good will hunting shooting

8/8/2019 Good Will Hunting Shooting

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Good Will Hunting

By

Matt Damon and Ben Affleck



2.

LAMBEAU (cont’d)Former winners include NobelLaureates, world renowned astro-physicists, Field’s Medal winnersand lowly M.I.T. professors.

More laughs.

LAMBEAU (cont’d)Okay. That is all.

A smattering of applause. Students pack their bags.

INT. L STREET BAR & GRILLE, SOUTH BOSTON -- NIGHT

The bar is a bit more crowded than usual. Will and Chuckiewalk back to their table, carrying beers. They pass a tableof GIRLS, local regulars getting just as bombed as the guys.These girls are a little overdone. Too much make-up, too

much hairspray, and too much body for such tight outfits.One of the girls, KRYSTYN, smiles at Will who seems subdued.

KRYSTYNHi, Will.

WILLHow you doin’, Krystyn.

They pass the table of girls. Chuckie looks at one,ruefully.

CHUCKIEI didn’t get on Cathy last night.

WILLWhy not?

CHUCKIEI don’t know.

Chuckie turns back to one of the girls, calling out:

CHUCKIE (cont’d)Cathy! Why didn’t you give me none

of your twat last night?

A girl at the table, CATHY, holds up her PINKY FINGER andsmiles -- revealing a mouthful of MISSING TEETH.

CATHYFuck you and your Irish curse,Chuckie!



3.

CHUCKIEShe’s missin’ teeth, Will.

Will nods, not really into it tonight.

CHUCKIE (cont’d)

Plus, it’s like, five to two Morganends up marryin’ her. There’s onlyso many times you can bang yourfriend’s future wife...

They get to the table. Will’s heart just isn’t in it.

WILLI’m takin’ off.

ALLWe’re goin’ late night.

WILLI’m tired.

CUT TO:

INT. FUNLAND - LATER

The place is a monster indoor funpark. Will, Chuckie,Morgan, and Billy are in adjoining batting cages. Will hasdisabled the pitching machine in his and pitches to Chuckie.The boys have been drinking. Will throws one to Chuckie,high and tight.

Several empty beer cans sit by the cage.

CHUCKIEWill!

Another pitch, inside.

CHUCKIE (cont’d)You’re gonna get charged!

WILLYou think I’m afraid of you, youbig fuck? You’re crowdin’ theplate.

Will guns another one, way inside.

CHUCKIEStop brushin’ me back!



4.

WILLStop crowdin the plate!

Chuckie laughs and steps back.

CHUCKIECasey’s bouncin’ at a bar up

Harvard. We should go theresometime.

WILLWhat are we gonna do up there?

CHUCKIEI don’t know, we’ll fuck up somesmart kids.

(stepping back in)You’d prob’ly fit right in.

WILL

Fuck you.

Will fires a pitch at Chuckie’s head. Chuckie dives to avoidbeing hit. He gets up and whips his batting helmet at Will.

CUT TO:

EXT. M.I.T. CAMPUS LAWN -- DAY

A thirty year REUNION PARTY has taken over the lawn. A welldressed throng mill about underneath a large banner thatreads "WELCOME BACK CLASS OF ’72." We find Professor Lambeau

standing with a drink in his hand, surveying the crowd. Heis interrupted by an approaching STUDENT.

STUDENTExcuse me, Professor Lambeau?

LAMBEAUYes.

STUDENTI’m in your applied theories class.We’re all down at the Math andScience building.

LAMBEAUIt’s Saturday.

STUDENTI know. We just couldn’t wait ’tillMonday to find out.



5.

LAMBEAUFind out what?

STUDENTWho proved the theorem.

CUT TO:

INT. M.I.T. HALLWAY -- LATER

Lambeau, still in his reunion formal-wear, strides down thehallway, carrying some papers. A group of students havegathered by the chalkboard. They part like the red sea as heapproaches the board. Using the papers in hand, he checksthe proof.

Satisfied, he turns to the class.

LAMBEAUThis is correct? Who did this?

Dead silence. Lambeau turns to an INDIAN STUDENT.

LAMBEAU (cont’d)Nemesh?

Nemesh shakes his head in awe.

NEMESHNo way.

Lambeau erases the proof and starts putting up a new one.

LAMBEAUWell, whoever You are, I’m sureyou’ll find this one challengingenough to merit coming forward withyour identity. That is, if you cando it.

CUT TO:

EXT. TOM FOLEY PARK, S. BOSTON -- AFTERNOON

In the bleachers of the visiting section we find our boys,drinking and smoking cigarettes. Will pops open a beer. Theboys have been here a while and it shows.

Billy sees something that catches his interest.



6.

BILLYWho’s that? She’s got a nice ass.

Their P.O.V. reveals a girl in stretch pants talking to abeefy looking ITALIAN GUY (BOBBY CHAMPA)

MORGANYah, that is a nice ass.

CHUCKIEYou could put a pool in thatbackyard.

BILLYWho’s she talking to?

MORGANThat fuckin’ guinea, Will knowshim.

WILLYah, Bobby Champa. He used to beatthe shit outta’ me in Kindergarten.

BILLYHe’s a pretty big kid.

WILLYah, he’s the same size now as hewas in Kindergarten.

MORGAN

Fuck this, let’s get something toeat...

CHUCKIEWhat Morgan, you’re not gonna gotalk to her?

MORGANFuck her.

The boys get up and walk down the bleachers.

WILLI could go for a Whopper.

MORGAN(nonchalant)

Let’s hit "Kelly’s."



7.

CHUCKIEMorgan, I’m not goin’ to "Kelly’sRoast Beef" just cause you like thetake-out girl. It’s fifteen minutesout of our way.

MORGANWhat else we gonna do we can’tspare fifteen minutes?

CHUCKIEAll right Morgan, fine. I’ll tellyou why we’re not going to"Kelly’s." It’s because thetake-out bitch is a fuckin’ idiot.I’m sorry you like her but she’sdumb as a post and she has nevergot our order right, never once.

MORGANShe’s not stupid.

WILLShe’s sharp as a marble.

CHUCKIEWe’re not goin’.

(beat)I don’t even like "Kelly’s."

INT. CHUCKIE’S CAR, DRIVING IN SOUTH BOSTON -- CONTINUOUS

The street is crowded as our boys drive down Broadway. Theymove slowly through heavy traffic, windows down. Chuckiesorts through a large "KELLY’S ROAST BEEF" BAG as he drives.

MORGANDouble Burger.

Will holds the wheel for Chuckie as he looks through thebag.

MORGAN (cont’d)(same tone)

Double Burger.

Chuckie gets out fries for himself, hands Will his fries.

MORGAN (cont’d)I, I had a Kelly’s Double Burger.



8.

CHUCKIEWould you shut the fuck up! I knowwhat you ordered, I was there!

MORGANSo why don’t you give me my

sandwich?

CHUCKIEWhat do you mean "your sandwich?" Ibought it.

MORGAN(sarcastic)

Yah, all right...

CHUCKIEHow much money you got?

MORGANI told you, I just got change.

CHUCKIEWell give me your fuckin’ changeand we’ll put your fuckin’ sandwichon layaway.

MORGANWhy you gotta be an assholeChuckie?

CHUCKIE

I think you should establish a goodline of credit.

Laughter, Chuckie goes back searching through the bag.

CHUCKIE (cont’d)Oh motherfucker...

WILLShe didn’t do it again did she?

CHUCKIEJesus Christ. Not even close.

MORGANDid she get my Double Burger?

CHUCKIENO SHE DIDN’T GET YOUR DOUBLEBURGER!! IT’S ALL FUCKIN’ FLYIN’FISH FILET!!



9.

Chuckie whips a FISH SANDWICH back to Morgan, then to Billy.

WILLJesus, that’s really bad, didanyone even order a Flyin’ Fish?

CHUCKIENo, and we got four of ’em.

BILLYYou gotta’ be kiddin’ me. Why do weeven go to her?

CHUCKIECause fuckin’ Morgan’s got a crushon her, we always go there and whenwe get to the window he never saysa fuckin’ word to her, he nevereven gets out of the car, and she

never gets our order right causeshe’s the goddamn MISSING LINK!

WILLWell, she out did herself today...

MORGANI don’t got a crush on her.

Push in on Will who sees something O.S.

Will’s P.O.V. reveals BOBBY CHAMPA and his friends walkingdown the street. One of them casually lobs a bottle into a

wire garbage can. It SHATTERS and some of the glass hits aFEMALE PASSERBY who, although unhurt, is upset.

CHUCKIEWhat do we got?

WILLI don’t know yet.

Will’s P.O.V.: The woman says something to Bobby. He sayssomething back. By the look on her face, it was somethingunpleasant.

MORGANCome on, Will...

CHUCKIEShut up.



10.

MORGANNo, why didn’t you fight him at thepark if you wanted to? I’m notgoin’ now, I’m eatin’ my snack.

WILL

(smiles)So don’t go.

Will is out of the door, jogging toward Bobby Champa. Billygets out, following Will with a look of casual indifference.

CHUCKIEMorgan, Let’s go.

MORGANI’m serious Chuckie, I ain’t goin’.

Leaving the car, Chuckie opens his door to follow.

CHUCKIE(spins in his seat)

You’re goin’. And if you’re not outthere in two fuckin’ seconds, whenI’m done with them you’re next!

And with that, Chuckie is out the door.

CUT TO:

EXT. SIDEWALK --CONTINUOUS

Will comes jogging up towards BOBBY CHAMPA, calling out fromacross the street,

WILL(smiling, good naturedly)

Hey, Bobby Champa! I went toKindergarten with you right? SisterMargaret’s class...

Bobby is bewildered by this strange interruption and unsureof Will’s intentions. Just when it looks as though Bobbymight remember him, Will DRILLS HIM with a sucker-punchwhich begins the

FIGHT SEQUENCE: 40 FRAMES OVER M. GAYE’S "LET’S GET IT ON."

Will’s momentum and respectable strength serve to knock thehapless Champa out cold.



12.

WILL (cont’d)(to Police)

Hey, I know it’s not a Frenchcruller, but it’s free.

The cop holding Will SLAMS his [Will’s] face into the hood,

another cop uses a baton to press Will’s face into the car.The look of rage returns to Will’s eye.

WILL (cont’d)Get the fuck off me!

Will resists. Another cop comes over. Will KICKS HIM IN THEKNEE, dropping the cop. Momentarily freed, Will engages in afracas with three cops. More converge on Will, who -- thoughhe struggles -- takes a beating.

EXT. M.I.T. CAMPUS, ESTABLISHING SHOT -- MORNING

Students walk to class, carrying bags. More than any other,students seem to be heading into one PARTICULAR CLASSROOM.

INT. M.I.T. CLASSROOM -- MORNING

The classroom is even more crowded than last we saw it. Tomtakes notes as Lambeau plays along with the excitedenvironment with mock pomposity and good humor.

LAMBEAUIs it my imagination, or has my

class grown considerably?

Laughter.

LAMBEAU (cont’d)I look around and see young peoplewho are my students, young peoplewho are not my students as well assome of my colleagues. And by nostretch of my imagination do Ithink you’ve all come to hear melecture.

More laughter.

LAMBEAU (cont’d)But rather to ascertain theidentity of who our esteemed "TheTech" has come to call "The MysteryMath Magician."



13.

He holds up the M.I.T. Tech featuring a silhouetted figure,emblazoned with a large, white question mark. The headlinereads "Mystery Math Magician strikes again."

LAMBEAU (cont’d)Whoever you are, you’ve solved four

of the most difficult theorems I’veever given a class. So withoutfurther ado, come forward silentrogue, and receive thy prize.

The class waits in breathless anticipation. A STUDENT shiftshis weight in his chair, making a noise.

LAMBEAU (cont’d)Well, I’m sorry to disappoint myspectators, but it appears therewill be no unmasking here today.I’m going to have to ask those of

you not enrolled in the class tomake your escape now or, for thenext three hours be subjected tothe mundities of eigenvectors.

People start to gather their things and go. Lambeau picks upa piece of chalk and starts writing on the board.

LAMBEAU (cont’d)However, my colleagues and I haveconferred. There is a problem onthe board, right now, that took ustwo years to prove. So let this be

said; the gauntlet has been throwndown. But the faculty have answeredthe challenge and answered withvigor.

DISSOLVE:

EXT. CHARLES RIVER, ESTABLISHING SHOT -- MORNING

The morning sun reflects brilliantly off the river.

CUT TO:

EXT. COURTHOUSE -- NEXT MORNING

Will emerges from the courthouse. Chuckie is waiting for himin the Cadillac with two cups of DUNKIN’ DOUGHNUTS coffee.He hands one of them to Will. This feels routine.



14.

CHUCKIEWhen’s the arraignment?

WILLNext week.

Chuckie pulls away.

CUT TO:

INT. M.I.T. HALLWAY -- NIGHT

Lambeau comes out of his office with Tom and locks the door.As he turns to walk down the hallway, he stops. A faintTICKING SOUND can be heard. He turns and walks down thehall.

Lambeau and Tom come around a corner. His P.O.V. reveals a

figure in silhouette blazing through the proof on thechalkboard. There is a mop and a bucket beside him. AsLambeau draws closer, reveal that the figure is Will, in hisjanitor’s uniform. There is a look of intense concentrationin his eyes.

LAMBEAUExcuse me!

Will looks up, immediately starts to shuffle off.

WILLOh, I’m sorry.

LAMBEAUWhat’re you doing?

WILL(walking away)

I’m sorry.

Lambeau follows Will down the hall.

LAMBEAUWhat’s your name?

(beat)Don’t you walk away from me. Thisis people’s work, you can’tgraffiti here.

WILLHey fuck you.



16.

BILLYLeast I work for a livin’.

(to Will)Why’d you get fired?

