Genres: The, unique, genres, for, the, movie, are:, Drama, Comedy
Setting: Contemporary, A theater in New York City
Themes: Identity and Self-Worth, Artistic Integrity vs. Commercial Success, Relationships and Connection, Insecurity and Self-Doubt, The Illusion of Fame and Success
Conflict and Stakes: The primary conflicts in this story revolve around Riggan's struggle to prove his worth as an actor, his battle with his alter ego Birdman, and his desire for validation and success. The stakes are high as Riggan's reputation, relationships, and mental well-being are on the line.
Overall Mood: Tense and introspective
Mood/Tone at Key Scenes:
- Scene 3: Tense and urgent
- Innovative Idea: The use of magical realism and the exploration of the protagonist's alter ego
- Distinctive Setting: The backstage world of a theater, providing a unique backdrop for the story
- Genre Blend: The blending of dark comedy and introspective drama
- Strong Performances: The opportunity for actors to showcase their talent in complex roles
- Twists and Surprises: The unexpected events and revelations that keep the audience engaged
Explanation: The screenplay is recommended for its engaging dialogue, tense emotional tone, and effective establishment of atmosphere. However, there are areas that could be improved, such as smoother transitions between scenes, more focused and concise dialogue, and clearer objectives or conflicts for each scene. The screenplay would benefit from more development of the overall plot, the characters' backstories and motivations, and a stronger sense of emotional stakes and consequences. Notable points include the use of tension-building elements like ticking clocks and falling lights, as well as the exploration of complex relationships between characters. Overall, the screenplay has potential but requires further refinement to fully engage and captivate the audience.
USP: The Unique Selling Proposition in this screenplay is the exploration of the chaotic and frustrating nature of theater production, highlighting the clash between different personalities and the challenges faced by the characters. It delves into themes of ambition, ego, and the blurred lines between reality and performance. The script stands out from others in its genre by offering a unique and compelling look into the behind-the-scenes world of theater, appealing to audiences who are interested in the complexities of human relationships and the struggles of artistic expression. With its innovative storytelling techniques, distinctive characters, and exploration of deep emotional and psychological themes, this script offers a captivating and thought-provoking piece of storytelling.
Budget Estimate:$15-20 million
Target Audience Demographics: Adults aged 25-54, fans of dark comedies and character-driven dramas
Marketability: The screenplay offers a unique blend of dark comedy and introspective drama, with compelling characters and a gripping storyline. It also explores relevant themes that resonate with a wide adult audience.
Profit Potential: Moderate to high, due to the strong appeal to a niche adult audience and potential for critical acclaim and award nominations.
Analysis Criteria Percentiles
Summary:The writer's voice is characterized by a mix of humor, introspection, and sharp dialogue. The narrative description is concise and focused on the characters' actions and emotions. The writer's voice adds depth and authenticity to the screenplay, exploring themes of identity, validation, and the pursuit of artistic success.
Best representation: Scene 1 - Love and Chaos. This scene is the best representation because it showcases the writer's ability to blend humor and introspection in a realistic and engaging way.
- Birdman: What are you trying to prove? Huh? That you’re an artist? You’re not. (Scene 23)
- Mike: You were good... (Scene 11)
- Riggan: I don't exist. I'm not even here. I don't exist. None of this matters. (Scene 17)
- Mike: My reputation is riding on this play. And that's... That is... A lot. Exactly. Fuck you. Yes. This doesn't work out for you, you get to go home to your studio pals and jump right back into that cultural genocide you guys are perpetrating. 'There’s a douchbag born every minute'. That was P.T. Barnum’s premise when he got rich inventing the circus. And you and your pals know nothing’s changed, and whatever toxic shit you make people are still gonna pay to see it. But, after you’re gone, I’ll still be here. I’ll still be making my living on the stage. Baring my soul. Wrestling with emotions, complex emotions. (Scene 13)
- Riggan: I never should have video taped Sam's birth. First of all because you and Sam both look like shit in that video. But mostly because I missed the moment. I should have just been there with the two of you. Present in my own life. So I’d have it. But, I don’t. I don’t have any of it. (Scene 33)
Riggan Thomson:A 55-year-old actor struggling with his ego and insecurities
Jake:Riggan's producer, concerned about the financial implications of the play
Sam:Riggan's daughter, working at a Korean Deli
Lesley:An actress in the play, dealing with relationship issues
Laura:An actress in the play, involved in a complicated love triangle
Mike:An actor in the play, causing chaos and tension
Tabitha:A theater critic who threatens to destroy Riggan's play
The Percentile is against the screenplays in our library.
|At least one Character Changes in the scene||7.4||95|
|Story Moves Forward||8.1||62|
|Internal Goal Score||7.9||41|
|External Goal Score||6.7||3|
Note: This is the overall critique. For scene by scene critique click here
Note: This is the synthesis. See scene by scene analysis here
|Emotional Impact||8.7||97||A Quiet Place: 8.6||The whale: 8.7|
|Character Changes||7.4||95||The usual suspects: 7.3||Birdman: 7.4|
|Characters||8.7||93||Breaking bad, episode 306: 8.6||American beauty: 8.7|
|Dialogue||8.2||83||Mo: 8.1||a few good men: 8.2|
|Conflict Level||8.5||81||Everything Everywhere All at Once: 8.2||Avatar: 8.5|
