see nothing. That match goes out. The boys start up the
stairs, whispering. Immediately, PLATO crawls forward,
under the piano. He hears a murmur of voices from behind
the oak door of the library--next to the piano. He moves to
Close shot, PLATO at door listening through it, on hands and
knees. His confusion mounts. He shakes his head to clear
it. Then, suddenly he rises and tries the knob. The door
is locked. He beats on it.
The boys run across the room. As they hit the moonlit
square. PLATO spins and fires. Somebody drops and starts
moaning. JIM opens the door.
What you run out on me for! What
you leave me alone for?
There is a rush of boys coming forward.
I don't want you for my father!
PLATO fires at JIM. JIM leaps at PLATO with a cry and
knocks him down.
You crazy nut! You crazy, crazy nut!
Get away from me!
He rolls away from JIM and runs to the main door.
Main door, from inside. PLATO falls upon it, fumbles with
the bolt and swings the door wide. He steps out into the
waning moonlight and we see him running down the lawn. JIM
rushes into the doorway and stops short.
Full shot. Mansion. The OFFICERS are moving away from us
toward it. PLATO runs wildly toward them.
PLATO stops, confused.
JIM runs out on the promenade and starts over the balustrade.
Close shot. PLATO. His face is working desperately in
Come here, son.
Just walk over here quietly now--
and there won't be any trouble.
PLATO runs out.
Close shot. JIM as he screams.
Full shot. Main doorway as JUDY rushes out, followed by
GOON and MOOSE. They all stop dead at the balustrade.
Jim! Watch out!
Reverse shot. Lawn. JIM seen in f.g. PLATO bolting toward
the woods in the direction of the planetarium. The officers
have both hit the ground in the distance. They fire again.
JIM hesitates a moment, then rushes after PLATO. The
officers fire again.
Moving shot. JIM as he runs after PLATO.
Med. shot. OFFICERS as they rise to their feet.
Take the house! I'll head him off.
Full shot. Front of mansion. JUDY flies down the stairs
and rushes past camera.
Prowl car. Another part of town (Process). RAY is driving.
JIM's father is beside him. The mother is in the back seat.
--located at Summit Drive--the
(snapping on mike)
The planetarium? One kid inside--
five housebreaking in area. Will
(turning to JIM's parents)
There are some kids in trouble--
you'll have to go with me.
Perfectly all right.
Edge of woods as JIM hurtles in from the open ground beyond.
He stumbles against a tree and sinks down.
Traveling shot in the woods as PLATO rushes through the
moonlit trees, sobbing.
Med. shot. JIM at the base of a tree. He is whimpering,
shaking his head. JUDY crashes through the brush and drops
Did he hit you?
She is on the verge of hysteria.
We have to go back!
No! I got to find him.
He starts to rise.
After he tried to shoot you?
He didn't mean it--we shouldn't
have left him. He needed us.
He needed you, maybe. So do I.
There is a sound of distant gunfire. Both kids freeze.
He needs you too. Come on.
JUDY, breaking into a run, follows after him through the brush.
You should have heard him talk
about you tonight. Like you were
the hero in the China Seas.
Sure. He was trying to make us his
They're killing him!
JIM runs ahead blindly and disappears in the trees. JUDY
rushes after him a few steps, then stops.
JUDY and JIM running.
The planetarium. Moonlight. Shooting from the bridle path
and panning to the building. PLATO reels in and goes to the
Med. shot. Door to planetarium. PLATO clutches the handle.
The door is locked. He whimpers once in frustration.
Med. shot. Policeman running up same path PLATO has followed.
PLATO at door to planetarium. He smashes the glass with his
gun and dives through.
Inside planetarium as PLATO lands. He is cut and bleeding.
Come out of there.
PLATO wheels and skitters backward across the floor of the
observatory on his hands and knees until he comes to the
door of the planetarium theater.
Reverse shot. Main entrance. Seen from inside. The
OFFICER in b.g., PLATO in f.g. The OFFICER appears in the
entrance, then moves quickly to one side to be less of a
target. He reaches in to unlatch the door.
You're making it tough on yourself,
kid. Come out quietly now. You
didn't kill anybody yet.
PLATO fires at him, then opens the door of the planetarium
theater and runs inside. The door swings shut behind him.
Outside planetarium. The OFFICER is hugging the outside
wall. Another siren wails and a spotlight catches the
OFFICER who runs out into the light.
Need a little help here!
Full shot. Parking lot as the CHIEF's car wheels to a stop.
It is followed by a civilian car and a cab.
We heard firing. He get anybody?
We got a cookaboo inside. He
wounded some kid earlier.
How'd he get in?
Smashed the front door.
Any other entrance?
Down in back.