WILL

Management was restructurin’.

Laughter.

CHUCKIEMy uncle can probably get you on mydemo team.

MORGANWhat the fuck? I just asked you fora job yesterday!

CHUCKIE

I told you "no" yesterday!

After two students flash their ID’s to the doorman (CASEY)our boys file past him.

ALL(one after another)

What’s up Case.

With an imperceptible nod, Casey waves our boys through. Afifth kid, a HARVARD STUDENT, tries to follow. He is stoppedby Casey’s massive, outstretched arm:

CASEYID?

INT. BOW AND ARROW -- CONTINUOUS

Chuckie is collecting money from the guys to buy a pitcher,all but Morgan cough up some crumpled dollars.

CHUCKIESo, this is a Harvard bar, huh? Ithought there’d be equations andshit on the wall.

INT. BACK SECTION, BOW AND ARROW -- MOMENTS LATER

Chuckie returns to a table where Will, Morgan and Billy havemade themselves comfortable. He [Chuckie] spots twoATTRACTIVE YOUNG HARVARD WOMEN sitting together at the endof the bar.



17.

Chuckie struts his way toward the women and pulls up achair. He flashes a smile and tries to submerge his thickBoston accent.

CHUCKIEHey, how’s it goin’?

LYDIAFine.

SKYLAROkay.

CHUCKIESo, you ladies ah, go to schoolhere?

LYDIAYes.

CHUCKIEYeah, cause I think I had a classwith you.

At this point, several interested parties materialize.Morgan Billy and Will try, as inconspicuously as possible,to situate themselves within listening distance. A ratherlarge student in a HARVARD LACROSSE sweatshirt, CLARK (22)notices Chuckie. He [Clark] walks over to Skylar and Lydia,nobly hovering over them as protector. This gets Will,Morgan, and Billy’s attention.

SKYLARWhat class?

CHUCKIEAh, history I think.

SKYLAROh...

CHUCKIEYah, it’s not a bad school...

At this point, Clark can’t resist and steps in.

CLARKWhat class did you say that was?

CHUCKIEHistory.



18.

CLARKHow’d you like that course?

CHUCKIEGood, it was all right.

CLARK

History? Just "history?" It musthave been a survey course then.

Chuckie nods. Clark notices Chuckie’s clothes. Will andBilly exchange a look and move subtly closer.

CLARK (cont’d)Pretty broad. "History of theWorld?"

CHUCKIEHey, come on pal we’re in classesall day. That’s one thing about

Harvard never seizes to amaze me,everybody’s talkin’ about schoolall the time.

CLARKHey, I’m the last guy to want totalk about school at the bar. Butas long as you’re here I want to"seize" the opportunity to ask youa question.

Billy shifts his beer into his left hand. Will and Morgansee this. Morgan rolls his eyes as if to say "not again..."

CLARK (cont’d)Oh, I’m sure you covered it in yourhistory class.

Clark looks to see if the girls are impressed. They are not.

When Clark looks back to Chuckie, Skylar turns to Lydia androlls her [own] eyes. They laugh. Will sees this and smiles.

CHUCKIETo tell you the truth, I wasn’t

there much. The class was ratherelementary.

CLARKElementary? Oh, I don’t doubt thatit was. I remember the class, itwas just between recess and lunch.

Will and Billy come forward, stand behind Chuckie.



19.

CHUCKIEAll right, are we gonna have aproblem?

CLARKThere’s no problem. I was justhoping you could give me some

insight into the evolution of themarket economy in the earlycolonies. My contention is thatprior to the Revolutionary War theeconomic modalities especially ofthe southern colonies could mostaptly be characterized as agrarianprecapitalist and...

Will, who at this point has migrated to Chuckie’s side andis completely fed-up, includes himself in the conversation.

WILL

Of course that’s your contention.You’re a first year grad student.You just finished some Marxianhistorian, Pete Garrison prob’ly,and so naturally that’s what youbelieve until next month when youget to James Lemon and getconvinced that Virginia andPennsylvania were stronglyentrepreneurial and capitalist backin 1740. That’ll last untilsometime in your second year, thenyou’ll be in here regurgitatingGordon Wood about thePre-revolutionary utopia and thecapital-forming effects of militarymobilization.

CLARK(taken aback)

Well, as a matter of fact, I won’t,because Wood drasticallyunderestimates the impact of--

WILL

"Wood drastically underestimatesthe impact of social distinctionspredicated upon wealth, especiallyinherited wealth..." You got thatfrom "Work in Essex County," Page421, right? Do you have anythoughts of your own on the subjector were you just gonna plagiarizethe whole book for me?



20.

Clark is stunned.

WILL (cont’d)Look, don’t try to pass yourselfoff as some kind of an intellect atthe expense of my friend just to

impress these girls.

Clark is lost now, searching for a graceful exit, any exit.

WILL (cont’d)The sad thing is, in about 50 yearsyou might start doin’ some thinkin’on your own and by then you’llrealize there are only twocertainties in life.

CLARKYeah? What’re those?

WILLOne, don’t do that. Two -- youdropped a hundred and fifty grandon an education you coulda’ pickedup for a dollar fifty in latecharges at the Public Library.

Will catches Skylar’s eye.

CLARKBut I will have a degree, andyou’ll be serving my kids fries at

a drive through on our way to askiing trip.

WILL(smiles)

Maybe. But at least I won’t be aprick.

(beat)And if you got a problem with that,I guess we can step outside anddeal with it that way.

While Will is substantially smaller than Clark, he [Clark]decides not to take Will up on his [Will’s] offer.

WILL (cont’d)If you change your mind, I’ll beover by the bar.

He turns and walks away. Chuckie follows, throwing Clark alook.



21.

Morgan turns to a nearby girl.

MORGANMy boy’s wicked smart.

INT. BOW AND ARROW, AT THE BAR -- LATER

Will sits with Morgan at the bar watching with someamusement as Chuckie and Billy play bar basketball gamewhere the players shoot miniature balls at a small basket.In the B.G. occasionally we hear Chuckie shouting "Larry!"When he scores.

Skylar emerges from the crowd and approaches Will.

SKYLARYou suck.

WILLWhat?

SKYLARI’ve been sitting over there forforty-five minutes waiting for youto come talk to me. But I’m justtired now and I have to go home andI wasn’t going to keep sittingthere waiting for you.

WILLI’m Will.

SKYLARSkylar. And by the way. That guyover there is a real dick and Ijust wanted you to know he didn’tcome with us.

WILLI kind of got that impression.

SKYLARWell, look, I have to go. Gotta’get up early and waste some moremoney on my overpriced education.

WILLI didn’t mean you. Listen, maybe...

SKYLARHere’s my number.



22.

Skylar produces a folded piece of paper and offers it toWill.

SKYLAR (cont’d)Maybe we could go out for coffeesometime?

WILLGreat, or maybe we could gosomewhere and just eat a bunch ofcaramels.

SKYLARWhat?

WILLWhen you think about it, it’s justas arbitrary as drinking coffee.

SKYLAR(laughs)

Okay, sounds good.

She turns.

WILLFive minutes.

SKYLARWhat?

WILL

I was trying to be smooth.(indicates clock)

But at twelve-fifteen I was gonnacome over there and talk to you.

SKYLARSee, it’s my life story. Five moreminutes and I would have got tohear your best pick-up line.

WILLThe caramel thing is my pick-upline.

A beat.

SKYLARGlad I came over.

CUT TO:



23.

EXT. BOW AND ARROW -- LATER

Our boys are walking out of the bar teasing one anotherabout their bar-ball exploits. Across the street is anotherbar with a glass front. Morgan spots Clark sitting by thewindow with some friends.

MORGANThere goes that fuckin’ Barneyright now, with his fuckin’ "skiin’trip." We should’a kicked thatdude’s ass.

WILLHold up.

Will crosses the street and approaches the plate glasswindow and stands across from Clark, separated only by theglass. He POUNDS THE GLASS to get Clark’s attention.

WILL (cont’d)Hey!

Clark turns toward Will.

WILL (cont’d)DO YOU LIKE APPLES?

Clark doesn’t get it.

WILL (cont’d)DO YOU LIKE APPLES?!

CLARKYeah?

Will SLAMS SKYLAR’S PHONE NUMBER against the glass.

WILLWELL I GOT HER NUMBER! HOW DO YALIKE THEM APPLES?!!

Will’s boys erupt into laughter. Angle on Clark, deflated.

EXT. STREET -- NIGHT

The boys make their way home, piled into Chuckie’s car,laughing together.



24.

EXT. CHARLES STREET BRIDGE -- DAWN

Shot of car crossing over the Charles St. Bridge, overtakinga red-line train.

EXT. CHARLESTON BACKROAD -- DAWN

Traveling through narrow back roads in Charlestown, passingthe Bunker Hill monument.

EXT. WILL’S APARTMENT -- DAY

Arriving at Will’s house and dropping him off.

DISSOLVE TO:

INT. M.I.T. BUILDING AND GROUNDS GARAGE -- DAY

Lambeau walks into a small garage facility. The area storeslawn machinery and various tools. An older man, TERRY (58)sits behind the desk reading the BOSTON HERALD sports page.Lambeau has obviously never been here before. He takes inthe surroundings, somewhat uncomfortable. Gets dirty.

LAMBEAUExcuse me. Is this the buildingsand grounds office?

TERRYYeah, can I help you?

LAMBEAUI’m trying to find the name of astudent who works here.

TERRYNo students work for me.

LAMBEAUCould you just check, because theyoung man who works in mybuilding--

TERRYWhich one’s your building?

LAMBEAUBuilding two.

Terry checks a list behind his [own] desk. Looks up.



25.

TERRYWell, if something was stolen, Ishould know about it.

LAMBEAUNo, no. Nothing like that. I just

need his name.

TERRYI can’t give you his name unlessyou have a complaint.

LAMBEAUPlease, I’m a professor here andit’s very important.

TERRYWell, he didn’t show up for worktoday...

Terry takes a beat. Holding all the cards.

TERRY (cont’d)Look, he got his job through hisP.O. so you can call him.

Terry goes through a stack of paper on his desk. Takes out acard and hands it to Lambeau. Lambeau looks blankly at thecard which reads: "PAROLE EMPLOYMENT PROGRAM."

INT. COURTROOM -- DAY

Will stands before JUDGE MALONE (40) being arraigned. It isfairly unceremonious, the courtroom nearly empty, save Willand the PROSECUTOR. Lambeau walks in from the back.

WILLThere is a lengthy legal precedent,Your Honor, going back to 1789,whereby a defendant may claim self-defense against an agent of thegovernment where the act is shownto be a defense against tyranny, adefense of liberty--

The Judge interrupts to address the prosecutor.

JUDGE MALONEMr. Simmons, Officer McNeely whosigned the complaint isn’t in mycourtroom. Why is that?



26.

PROSECUTORHe’s in the hospital with a brokenknee, Your Honor. But I havedepositions from the otherofficers.

WILL

Henry Ward Beecher proclaimed, inhis Proverbs From Plymouth Pulpitback in 1887, that "Every Americancitizen is by birth, a swornofficer of the state. Every man isa policeman." As for the otherofficers, even William Congravesaid; "he that first cries out’stop thief’ is ’oft he that hasstolen the treasure."

PROSECUTORYour Honor--

Will cranks it up.

WILL(to Prosecutor)

I am afforded the right to speak inmy own defense by our constitution,Sir. The same document whichguarantees my right to liberty."Liberty," in case you’veforgotten, is "the soul’s right tobreathe, and when it cannot take along breath laws are girded too

tight. Without liberty, man is asyncope."

(beat, to Judge)Ibid. Your Honor.

PROSECUTORMan is a what?

WILLJulius Caesar proclaimed -- Thoughhe be wounded-- "Magna..."

The Judge interrupts.

JUDGE MALONESon,

(a beat)My turn.

The Judge opens Will’s CASE HISTORY.



28.

LAMBEAUExcuse me, your Honor.

(offers hand)Gerald Lambeau.

An awkward beat. Lambeau waits for some sign of recognition.

LAMBEAU (cont’d)I’m a professor at M.I.T.

(beat)Combunatorial Mathematics.

The Judge offers only a blank look.

JUDGE MALONEOh. Pleased to meet you.

LAMBEAUDo you have a minute?

CUT TO:

INT. MIDDLESEX COUNTY JAIL, HOLDING AREA -- SAME

A GUARD walks Will down a hallway toward a group of phones.

GUARDOne call, to an attorney.

(beat)One.

The Guard gives Will a hard look for a beat. Then leaves.

WILLHow many?

Will picks up the phone, dials.

WILL (cont’d)Hey, Skylar?

INT. SKYLAR’S DORM -- DAY

SKYLARYeah?

WILLIt’s Will, the really funny goodlooking guy you met at the bar?



29.

SKYLARI’m sorry, I don’t recall meetinganyone who fits that description.

WILLOkay, you got me. It’s the ugly,

obnoxious, toothless loser who gotdrunk and wouldn’t leave you aloneall night.

SKYLAROh Will! I was wondering when you’dcall.

WILLYeah, I figured maybe sometime thisweek we could go to a cafe and havesome caramels.

SKYLARSounds good, where are you now?

WILLYou aren’t, by any chance, Pre-law?Are you?

CUT TO:

INT. MIDDLESEX COUNTY JAIL, INTERROGATION ROOM -- LATER

Professor Lambeau sits, waiting. Will is brought in,

shackled, by the guard.

LAMBEAUHello. Gerald Lambeau, M.I.T.

WILLFuck do you want?

LAMBEAUI’ve spoken with the judge and he’sagreed to release you under mysupervision.

WILL(suspicious)

Really?

LAMBEAU(beat)

Yes. Under two conditions.



30.

WILLWhat’re those?