|Overall||8.5||80||Thor: 8.4||Inception: 8.5|
|High Stakes||7.8||66||Breaking bad: 7.7||Birdman: 7.8|
|Story Forward||8.1||58||The Shawshank Redemption: 8.0||Vice: 8.1|
|Plot||8.1||54||The sweet hereafter: 8.0||Vice: 8.1|
|Originality||6.71||50||Amadeus: 6.68||Birdman: 6.71|
|Internal Goal||7.94||40||Queens Gambit: 7.93||Birdman: 7.94|
|Structure||8.26||37||Squid Game: 8.14||Birdman: 8.26|
|Engagement||8.51||36||Mr Robot: 8.44||The Wolf of Wall Street: 8.51|
|Pacing||8.20||28||Suits: 8.19||Thor: 8.20|
|Concept||7.5||21||The whale: 7.4||heathers : 7.5|
|Formatting||8.89||19||Fear and loathing in Las Vegas: 8.86||Birdman: 8.89|
|External Goal||6.66||1||-||Birdman: 6.66|
|Story Content||Character Development||Scene Elements||Audience Engagement||Technical Aspects|
|Scene Number||Full Analysis||Tone||Overall Grade||Concept||Plot||Originality Score||Characters||Character Changes||Internal Goal||External Goal||Conflict||Opposition||High stakes||Story forward||Twist||Emotional Impact||Dialogue||Engagement||Pacing||Formatting||Structure|
|1||Riggan's Meditation||Introspective, Humorous||8||7||7||6||8||4||8||7||6||7||5||7||7||5||9||8||9||9||9|
|2||Love and Chaos||Intense, Dramatic, Serious||8||7||8||7||9||7||8||6||9||7||8||8||7||8||9||9||8||8||9|
|3||Theatrical Chaos||Frustration, Disaster||8||7||9||6||8||7||8||7||9||8||9||9||7||8||7||9||9||9||8|
|4||Chaos and Frustration||Frustration, Desperation, Humor||8||7||8||6||7||6||7||6||9||8||8||8||7||7||9||8||9||9||8|
|5||Disastrous Rehearsal||Intense, Frustrated, Intimidating||8||7||8||7||9||7||8||7||9||8||9||8||7||8||9||9||9||9||8|
|6||Meeting Mike Shiner||Sarcastic, Disgusted, Condescending||7||6||5||6||8||3||8||7||3||7||3||4||6||4||9||8||8||9||9|
|7||Costume Department Chaos||Humorous, Awkward, Tense||8||7||7||6||8||5||8||7||8||6||6||7||7||6||9||9||8||9||8|
|8||Chaos and Revelations||Frustration, Disgust, Shock, Unfazed, Excitement, Confusion, Intimacy, Humor||8||7||8||3||9||7||0||8||9||7||8||9||4||8||8||7||8||9||8|
|9||Chaos in the Costume Department||Chaotic, Frustrated, Disgusted, Shocked, Unfazed, Upset, Confused||8||7||8||6||9||6||8||7||9||7||7||8||6||7||8||8||8||9||9|
|10||Chaos in the Costume Department||Dramatic, Humorous||8||7||8||9||7||6||8||6||9||8||7||8||7||7||8||9||8||8||7|
|11||Costume Chaos||Chaos, Frustration, Shock, Disgust, Upset, Mix of emotions, Confusion||8||7||8||6||9||6||8||7||8||8||7||8||7||7||7||9||9||9||8|
|12||Revelations and Reflections||Chaotic, Frustrated, Emotional||8||7||7||6||9||8||8||6||6||7||6||7||6||9||8||7||8||9||8|
|13||Costume Chaos||Chaos, Frustration, Disgust, Upset, Confusion, Irony||8||7||8||7||9||7||8||7||9||9||8||8||7||8||8||9||8||9||8|
|14||Chaos in the Costume Department||Chaotic, Frustrated, Reflective, Vulnerable||8||7||8||7||9||7||8||7||8||7||7||8||7||8||9||9||8||9||8|
|15||Revelation and Conflict||Chaotic, Frustrated, Confrontational, Emotional||9||8||7||7||9||8||8||7||9||9||8||7||7||10||10||9||8||9||8|
|16||Revelations and Reflections||Surreal, Introspective, Emotional||8||7||7||7||8||8||8||6||7||7||6||7||6||9||6||8||8||9||9|
|17||Chaos and Revelation||Chaotic, Frustrated, Shocking, Upset, Emotional||9||8||8||9||9||8||8||7||9||8||8||9||7||10||8||8||9||9||9|
|18||Chaos Backstage||Chaotic, Frustrated, Heated, Confused||8||7||7||6||7||7||8||7||9||9||8||7||7||8||7||9||8||9||8|
|19||Emotional Confrontation and Revelation||Emotional, Intense, Chaotic||9||8||7||6||9||8||8||6||8||4||7||6||5||9||8||9||7||8||7|
|20||Rooftop Revelation||Chaotic, Intense, Emotional||8||7||7||6||9||8||8||6||6||6||6||7||7||9||8||9||8||9||8|
|21||Revelations and Betrayal||Frustration, Anger, Confusion, Sympathy, Calm||8||7||8||7||9||7||8||7||8||7||7||8||6||9||7||8||8||9||9|
|22||Confrontation and Revelation||Chaotic, Confrontational, Intense, Emotional||9||8||8||9||9||8||8||7||9||9||9||8||7||10||9||9||8||9||8|
|23||Riggan's Confrontation||Rage, Sadness, Confusion||9||8||9||9||9||9||8||6||10||8||9||8||7||10||8||9||8||8||7|
|24||Confrontation and Doubt||Intense, Emotional, Tense||9||8||9||6||9||9||8||7||10||7||9||9||6||10||9||9||8||9||8|
|25||Confrontation and Revelation||Intense, Emotional||9||8||8||8||9||8||8||6||9||6||9||8||7||10||9||9||8||9||9|
|26||Confrontation and Revelation||Confrontational, Emotional, Intense||9||8||9||0||9||9||0||0||9||0||8||9||0||10||9||0||0||0||0|
|27||Riggan's Public Humiliation||Intense, Humorous||9||8||9||6||9||8||8||7||9||8||9||9||7||10||8||9||8||9||9|
|28||Confrontation and Revelation||Intense, Confrontational, Emotional||9||8||9||8||9||9||8||7||10||8||8||9||7||10||8||9||8||9||9|
|29||Confrontation and Reflection||Confrontational, Emotional, Reflective||9||8||9||6||9||8||8||6||9||4||9||9||5||10||8||7||8||9||8|
|30||Confrontation and Humiliation||Confrontational, Intense, Emotional||9||8||9||9||9||8||8||7||9||9||9||9||7||10||9||9||8||9||8|
|31||Riggan's Breaking Point||Intense, Emotional, Humorous||9||8||9||9||9||8||8||7||9||7||9||9||7||10||8||9||8||9||8|
|32||Confrontation and Humiliation||Intense, Emotional, Confrontational||9||8||9||4||9||8||7||6||10||7||9||9||5||10||8||8||9||9||8|
|33||Confrontation and Reflection||Intense, Emotional, Reflective||9||8||9||6||9||8||8||6||9||7||8||9||7||10||8||8||8||9||9|
|34||Confrontation and Revelation||Intense, Emotional, Tense||9||8||9||7||9||9||8||7||9||8||9||9||8||10||8||9||9||9||9|
|35||The Unexpected Virtue of Ignorance||Serious, Euphoric, Awkward, Tranquil||9||8||9||6||9||8||8||7||9||6||8||9||7||9||8||9||8||9||8|
|36||Breaking Point||Intense, Emotional, Humiliating||9||8||9||6||9||8||8||6||9||7||9||9||6||10||8||7||8||9||8|
BEST ORIGINAL SCREENPLAY
Alejandro G. Iñárritu
Alexander Dinelaris, Jr.
BEST ORIGINAL SCREENPLAY
Alejandro G. Iñárritu
Alexander Dinelaris, Jr.
© 2013 DINOSAUR OUT, INC. ALL RIGHTS RESERVED. NO PORTION OF THIS SCRIPT MAY BE
PERFORMED, PUBLISHED, REPRODUCED, SOLD OR DISTRIBUTED BY ANY MEANS, OR QUOTED OR
PUBLISHED IN ANY MEDIUM, INCLUDING ANY WEB SITE, WITHOUT THE PRIOR WRITTEN CONSENT
OF DINOSAUR OUT, INC. DISPOSAL OF THIS SCRIPT COPY DOES NOT ALTER ANY OF THE
RESTRICTIONS SET FORTH ABOVE.