Med. shot. Bushes bordering planetarium as JIM climbs
through them and stops short, staring in amazement. JUDY is
Full shot. Parking lot. JIM seen in f.g. hiding in the
screen of leaves. Beyond we see the full activity--the
crowd, the cars, searchlights playing on the planetarium
entrance, police moving in under direction of the CHIEF.
(loud on speaker)
Silence. Please maintain silence.
Keep back and stay off the
pavements. Keep back and stay off
the pavements. There will be
emergency vehicles coming through.
This warning is for your own
RAY's prowl car come in. JIM's parents climb out, curious.
RAY hurries to consult with an officer who briefs him, then
hurries to the chief's car.
Parking lot. Several patrol cars now line the parking lot.
The NEGRO WOMAN in her nightgown and overcoat pushes forward
from a cab and accosts an OFFICER.
What's going on?
I don't know, lady. Some kid's in
trouble. Stand back, please.
I got to know. My boy run off
tonight. He had a gun with him, too.
Med. shot. CHIEF's car as RAY hurries in.
Hello, Ray--Know anything about this?
As much as you do--Loan me your
mike, will you?
(handing it to him)
I am addressing the boy in the
planetarium. I am speaking to the
boy inside. This is Ray Framek
from the Juvenile Division--
Close-up JIM as he reacts to RAY's name. He rises and looks
You are now surrounded. You are
surrounded by many armed police.
Whoever you are, drop your weapon
and come outside.
Med. shot. JIM'S FATHER standing by RAY's car, gazing off
with interest. His wife comes out and stands beside him,
looks at him questioningly.
Come outside. Clasp your hands
over your head and come outside
The FATHER's gaze has traveled over the scene. Suddenly he
sees his son followed by JUDY, run into the planetarium.
(goes over to RAY)
That was my son!
I think I know my son.
The FATHER moves behind the crowd, camera trucking with him,
until he reaches the bushes at the edge of the parking lot
and stops, gathering himself. Meanwhile RAY's voice
Jim Stark! I'm addressing Jim
Stark. Nobody will harm you or
your friends if you follow these
instructions. We are here to
protect you. Drop your guns and
come outside. Nobody will hurt you
if you do as I say--
The FATHER starts forward along the bushes as if stalking
game. Each step is carefully placed and quiet, but his
heart tugs him along like a kite dragging an anchor.
Officers! Another boy and girl
just ran into the planetarium. We
do not know if they are armed.
Hold your positions until further
Inside planetarium as JIM comes dashing in, spins around,
staring. JUDY follows. A siren is heard outside growing
Ambulance. Ambulance is coming
through. Clear a passage. Will
you people make way there?
Floodlights strike the door and illuminate the lobby dimly.
Silence. JIM moves cautiously to the door of the planetarium
theater. JUDY hangs back. Another siren is heard
approaching. More floodlights strike the door.
(continuing - calling softly)
Plato? Plato, you in there?
Hey, I'm going to open the door now.
You'll be able to see me and you
can shoot me if you want, but just
remember one thing, Plato--You're
my friend. That means a lot to me.
JIM opens the door slowly.
Inside theater. Darkness except for the splash of light
from the door where JIM stands in silhouette. He lets the
door close. Blackness.
Boy, I'm blind as a bat! You got a
match? I'm going to break my neck
in here. Where are you?
I've got a gun.
I know. Light a match, will you?
That's swell. How are you?
Another siren is heard outside. JIM has reached the
lecturer's desk and, just as the match goes out, he throws a
switch. The stars appear on the dome and the projector
starts its slow revolution.
You think the end of the world will
come at nighttime, Jim?
No. At dawn.
I just have a feeling. Where are you?
Well, stop hiding and stand up. I
can't talk to you if I don't see you.
JIM waits. Nothing happens.
Hey, look at the stars, Plato.
Stand up and look at the stars.
Plato rises from behind a row, then JIM continues:
JIM approaches slowly.
I'm not going to hurt you.
Why did you run out on me?
We didn't run out. We were coming
Sure I'm sure. Judy's waiting.
You ready to come out now?
A siren is heard.
I promise nothing'll happen if you
You want my jacket? It's warm.
JIM takes off his jacket and holds it out to PLATO.
Can I keep it?
What do you think?
JIM gives him the jacket--PLATO puts it on.
You want to give me your gun now,
In your pocket. Give it to me.
I need it.
You trust me, don't you? Just give
it to me for a second.
PLATO hands him the gun. JIM removes the cartridges and
puts them in his pocket.
You promised to give it back.
Friends never break promises, do
(gives him back the gun)
Okay. Here. Now listen. There
are a lot of people outside and
they all want you to be safe. You
understand that? They said I could
come in and bring you out.
They like you. Okay?
JIM opens the door for PLATO, then follows him out. JUDY
Observatory as JIM, JUDY and PLATO come to the entrance.
PLATO sees an OFFICER.
Just a guard.
I shot at one of them.
But you didn't hurt anybody.