LAMBEAUThat you meet with me twice aweek--

(a beat)and you meet with a therapist.

WILLIf I agree to this, I walk rightnow?

LAMBEAUThat’s right.

WILLI’ll do the work. I’m not going tomeet with a therapist.

LAMBEAUNow, it won’t be as bad as itsounds, Will.

(beat)I’ve already spoken to onetherapist, his name is Henry Lipkinand he’s a friend of mine. He’salso published four books and iswidely considered to be one of thebrightest men in his field.

(beat)I’m sure it’ll be better than

spending the next six months injail.

CUT TO:

INT. WILL’S APARTMENT -- NIGHT

Will sits alone in his one room apartment, reading. A closerlook reveals he is reading a self-help PSYCHOLOGY BOOK. Willis flipping through the book at about a page per second. Heshakes his head and smiles. Upon finishing the book, hethrows it in a nearby WASTEBASKET. Push in on the back ofthe book where a SMILING PSYCHOLOGIST is pictured.



31.

INT. PSYCHOLOGIST’S OFFICE -- CONTINUOUS

Will sits in a well decorated Psychologist’s Office. Acrossfrom Will sits the same PSYCHOLOGIST, HENRY LIPKIN (40),from the book. They are in mid-session.

WILL

That’s why I love stock-car racin’.That Dale Ernhart’s real good.

PSYCHOLOGISTNow you know Will, and I know, whatyou need to be doing. You have agift.

WILLI could work the pit maybe, but Icould never drive like DaleErnhart--

PSYCHOLOGISTYou have a quality -- something youwere born with, that you have nocontrol over -- and you are, in asense, hiding that by becoming ajanitor. And I’m not saying that’swrong. I’m friends with the janitorthat works in my building. He’sbeen to my house for dinner. As amatter of fact I did some freeconsultation for "Mike" -- that’snot his real name. That’s in mybook.

WILLYeah, I read your book. "Mike" hadthe same problems as "Chad" thestockbroker.

PSYCHOLOGISTYes. The pressures you feel, andagain, I am neither labeling norjudging them, are keeping you fromfulfilling your potential -- you’rein a rut. So stop the Tom Foolery-- the Shenanigan’s, Will.

WILLYou’re right. I know.

PSYCHOLOGISTWill, your not getting off thateasy.



32.

WILLNo, but, I mean you know... I doother things. That no one knowsabout.

PSYCHOLOGIST

Like what, Will?

WILLI go places, I interact.

PSYCHOLOGISTWhat places?

WILLCertain, clubs.

(beat)Like, Paradise. It’s not bad.

Will gives the Psychologist a furtive look.

WILL (cont’d)It’s just that feeling when you cantake your shirt off and reallydance.

(beat)When the music owns you. Do youunderstand?

PSYCHOLOGISTI might understand that.

WILLDo you find it hard to hide thefact that you’re gay?

PSYCHOLOGISTWhat?

WILLC’mon, I read your book. I talkedto you. It’s just something I knowto be true.

PSYCHOLOGISTThat’s very presumptuous.

WILLBuddy, two seconds ago you wereready to give me a jump.



33.

PSYCHOLOGIST(a little laugh)

Well, I’m sorry to disappoint you,but I’m married and I have twochildren.

WILLI’m sure you do. You probably got areal nice house, nice car -- yourbook’s a best seller.

PSYCHOLOGISTYou’re getting defensive, Will.

WILLLook, man. I don’t care if you’reputting from the rough. There aresolid arguments that some of thegreatest people in history were

gay; Alexander the Great, Caesar,Shakespeare, Oscar Wilde, Napoleon,Gertrude Stein, not to mentionDanny Terrio, not many straight mencan dance like that.

PSYCHOLOGISTWho is "Danny Terrio?"

WILLIf you wanna hit "Ramrod," takeyour shot. Take some pride in it.You go to church? So fuckin’ what,

God loves you. I mean, Christ. Aguy as well known as you? By thetime you put your disguise on andskulk out of the house Sundaynights you probably look like"Inspector Clouseau."

The Psychologist calmly packs his things.

PSYCHOLOGISTWell, I can see this ispointless...

WILLYou’re getting defensive... Henry.And hey, chief -- tell the wife, atleast. Christ, set her free.

The shrink gets up and walks out.



34.

WILL (cont’d)Fuckin’ hypocrite...

INT. HALLWAY -- CONTINUOUS

The Psychologist comes walking out, much to the surprise ofLambeau and Tom who have been waiting in the lobby.

LAMBEAUHenry?

The Psychologist keeps walking.

PSYCHOLOGISTNo. You know what, Gerry? This iswhy I don’t do pro-bono anymore.It’s not worth it to me.

LAMBEAUWhat happened?

PSYCHOLOGISTI don’t have the time. I’m going onnational television this week.

LAMBEAUWait a minute, Henry...

He [Henry] is out the door. Lambeau looks to Tom.

TIME CUT TO:

INT. LAMBEAU’S OFFICE -- LATER

Will is reclining, eyes closed, in a trance-like state. Themood is more serious now.

HYPNOTISTOkay, you’re in your bed, Will. Nowhow old are you?

WILLSeven.

HYPNOTISTAnd what do you see?

WILLSomethin’s in my room.



35.

HYPNOTISTWhat is it?

WILLIt’s like a small figure, hoverin’over me. Gettin’ closer.

Will flinches.

HYPNOTISTYou’re in a safe place, Will.

WILLIt’s touching me.

Lambeau makes a sound. The Hypnotist shushes him [Lambeau]with his [Hypnotist’s] finger. Tom returns to hisnote-taking.

HYPNOTISTWhere is it touching you?

WILLDown there.

(indicating genitals)And I’m nervous.

HYPNOTISTYou don’t have to be nervous, Will.

Lambeau and the Therapist trade looks. This is working.

WILL’Cause I’m not ready.

(calming)But the figure tells meeverything’s gonna be all right.’Cause the figure’s a Libra too.And we start dancin’ and it’sbeautiful--

Will breaks into song at full volume.

WILL (cont’d)"SKY ROCKETS IN FLIGHT!"

LAMBEAU(getting up)

Oh Jesus.

The Hypnotist gets up and starts heading towards the door.Will is still singing from "Sky Rockets."



36.

LAMBEAU (cont’d)Wait a minute, Barry.

HYPNOTISTI have better ways to spend mytime.

He is gone. Will stops singing, laughs.

LAMBEAUOh, for God’s sake, Will.

WILLOh, come on! You’re not pinnin’this one on me. He left, I wantedto talk to him for another twentyminutes. I was havin’ fun.

LAMBEAU

I told you to cooperate with thesepeople.

WILLC’mon, that guy was a fuckin’ pieceof work.

Will gets up and adopts a hypnotic persona in front ofLambeau.

WILL (cont’d)(spooky voice)

Look into my eyes. I don’t need

therapy.

LAMBEAUGet out, Will.

WILLOkay... don’t forget to get anothertherapist for next week.

LAMBEAUThat’s enough.

Will is out the door. Lambeau turns to Tom.

TOMI called Mel Weintraub thismorning, to check for availability.

LAMBEAUWhat’s the point?



37.

TOMWhat do you want to do?

LAMBEAUThere is somebody...

TOMWho is he?

LAMBEAUHe was my roommate in college.

INT. BUNKER HILL CAMPUS -- DAY

This is SEAN MAGUIRE’S "Dying and Bereavement" class.Emblazoned on the door is "room 101." While the lecture hallcould hold sixty students, there are less than fifteen heretoday.

Sean Maguire lectures to the class in a resigned tone. Tiredof teaching, tired of life, he finds himself resigned to thetedium of teaching core classes to an indifferent studentbody.

SEANEstablishing trust is the mostimportant component in makingbreakthroughs with a patient. Why?

A beat.

SEAN (cont’d)Maureen?

MAUREEN’S only response is an empty stare.

SEAN (cont’d)Keep up the good work, Maureen.Vinnie?

VINNIE looks up.

VINNIEBecause trust is an importantthing.

SEANDon’t bullshit me, Vinnie. Didn’tyour brother give you the notes?Okay. If a patient doesn’t trustyou then they won’t feel safeenough to be honest with you --

(MORE)



38.

SEAN (cont’d)then there’s no point to them beingin therapy. It’s like saying --"Fine, come here and don’t tell mea thing but go home feeling likeyou’re doing something about your

problems -- and give me my fiftybucks before you leave will ya’!"

He looks around the room for approval. No one is listening.

SEAN (cont’d)If you don’t help them trust you --then there’s no way you’ll ever getthem to sleep with you. And thatshould be the goal of any goodtherapist. Insecure women, youknow... nail ’em when they’revulnerable, that’s always been my

motto.

The students look up, somewhat stunned.

SEAN (cont’d)See, I got Vinnie’s attention.

Laughter. Sean starts to resume his lecture, when he noticesLAMBEAU standing in the back of the room. There is anawkward moment.

SEAN (cont’d)Gerry.

LAMBEAUSean.

SEAN(to class)

Well, it seems we’re in thepresence of greatness. ProfessorGerald Lambeau is a Field’s Medalwinner. Combunatorial Mathematics.1986.

The students stare blankly.

LAMBEAUHello.

SEANThe Field’s Medal is the NobelPrize for math.

(beat)

(MORE)



39.

SEAN (cont’d)But it’s only given out every fouryears.

A beat.

SEAN (cont’d)Okay, that’s all for today. Try andget through Fernald by Monday.

The class starts to pack up and file out. Lambeau approachesSean who steps down from the lectern.

LAMBEAUGood to see you.

SEANGood to see you.

LAMBEAUIs there someplace we can talk?

CUT TO:

INT. LOCKOBER RESTAURANT -- NIGHT

Lambeau and Sean share a table at this exclusive restaurant.

Sean seems slightly out of place in his wrinkled sport coat.

LAMBEAU

I didn’t see you at the reunion.

SEANI’ve been busy.

LAMBEAUYou were missed.

(beat)How long has it been since we’veseen each other?

SEANSince Nancy died.

LAMBEAUI’m sorry, that damn conference--

SEANI got your card.

CUT TO:



40.

INT. FUNLAND -- DAY

Will and Chuckie walk up to an enclosed trampoline. Billyand Morgan prefer to use it for their own version of"Wrestlemania."

As Will and Chuckie approach, Billy is on top of a bloodiedMorgan and has him in the "Cobra Clutch." Will and Chuckiewatch for a beat. Billy tightens his grip.

BILLYSubmit, bitch! Submit! Submit!

MORGAN(being strangled)

Suck my cock!

BILLYOh, Morgan!

Chuckie turns to Will, conspiratorially as they wait for thefight to finish.

CHUCKIEWhat’d you get? You get leniency?

WILLProbation, counselin’, few days aweek.

CHUCKIEYou’re fuckin’ good.

Will smiles.

CHUCKIE (cont’d)Just submit, Morgan. He’s got youin the Cobra Clutch.

MORGAN(to Chuckie)

Fuck your mother too!

CUT TO:

INT. LOCKOBER RESTAURANT -- SAME

Lambeau and Sean, having finished their meal. Lambeau hasbeen pitching Sean.



41.

SEANI’ve been busy, Gerry. I got a fullschedule.

LAMBEAUThis kid’s special, Sean. I’ve

never seen anything like him.

SEANNot much free time, Gerry.

LAMBEAUHave you ever heard of a man namedRamanujan?

Sean nods his head.

SEANYeah.

LAMBEAUHe was alive over a hundred yearsago. He was Indian. Dots, notfeathers...

Sean finishes the joke. Lambeau chuckles.

LAMBEAU (cont’d)So this Ramanujan lived in a tinyhut in India. No formal education,no access to other works. But hecame across an old math book and

from this basic text he was able toextrapolate theories that hadbaffled mathematicians for years.

SEANAnd he mailed it to Hardy--

LAMBEAUThat’s right, Sean. He mailed it toa professor at Cambridge whoimmediately recognized thebrilliance in his work and broughtRamanujan to England.

SEANWhere he contracted pneumonia anddied at a young age--

LAMBEAUThey worked together for theremainder of their lives, producing

(MORE)



42.

LAMBEAU (cont’d)some of the most exciting maththeory ever done. Ramanujan’sgenius was unparalleled, Sean. Thisboy is like that. But he’s verydefensive and I need someone who

can get through to him.

SEANWhy me?

LAMBEAUI need someone with your kind ofbackground.

SEANMy kind of background?

LAMBEAU

You’re from the same neighborhood.South Boston.

SEANHe’s from Southie? How many peopledid you try before you came to me?

LAMBEAU(looks squarely at Sean)

Five.

Sean gives a slight, knowing smile.

SEANWho? Barry, Henry, Rick...

Lambeau nods.

SEAN (cont’d)Not Rick? You didn’t send him toRick?

LAMBEAUJust meet with the boy once a week.

SEANCan we do it at my office?

LAMBEAUThat would be fine.

The waiter comes with the CHECK. Each man reaches for it.



43.

LAMBEAU (cont’d)Sean, please.

SEANI got it.

LAMBEAU

It’s on the college.

Sean relents.

CUT TO:

INT. SEAN’S OFFICE -- DAY

Sean’s office is comfortable. Books are stacked against thewall. There is a PAINTING on the wall behind Sean. Sean isseated behind a desk. Lambeau sits in a chair in the back ofthe room, next to Tom. A long beat passes, they wait.

LAMBEAU (cont’d)Any vulnerability he senses, he’llexploit.

SEANI’ll be okay.

LAMBEAUIt’s a poker game with this youngman. Don’t let him see what you’vegot.

Sean nods. Will walks in. Everyone stands to greet Will.

LAMBEAU (cont’d)Hello, Will. Any trouble findingthe place?

WILLNo.

LAMBEAUWill, this is Sean Maguire. Sean,Will Hunting.