1 BLACK 1
We hear a clock ticking.
1 INT. RIGGAN'S DRESSING ROOM - THEATER - DAY 1
Close on the brilliant colors of a middle eastern rug, the
center of what seems to be a makeshift “meditation” space.
We slowly tilt up to discover the back of Riggan Thomson (55).
He is in the proper ‘Lotus’ position, dressed only in tight
white briefs and he appears to be meditating deeply. And if all
this seems a little odd, it becomes all the more so when you
notice that he is levitating almost two feet above the floor.
His breath is calm and measured... in and out... in and out.
How did we end up here?
This place is a fucking dump.
We begin to slowly move toward Riggan's back while his measure
breathing continues. We see a clock on the wall, ticking.
Smells like balls.
A slight twitch in Riggan's neck.
We don't belong in this shithole.
A Skype call shatters the silence. Close on his back, we follow
Riggan as he walks over to the computer and answers the call.
On the computer screen appears Sam (21), in a pair of Levi's
and a Led Zeppelin T-shirt. She has simple and striking good
looks, with an edge in her voice and behind her eyes. She
stands in a Korean Deli among the flowers, talking to Riggan
through her iPhone.
The Korean Store owner (50) stands in the background screaming
at her the whole time.
Sam, I can't--
10/29/14 / 2.
Dad? What kind of--
(Turning to Korean.)
(Back to screen.)
What kind of flowers did you say you
Alchemillas. Or something soothing that
smells nice. Listen I can’t--
It all smells like fucking Kimchi!
Then whatever looks nice. Anything but
roses. No roses.
Flowers don't need you touch! They need you
(Close into the screen.)
I hate this job.
And the Skype call is over. Riggan closes the laptop and leans
forward trying to regain his calm. His reflection appears in
the mirror, and for the first time we see his face. He has a
dark goatee and his hair looks strangely abundant. There is a
piece of paper on the mirror with the handwritten phrase “A
thing is a thing, not what it is said of that thing.”
ANNIE ON SPEAKERS
Riggan, they’re starting scene
five. We need you on stage.
Riggan throws on a sweater and stumbles into his slacks. He
2 INT. HALLWAYS - THEATER - CONTINUOUS 2
...through the narrow corridors of the theater. There is a lot
of activity as various workers and stage hands appear and
disappear carrying equipment and scenery. As Riggan descends the
stairs, a Stage Hand· passes by in the opposite direction.
10/29/14 / 3.
Riggan continues on until he arrives backstage. He runs into
Jake (42) his producer and friend.
How’s it going, buddy.
Great. It’d be even better if I
could get Ralph to stop acting like
he’s in an educational video for
The camera moves off of them and onto...
...the stage. Suddenly we are in the midst of an Americana style
Around the kitchen table sit Lesley (35), plain and no nonsense,
her simple hairstyle and makeup can't hide how attractive she
is. Laura (35), dark, exotic, the kind of woman who makes every
person she meets feel like she's seducing them. And Ralph (40),
slightly handsome, slightly balding, slightly invisible.
A half empty bottle of gin on the table, they drink from
highball glasses as they chat...
He loved me.
Yeah. He loved her so much he tried
to kill her.
He tried to kill you?
No. (A beat.) Okay, well, he did
beat me up one night. He dragged me
around the living room by my
ankles, yelling "I love you, I love
10/29/14 / 4.
you, bitch." What do you do with a
love like that?
How is that-- That is not love and you know
it. Why do you insist on calling it--
You can say what you want, but I know what
What about you, Nick? Does that sound like
love to you?
Riggan arrives at the table and sits.
Sorry I’m late.
(Beat. In character.)
I'm the wrong person to ask. I didn't
know the man. I've only heard his name
mentioned in passing. You'd have to
know the particulars. But I think what
you're saying is that love is absolute.
Yeah. The kind of love I'm talking about
is... The kind of love I'm talking about,
you don't try and kill people.
It was love, Mel. To Eddie, it was. I don't
care what anybody says. He was ready to die
Ask her what he did after she left him.
He shot himself in the mouth. But he
screwed that up, too. Poor Ed.
Poor Ed, my ass. The guy was dangerous.
How'd he screw it up if he shot himself in
(By the numbers.)
He used to carry this twenty-two. We lived
like fugitives those days. I never knew--
10/29/14 / 5.
(Breaking character to direct.
Okay. Fugitives are on the run, Ralph. How
many times do I have to-- Fugitives are
scared. Give me more of that.
Ralph nods. He takes a breath and dives in once again...
(The same but louder.)
We lived like fugitives those days...
Extremely frustrated, Riggan stares out into the auditorium.
From his POV we see Jake who is now sitting in the third row.
His head buried in his hands, tortured by Ralph’s performance.
Riggan turns back to Ralph.
...I never knew if he was going to come out
of the bushes or from behind a car and just
Riggan watches Ralph act and sees his whole production headed
down the drain. Ralph is just that bad.
The man was crazy. He was capable of
The actors all wait for a cue from Riggan, who is now staring
up into the lights above the stage. Laura finally picks up
Christ. What a nightmare...
He used to call me at the hospital and
(Over the top.)
"Son of a bitch. Your days are numbered."
Silence. Ralph looks over to Riggan.
Too much? Little bit? I just wanted to give
you a range, so you could--
And with that a light comes barreling down from it's perch and
crashes into Ralph's head, making him hit the floor like a rag
10/29/14 / 6.
Lesley and Annie (35), the Stage Manager, run over to Ralph
who is out cold. Not knowing what to do, they stare at him.
Is he breathing?
Jake runs toward the stage.
Someone call 911!
Riggan slowly backs away from the chaos.
Is that blood coming out of his
Where are you going?
Okay, he’s breathing. What did he
have for lunch?
Did anyone call for help?
Wake up! Wake up!
Two crew members try to help Ralph.
Grab his legs. I got the top.
Don't move him! Wait for the ambulance.
For the love of God! I could get a black
audience in this theater faster than a
Riggan heads off the stage, and Jake chases after him. We
follow them as...
...they walk through the corridor.
Where are you going? We’ll have the
understudy ready to rehearse in five--
10/29/14 / 7.
Forget the understudy. We have to postpone
What are you-- It’s a full house. We would
have to refund all the--
Then do it.
A crew member· passes in the opposite direction.
He’ll be fine.
Wait. Wait. Fuck. Wait.
Listen to me. It was going to be a
disaster. That guy’s the worst actor I've
ever seen. The blood coming out of his ear
was the most honest thing he's done so far.
He's not that bad.
Riggan stops in his tracks and stares at Jake.
Okay, he's fucking horrible. But--
Riggan starts walking again.
You have the press in your dressing
room in a few hours. How are we--
I'll make something up.
Two Technicians· hurry up in the opposite direction.
