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Scene Map 42
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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The Pursuit of Happyness By Steve Conrad 4/25/05 Revised 1st Draft
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EXT. STREET, SAN FRANCISCO - LATER Chris sits on a bus bench in the city; the guy beside him’s a drunk Filipino with a screw loose, 60, in a T-shirt that reads World’s Greatest Dad. Chris keeps the machine on his lap. The two sit there waiting for the bus.
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EXT. BUS STOP, OAKLAND - LATER Later, Chris sits on a bus bench beside an unaccompanied Chinese kid trying to play a trumpet; it’s nearly evening. 8. CHRIS
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EXT. PATIO, APARTMENT - CONTINUOUS (NIGHT) Chris has come out on the patio idly with the cube; it’s not a patio in the sense that one would derive enjoyment from sitting there. It’s cement space outside the kitchen. Each small apartment in the complex has one, so Chris is sitting
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INT. RECEPTION AREA, DEAN WITTER BRANCH - LATER Chris sits alone in the reception area. Then TIM BROPHY enters the room. TIM BROPHY Chris?
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EXT. NEIGHBORHOOD STREET - LATER Chris and Christopher have walked farther into east San Francisco, past a park where one guy’s shooting baskets. Christopher’s watching him. CHRIS
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EXT. TRAIN PLATFORM - LATER Chris stands on a platform, with his scanner, waiting for a train. Chris looks across the tracks. CHRIS’S POV
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INT. CITY BUS, MOVING - SAME In the present again, the girl and her boyfriend sit toward the back of the bus. It moves through the San Francisco neighborhood. Chris is visible out the window, running alongside the bus.
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EXT. PATIO, CHRIS’S APARTMENT - CONTINUOUS Linda’s out on the small setting of the third floor patio balcony. THERE’S AN OLD NEIGHBOR BEATING A SMALL RUG on the balcony right beside her, and another one smoking on a lawn chair just to her left. Chris comes out and finds her there;
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INT. CAB, MOVING - LATER Chris sits in the back of a cab that drives through San Francisco. CHRIS ... a lot of my family members were
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EXT. PACIFIC AVE - LATER Chris tries to sprint while carrying the scanner. EXT. PUBLIC SQUARE - LATER Chris runs through a public square park. He’s starting to drag. He comes to a rest bench. He must rest and puts his
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INT. CHRIS’S APARTMENT - LATER As the phone rings, Chris runs in past the landlord hanging around the doorway. LANDLORD I got to get the rent from you,
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EXT. MS. CHU’S DAYCARE, SAN FRANCISCO - DAY Chris is amped up and has caught up with Linda in front of daycare. Christopher’s gone in; left alone, they take the occasion to scream at one another. CHRIS
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INT. CHRIS’S APARTMENT - LATER Chris paints the walls white; he’s dressed in old clothes he doesn’t care about. It’s an unhappy scene with the scanner stack visible in the frame. He’s got to edge past a scanner to paint.
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INT. CORRIDOR, JAIL - LATER Chris is on the pay phone down the end of the long jail corridor; though he’s talking calmly, his expression shows he’s feeling great unrest. LINDA (O.S.)
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INT. BOARD ROOM, DEAN WITTER - LATER A group of DEAN WITTER PARTNERS waits for Chris in the board room. Chris and the receptionist enter. RECEPTIONIST (introducing him)
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EXT. DEAN WITTER BUILDING, SKYSCRAPER LOBBY - LATER Twistle has walked Chris out; they finish a conversation out front of the skyscraper. CHRIS Thank you, Mr. Twistle.
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INT. LIVING ROOM, MOTEL ROOM - LATER Linda has put Christopher down on the couch under the message Chris painted over; he’s still asleep. They face one another from five feet away. LINDA
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EXT. PLAYGROUND, SAN FRANCISCO - EVENING Chris has taken Christopher to a park basketball court in the middle of the city. Christopher takes a shot, misses and hits a scanner that rests near the court. CHRIS
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EXT. DEAN WITTER BUILDING - LATER Chris is on break, waiting to cross the broad intersection out front of the skyscraper. The FIRST PARTNER from Chris’s early interview has come out as well and stands beside Chris, hailing a cab.