Sean and Will nod. An awkward moment as the four men stand.

LAMBEAU (cont’d)Well, let’s get started.

WILLYeah, let’s let the healing begin.

Lambeau is slightly embarrassed. Sean smiles at Will’s joke.



44.

SEANWould you excuse us?

LAMBEAUTom.

SEANYou too, Gerry.

Lambeau looks at Sean, surprised. Sean’s stare isunwavering.

After an awkward moment, Lambeau goes, leaving Sean and Willalone. Will doesn’t look at Sean for more than a second. Heseems more interested in the room. There is a long silenceas Sean watches Will.

SEAN (cont’d)Hello, Will. I’m Sean Maguire.

A smile crosses Will’s face as he walks to his chair andsits.

He lights a cigarette. Sean continues to watch him. Finally-

SEAN (cont’d)Where are you from in Southie?

WILLDid you buy all these books retail,or do you send away for like a"shrink kit" that comes with all

these volumes included?

SEANHave you read all these books,Will?

WILLProbably not.

SEAN(indicating a shelf)

How about the ones on that shelf?

Will’s eyes flicker up to the shelf for an instant.

WILLYeah, I read those.

SEANWhat did you think?



45.

WILLI’m not here for a fuckin’ bookreport. They’re your books, whydon’t you read ’em?

SEAN

I did.

WILLThat must have taken you a longtime.

SEANYeah, it did take me a long time.

Sean says this with pride. His determined stare andconfident manner catch Will a bit off guard. Will rises fromhis chair and goes to the shelf.

WILL(looking at book)

"A History of the United States,Volume I." If you want to read areal history book, read HowardZinn’s "A People’s History of theUnited States." That book willknock you on your ass.

SEANHow about Noam Chomsky’s"Manufacturing Consent?"

WILLYou people baffle me. You spend allthis money on beautiful, fancybooks-- and they’re the wrongfuckin’ books.

SEANYou think so?

WILLWhatever blows your hair back.

Will returns to his chair. Pause.

SEAN(indicating cigarette)

Guy your age shouldn’t smoke somuch. Stunt your growth.



46.

WILLYou’re right. It really gets in theway of my jazzercizing.

Sean does not seem at all affected by Will’s attitude. Heremains behind the big desk with almost half a smile on his

face. Will is aware of Sean’s confidence.

WILL (cont’d)Do you lift?

SEANYes, I do.

WILLNautilus?

SEANFree weights.

WILLOh yeah? Me too. What do you bench?

SEAN285.

WILLOh.

Will gets up again and moves around his chair to Sean’spainting. It is a picture of an old sailboat in a tremendousstorm -- by no means a masterpiece. Will studies it.

WILL (cont’d)You paint this?

SEANYeah. Do you paint?

WILLNo.

SEANCrayons?

WILLThis is a real piece of shit.

SEANTell me what you really think.



47.

WILLPoor color composition, lousy useof space. But that shit doesn’treally concern me.

SEAN

What does?

WILLThe color here, see how dark it is?It’s interesting.

SEANWhat is?

WILLI think you’re one step away fromcutting your ear off.

SEANOh, "Starry Night" time, huh?

WILLYou ever heard the saying, "anyport in a storm?"

SEANSure, how ’bout "still waters rundeep"-

WILL--Well, maybe that means you.

SEANMaybe what mea--

WILLMaybe you were in the middle of astorm, a big fuckin’ storm -- thewaves were crashing over the bow,the Goddamned mast was about tosnap, and you were crying for theharbor. So you did what you had todo, to get out. Maybe you became apsychologist.

SEANMaybe you should be a patient andsit down.

WILLMaybe you married the wrong woman.



48.

SEANWatch your mouth.

WILLThat’s it isn’t it? You married thewrong woman. She leave you? Was she

bangin’ someone else?

Sean is walking slowly towards Will.

WILL (cont’d)How are the seas now, D--

In a flash, Sean has Will by the throat. Will is helpless.

SEANIf you ever disrespect my wifeagain... I will end you.

WILLTime’s up.

CUT TO:


Will walks out of Sean’s office past Lambeau and Tom who aresitting in the hallway.

WILLAt ease, gentlemen.

CUT TO:


Sean stands behind his desk in his office, still very muchon edge. Lambeau walks in.

LAMBEAUFive minutes, Sean. Are you okay?

A pause, Sean is staring at his painting.

LAMBEAU (cont’d)I’ll understand if you don’t wantto meet with him again.

SEANThursday, four o’clock. Make surethe kid is here.



49.

CUT TO:

INT. SEAN’S APARTMENT -- NIGHT

As we pan across Sean’s small apartment, we find it strewn

with dirty clothes and the sink full of dishes. Although, ifit weren’t for the clutter, the place would feel prettybare. A framed SPORTS ILLUSTRATED cover featuring ascreaming Larry Bird and entitled "CELTIC PRIDE" hangs onthe wall. Sean sits at the table next to another nearlyempty bottle of BUSHMILL’S IRISH WHISKEY. He is deep inthought.

CUT TO:

EXT. HARVARD SQUARE -- NIGHT

Will and Skylar on their first date. They watch a streetMAGICIAN doing tricks with a rabbit. The guy’s tricks arepretty good, but his on-stage persona could use some work.He is incessantly repeating the phrase "this is the rabbit,the rabbit really does the tricks." Will gives Skylar a lookand they move on.

CUT TO:

INT. TOY STORE -- LATER

Will and Skylar walk into the small shop.

SKYLARI don’t know, it was just kind ofthe boring suburban thing. Privateschool, Harvard, and now Med.School.

(Beat)I actually figured out that at theend of it, my brain will be worth aquarter of a million dollars. Ishouldn’t have told you that...

WILLI bet your parents were happy topay.

SKYLARI was happy to pay. I inherited themoney.



50.

WILLIs Harvard gettin’ all that money?

SKYLARStanford. I’m leaving in June afterI graduate.

WILLSo you just want to use me and go?

SKYLARWell, I’m gonna experiment on youfor my anatomy class, then go.

WILLIn that case, fine.

(beat)Want to see my magic trick?

SKYLARSure.

Will, pulls out a bulging HANDFUL OF CARAMELS.

WILLNow, I’m gonna make all thesecaramels disappear.

SKYLAROkay...

Will goes into all manner of hocus-pocus theatrics. Then

shakes his hand wildly. The trick doesn’t pan out and thecaramels go flying all over the store. Skylar laughs.

WILLIt works better when I have myrabbit.

INT. HARVARD SQ. DINER: "THE TASTY" -- NIGHT

A FRY COOK hands Will and Skylar a pair of CHEESEBURGERS.

SKYLARHave you ever seen Annie Hall?

WILLNo.

SKYLARWell, there’s this part of themovie that’s about how there’s

(MORE)



51.

SKYLAR (cont’d)

always this tension on a first datewhere both people are thinkingabout what’s going to happen withthe whole ’good night kiss’ thing.

Will smiles.

WILLI really don’t ’date’ that much.

SKYLAR(laughs)

You know what I mean. I know you’veat least thought about it.

WILLNo I haven’t...

SKYLARYes you have. You were thinking youwere gonna get a good night kiss.

WILL(mock protest)

No I wasn’t...

SKYLARYes you were.

WILLI was kinda’ hopin’ to get a "goodnight laid" but... I’ll take akiss.

She laughs.

SKYLAROh, you will?

WILLNo... I was hoping to get a kiss.

SKYLAR

Then why don’t we just get it outof the way.

He looks at her.

WILLNow?

Both of them have cheeseburger in their mouths.



52.

SKYLARYeah.

They kiss, mouths full of burger. It’s nice. A beat.

SKYLAR (cont’d)

That had to be the worst good nightkiss...

Will laughs.

WILLHey, look lady, I’m just here forthe free food.

She smiles.

SKYLARFree?

WILLHey, I spent all my money on thosecaramels.

She laughs.

CUT TO:


Will strolls into the office. Sean is waiting there behind

his desk. He seems different. More calm. Will and Sean stareat each other for a long moment.

WILLYou again. How the paintin’ coming?

Sean stands up.

SEANCome with me.

CUT TO:

EXT. BOSTON COMMON -- MINUTES LATER

Sean and Will sit in the bleachers at the mostly empty park.

They look out over a small pond, in which a group ofschoolchildren on a field trip ride the famous Swan Boats.



53.

WILLSo what’s with this place? You havea swan fetish? Is this somethingyou’d like to talk about?

SEAN

I was thinking about what you saidto me the other day, about mypainting. I stayed up half thenight thinking about it and thensomething occurred to me and I fellinto a deep peaceful sleep andhaven’t thought about you since.You know what occurred to me?

WILLNo.

SEAN

You’re just a boy. You don’t havethe faintest idea what you’retalking about.

WILLWhy thank you.

SEANYou’ve never been out of Boston.

WILLNo.

SEANSo if I asked you about art youcould give me the skinny on everyart book ever written...Michelangelo? You know a lot abouthim I bet. Life’s work, criticisms,political aspirations. But youcouldn’t tell me what it smellslike in the Sistine Chapel. You’venever stood there and looked up atthat beautiful ceiling. And if Iasked you about women I’m sure youcould give me a syllabus of yourpersonal favorites, and maybeyou’ve been laid a few times too.But you couldn’t tell me how itfeels to wake up next to a womanand be truly happy. If I asked youabout war you could refer me to abevy of fictional and non-fictionalmaterial, but you’ve never been in

(MORE)



54.

SEAN (cont’d)one. You’ve never held your bestfriend’s head in your lap andwatched him draw his last breath,looking to you for help. And if Iasked you about love I’d get a

sonnet, but you’ve never looked ata woman and been truly vulnerable.Known that someone could kill youwith a look. That someone couldrescue you from grief. That God hadput an angel on Earth just for you.And you wouldn’t know how it feltto be her angel. To have the lovebe there for her forever. Throughanything, through cancer. Youwouldn’t know about sleepingsitting up in a hospital room fortwo months holding her hand and not

leaving because the doctors couldsee in your eyes that the term"visiting hours" didn’t apply toyou. And you wouldn’t know aboutreal loss, because that only occurswhen you lose something you lovemore than yourself, and you’venever dared to love anything thatmuch. I look at you and I don’t seean intelligent confident man, Idon’t see a peer, and I don’t seemy equal. I see a boy. Nobody couldpossibly understand you, right

Will? Yet you presume to know somuch about me because of a paintingyou saw. You must know everythingabout me. You’re an orphan, right?

Will nods quietly.

SEAN (cont’d)Do you think I would presume toknow the first thing about who youare because I read "Oliver Twist?"And I don’t buy the argument thatyou don’t want to be here, becauseI think you like all the attentionyou’re getting. Personally, I don’tcare. There’s nothing you can tellme that I can’t read somewhereelse. Unless we talk about yourlife. But you won’t do that. Maybeyou’re afraid of what you mightsay.



55.

Sean stands,

SEAN (cont’d)It’s up to you.

And walks away.

CUT TO:

INT. CONSTRUCTION SITE -- DAY

Will and Chuckie doing demo at the site. They throwcinderblocks out a window into a pile. They are filthy.

CUT TO:

EXT. SOUTH BOSTON STREET -- NIGHT

Rain pounds South Boston. Chuckie sits with the Cadillacfiddling, humming to the radio. Morgan and Billy sit in theback, sharing a case of beer. Will is at a pay phone.

INT. SKYLAR’S ROOM -- NIGHT

SKYLARHello?

Will hangs up and runs back to the car, soaked.

CHUCKIEWho’d you call?

WILLNo one. I didn’t have the number.

MORGANWhat are you, retarded? You wentall the way out there in the rainand you didn’t have the number?

WILLNo, it was your mother’s 900number. I just ran out of quarters.

Laughter. Chuckie pulls away from the curb.

MORGANWhy don’t we get off mothers, Ijust got off yours.



56.

There is a long moment of silence in response to Morgan’sattempt at levity. Then laughter.

BILLYYou’re a pretty funny guy. Here,have a nickel.

Billy WHIPS his EMPTY BEER CAN off of Morgan’s head.

MORGANKeep fuckin’ with me. Watch whathappens.

BILLYAll right, then.

MORGANWatch what happens.

CUT TO:


Will sits across from Sean completely silent and takes out apack of cigarettes.

SEANNo smoking.

Will puts the cigarettes away. Sean stares at Will andoccasionally at the clock. Sean continues to check the clockon the wall. It is the only clock in the room and it isBEHIND Will. Their hour is almost up.

CLOSE ON: WILL’S EYES INTERCUT WITH THE CLOCK.

He is counting seconds. As the second hand crosses thetwelve, Will stands up and walks out, leaving Sean alone.

INT. HALLWAY -- LATER

Lambeau and Sean walk down the hallway after the session.

LAMBEAUWhat do you mean "he didn’t talk?"You sat there for an hour?

SEANNo, he just sat there and countedthe seconds until the session wasover. It was pretty impressive,actually.



57.

LAMBEAUWhy would he do that?

SEANTo show me he doesn’t have to talkto me if he doesn’t want to.

LAMBEAUOh, what is this? Some kind ofstaring contest between two kidsfrom the "old neighborhood?"

SEANI won’t talk first.

INT LAMBEAU’S OFFICE -- DAY

The office is more crowded than usual. TOM and THREE of

LAMBEAU’S COLLEAGUES including the esteemed ALEXANDER PEKECare in the room. Will sits at a work-station which projectsa proof of his [Will’s] onto the chalkboard. Lambeau standsbeside the projected image at the board arguing with Pekec,a foreign mathematician. The image is of a Ramses graphbinary tree.

LAMBEAUAlexander, I know your theory. Theboy is updating, he’s strategystealing...

PEKEC

With a Ramses graph on the binarytree--

LAMBEAU--But what he’s doing, he’sattaching an edge to the adjacentvertex. He can always failsafe toeither side--

PEKECMaker can. This is not new, Gerry!