Jake. This happened for a reason. It wasn't
What do you mean?
10/29/14 / 8.
I-- (A beat.) I made it happen.
Are you drunk?
Find me an actor. A good actor.
Philip Seymour Hoffman...
He’s doing the third Hunger Games.
Doing the prequel to the X-Men
They arrive at Riggan's dressing room.
What’s his name? Jeremy Renner...
The... the Hurt Locker guy.
Yeah. He’s an Avenger.
Fuck. They put him in a cape, too?
(A beat.) Look, I don’t care. Find
...his dressing room and tries to shut the door. Jake, still in
the corridor, stops it with his foot.
(Sticking his head in.)
Ralph'll sue us. He'll sue us. And he's got
10/29/14 / 9.
Riggan releases the door.
Then make him go away.
How do you suggest I do that?
You're my lawyer, my producer and
my oldest friend. We are going to
make this work. Now just get out
there and do what you were born to
I have no idea. But I have faith.
Now go away from me.
Do you think we should--
Riggan slams the door shut on Jake. A beat. On a television, a
segment of E! News. A busty blond, with an exaggerated smile,
...and when we come back, an exclusive
interview with Robert Downey Jr., who tells
us about the billion-dollar Iron Man
franchise. The talented actor invited us
onto the set of Iron Man 3...
Riggan slams the tv off, his mind racing. He sits on a chair.
That clown doesn’t have half your talent
and he’s making a fortune in that Tin Man
Riggan stares into the mirror, in the reflection he catches
sight of a poster from a movie called "Birdman 3". The
superhero, Birdman (a younger Riggan in a bird costume), wings
widely spread, stares directly back at him. A hand written
note on the top of the poster reads: "Thomson, break a wing!
From the boys at Local 1." Riggan tries to calm himself with a
"Breathing in, I embrace my anger.
Breathing out, I smile to it."
10/29/14 / 10.
Embrace it. Kiss it. Turn it around and
fuck it in the--
A knock on the door behind him.
Laura opens the door and sticks her head in.
Can I come in?
Okay. Two words. Shia La Beouf.
That's three words.
I love you.
She closes the door. Riggan tries to calm himself down, but
Laura opens the door again.
I take it we’re not going to dinner
I don’t have an actor.
I don’t have a life.
(Goes to leave but stops.)
You remember at Joan's when you
asked me to come do a Broadway play
with you? You said it would be
10/29/14 / 11.
So far? No fun.
Riggan closes the door and looks at the Birdman poster.
Fun? You know what would be fun? Getting
the fuck out of here before we humiliate
ourselves. That would be fun.
Riggan looks at himself in the mirror and begins to pull at
his hair. As it comes off his head, we discover it was a wig.
He turns away from the mirror, trying desperately to stay
calm. Something catches his eye: a vase of roses on the end
of the table. A card in them says, "They didn't have the
whatever you wanted - Sam". Enraged, Riggan focuses on the
vase. It begins to shift. Then, with a surge of anger,
without ever touching it, he sends it crashing against the
wall on the other side of the room.
The camera pans over the roses scattered across the floor. It
hovers over the carpet and around the perimeter of the room,
until it finally settles on Riggan, now dressed in a casual
It is later the same day. He is sitting on the sofa and on three
chairs in front of him are three journalists:
Gabriel, a geeky theatre journalist, wearing thick glasses and
a thin tie. Clara, a reporter from an entertainment blog. And
Han, a polite, obese Japanese journalist, who sits next to his
translator, another Japanese guy.
Why does somebody go from playing the lead
in a comic book franchise to adapting
Raymond Carver for the stage?
Riggan tries to remain calm.
I mean, as you're probably aware, Barthes
said, “The cultural work done in the past
by gods and epic sagas is now done by
laundry detergent commercials and comic
strip characters.” It's a big leap you've
Riggan shifts nervously.
10/29/14 / 12.
Well... Absolutely. As you said... that
Barthes said... Birdman, like Icarus...
Hang on. Who's this Barthes guy? Which
Birdman was he in?
Roland Barthes was a French philosopher,
Oh. Okay. Sure. Now, is it true you’ve been
injecting yourself with semen from baby
As a method of facial rejuvenation.
Who told you that?
It was tweeted by... (checks her notes)
It's a lie.
I know. But did you do it?
Are you afraid at all that people will say
you're doing this play to battle the
impression that you're a washed-up super
No. I’m not. And that’s exactly why
20 years ago I refused to do
Birdman 4??? You do Birdman 4???
Jake opens the door and the camera pans to him.
10/29/14 / 13.
Okay. That's enough for today.
Thank you for coming. We’re
expecting some great pieces from
Riggan stares at the Birdman poster.
Publicity guys are trying to get
you a Times feature.
Riggan stands up and pulls the Birdman poster off of the
So, How’d it-- Whoa. If I were you
I wouldn’t do that.
I don’t want to look at it anymore.
That was a present from the crew.
Don’t fuck with those guys, they’re
I don’t care.
Riggan leaves the poster on the floor, facing the wall, and
walks to the window. He opens it. We can hear distant drums
coming from the street.
So... How'd it go?
Did they ask about Ralph?
Good. He did it, you know? The
motherfucker threatened to sue us.
Didn’t even wait to get out of the
And, what did you say?
10/29/14 / 14.
What’d I say? I said, "You
motherfucker. You’re threatening
me? ME? I swear to god, you fuck, I
so much as get a letter from a
lawyer, the press’ll get the
pictures we got off your computer.”
The guy has a thing for nuns... in
diapers. What do you care? You
shouldn’t have any knowledge about
it anyway. The important thing is
that I made him go away.
Right. That's great.
Yeah, it’s fantastic. One problem.
We don't have an actor. And if we
cancel the first preview the press
will smell the blood. We can't
afford to lose any more money. At
What do you want me to do?
We pay an understudy, let’s use the
No? Riggan, listen to me. Our dream actor
is not going to knock on that door and
say: "Hey fellas, when do we start?"
There is a knock at the door. Leslie peeks in.
Can I talk to you for a second?
Yeah. What’s up?
10/29/14 / 15.
Did you find another actor?
Okay. Well... Mike's available.
I thought he was doing--
He was. He quit. Or got fired.
Which one? Quit or fired?
With Mike it's usually both.
Mike Fucking Who?
Yes! How do you know Mike Shiner?
We share a vagina.
You think he'd want to do it?
10/29/14 / 16.
How do you know?
Because he said he'd want to do it.
Jake. Hang on a minute.
Ask me if he sells tickets.
Does he sell tickets?
A shitload of tickets. Now ask me if the
critics like him?
Do they like him?
They want to spooge on him.
Right on his face.
Everything for a reason, right?
You think he'll be able to come tonight?
I can call him and find out.
Riggan gives Jake a look.
I'll call his agent.
Jake charges out of the room. The camera follows him into...
10/29/14 / 17.