Outside observatory as PLATO and JIM come forward into the
early dawn. PLATO stops and looks off, scared.
Slow pan shot. The crowd. It has grown enormously.
Silence. There are armed officers everywhere--all waiting,
Med. shot. NEGRO WOMAN. Her eyes are moist. Her lips move
in silent prayer.
Med. shot. JIM's parents. The FATHER looking on anxiously.
The MOTHER is crying against the car.
Med. shot. JIM and PLATO.
Those aren't my friends. Make them
(tense; calling past camera)
Ray! Will you tell these guys to
Suddenly PLATO bolts. JIM wheels after him.
Plato! Don't be a fool!
Full shot. Planetarium as PLATO dashes to the stairway
leading to the balcony.
JIM'S FATHER and MOTHER. Their faces reflect panic as they
see PLATO running in JIM's coat.
Full shot. Balcony. Shooting down the stairs as PLATO
rushes up. JIM closes behind him. Camera pans with PLATO
as he climbs the ladder to the ledge of the small dome. JIM
stops at the foot of the ladder.
Keep away from me! I don't believe
He raises the gun as if to shoot JIM. An OFFICER drops to
one knee and fires a shot at PLATO.
Full shot. Small dome. PLATO drops like a stone to JIM's
But I've got the bullets! The gun
Close shot. NEGRO WOMAN as she screams, a handkerchief in
Close shot. JUDY. She sobs once and runs up steps.
Med. shot. JIM staring down at PLATO.
(crouches over PLATO)
Plato. Hey, Jerkpot!
There is nothing. He rises and faces the crowd, shaking his
head in wonder and reproach.
What did you have to do that for?
Full shot, the roof. Parents and Officers. The NEGRO WOMAN
is hysterical. RAY shoves past her, followed by JIM'S
FATHER and MOTHER. They rush toward camera.
Ambulance crew. They spring into action, arrive with
The balcony. JIM is at PLATO's side. A couple of OFFICERS
rush forward to take JIM. The FATHER comes in and pushes
Let him alone! He's mine! I'll
take care of him!
RAY, who has witnessed this, motions to the officers.
It's all right! It's all right!
The FATHER stares down at JIM for a moment. Then he kneels
beside his son, puts his coat over JIM's shoulders. He
speaks very gently.
For a minute...that jacket...I
(breaks off, then)
You couldn't help it, son.
(reaches out, gently,
You did everything a man could do.
He takes JIM by the elbow and starts to bring him to his
feet. The boy suddenly resists, and remains kneeling.
Stand up, Jim. I'll stand up with
you. Let me try to be as strong as
you want me to be.
A faint hope appears in the boy's face. He no longer
resists as the FATHER helps him to rise. But he still keeps
his back to him. The ambulance attendants start putting
PLATO on a stretcher. JIM moves, as if to stop them, but
the FATHER still holds his shoulders.
He depended on me.
And you can depend on me, son.
Trust me. Whatever comes we'll
face it together, I swear.
JIM feels, for the first time, the love and security he has
always wanted. He clutches at his FATHER, crying unashamedly.
The FATHER's arms envelop him. PLATO, through his death,
has helped these two find each other.
Close shot. JUDY and RAY watching.
Low angle. NEGRO WOMAN as she bends over PLATO's body.
(as they lift PLATO
This poor baby got nobody. Just
As he is carried past her, she follows.
Balcony stairs. From below as JIM, supported by his FATHER,
comes down. RAY is behind them. They pause for a silent
meeting with the MOTHER at foot of the stairs. She kisses
JIM and starts wiping his tears away, but he is weeping
soundlessly and it does no good.
JIM looks back up at the dome. The ambulance attendants are
bearing PLATO's litter down the last few stairs, followed by
the NEGRO WOMAN.
Group. The ambulance attendants come down the last few
stairs followed by the NEGRO WOMAN. JIM steps forward
suddenly and adjusts the blanket covering PLATO. JUDY comes
to JIM's side. The litter passes camera and we hold on two
shot of JIM and JUDY, seen against the lightening sky.
(to JUDY, half to himself)
He was always cold.
JUDY moves to JIM and touches his arm lightly. He looks
down at her.
Med. shot. The group. JIM's arm is around JUDY as he leads
her, firmly, towards his MOTHER and FATHER. His voice is
warm, brimming with the new found pride he takes in his
parents as he introduces JUDY to them.
Mom--Dad--this is my friend. Her
name is Judy.
The parents nods warmly and smile at her. She smiles shyly
in response, happy at being accepted. There is a warmth
emanating from the tight little group. Changes have
happened to them. Old things have been shed and a new start
has been made. Camera booms--pulls back high to:
High general shot. Planetarium, JIM and JUDY, FATHER and
MOTHER threading their way through the crowd as the camera
continues to pull back.
Rebel Without A Cause
Writers : Stewart Stern
Genres : Drama