Pekec starts writing lines beside Will’s proof on the board.

PEKEC (cont’d)But I can always garbage out

(writes frantically)All the way to "N" to the minusone.



58.

LAMBEAUNo, there’s a limit.

PEKECThe limit is not found!

(turns to Will)

The limit is not found.

WILLBut I can always go to the otherside.

PEKECThere is no proof--

Lambeau can no longer contain himself.

LAMBEAUMaker builds "K" to the "N." N is

three to the K times--

PEKEC--But--

WILLLook, I wrote it down.

They turn to Will who places his proof on the projector. Theimage is cast over their faces. It reads:

As Pekec reads and the realization dawns on him:

WILL (cont’d)It’s just simpler this way.

Lambeau turns with satisfaction to an understanding Pekec.

LAMBEAUAlexander, your theory is changed.

CUT TO:


Will and Sean sit in silence. A long moment passes. Seancasually reclines in his chair, disinterested. Willrestlessly looks around the room and then back to Sean. Anodd half smile crosses Sean’s face. After a moment:

WILLYou know, I was on this plane once.And I’m sittin’ there and the

(MORE)



59.

WILL (cont’d)

captain comes on and is like "we’llbe cruising at 35,000 feet," anddoes his thing, then he puts themike down but forgets to turn itoff. Then he says "man, all I want

right now is a blow-job and a cupof coffee." So the stewardess goesrunnin’ up towards the cock-pit totell him the mike’s still on, andthis guy in the back of the planegoes "don’t forget the coffee!"

SEAN(smiles)

You’ve never been on a plane.

WILLI know, but the joke’s better if I

tell it in the first person.

A beat.

WILL (cont’d)I have been laid you know.

Sean smiles.

SEANYeah? You got a lady now?

WILLYeah, I went on a date last week.

SEANHow’d it go?

WILLFine.

SEANWell, are you going out again?

WILL

I don’t know.

SEANWhy not?

WILLHaven’t called her.



60.

SEANJesus Christ, you are an amateur.

WILLI know what I’m doing. She’sdifferent from the other girls I

met. We have a really good time.She’s smart, beautiful, fun...

SEANSo Christ, call her up.

WILLWhy? So I can realize she’s not sosmart. That she’s boring. You don’tget it. Right now she’s perfect, Idon’t want to ruin that.

SEAN

And right now you’re perfect too.Maybe you don’t want to ruin that.

Will says nothing.

SEAN (cont’d)Well, I think that’s a greatphilosophy Will, that way you cango through your entire life withoutever having to really know anybody.

Sean looks directly at Will, who looks away. A beat.

SEAN (cont’d)My wife used to turn the alarmclock off in her sleep. I was latefor work all the time because inthe middle of the night she’d rollover and turn the damn thing off.Eventually I got a second clock andput it under my side of the bed,but it got to where she was gettin’to that one too. She was afraid ofthe dark, so the closet light wason all night. Thing kept me up halfthe night. Eventually I’d fallasleep, out of sheer exhaustion andnot wake up when I was supposed tocause she’d have already gotten tomy alarms.

Will smiles, Sean takes a beat.



61.

SEAN (cont’d)My wife’s been dead two years,Will. And when I think about her,those are the things I think aboutmost. Little idiosyncrasies thatonly I knew about. Those made her

my wife. And she had the goods onme too. Little things I do out ofhabit. People call these thingsimperfections Will. It’s just whowe are. And we get to choose whowe’re going to let into out weirdlittle worlds. You’re not perfect.And let me save you the suspense,this girl you met isn’t either. Thequestion is, whether or not you’reperfect for each other. You canknow everything in the world, butthe only way you’re findin’ that

one out is by giving it a shot. Yousure won’t get the answer from anold fucker like me. And even if Idid know, I wouldn’t tell you.

Will smiles. A beat.

WILLWhy not? You told me every otherfuckin’ thing. You talk more thanany shrink I ever met.

Sean laughs.

SEANI teach this shit, I didn’t say Iknew how to do it.

WILLYou ever think about gettin’remarried?

SEANMy wife’s dead.

WILLHence, the word remarried.

SEANMy wife’s dead.

WILLWell I think that’s a wonderfulphilosophy, Sean. That way you can

(MORE)



62.

WILL (cont’d)go through the rest of your lifewithout having to really knowanyone.

A beat. Sean smiles.

SEANTime’s up.

CUT TO:

EXT. SKYLAR’S DORM -- AFTERNOON

Will is waiting outside the door for someone to come out --so he can go in.

INT. SKYLAR’S DORM -- AFTERNOON

The door to Skylar’s dorm is partially open. Will standsoutside while Skylar remains on the threshold.

SKYLARWhere have you been?

WILLI’m sorry, I been real busy.

SKYLARYou were busy? You know, I reallywas waiting for you to call me.

WILLSorry. I’m sorry. Give me anothercrack at it. Let me take you out.

SKYLARYou should have called. I have an"O- chem" lab due tomorrow and it’simpossible.

(beat)It’s not an excuse dummy. I want togo out with you. But look:

She holds up her Lab. Will glances at it.

SKYLAR (cont’d)Tomorrow?

WILLPromise?



63.

SKYLARIf you bring the caramels.

Will smiles.

CUT TO:

EXT. HARVARD SQUARE -- LATER

Will sits in an outdoor cafe, thinking. After a beat, heleans over to two students working at a nearby table,borrows a pen and paper and starts writing.

CUT TO:

EXT. SKYLAR’S DORM -- DAY

Will is a solitary figure strolling across the lawn. Hestops at Skylar’s dorm and knocks on the door.

CUT TO:


She emerges. He hands her the paper he was working on. It isher O-chem lab.

WILLI couldn’t wait till tomorrow.

SKYLARHow the hell did you do that?

WILLDidn’t your mother ever tell younot to look a gift horse in themouth?

SKYLARI’m supposed to understand this.

WILLYou’re not going into surgerytomorrow are you?

SKYLARNo.



64.

WILLThen let’s go have some fun.

With a smile, she relents.

CUT TO:

EXT. WONDERLAND RACETRACK -- DAY

Will and Skylar sit in the stands watching the dogs run.They ad lib teasing one another about England, Ireland, andAmerica.

SKYLARYou grew up around here?

WILLNot far from here, South Boston.

SKYLARHow was that?

WILLPretty boring, I guess.

She smiles.

SKYLARI bet you have a great family.

WILL

You know, nothing special.

SKYLARYou have a lot of brothers andsisters?

WILLDo I have a lot of brothers andsisters?

SKYLARYeah.

WILLWell, Irish Catholic. What do youthink?

SKYLARHow many?



65.

WILLYou wouldn’t believe me if I toldyou.

SKYLARWhat, five?

Will shakes his head.

SKYLAR (cont’d)Seven?

Will shakes his head. Smiles.

SKYLAR (cont’d)Come on.

WILLI have twelve big brothers.

SKYLARNot a chance.

WILLYup, you’re lookin’ at luckythirteen.

SKYLARBullshit.

WILLI swear to God.

SKYLARYour house must have been a zoo.

WILLIt was great. There was alwayssomeone to play with, give youadvice.

SKYLARDo you know all their names?

WILL

’Course I do, they’re my brothers.

SKYLARWell...

WILLMarky, Ricky, Danny, Terry, Mikey,Davey, Timmy, Tommy, Joey, Robby,Johnny, and Brian.



66.

SKYLAR(laughing)

Do you keep in touch with them?

WILLAll the time. We all live inSouthie. I live with three of them

now.

Skylar smiles.

SKYLARI want to meet them.

WILLWe’ll do that.


Sean and Will in session.

WILLI read your book last night.

(beat)Do you still counsel veterans?

SEANNo, I don’t.

WILLWhy not?

SEANI gave that up when my wife gotsick.

WILLIs that why you didn’t writeanything else?

SEAN(smiles)

I didn’t write anything else ’causenobody, including most of my

colleagues bothered to read thefirst one.

WILLWell, I’ve read you colleagues.Your book was good, Sean.

(beat)All those guys were in yourplatoon?



67.

SEANYeah.

WILLWhat happened to that guy fromKentucky?

SEANLon? He got married. He has a kid.I kind of lost touch with him afterNancy got sick.

WILLDo you ever wonder what your lifewould be like if you never met yourwife?

SEANWhat? Do I wonder if I’d be better

off if I never met my wife?

Will starts to clarify his question.

SEAN (cont’d)No, that’s okay. It’s an importantquestion. ’Cause you’ll have yourbad times, which wake you up to thegood stuff you weren’t payingattention to. And you can fail, aslong as you’re trying hard. Butthere’s nothing worse than regret.

WILLYou don’t regret meetin’ your wife?

SEANWhy? Because of the pain I feelnow? I have regrets Will, but Idon’t regret a singel day I spentwith her.

WILLWhen did you know she was the one?

SEANOctober 21, 1975. Game six of theWorld Series. Biggest game in RedSox history, Me and my friendsslept out on the sidewalk all nightto get tickets. We were sitting ina bar waiting for the game to startand in walks this girl. What a gamethat was. Tie game in the bottom of

(MORE)



68.

SEAN (cont’d)the tenth inning, in steps CarltonFisk, hit a long fly ball down theleft field line. Thirty-fivethousand fans on their feet,screamin’ at the ball to stay fair.

Fisk is runnin’ up the baseline,wavin’ at the ball like a madman.It hits the foul pole, home run.Thirty-five thousand people wentcrazy. And I wasn’t one of them.

WILLWhere were you?

SEANI was havin’ a drink with my futurewife.

WILLYou missed Pudge Fisk’s homerun tohave a drink with a woman you hadnever met?

SEANThat’s right.

WILLSo wait a minute. The Red Soxhaven’t won a World Series sincenineteen eighteen, you slept outfor tickets, games gonna start in

twenty minutes, in walks a girl younever seen before, and you giveyour ticket away?

SEANYou should have seen this girl. Shelit up the room.

WILLI don’t care if Helen of Troywalked into that bar! That’s gamesix of the World Series!

Sean smiles.

WILL (cont’d)And what kind of friends are these?They let you get away with that?



69.

SEANI just slid my ticket across thetable and said "sorry fellas, Igotta go see about a girl."

WILL"I gotta go see about a girl"? What

did they say?

SEANThey could see that I meant it.

WILLYou’re kiddin’ me.

SEANNo Will, I’m not kiddin’ you. If Ihad gone to see that game I’d be inhere talkin’ abouta girl I saw at abar twenty years ago. And how I

always regretted not goin’ overthere and talkin’ to her. I don’tregret the eighteen years we weremarried. I don’t regret givin’ upcounseling for six years when shegot sick. I don’t regret being byher side for the last two yearswhen things got real bad. And Isure as Hell don’t regret missingthat damn game.

A beat. Will is impressed.

WILLWould have been nice to catch thatgame though.

SEAN(breaking)

Well hell, I didn’t know Pudge wasgonna hit the home run.

They laugh.

TIME DISSOLVE TO:

INT. SKYLAR’S ROOM -- NIGHT

Will and Skylar in her room, post coital. They are wrappedin a sheet. Will is absent-mindedly playing the memory gameSIMON.

The pattern grows increasingly complex. After a beat:



70.

SKYLARWhy do we always stay here?

WILL’Cause it’s nicer than my place.

SKYLAR

I’ve never seen your place.

WILLExactly.

SKYLARWhat about your friends? Or yourbrothers? When do I get to meetthem?

WILLThey don’t come over here thatmuch.

SKYLARI think I can make it to SouthBoston.

WILLAah, it’s kind of a hike.

SKYLARIs it me you’re hiding from them orthe other way around?

WILL

All right, all right. We’ll go.

SKYLARWhen?

WILLSometime. I don’t know. Next week.

SKYLARWhat if I said I wouldn’t sleepwith you again until you let memeet your friends?

WILLI’d say...

(reaches for phone)It’s only four in the mornin’,they’re prob’ly up.

She laughs. Stops him.



71.

SKYLARYou men are shameful. If you’re notthinking of your wiener then you’reacting on its behalf.

WILL

Then on behalf of my wiener, I’dlike to ask for an advance.

CUT TO:

INT. L STREET BAR & GRILLE -- LATER

Skylar and Will sit together along with Will’s gang. Theboys are considerably drunk, but it makes for goodentertainment.

Everyone here is having fun including Sylar.

MORGANWill, I can’t believe you broughtSkylar here when we’re all wrecked.What’s she gonna think about us?

WILLYeah, Morgan. It’s a real raritythat we’d be out drinkin’.

BILLYI’ve been shit faced for like twoweeks.

MORGANOh great, tell her that! Now shereally thinks we’re problemdrinkers!

CHUCKIETwo weeks? That’s nothin’. My UncleMarty? Will knows him. That guyfuckin’ drinks like you’ve neverseen! One night he was drivin’ backto his house on I-93 -- Statiepulls him over.

ALLOh shit.

CHUCKIEGuy’s tryin’ to walk the line --but he can’t even fuckin’ stand up,and so my uncle’s gonna spend a

(MORE)



73.

CHUCKIEThe fuckin’ Trooper was soembarrassed he didn’t do anything.The fuckin’ guy had been drivin’around in my Uncle’s car all nightlookin’ for the house.

Everyone is laughing. Skylar speaks above the din.

SKYLARThere was this Irish guy, walkingdown the beach one day.

She has everyone’s attention. Will is nervous.

SKYLAR (cont’d)And he comes across a bottle, andthis Genie pops out. The genieturns to the Irishman and says --

"You’ve released me from my prison,so I’ll grant you three wishes."The Irish guy thinks for a minuteand says "What I really want is apint of Guiness that neverempties." And -- POOF! A bottleappears. He slams it down, and --lo and behold -- it fills back upagain.