...the hallway and as Jake makes a left turn, Annie enters from
Annie, turn the work lights on and get me a
fresh copy of the script. We’re gonna have
a “put in” tonight.
You’ll find out...
Jake disappears down the hall and we follow Annie through the
theater and onto...
7 INT. STAGE - THEATER - EVENING 7
...the stage, where she turns some of the stage work lights on.
We pan along the stage until we find Riggan, wearing the same
clothes as before, scanning the empty auditorium.
Intimidating. Isn't it?
Riggan sees Mike Shiner (39) coming down the aisle, slovenly
dressed with mussed hair and intense eyes.
Do you have any idea who walked these
boards before you?
Geraldine Page, Marlon Brando,
Helen Hayes, Jason Robards... And
now you. Riggan Thomson.
Riggan, trying to hide the intimidation.
Thanks for coming on such short notice,
Mike. I appreciate it.
Hey. This is what we do.
(Indicates a script.)
So, you wrote this adaptation?
10/29/14 / 18.
And you're directing the adaptation and
A sly smile from Mike. He leaps onto the stage.
Why don't we do a bit of it?
Hey, I wasn't expecting you to--
First preview is tomorrow, right?
Yeah, but you can go on with the script
until you feel comfortable--
Let's just do some of it.
Riggan tries to hide his excitement. He grabs the script from a
nearby table and walks it over to Mike.
Take a look at page twenty--
Yeah. I don't need that.
I don't need the script. Just give me a
What are you talking about?
Feed me a line.
I don’t-- What?
10/29/14 / 19.
Feed. Me. A line.
Riggan drops the script and begins the scene.
“I'm the wrong person to ask. I didn't
know the man. I've only heard his name
mentioned in passing. I wouldn't know.
You'd have to know the particulars. But
I think what you're saying is that love
Mike stares at Riggan, hyper-focused.
Am I saying that love is absolute?
"Yeah. The kind of love I'm talking about
is. The kind of love I'm talking about you--
(An intense pause.)
Well, you don't try to kill people.
Riggan is transfixed, and almost immediately intimidated.
How do you know the lines?
I have a thing, a whatever, a gift.
(A beat.) Come on, I helped Lesley get
off book. Hey, give me that cue again.
"I'm the wrong person to ask. I didn't
know the man. I've only heard his name
mentioned in passing. I wouldn't know.
You'd have to know the particulars. But
I think what you're saying is--”
Okay, can I-- Do you mind if I--
No, go ahead.
Follow me. He says, "I'm the wrong
person to ask." What's his intention?
Is he fed up with the topic?
Deflecting? Guilt about his wife maybe?
Then four sentences all say the same
thing... "I didn't even know the man."
10/29/14 / 20.
"I've only heard his name mentioned in
passing." “I wouldn't know.” "You'd
have to know the particulars." First of
all, particulars? What are you, my
grandmother? But the point is, YOU
DON'T KNOW THE GUY, WE FUCKING GET IT.
Make it one line. "I didn't even know
the guy." Right? ...
You pretty much know my lines too, huh?
Can we-- Are we doing something here? Come
on let's go. Cut it down, give it to me
"I'm the wrong person to ask--"
Oh, right, sorry, you see? "I'm the wrong
person to ask?" That's another fuck you.
"Don't put me on the spot. Don't make me
self conscious about my marriage when my
wife is sitting right here..." See? Give
it to me. Give me a good fuck you. Come
Okay, let me--
Come on. Give it to me right now. Fuck me.
Right now. Right here. Let's do it.
(Jumps in w/out thinking.)
"Hey. I'm the wrong person to ask, okay? I
didn't even know the guy. So what's your
"What's my point?"
"What's your point? What are you saying?
Spit it out. You're saying, what? That love
is an absolute?"
10/29/14 / 21.
"Yeah! Alright? The kind of love I'm
talking about is absolute. The kind of love
I'm talking about you--
(A painful memory.)
Well, you don't try to kill people.
Riggan stands silently, his heart pounding.
So what do you think, boss? Do I have a
Riggan calls over to the wings.
What do you think?
Mike turns to see Sam, who has been there for a bit.
Larry needs to see him for a fitting.
I'm gonna take that as a yes.
(Walking to Sam.)
And you are...?
That's my daughter, Sam.
Right. Yeah. I can see it around the... (A
beat) She doesn't look anything like you.
And your job is...?
She's my assistant.
And can you speak?
Yup. I can even 'sit', 'stay' or 'roll
over' if you have any treats.
Welcome aboard, Mike.
10/29/14 / 22.
Thank you, Captain.
We follow Mike and Sam off as they...
...advance through the hallways.
I'm Mike Shiner, by the way.
I know who you are.
I saw you in 'Hothouse' at the Geffen. It
That ass is great.
She turns her head toward him with a disgusted expression.
Moving by her, into a dressing room.
This is the theatre, honey. Don’t be so
She follows him into the room where we see...
...Larry stressing out while he works on a costume. He turns
to see Mike standing there. Sam stands against the wall,
focused on her cell phone.
Oh, thank the Lord and pass the
biscuits! I finally have an actor to
dress. Hello, Mr. Shiner.
How're you doing, Larry?
Better, now that you're here. Take off your
10/29/14 / 23.
Mike takes off his shirt and hands it to Sam. She doesn't budge,
and it hits the floor. He begins to unbutton his pants...
You gonna stand there?
(Glancing at her cell.)
This is the theatre, honey. Don’t be so
Larry searches for a few costume pieces.
Okay. I'm gonna have to start from
scratch, with less than twenty-four
hours... Let's see if these--
He turns to see a completely naked Mike.
Holy-- What is happening? Where are
At home, under the bed, I think.
Sam glances at Mike for a second, then returns to her phone.
Larry begins to help Mike into some pants which, given the
situation, is very awkward.
Okay. Everything is too small.
Yeah, you're not kidding.
Lesley enters the room immediately coming face to face with a
naked Mike. She doesn't notice Sam who is partially hidden by a
clothes rack. She just goes about trying a costume shirt.
Oh, that's nice...
Forgive him, Larry. Mike's like my five
year old son. Neither one of them has
Or pubic hair, I imagine.
(Folding the pants.)
Okay, well, I can take out the suit but
we're going to need some new pants and
10/29/14 / 24.
Mike just stands there naked, staring at his penis in the
This is too small.
What the hell are you doing?
Waiting for Larry to finish.
Larry disappears deeper into the costume room.
Okay, well, then I'm just standing here
with my balls out.
Get dressed. Riggan's daughter is hanging
around, and I don't need her to walk in
No, Mike. You haven’t seen her. She’s
always hanging around, just-- I don’t--
Watching everyone. It’s creepy. It’s--
I don’t know if the drugs fried her
brain or what, but I don't need her
running to her father saying you showed
her your junk.
Okay, then we should probably get her out
Lesley's expression goes blank.
Oh, God. Really?
10/29/14 / 25.
Sam steps forward.