C/U of Will. Hoping the joke pans out.

SKYLAR (cont’d)

Well, the Irish guy can’t believeit. He drinks it again, and again-- BOOM! It fills back up. So,while the Irish guy is marveling athis good fortune, The Genie isgetting impatient, because it’s hotand he wants to get on with hisfreedom. He says "Let’s go, youhave two more wishes." The Irishguy slams his drink again, it fillsback up, he’s still amazed. TheGenie can’t take it anymore. Hesays "Buddy, I’m boiling out here.What are your other two wishes?"

(beat)The Irish guy looks at his drink,looks at the Genie and says... "Iguess I’ll have two more of these."

The gang erupts with laughter.



75.

WILLI don’t know, Chuck. It’s kindaoutta the way.

CHUCKIEJust ’cause you don’t have to sleep

in the one room palace, don’t startthinkin’ you’re bad.

SKYLAR(to Will)

I thought you said you’d show meyour place.

WILLNot tonight.

CHUCKIEYeah, not tonight. Not any other

night.

He knows, once you see that shit-hole he’s gettin’ droppedlike a bad habit.

SKYLARI wanted to meet your brothers...

Chuckie gives Will a curious look.

WILLThey’re all sleepin’ now.

(a beat, to Chuckie)

Let me get those keys.

CUT TO:

EXT. WILL’S APARTMENT -- EVENING

Chuckie drops Will off at his apartment, watches him [Will]walk up the steps.

DISSOLVE TO:

EXT. WILL’S APARTMENT -- MORNING

Chuckie pulls up to the curb and walks up the steps toWill’s front door. After a beat, Will emerges. They get backin [the car].

CUT TO:



76.

EXT. CONSTRUCTION SITE -- DAY

Will and Chuckie at work. Chuckie shows Will how to be aman.

INT. LAMBEAU’S OFFICE -- DAY

Will and Lambeau work together at the board. Theycommunicate non-verbally as they collaborate on a problem.After a particularly amusing series of numbers, they share alook and laugh.

CUT TO:

INT. TIMMY’S TAP -- DAY

Timmy’s Tap is a local watering hole, not unlike the L

Street Bar. Sean is at the bar, telling a joke to TIMMY (45)the owner of the place, and several other REGULARS.

SEANSo she goes runnin’ up the aisleand I figure "fuck it" and I yellout "don’t forget the coffee!

The men erupt in laughter. MARTY, one of the regulars pipeup.

MARTYBullshit! You didn’t say that!

Timmy and Sean exchange a look.

TIMMYJesus Christ, Marty. It’s a joke.

Lambeau enters, a bit overdressed in his sport coat and tie.

SEANGerry! Any trouble finding theplace?

LAMBEAUNot at all.

SEANTimmy this is Gerry, an old friendof mine. We went to collegetogether.



77.

TIMMYGood to meet you.

LAMBEAUPleasure to meet you.

SEANCould we get a couple ofsandwiches?

(beat, smiles)Put it on my tab.

Sean heads towards a table.

TIMMYYou ever plan on payin’ your tab?

SEAN(pulls out lottery ticket)

I got the winning numbers righthere.

TIMMYWhat’s the jackpot?

SEANTwelve million.

TIMMYI don’t think that’ll cover it.

Lambeau follows [Sean]. They sit.

LAMBEAUYou’re here quite a bit, then.

SEANI live right around the corner.

LAMBEAUYou moved?

SEANI been here a couple years.

There is an awkward moment.

SEAN (cont’d)You wanted to talk about Will?

LAMBEAUSeems like it’s going well.



79.

TIMMYYeah, cured polio.

LAMBEAUYou’ve heard of Albert Einstein?

Timmy smiles. Gives him a look.

LAMBEAU (cont’d)How about Gerald Lambeau? Everheard of him?

TIMMYNo.

LAMBEAUOkay thank you, Timmy.

TIMMYSo who won the bet?

LAMBEAUI did.

A beat. Timmy leaves.

LAMBEAU (cont’d)This isn’t about me. I’m nothingcompared to this young man.

(beat)Sean, in 1905 there were hundredsof Professors who were renowned fortheir study of the universe. But itwas a 26-year-old Swiss Patentclerk, doing physics in his sparetime, who changed the world, Sean.Can you imagine if Einstein hadgiven that up? Or gotten drunk withhis buddies in Vienna every night?All of us would have lostsomething. And I’m quite sure Timmynever would have heard of him.

SEANIsn’t that a little dramatic,

Gerry?

LAMBEAUNo, Sean. This boy has that gift.He just hasn’t got the direction.We can give that to him.

A beat.



80.

SEANHe married his cousin.

LAMBEAUWho?

SEAN

Einstein. Had two marriages, bothtrainwrecks. The guy never saw hiskids, one of whom, I think, endedup in an asylum- possible Unabomberaddition--

LAMBEAUYou see, Sean? That’s exactly notthe point. No one remembers that.They--

SEANI do.

LAMBEAUWell, you’re the only one.

Beat.

LAMBEAU (cont’d)This boy can make contributions tothe world. We can help him do that.

SEANJust... take it easy, Gerry.

LAMBEAULook, I don’t know what else I cansay. I’m not sitting at home everynight, twisting my mustache andhatching a plan to ruin the boy’slife. But it’s important to startearly. I was doing advancedmathematics at eighteen and itstill took me twenty-three years todo something worthy of a Field’smedal.

SEANMaybe he doesn’t care about that.

A beat.

LAMBEAUSean, this is important. And it’sabove personal rivalry--



81.

SEANNow wait a minute, Gerry--

LAMBEAUNo, no you hear me out, Sean. Thisyoung man is a true prodigy--

SEANPersonal rivalry? I’m not gettingback at you.

LAMBEAULook, you took one road and I tookanother. That’s fine.

SEANIs it Gerry? ’Cause I don’t thinkit’s fine with you. Give him timeto figure out what he wants.

LAMBEAUThat’s a wonderful theory, Sean. Itworked wonders for you.

A beat. Lambeau gets up.

LAMBEAU (cont’d)Sean, I came here today out ofcourtesy. I wanted to keep you inthe loop. As we speak the boy is ina meeting I set up for him over atTri-tech.

CUT TO:

INT. TRI-TECH LABORATORIES, OFFICE -- SAME

Three well dressed TRI-TECH EXECUTIVES sit around aconference table, which is littered with promotionalbrochures. The executives exchange a confused look. One ofthem speaks.

EXECUTIVE(tentative)

Well, Will, I’m not exactly surewhat you mean, we’ve alreadyoffered you a position..

Cut to reveal: Chuckie sitting across from the executives,hair combed down, wearing his Sunday best.



82.

CHUCKIESince this is obviously not myfirst time in such altercations,let me say this:

Chuckie rubs the tips of his fingers together, indicating

"cash." The executives are baffled.

CHUCKIE (cont’d)Look, we can do this the easy wayor the hard way.

The executives are completely blank.

CHUCKIE (cont’d)At the current time I am looking ata number of different fields fromwhich to disseminate which offer ismost pursuant aid to my benefit.

(a beat)What do you want? What do I want?What does anybody want? Leniency.

EXECUTIVEI’m not sure--

CHUCKIE--These circumstances aremitigated. Right now. They’remitigated.

Chuckie puts his hands up, as if getting a vibe from the

room.

EXECUTIVEOkay...

Chuckie points to the third executive.

CHUCKIEHe knows what I’m talking about.

The third executive is baffled.

CHUCKIE (cont’d)A retainer. Nobody in this townworks without a retainer. You thinkyou can find someone who does, youhave my blessin’. But I think weall know that person isn’t going torepresent you as well as I can.



83.

EXECUTIVEWill, our offer starts you ateighty- four thousand a year, plusbenefits.

CHUCKIE

Retainer...

EXECUTIVEYou want us to give you cash rightnow?

CHUCKIEAllegedly, what I am saying is yoursituation will be concurrentlyimproved if I had two hundredsheets in my pocket right now.

The executives exchange looks and go for their wallets.

EXECUTIVEI don’t think I... Larry?

EXECUTIVE (cont’d)I have about seventy-three...

EXECUTIVE (cont’d)Will you take a check?

CHUCKIECome now... what do you think I am,a juvenile? You don’t got any money

on you right now. You think I’mgonna take a check?

EXECUTIVEIt’s fine, John, I can cover therest.

CHUCKIEThat’s right, you know.

(turns to #1)He knows.

Chuckie stands up and takes the money.

CHUCKIE (cont’d)(to exec #1)

You’re suspect. I don’t know whatyour reputation is, but after theshit you tried to pull today, youcan bet I’ll be looking into it.Any conversations you want to have

(MORE)



84.

CHUCKIE (cont’d)with me heretofore, you can havewith my attorney. Gentlemen, keepyour ears to the grindstone.

CUT TO:

EXT. AU BON PAIN COURTYARD, HARVARD SQUARE -- DAY

Will and Skylar sit in the open courtyard of this HarvardSquare eatery. Skylar is working on another O-chem lab. Willsits across from her, slightly bored watching her work.

WILLHow’s it goin’?

SKYLARFine.

WILLWant me to take a look?

SKYLARNo.

WILLC’mon, give me a peek and we’ll goto the battin’ cages.

SKYLARIt’s important that I learn this.

WILLWhy is it important to you? If Iinherited all that money, the onlything important to me would beworkin’ on my swing.

SKYLARClearly.

WILLYou’re rich. What do you have toworry about?

SKYLARRich? I have an inheritance. It’stwo hundred and fifty thousanddollars. That’s exactly what it’llcost me, minus about five hundredbucks, to go all the way throughmed school. This is what I’m doing

(MORE)



85.

SKYLAR (cont’d)with that money. I could have doneanything I wanted. I could haveexpanded my wardrobe,substantially.

WILLInstead you’re going to bust yourass for five years so you can bebroke?

SKYLARNo, so I can be a doctor.

A beat. Will nods. She looks down, then up.

SKYLAR (cont’d)All right, Mr. Nosey Parker. Let meask you a question? Do you have a

photographic memory?

WILLI guess. I don’t know. How do youremember your phone number?

SKYLARHave you ever studied OrganicChemistry?

WILLSome, a little.

SKYLARJust for fun?

WILLI guess so.

SKYLARNobody does organic chemistry for"fun." It’s unnecessary. Especiallyfor someone like you.

WILLLike me?

SKYLARYeah. Someone like you who divideshis time, fairly evenly, betweenthe batting cages and bars.

Will laughs.



86.

SKYLAR (cont’d)How did you do that? I can’t... Imean even the smartest people Iknow, and we do have a few atHarvard, have to study- a lot. It’shard.

(beat)Listen, Will, if you don’t want totell me--

WILLDo you play the piano?

SKYLARCome one Will. I just want to know.

WILLI’m trying to explain it to you. Soyou play the piano. When you look

at the keys, you see music, you seeMozart.

SKYLARI see "Hot Cross Buns," but okay.

WILLWell all right, Beethoven. Helooked at a piano and saw music.The fuckin’ guy was deaf when hecomposed the Ode to Joy. They hadto turn him around to take a bowbecause he couldn’t hear the crowd

going crazy behind him. Stone deaf.He saw all of that music in hishead.

SKYLARSo, do you play the piano?

WILLNot a lick. I look at a piano and Isee black and white keys, threepedals and a box of wood.Beethoven, Mozart, they looked atit and it just made sense to them.They saw a piano and they couldplay. I couldn’t paint you apicture, I probably can’t hit theball out of Fenway Park and I can’tplay the piano--



88.

SKYLARI know. I just do.

WILLYeah, but how do you know?

SKYLAR

I don’t know. I just feel it.

WILLAnd you’re sure about that?

SKYLARYeah, I’m sure.

WILL’Cause that’s a serious thingyou’re sayin’. I mean, we might bein California next week and youcould find out somethin’ about me

that you don’t like. And you mightfeel like "hey this is a bigmistake."

(getting upset)But you can’t take it back, ’causeyou know it’s real serious and youcan’t take somethin’ like thatback. Now I’m in California, ’causeyou asked me to come. But you don’treally want me there. And I’m stuckin California with someone whoreally doesn’t want me there andjust wishes they had a take-back.

SKYLAR"Take-back?" What is that? I don’twant a take-back. I want you tocome to California with me.

WILLI can’t go out to California.

SKYLARWhy not?

WILLOne, because I have a job here andtwo because I live here--

SKYLAR(beat)

Look, Will if you’re not in lovewith me, you can say that.



90.

SKYLAR (cont’d)give that back. I’d give everythingI have back to spend one more daywith my father. But that’s life.And I deal with it. So don’t putthat shit on me. You’re the onethat’s afraid.

WILLWhat the fuck am I afraid of?!

SKYLARYou’re afraid of me. You’re afraidthat I won’t love you back. Andguess what? I’m afraid too. But atleast I have the balls to it giveit a shot. At least I’m honest withyou.

WILL

I’m not honest?

SKYLARWhat about your twelve brothers?

WILLOh, is that what this is about? Youwant to hear that I don’t reallyhave any brothers? That I’m afuckin’ orphan? Is that what youwant to hear?

SKYLARYes, Will. I didn’t even know that?

WILLNo, you don’t want to hear that.

SKYLARYes, I do, Will.

WILLYou don’t want to hear that I gotcigarettes put out on me when I wasa little kid. That this isn’t

surgery.

Will lifts his shirt, revealing a six inch SCAR on historso.

WILL (cont’d)You don’t want to hear that. Don’ttell me you want to hear thatshit!!



91.

SKYLARYes I do. Did you ever think thatmaybe I could help you? That maybethat’s the point, that we’re ateam?

WILLWhat, you want to come in here andsave me? Is that what you want todo? Do I have a sign that says"save me" on my back?

SKYLARI don’t want to "save" you. I justwant to be with you. I love you. Ilove you!

Will, full of self-loathing, raises his hand to strike her.

WILLDon’t bullshit me! Don’t fuckin’bullshit me!

SKYLAR(standing up to him)

You know what I want to hear? Iwant to hear that you don’t loveme. If you tell me that, then I’llleave you alone. I won’t ask anyquestions and I won’t be in yourlife.

A beat. Will looks Skylar dead in the eye. Lowers his hand.

WILLI don’t love you.

He walks out.

CUT TO:

EXT. SKYLAR’S DORM -- NIGHT

Will leaves pulling on his clothes.

CUT TO:

CUT TO:



93.

WILLI couldn’t go ’cause I had a date.So I sent my chief negotiator.

LAMBEAUWill, on your own time, you can do

what you like. When I set up ameeting, with my associates, andyou don’t show up it reflectspoorly on me.

WILLThen don’t set up any moremeetings.

LAMBEAUI’ll cancel every meeting rightnow. I’ll give you a job myself. Ijust wanted you to see what was out

there.

WILLMaybe I don’t want to spend my lifesittin’ around and explaining shitto people.

LAMBEAUThe least you can do is show me alittle appreciation.

WILL(indicates proof)

You know how fuckin’ easy this isto me? This is a joke!

(crumples proof)And I’m sorry you can’t do this. Ireally am. ’Cause if you could Iwouldn’t be forced to watch youfumble around and fuck it up.

LAMBEAUSure, then you’d have more time tosit around and get drunk. Think ofhow many fights you could have beenin by now.

Will turns around reveling that he’s lit the PROOF ON FIRE.Will drops it on the floor. Lambeau drops to his knees andputs it out. He looks up at Will.

LAMBEAU (cont’d)You’re right, Will. I can’t do thatproof and you can. And when it

(MORE)



94.

LAMBEAU (cont’d)comes to this there are only twentypeople in the world that can tellthe difference between you and me.But I’m one of them.

WILLWell, I’m sorry.

LAMBEAUSo am I.

(beat)Yes. That’s right, Will. Most daysI wish I never met you. Becausethen I could sleep at night. Iwouldn’t have to walk around withthe knowledge that someone like youwas out there. And I wouldn’t haveto watch you throw it all away.

Lambeau gathers his composure and calmly walks over to thewrinkled proof. He picks it up, smooths it out.

CUT TO:

INT. CHUCKIE’S HOUSE -- DAY

Chuckie, Billy, and Will sit in the Sullivan kitchen. Billycracks open a beer and Chuckie reads the sports page. Bothboys are smoking. Will drinks a beer, distractedly. We hearthe faint music track and soft moans of a PORNO MOVIE

emanating from a back room. After a beat, Chuckie looks up.

CHUCKIEMorgan, if you’re watchin’ pornosin my mom’s room again I’m gonnagive you a fuckin’ beatin’!

After a beat, Morgan comes out of the back room, red-faced.

MORGAN(innocently)

What’s up guys?

CHUCKIEWhy don’t you beat off at yourhouse?

MORGANI don’t have a VCR at my house.

Will pays no attention to this exchange.



95.

CUT TO:

INT. NATIONAL SECURITY AGENCY, OFFICE -- DAY

Will sits across from two N.S.A. AGENTS, OLIVER DYTRESS and

ROBERT TAVANO. These guys are smug, clean cut, gung-ho andlooking sharp in twin navy blue suits.

WILLSo why do you think I should workfor the National Security Agency?

DYTRESSWell, you’d be working on thecutting edge. You’d be exposed tothe kind of technology you couldn’tsee anywhere else because we’veclassified it. Super string theory,

Chaos Math, Advanced algorithms--

WILLCodebreaking.

DYTRESSThat’s one aspect of what we do.

WILLCome on, that’s what you do. Youhandle more than eighty percent ofthe intelligence workload. You’reseven times the size of the C.I.A.

DYTRESSThat’s exactly right, Will. So thequestion as I see it isn’t "whyshould you work for N.S.A." it’s"why shouldn’t you?"

WILLWhy shouldn’t I work for theNational Security Agency? That’s atough one.

Will bites his tongue, trying to make this work.

CUT TO:



96.

INT. SEAN’S OFFICE -- NIGHT

Will sits across from Sean.

A beat. Will has obviously been stewing on this.

WILLSay I’m working at N.S.A. Somebodyputs a code on my desk, somethingnobody else can break. So I take ashot at it and maybe I break it.And I’m real happy with myself,’cause I did my job well. But maybethat code was the location of somerebel army in North Africa or theMiddle East. Once they have thatlocation, they bomb the villagewhere the rebels were hiding andfifteen hundred people I never had

a problem with get killed. (rapidfire) Now the politicians aresayin’ "send in the Marines tosecure the area" ’cause they don’tgive a shit. It won’t be their kidover there, gettin’ shot. Just likeit wasn’t them when their numbergot called, ’cause they werepullin’ a tour in the NationalGuard. It’ll be some guy fromSouthie takin’ shrapnel in the ass.And he comes home to find that theplant he used to work at got

exported to the country he just gotback from. And the guy who put theshrapnel in his ass got his oldjob, ’cause he’ll work for fifteencents a day and no bathroom breaks.Meanwhile my buddy from Southierealizes the only reason he wasover there was so we could installa government that would sell us oilat a good price. And of course theoil companies used the skirmish toscare up oil prices so they couldturn a quick buck. A cute, littleancillary benefit for them but itain’t helping my buddy at two-fiftya gallon. And naturally they’retakin’ their sweet time bringin’the oil back and maybe even tookthe liberty of hiring an alcoholicskipper who likes to drink sevenand sevens and play slalom with the

(MORE)



97.

WILL (cont’d)icebergs and it ain’t too long ’tilhe hits one, spills the oil, andkills all the sea-life in the NorthAtlantic. So my buddy’s out of workand he can’t afford to drive so

he’s got to walk to the jobinterviews which sucks ’cause theshrapnel in his ass is givin’ himchronic hemorrhoids. And meanwhilehe’s starvin’ ’cause every time hetries to get a bite to eat the onlyblue-plate special they’re servin’is North Atlantic scrod with QuakerState.

A beat.

WILL (cont’d)

So what’d I think? I’m holdin’ outfor somethin’ better. I figure I’lleliminate the middle man. Why notjust shoot my buddy, take his joband give it to his sworn enemy,hike up gas prices, bomb a village,club a baby seal, hit the hash pipeand join the National Guard?Christ, I could be electedPresident.

SEANDo you think you’re alone?

WILLWhat?

SEANDo you have a soul-mate?

WILLDefine that.

SEANSomeone who challenges you in everyway. Who takes you places, opensthings up for you. A soul-mate.

WILLYeah.

Sean waits.



98.

WILL (cont’d)Shakespeare, Neitzche, Frost,O’Connor, Chaucer, Pope, Kant--

SEANThey’re all dead.

WILLNot to me, they’re not.

SEANBut you can’t give back to them,Will.

WILLNot without a heater and someserious smelling salts, no...

SEANThat’s what I’m saying, Will.

You’ll never have that kind ofrelationship in a world whereyou’re afraid to take the firststep because all you’re seeing arethe negative things that mighthappen ten miles down the road.

WILLOh, what? You’re going to take theprofessor’s side on this?

SEANDon’t give me your line of shit.

WILLI didn’t want the job.

SEANIt’s not about that job. I’m notsaying you should work for thegovernment. But, you could doanything you want. And there arepeople who work their whole liveslayin’ brick so their kids have achance at the kind of opportunityyou have. What do you want to do?

WILLI didn’t ask for this.

SEANNobody gets what they ask for,Will. That’s a cop-out.



99.

WILLWhy is it a cop-out? I don’t seeanythin’ wrong with layin’ brick,that’s somebody’s home I’mbuildin’. Or fixin’ somebody’s car,somebody’s gonna get to work thenext day ’cause of me. There’s

honor in that.

SEANYou’re right, Will. Any man whotakes a forty minute train ride sothose college kids can come in inthe morning and their floors willbe clean and their trash cans willbe empty is an honorable man.

A beat. Will says nothing.

SEAN (cont’d)

And when they get drunk and puke inthe sink, they don’t have to see itthe next morning because of you.That’s real work, Will. And thereis honor in that. Which I’m sure iswhy you took the job.

A beat.

SEAN (cont’d)I just want to know why you decidedto sneak around at night, writingon chalkboards and lying about it.

(beat)’Cause there’s no honor in that.

Will is silent.

SEAN (cont’d)Something you want to say?

Sean gets up, goes to the door and opens it.

SEAN (cont’d)Why don’t you come back when youhave an answer for me.

WILLWhat?

SEANIf you won’t answer my questions,you’re wasting my time.



100.

WILLWhat?

Will loses it, slams the door shut.

WILL (cont’d)

Fuck you!

Sean has finally gotten to Will.

WILL (cont’d)Who the fuck are you to lecture meabout life? You fuckin’ burnout!Where’s your "soul-mate?!"

Sean lets this play out. Possible "shepard" change.

WILL (cont’d)Dead! She dies and you just cash in

your chips. That’s a fuckin’ cop-out!

SEANI been there. I played my hand.

WILLThat’s right. And you fuckin’ lost!And some people would have the sackto lose a big hand like that andstill come back and ante up again!

SEAN

Look at me. What do you want to do?

A beat. Will looks up.

SEAN (cont’d)You and your bullshit. You got ananswer for everybody. But I askedyou a straight question and youcan’t give me a straight answer.Because you don’t know.

Sean goes to the door and opens it. Will walks out.

CUT TO:



101.

EXT. SOUTH BOSTON PAY PHONE -- DAY

Will is on pay phone talking to Skylar.

WILLI just wanted to call before you

left.(beat)I’m takin’ all these jobinterviews. So I won’t just be aconstruction worker.


SKYLARI never cared about that.

An awkward beat.

WILLYeah.

SKYLARI love you, Will.

(pause)No take-backs.

Will says nothing.

SKYLAR (cont’d)Will?

A beat.

WILLTake care.

SKYLARGoodbye.

Will hangs up. Hold on him for an agonizing beat.

CUT TO:

INT. LOGAN AIRPORT TERMINAL -- SAME

Skylar stands at the gate, carry-ons in hand. Her flight isboarding. She looks for Will over the crowd.

CUT TO:



102.

EXT. BANK OF THE CHARLES RIVER -- AFTERNOON

Will sits alone, thinking. We hold on him for an extendedbeat until he gets up and walks away.

CUT TO:

INT. LOGAN AIRPORT TERMINAL -- SAME

The final boarding call is announced and the last passengerboards. After a beat, Skylar turns and gets on the plane.

CUT TO:

INT. MAGGIORE BUILDER’S CONSTRUCTION SITE -- DAY

Will and Chuckie take crowbars to a wall. This is what theydo for a living. As they routinely hammer away, Will becomes

more involved in his battle with the wall. Plaster andlathing fly as Will vents his rage. Chuckie, noticing, stopsworking and takes a step back, watching Will. Will isoblivious.

CUT TO:


Lambeau and Tom are in his office. Will is nowhere to beseen.

Lambeau is on the phone.

LAMBEAUWhat I mean, Sean, is that I’msitting in your office and the boyisn’t here.

(beat)Well, it’s ten past three.

(beat)An hour and ten minutes late.

(beat)Well, if he doesn’t show up and Ihave to file a report saying hewasn’t here and he goes back tojail, it won’t be on my conscience,Sean.

(beat)Fine.

He hangs up. Tom picks up a FORM up off the desk.



103.

TOMWhat should I do?

LAMBEAUThe boy was here. He came in, satdown and we worked together.

A blank look.

LAMBEAU (cont’d)He came in, sat down, and we workedtogether.

TOMOkay.

Tom understands, begins filling out the form.

CUT TO:

EXT. HANRAHAN’S PACKAGE STORE -- LATER

Will walks out carrying a brown bag. He is filthy, havingjust knocked off work.

CUT TO:

EXT. MAGGIORE BUILDER’S CONSTRUCTION SITE -- PARKING LOT

Chuckie is sitting on the hood of his Cadillac, watching

Will across the street. Chuckie is covered in grime as well.Will starts walking towards Chuckie. As he draws closer, heheaves a can of Budweiser a good thirty yards, to Chuckiewho handles it routinely.

Will takes a seat next to Chuckie and they crack open theirbeers. Other workers file out of the site. They drink.

CHUCKIEHow’s the woman?

WILLGone.

CHUCKIEWhat?

WILLShe went to Medical school inCalifornia.



104.

CHUCKIESorry, brother.

(beat)I don’t know what to tell ya. Youknow all the girls I been with. Youbeen with ’em too, except for

Cheryl McGovern which was a bigmistake on your part brother...

WILLOh I’m sure, that’s why only one ofus has herpes.

CHUCKIESome shows are worth the price ofadmission, partner.

This gets a small laugh from Will.

CHUCKIE (cont’d)My fuckin’ back is killin’ me.

A passing SHEET METAL WORKER overhears this.

SHEET METAL WORKERThat’s why you should’a gone tocollege.

WILLFuck you.

CHUCKIE

Suck my crank. Fuckin’ sheet metalpussy.

(beat)So, when are you done with thosemeetin’s?

WILLWeek after I’m twenty-one.

CHUCKIEAre they hookin’ you up with a job?

WILLYeah, sit in a room and do longdivision for the next fifty years.

CHUCKIEYah, but it’s better than thisshit. At least you’d make some nicebank.



105.

WILLYeah, be a fuckin’ lab rat.

CHUCKIEIt’s a way outta here.

WILLWhat do I want a way outta herefor? I want to live here the restof my life. I want to be your nextdoor neighbor. I want to take outkids to little league together upFoley Field.