I didn't mean--
It's cool. He's a handful, huh?
They both look back at Mike.
Sam smiles at her and exits. Lesley wheels on Mike.
Jesus... How is it you always manage to find
a new way to humiliate me?
To be fair, you make it really easy.
What the hell was she doing here?
She brought me.
I know, right? She's a little--
Look at me, Mike. This is Broadway. I'm
here. Finally. And I'm begging you, if you
love me, please, do me a favor... don't
fuck it up.
10/29/14 / 26.
Lesley moves toward Mike. He cups her face in his hands
tenderly. They are face to face.
Play with my balls...
She twists his nipples hard and walks out.
I won't fuck it up... Probably!
Larry reappears holding some clothes. We follow him out...
...through the hallway. He walks by Jake and Riggan who are mid
conversation. We stay with them.
I don’t care, sign it.
Listen to me.
No you listen to me--
I can’t afford to listen to you...
I’m gonna need to go shopping
Fucking sew something, you old
I don't care. Give him what he
His agent is asking for almost four
times what we were paying--
Then go into the reserve.
The reserve is gone. You spent it
on the fog. And those fake trees...
10/29/14 / 27.
It’s a dream sequence, it--
And three union midgets that dance
You’re not supposed to call them
The reserve is gone!
Listen to me, you didn't see what I
just saw. But you will, at the preview
tomorrow. Look, get the contract done.
I'll get the money.
Riggan begins marching toward the stage.
(Calling after him.)
Laura comes down some stairs and chases Riggan.
Hey, is it true? Shiner?
Holy shit! When can I meet him?
He's in a fitting with Larry.
Lesley comes down the hallway.
I’m going to Starbucks. You guys
I’m fine. How’s Mike?
Did you talk to your daughter?
10/29/14 / 28.
(To Lesley. Matter-of-
Honey, your tits look like fucking
anjou pears in that top!
Okay, well I'm gonna-- Thank you.
She walks away.
And that ass. Like two eggs in a hanky!
Riggan walks, Laura follows him.
Okay, I was going to tell you this over
dinner, but everything-- I have some news
Good or bad? Cause right now--
A technician walks by.
I missed my last two periods.
I think it's happening this time.
Riggan stops. Silent. A beat.
Is that good or bad?
(He stares at her.)
It's good. It's great.
She smiles, her eyes filled with emotion. Riggan smiles back,
and nods absently.
Say something else...
10/29/14 / 29.
You're pretty sure it's mine?
(Unamused but plays along)
Well, let's see. There's you. Jake. That
masseuse wore a condom so... Yes, it's
She puts her head on Riggan's chest. We see his mind racing.
Laura is moved, and confused.
Are you excited?
Laura moves slightly away from him and suddenly slaps him across
the face. Riggan looks at her, confused.
You're not funny.
She kisses him intensely on the lips and briefly places his
hand on her belly, then moves it up to her breasts. After a
moment, she backs away.
First preview tomorrow. Here we go!
Laura turns and walks away. Riggan continues down the
corridor. He passes by a Security Guard· in front of a small
TV. The camera becomes Riggan’s POV and advances until...
...we go through the stage door. We scan the backstage area to
see the stagehands ready to do their jobs. We can feel the
electricity of a first preview.
On stage part of the kitchen set from before is visible. Annie
stands at her podium, calling the cues for the show.
(Into her headset.)
Cue 34 and 35. Go.
10/29/14 / 30.
She turns and looks directly into the camera.
Riggan walks on screen wearing his costume, carrying a bucket of
ice and a bottle of gin. He goes to the opposite side of the
stage and takes his place in the wings. He peeks out at the
audience who seem to be watching with interest.
Then we pan to the stage to find Mike, Lesley and Laura
performing the scene we saw at the beginning, around the table.
Mike looks comfortable, sipping at his drink. A half empty
bottle of gin on the table.
The maniac shot himself right in front of
us. I rode with him in the ambulance to the
I’ll never get that image out of my head.
Right before he did it, his eyes-- they
were so sad... lonely.
Did you have to treat him?
I didn’t have to. But I did.
(Pouring another drink.)
He was in bad shape. His head swelled
up to like twice the size of a normal
head. I'd never seen anything like
it. And I swear to God, I hope I
never do again.
Riggan stands near Annie.
He’s incredible. I think he's
drinking real gin.
Riggan looks out at Mike, who is refilling his glass.
10/29/14 / 31.
A stagehand gives Riggan a bottle. Riggan watches and waits
for his cue.
Ask Nick what real love is. He’ll
agree with me. You watch.
Why don’t we just head to the
Don’t get him started, Mel. You
haven’t seen how he’s been lately.
He’s been depressed. I’m worried
about him. He’s been--
She gently pushes Riggan and we follow him on stage...
...where Mike goes to refill his glass with the last of the
real gin. Riggan snatches the bottle out of his hands and
gulps the rest, straight from the bottle.
Been what? (Beat.) I'll tell you
what real love is. This happened a
few months ago.
(Drops bottle on table)
And it ought to make us ashamed
when we talk like we know what
we're talking about when we talk
Nick, for God's sake. Are you
(Pointed at Mike.)
I don't have to be drunk to say
what I think.
Nobody’s drunk. We’re just having a
You’ve had more than a few.
What are you, counting?
10/29/14 / 32.
Don't you talk to her like that.
Don’t talk like a drunk if you’re
Shut up. For once in your life.
Will you do me a favor and shut up
for a minute?
Like I was saying... There's this
old couple, had a car wreck out on
the interstate. Some drunk kid
plowed his dad's pick up into their
We begin to hear the underscoring of violins.
Fucking teenager. By the time I got
to the hospital, the kid was dead.
He was off in a corner laid out on
a gurney. We took the old couple up
to the O.R.. They were a mess. We
worked like hell on them for most
of the night...
Over the speech, Mike reaches for the new bottle that Riggan
placed on stage. He refills his glass.
When we were done, we wrapped them in full
body casts. The husband was depressed.
Even when I told him his wife was gonna
pull through, he was still depressed. So,
I got up to his mouth hole and asked him,
and he told me it was because he couldn't
see her through the eye holes. Can you
imagine? I’m telling you, the man's heart
was breaking because he couldn't turn his
goddamn head and see his goddamn wife.
Riggan is doing a good job. Lesley and Laura are genuinely
moved. Mike notices. He sips his drink.
I mean... It was killing him. Killing him
I'm tired of this shit.
They all look at Mike. In silence.
10/29/14 / 33.
What the fuck is this? Water?
He hurls the glass against the wall. Some laughter from the
audience. Riggan stares at him, confused. He presses on.
It was killing the old bastard...
Did you just give me water?
Come on, Mike.
Come on what?
Take it easy. You're drunk.
Of course I'm drunk! I'm supposed to
be drunk! This is Carver, man! The guy
lost a piece of liver every time he
wrote a page! If I’m supposed to drink
gin then bring me fuckin gin! I mean,
you fucked the time period! You took
all the good lines for yourself! At
least let me--
The audience is now hysterical. Dozens of cell phones
pointing at the stage. Mike walks toward the apron, facing
Oh, okay. Seriously? You people are
pathetic. Put the cell phones down and
join the real world! Will somebody
please just live in the real world?!!
He crosses to the refrigerator.
Where's he going?
Mike, cut it out.
Mike rummages through the fridge.
10/29/14 / 34.
Look at this. It’s all fake.
(Tossing items out of the
The milk is fake. The butter is fake.
Riggan storms off the stage.
Your performance is fake.
(He finds some fried
Hey! There's chicken. Real chicken. The
only thing real up here is the chicken.
So I'm gonna stick with the chicken.
The audience laughs harder.
MIKE (O.S.) (CONT’D)
Hey, this is good bird, man!
Riggan charges through the chaos backstage running into a
Get Mike out of here.
How do you want me to do that?
Riggan keeps walking up to...
...the hallway. Jake chases him.
I want him gone.
We can't do that.
What are you-- Of course we can do that.
It's our show.
10/29/14 / 35.
Riggan, listen to me--
Riggan comes to a halt and faces Jake.
No. You listen to me. Get him the fuck out
of my play. Did you see him out there?
It was a preview! Nobody gives a shit about
previews. Nothing matters until that old
bat from the New York Times is sitting in
that audience on opening night.
We're getting rid of him. I’m not going to
stand up on that stage and--
Shut up! Just shut up for once and
listen to me. As soon as we announced he
was taking over, the advance doubled. We
can't afford to lose a preview. We can't
afford to lose money. We can't afford to
lose Mike. This is about being
respected, validated, remember? That's
what you told me. That's how you got me
into this shit. Now, you're the
director. Get him under control.
(A beat. As a friend.)
These are not the nineties anymore.
Jake storms away. Riggan heads toward his dressing room. Out
of nowhere, Mike barrels into him, pinning him against a wall.
Mike presses up against Riggan, breathing down his neck. After a
(Like he's possessed.)
You were good...
Meet me in front of the theater in
Mike chuckles and slaps Riggan gently on the face before he
disappears into his dressing room. Riggan begins walking
again. We follow him into...
10/29/14 / 36.
...his dressing room. He goes into the bathroom and quickly
washes his face.
What the hell was going on up there?
We pan over to see his ex-wife Sylvia (43), standing in one
corner, staring at Riggan. She is elegant and simply beautiful.
I didn't know you were here tonight.
That guy's an asshole, huh?
Riggan dries his hands with a towel and comes out of the
What are you doing here?
Sam and I are going to grab a bite
after she's finished with--
No, I mean here. Now.
Well. I know how much this means to
I appreciate that.
So, how's it going?
No, you and Sam.
It's good. (A beat.) It’s the same.
Do you talk to her?
10/29/14 / 37.
We talk. We-- I don't know, it's been crazy
You understand where her head is at right
She's trying to stay away from everything
and everyone that got her into rehab in the
first place, but...
...I know, Sylvia...
...But that's all she had. So she's--
I really do get it.
I know you're caught up in all this stuff,
You know what I mean.
Riggan... You don't have to be a great
father right now, you just have to be one.
Suddenly, Laura opens the door and sticks her head in.
She closes the door. Awkward silence.
So how is that going? Is she and
I don’t wanna talk about it.
10/29/14 / 38.
He goes to a small fridge, takes out a beer and closes it.
I'm having a beer.
He sits and sips in silence for a moment. Then he begins to
take out the wig.
So, what's going on with you?
Me? Nothing. Everything's the same I guess.
I'm going back to teaching.
I’m thinking about refinancing the Malibu
Wh-- I’m sorry?
I’m thinking about--
No, I heard you. I just need a second to--
(A beat.) That's gonna be Sam's house. Why
would you-- (A beat.) What? For this play?
(Honest and vulnerable.)
I need the money.
Do you have any idea how crazy that sounds?
What do you want me to say? My health
lasted longer than the money... Go figure
Riggan seems pensive and lost.
What’s going on?... Look at me.
10/29/14 / 39.
Riggan gently looks up to Sylvia.
I have a chance to do something right. And I
have to take it. I have to.
It’s funny. I was sitting here waiting
for you, and all of a sudden I couldn’t
remember why we broke up.
Silence. Then, as if he hasn’t heard what she said.
The last time I flew here from LA, George
Clooney was sitting two seats in front of
me. With those cuff links, and that...
chin. We ended up flying through this
really bad storm. The plane started to
rattle and shake, and everyone on board
was crying... and praying. And I just sat
there-- Sat there thinking that when Sam
opened that paper it was going to be
Clooney's face on the front page. Not
mine. (A beat.) Did you know that Farrah
Fawcett died on the same day as Michael
She smiles sadly. She kisses him on the head and goes to the
Why did we break up?
(Looks him in the eye.)
You threw a kitchen knife at me...
Riggan is smacked by that memory. His eyes on the floor.
...and one hour later you were
telling me how much you loved me.
Just because I didn't like that
ridiculous comedy you did with Goldie
Hawn didn't mean I did not love you.
But that's what you always do. You
confuse love with admiration.
She smiles sadly. He looks at her. As Sylvia opens the door,
she turns back to Riggan...
10/29/14 / 40.
It's your house, so do what you want with
it. Just make sure you're there for our
You're not Farrah Fawcett, Riggan.
She exits. Painful silence... until...
We should have done that reality show they
offered us. "The Thomsons." That would’ve
been good. Crazy, druggy, wise ass daughter.
Milfy wife with the perky tits. People would
have watched that.
(To the poster.)
Riggan stands up and grabs his jacket. He opens the door and
goes out to...
Where are we goin'?
Leave me alone.
Riggan walks between crew members. Annie interrupts him.
The sun bed is here.
What does that mean?
It means there's a sun bed out there
being delivered to in here.
Who ordered a sun bed?
10/29/14 / 41.
Mike. He says it’s for his character.
Carver’s red necks, “people of the
land”. Part of his process and that
Riggan cannot deal with this right now. He continues walking
until he arrives at a metal door that takes him out to...
16 EXT. AN ALLEY WAY - OUTSIDE THE THEATER - CONTINUOUS 16
...an alley way. Riggan walks toward the street. There is a man
playing drums. Riggan finds Mike leaning against a parked car,
dazed and looking up at the marquis...
Let’s go. Walk.
Riggan begins to walk, Mike follows.
Where are we going?
To get you some coffee. Have I done
anything to disrespect you?
I have a lot riding on this play.
Is that right?
People know who I am, and--
Bullshit. People don’t know you. They
know the guy in the bird suit. They
know the guy who tells those quaint,
slightly vomitous stories on Letterman.
Well, I’m sorry for being popular, but
10/29/14 / 42.
Popular? POPULAR?... Oh God, popularity is
just the slutty little cousin of prestige.