CHUCKIELook, you’re my best friend, sodon’t take this the wrong way, butin 20 years, if you’re livin’ nextdoor to me, comin’ over watchin’

the fuckin’ Patriots’ games andstill workin’ construction, I’llfuckin’ kill you. And that’s not athreat, that’s a fact. I’ll fuckin’kill you.

WILLChuckie, what are you talkin’...

CHUCKIEListen, you got somethin’ that noneof us have.

WILLWhy is it always this? I owe it tomyself? What if I don’t want to?

CHUCKIEFuck you. You owe it to me.Tomorrow I’m gonna wake up and I’llbe fifty and I’ll still be doin’this. And that’s all right ’causeI’m gonna make a run at it. Butyou, you’re sittin’ on a winninglottery ticket and you’re too muchof a pussy to cash it in. Andthat’s bullshit ’cause I’d doanything to have what you got! Andso would any of these guys. It’d bea fuckin’ insult to us if you’restill here in twenty years.



106.

WILLYou don’t know that.

CHUCKIELet me tell you what I do know.Every day I come by to pick you up,

and we go out drinkin’ or whateverand we have a few laughs. But youknow what the best part of my dayis? The ten seconds before I knockon the door ’cause I let myselfthink I might get there, and you’dbe gone. I’d knock on the door andyou wouldn’t be there. You justleft.

A beat.

CHUCKIE (cont’d)

Now, I don’t know much. But I knowthat.

CUT TO:


Lambeau stands across from Sean, seething.

LAMBEAUThis is a disaster! I brought youin here to help me with this boy,

not to run him out--

SEANNow wait a minute--

LAMBEAU--And confuse him--

SEAN--Gerry--

LAMBEAUAnd here I am for the second weekin a row with my professionalreputation at stake--

SEANHold on!



107.

LAMBEAUReady to falsify documents becauseyou’ve given him license to walkaway from this.

SEAN

I know what I’m doing and I knowwhy I’m here!

LAMBEAULook Sean, I don’t care if you havea rapport with the boy -- I don’tcare if you have a few laughs --even at my expense! But don’t youdare undermine what I’m trying todo here.

SEAN"Undermine?"

LAMBEAUHe has a gift and with that giftcomes responsibility. And you don’tunderstand that he’s at a fragilepoint--

SEANHe is at a fragile point. He’s gotproblems--

LAMBEAUWhat problems does he have, Sean,

that he is better off as a janitoror in jail or hanging around with--

SEANWhy do you think he does that,Gerry?

LAMBEAUHe can handle the work, he canhandle the pressure and he’sobviously handled you.

SEANWhy is he hiding? Why is he ajanitor? Why doesn’t he trustanybody? Because the first thingthat happened to him was that hewas abandoned by the people whowere supposed to love him the most!



108.

LAMBEAUOh, come on, Sean--

SEANAnd why does he hang out with hisfriends? Because any one of those

kids would come in here and take abat to your head if he asked themto. It’s called loyalty!

LAMBEAUOh, that’s nice--

SEANAnd who do you think he’s handling?He pushes people away before theyhave a chance to leave him. And for20 years he’s been alone because ofthat. And if you try to push him

into this, it’s going to be thesame thing all over again. And I’mnot going to let that happen tohim!

LAMBEAUNow don’t do that. Don’t you dothat! Don’t infect him with theidea that it’s okay to quit. Thatit’s okay to be a failure, becauseit’s not okay! If you’re angry atme for being successful, for beingwhat you could have been--

SEAN--I’m not angry at you--

LAMBEAUYes you are, Sean. You resent me.And I’m not going to apologize forany success that I’ve had.

SEAN--I don’t have any anger at you--

LAMBEAUYes you do. You’re angry at me fordoing what you could have done. Askyourself if you want Will to feelthat way for the rest of his life,to feel like a failure.



109.

SEANThat’s it. That’s why I don’t cometo the goddamn reunions! Because Ican’t stand the look in your eyewhen you see me! You think I’m afailure! I know who I am. I’m proud

of who I am. And all of you, youthink I’m some kind of pity case!You with your sycophant studentsfollowing you around. And yourGoddamn Medal!

LAMBEAUIs that what this is about, Sean?The Field’s Medal? Do you want meto go home and get it for you? Thenwill you let the boy--

SEAN

I don’t want your trophy and Idon’t give a shit about it! ’CauseI knew you when!! You and Jack andTom Sanders. I knew you when youwere homesick and pimply-faced anddidn’t know what side of the bed topiss on!

LAMBEAUThat’s right! You were smarter thanus then and you’re smarter than usnow! So don’t blame me for how yourlife turned out. It’s not my fault.

SEANI don’t blame you! It’s not aboutthat! It’s about the boy! ’Causehe’s a good kid! And I won’t seethis happen to him- won’t see youmake him feel like a failure too!

LAMBEAUHe won’t be a failure!

SEANIf you push him into something, ifyou ride him--

LAMBEAUYou’re wrong, Sean. I’m where I amtoday because I was pushed. Andbecause I learned to push myself!



112.

INT. WILL’S CHILDHOOD APARTMENT -- FLASHBACK

A large, callused hand sets down a wrench next to a stick.

CUT BACK TO:


SEANGotta go with the belt there...

WILLI used to go with the wrench.

SEANThe wrench, why?

WILL

Cause fuck him, that’s why.

A long quiet moment.

WILL (cont’d)Is that why me and Skylar broke up?

SEANI didn’t know you had. Do you wantto talk about that?

(beat)I don’t know a lot, Will. But letme tell you one thing. All this

history, this shit...(indicates file)

Look here, son.

Will, who had been looking away, loos at Sean.

SEAN (cont’d)This is not your fault.

WILL(nonchalant)

Oh, I know.

SEANIt’s not your fault.

WILL(smiles)

I know.



113.


WILLI know.


WILL(dead serious)

I know.


WILLDon’t fuck with me.

SEAN(comes around desk, sits infront of Will)

It’s not your fault.

WILL(tears start)

I know.

SEANIt’s not...

WILL

(crying hard)I know, I know...

Sean takes Will in his arms and holds him like a child. Willsobs like a baby. After a moment, he wraps his arms aroundSean and holds him, even tighter. We pull back from thisimage. Two lonely souls being father and son together.

INT. RED LINE CAR -- DUSK

Will rides the Red Line, above ground. He looks out over thelandscape. Small back yards, laundry hangs from wire lines.

Chainlink fences, overgrown with weeds.



114.

EXT. SOUTH BOSTON PARK -- DAY

Will walking through South Boston. He cuts through a park. Asenior citizen is spearing trach for the city.

INT. WILL’S APARTMENT -- NIGHT

Will at home. Not reading. Looks up at the ceiling.

EXT. TRI-TECH LABORATORIES -- DAY

Will walks up to a nondescript building, he walks throughthe glass doors, into the lobby.

CUT TO:

INT. TRI-TECH LABORATORIES, RECEPTION -- CONTINUOUS

Will walks into the lobby. A SECURITY GUARD looks up.

SECURITY GUARDCan I help you?

WILLYeah, my name is Will Hunting. I’mhere about a position.

SECURITY GUARDOne moment.

The guard reaches for the phone.

CUT TO:


Will sits across from Sean.

SEANWhich one did you take, Will?

WILLOver at Tri-tech. One of the jobsProfessor Lambeau set me up with. Ihaven’t told him yet, but I talkedto my new boss over there and heseemed like a nice guy.



115.

SEANThat’s what you want?

WILLYeah, I think so.

SEANGood for you. Congratulations.

WILLThanks you.

(a beat)So, that’s it? We’re done?

SEANWe’re done. You did your time.You’re a free man.

A beat.

WILLI just want you to know, Sean...

SEANYou’re Welcome, Will.

WILLI’ll keep in touch.

SEANI’m gonna travel a little bit, so Idon’t know where I’ll be.

Will smiles.

SEAN (cont’d)I just... figured it’s time I putmy money back on the table, seewhat kind of cards I get.

Will smiles. Sean hands him a piece of paper.

SEAN (cont’d)I’ll be checking in with my machineat the college. If you ever needanything, just call.

Sean smiles.

SEAN (cont’d)Do what’s in your heart, son.You’ll be fine.



116.

WILLThanks you, Sean.

They embrace.

SEAN

No. Thank you.

WILL(re: embrace)

Does this violate thepatient/doctor relationship?

SEANOnly if you grab my ass.

They laugh.

WILL

See ya.

SEANGood luck.

Both men smile.

DISSOLVE TO BLACK.

INT. L STREET BAR & GRILLE -- DAY

Will comes back from the bathroom.

WILL(to Chuckie)

You and Morgan throw?

CHUCKIENo, I had to talk him down.

WILLWhy didn’t you yoke him?

CHUCKIELittle Morgan’s got a lot a scrap,dude. I’d rather fight a big kid,they never fight, everyone’s scaredof ’em. You know how many peopletry to whip Morgan’s ass everyweek? Fuckin’ kid won’t back down.



117.

MORGAN(from across the table)

What’d you say about me?

CHUCKIEShut the fuck up.

Billy walks in the door and give Chuckie a look. Chuckieturns to Will.

CHUCKIE (cont’d)(To Will)

Hey, asshole. Happy Birthday.

MORGANYou thought we forgot, didn’t you?I know I’m gettin’ my licks in.

Laughter as the boys converge on Will. He goes willingly out

the door.

EXT. L STREET -- CONTINUOUS

As they come out the door, rather than beating Willmercilessly, they stop. Morgan goes into his own, personalrendition of "Danny Boy." No one joins in.

CHUCKIEShut up, Morgan.

(to Will)Here’s your present.

Chuckie indicates an old CHEVY NOVA, parked illegally infront of the bar.

WILLYou’re kiddin’ me.

CHUCKIEYeah, I figured now that you gotyour big job over in Cambridge, youneeded some way to get over thereand I knew I wasn’t gonna drive youevery day...

Laughter.

CHUCKIE (cont’d)Morgan wanted to get you a "T"pass.



119.

CHUCKIEFuck you. I re-built the enginemyself. That thing could make it toHawaii if you wanted it to.

Chuckie gives Will a look.

CHUCKIE (cont’d)Happy 21, Will.


Sean is packing his office. Lambeau opens the door.

LAMBEAUHello, Sean.

SEAN

Come in.

LAMBEAUSean...

SEAN(a beat)

Me too.

A moment.

LAMBEAUSo I hear you’re taking some time.

SEANYeah. Summer vacation. Thought I’dtravel some. Maybe write a littlebit.

LAMBEAUWhere’re you going?

SEANI don’t know. India maybe.

LAMBEAUWhy there?

SEANNever been.

Lambeau nods.



120.

LAMBEAUDo you know when you’ll be back?

SEAN(picks up a flyer from hisdesk)

I got this mailer the other day.Class of Sixty-five is having thisevent in six months.

LAMBEAUI got one of those too.

SEANYou should come. I’ll buy you adrink.

Lambeau smiles.

LAMBEAUSean...

A beat.

LAMBEAU (cont’d)The drinks at those things arefree.

Sean smiles.

SEANHell, I know that.

Both men laugh.

LAMBEAUHow about one now?

SEANSounds good.

They start to walk out.

SEAN (cont’d)It’s on you though, until eighto’clock tonight when I win mymoney.

Sean pulls out his lottery ticket. They start out down thehall.

CUT TO:



121.


On their backs as they walk down the hall.

LAMBEAUSean, do you have any idea what the

odds are against winning thelottery?

SEANI don’t know... Gotta be at leastfour to one.

LAMBEAUAbout thirty million to one.

SEANYou’re pretty quick with thosenumbers. How about the odds of me

buying the first round?

LAMBEAUAbout thirty million to one.

EXT. SEAN’S APARTMENT -- EARLY EVENING

Begin final sequence.

A wide, establishing shot of Sean’s apartment complex as thesun is setting. The lights are on in one unit. A tightershot reveals Sean, in his apartment, packing his belongings

in cardboard boxes.

EXT. SEAN’S APARTMENT, STREET -- SAME

The camera cranes down from Sean’s window and onto thestreet, where we pan to reveal Will, sitting in his car andlooking up at Sean as he packs his things. Will’s car ispacked full of clothes and books.

EXT. SOUTH BOSTON STREET -- SAME

Chuckie and the boys drive down the street in the Cadillac.

Morgan and Billy ride in the back, leaving the shotgun seatopen for Will.



122.

EXT. SEAN’S APARTMENT -- SAME

Will holds an envelope which he slips in Sean’s mailbox. Heputs the flag up and smiles as he looks up at Sean in hisapartment who is still unaware that Will is there.

EXT. WILL’S APARTMENT -- SAME

Chuckie pulls up in front of Will’s house. He honks thehorn, waits a beat, then gets out and heads toward thehouse.


Will drives away from Sean’s house. Sean hears the car pullout and looks out the window. Sean sees Will’s car pullingaway.

Curious, he investigates.


Chuckie walks up Will’s front steps.


Sean walks out to the sidewalk and looks around. Seeing themailbox flag has been raised, he walks over to it.


Chuckie knocks on Will’s front door. There is no answer. Hewaits a beat, looks in the window. An incredulous smileslowly starts to form.


Sean opens the card Will left for him. It reads:

WILL(in writing)

Sean -- If the Professor callsabout that job, just tell him,"Sorry, I had to go see about agirl."



123.


Chuckie walks back towards his car unable to contain thebroad smile. He knows Will is gone. He shrugs in explanationto the guys. Morgan takes Will’s seat as they pull away fromthe curb.


We pan up from the letter to Sean. A broad smile comes overhim.

This is a look we haven’t seen. Sean is truly happy.

EXT. MASSACHUSETTS TURNPIKE -- SUNSET

Will is on the road, driving away. As we pull back and

credits roll, the car disappears into the horizon.

THE END

good will hunting shooting

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