Okay, I don’t even know what that--
My reputation is riding on this play.
And that's... That is...
A lot. Exactly. Fuck you. Yes. This
doesn't work out for you, you get to go
home to your studio pals and jump right
back into that cultural genocide you
guys are perpetrating. “There’s a
douchbag born every minute”. That was
P.T. Barnum’s premise when he got rich
inventing the circus. And you and your
pals know nothing’s changed, and
whatever toxic shit you make people are
still gonna pay to see it. But, after
you’re gone, I’ll still be here. I’ll
still be making my living on the stage.
Baring my soul. Wrestling with emotions,
Right. Is that what tonight was about then?
(Mocking him.) Wrestling with “complex
Tonight was about making it alive. About
making it bleed. This isn't the Warner
Brothers lot, Riggan. This is the city, and
this is how we do things.
Mike turns and opens the front door of The Rum House.
Where are you going?
They have coffee in here.
He walks into the restaurant. Riggan backtracks and we follow
10/29/14 / 43.
...The Rum House. Mike stands at the bar, the bartender
already pouring two whiskeys.
Tommy nods and walks away.
(Getting back on point.)
People were laughing in our faces.
(Handing Riggan a drink.)
Tonight they were laughing, tomorrow
they'll be... be.. tweeting about us. Fuck
‘em. Who cares??? These are the people who
pay half price to watch us rehearse. Stop
We’re doing Raymond Carver. This play is a
drama. This play is--
You don’t know what this play is. These are
previews. This is where we find out what
the play is.
Mike points to an Older Woman sitting at the bar. She sips a
martini and scribbles in a notebook with a sour expression.
You see that woman over there? The one that
looks like she just licked a homeless guy’s
ass? Nothing matters until she writes five
hundred words about us in the New York Times.
Tabitha Dickinson. Yes. And, believe it or
not, the only thing that matters in theater
is whether she likes us or not. She does,
we run. She doesn't, we're fucked.
She does look like she licked a homeless
10/29/14 / 44.
Do me a favor, don't get your panties in a
twist over a preview, alright? And don't tell
me how to do my job. Cause, this is my town.
And, to be honest, nobody gives a shit about
you around here.
You're Riggan Thompson, right?
Two fat tourists in "Mamma Mia" t-shirts, with a seven year old
kid, approach the table.
We're sorry to interrupt...
Would you mind terribly if we got a
Of course. It's no trouble at all.
The Lady shoves her camera into Mike's hands.
Would you mind?
Mike gets up with a blank expression and takes the camera.
The Lady pushes the kid into the booth next to Riggan.
The button right on top there.
Who is this guy?
(To his son.)
Come on, Billy. He used to be like Batman.
She yanks the kid closer and they squeeze up against Riggan.
Mike takes the photo and holds the camera to the lady.
I think you screwed that one up. Take
Mike takes another picture.
10/29/14 / 45.
God bless you, darlin’. You're very sweet.
She kisses Riggan hard on the mouth. Then gets up, giddy, and
takes her son by the hand. As the couple leaves, husband shoves
a five dollar bill into Mike’s hands.
We really appreciate it.
An agitated Mike takes a sip of whiskey.
Are we good here? Cause I’m gonna go.
See you tomorrow.
Mike places the dollar under one of the shot glasses and begins
to walk away, but then stops and turns curiously.
Why Raymond Carver? You never told me.
Riggan looks at Mike for a second, than reaches for his wallet
and produces an old cocktail napkin with some writing on it. He
slides it to Mike.
A long time ago, I did a play back in
high school in Michigan. He was in the
audience. He sent this backstage after.
"Thank you for an honest performance. Ray
Carver." What is this?
Riggan looks vulnerable. He is trying to make Mike understand
the importance of the napkin, to build a bridge between them.
And that's when I knew I was going to
be an actor.
Mike can't stop himself from smiling.
Why is that funny?
He wrote it on a cocktail napkin.
10/29/14 / 46.
Mike slides the napkin back to Riggan.
He was drunk.
He walks away and we follow him as he passes by the bar next
to Tabitha Dickinson, the Critic.
You headed to Hollywood, Mike?
Hollywood's headed here, Tabby.
(A devilish smile.)
Good luck with that.
Mike looks directly into her eyes.
"A man becomes a critic when he can not be an
artist, in the same way that a man becomes an
informer when he cannot be a soldier."
He flashes his own devilish smile. She stares back. If she
weren't so much older than him, you'd swear there was sexual
electricity between them.
He's a Hollywood clown in a Lycra bird
Yeah. And at 8 o'clock tomorrow, he's gonna
get on stage and risk everything. What're
you gonna be doing?
Don't you ever worry that I'll give you a
10/29/14 / 47.
Oh, I'm sure you will. If I ever give a bad
Mike smiles and waves over to an obviously nervous Riggan. He
goes toward the exit, but we stay with Tabitha, scribbling on
her notebook. Suddenly she raises her eyes and, with a dark
expression, looks at Riggan who is passing by.
We follow Riggan toward the exit. Through the window we see him
leave the restaurant. Then we pan to a wooden wall, and this
wall takes us to...
...the theater hallway. Riggan walks through the quiet corridor,
until he arrives at...
20 INT. GREEN ROOM - THEATER - CONTINUOUS 20
...the Green Room. Sam sits listlessly, drawing some lines
across a roll of toilet paper.
What're you still doing here?
Nothing. I’m-- Nothing. Your costumes are
hanging in your room.
I got the coconut water you wanted. If you
want me to get--
I'm not sure if I said thank you.
10/29/14 / 48.
All of it. You've been doing a good job.
And I've been...
So, I just wanted to say that--
(He stops abruptly.)
What is that?
Look at me.
What are you--
Look at me.
She does. He examines her eyes, then immediately rises, scouring
(Continuing to search.)
You have to be shitting me... Where is it?
Could we not do this?
Riggan pulls a jar of peanut butter from the trash.
What is this?
That is chunky peanut butter that happens,
by the way, to have Omega--
10/29/14 / 49.
Riggan pulls a stubbed joint out of the jar.
Oh. That's pot.
Alright, just relax.
Relax? What the hell are you doing?
Protecting myself from cataracts?
You can't do this to me!
SHUT UP! You know what I'm talking about.
Yeah. You're talking about you. What else
Don't try to--
What? Make it about me? I wouldn't dream of
Listen to me. I'm trying to do something
This is not important.
It's important to me! Alright? Maybe not to
you, or your cynical playmates whose sole
ambition is to end up going viral and who,
by the way, will only be remembered as the
generation that finally stopped talking to
one another. But to me... To me... This is--
God. This is my career, this is my chance
10/29/14 / 50.
to do some work that actually means
Means something to who? You had a career
before the third comic book movie, before
people began to forget who was inside the
bird costume. You're doing a play based on
a book that was written 60 years ago, for
a thousand rich, old white people whose
only real concern is gonna be w