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EXT. STREET - SAME Chris lays on the pavement in the middle of the city street. His eyes are open, but he seems stunned. Cars come right at him. SPANISH GUY
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EXT. DEAN WITTER BUILDING - LATER At day’s end, the intersection before the skyscraper is mostly quiet; CHRIS, THOUGH, HAS LEFT THE SKYSCRAPER AND SPRINTS ACROSS IT. CHRIS (V.O.)
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INT. DEAN WITTER OFFICES - DAY The camera tracks along the cubicle row where each intern sits making calls. CHRIS (V.O.) Whoever brought in the most money
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INT. ALAN’S TERCEL, MOVING - LATER Chris has finally gained entry and drives around north San Francisco, trying to find parking. INT. WALTER RIBBON’S OFFICE - LATER Walter Ribbon sits at his desk. The large wall clock that
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INT. CITY TRAIN - LATER Later, Chris rides the metro train. Pretty soon, he sees OFFICE MANAGER ALAN FRAKESH, having just boarded, walking down the aisle. They make eye contact. CHRIS
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EXT. SUBURBAN TOWN - LATER Later, Chris and Christopher, in their fresh caps, walk past suburban houses. CHRISTOPHER I don’t understand.
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EXT. SUBURBAN HOME - LATER Chris has knocked on the door of a large private home. Christopher waits beside him. Soon, Walter Ribbon answers the door. CHRIS
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INT. WALTER RIBBON’S CAR, MOVING - LATER Chris rides in the passenger seat. Ribbon’s driving them toward San Francisco. WALTER RIBBON Are you okay?
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EXT. MOTEL OFFICE, MOTEL - DAY On another day, after work, Chris has taken his mail from his slot. He’s checking out something that’s got him worried. He’s opened the letter. Christopher hangs around in the distance.
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EXT. WHARF, SAN FRANCISCO - LATER The guy’s sitting on a bench at the end of the wharf. Soon, Chris comes up to it; he sees that he can walk now because there’s nowhere else for the guy to go. CLOSE ON the guy, he’s got his eyes closed.
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EXT. APARTMENT DOORWAY, SAN FRANCISCO - LATER (NIGHT) It’s later now. Chris knocks on the door. No one answers. CHRIS (knocking again) Wayne!
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INT. BATHROOM - LATER Christopher’s asleep, laying on Chris. Chris is wide awake. He’s laying with his back against the wall. SOMEONE STARTS MAKING NOISE OUTSIDE, locking gates. Christopher starts stirring.
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EXT. SAN FRANCISCO CITY SHELTER - SAME Chris, in his professional clothing, waits outside the shelter doors on the city sidewalk. The older CITY SHELTER WORKER comes out to meet him. SHELTER WORKER
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EXT. SHELTER, SAN FRANCISCO - LATER Outside the three-story church shelter building, a rougher- looking building, street people of different ages, mostly men, have formed a line onto the sidewalk. Chris waits with Christopher toward the front of the line. The guy in front of
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INT. SHELTER ROOM - LATER The room is small and real basic. There’s a wood desk and a bed. It’s dark. Chris lights a candle. CHRISTOPHER Why don’t we have lights?
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INT. RADIO SHACK, SAN FRANCISCO - LATER At the register, Chris is showing the clerk a mini light bulb and transmitter. CHRIS One of these.
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EXT. STREET, SAN FRANCISCO - LATER Outside of the Almont church shelter building, Chris and Christopher, in the front of the line, get accepted inside for an open room. 110.
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INTERN Yeah. CHRIS What did you think of the graphs? INTERN
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EXT. SIDEWALK CAFE, SAN FRANCISCO - LATER Chris meets with two professional women at a cafe table on the sidewalk. Christopher sits at the next table, coloring. CHRIS (to one of the women)
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INT. CHRIS’S SHELTER ROOM - LATER (NIGHT) In their dark room, as Christopher sleeps, Chris sits by the window, trying to fix the scanner by the light from the window. It’s really dark. We can hear Chris clicking things into place. He’s done. He looks at the machine. He gets ready
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EXT. PUBLIC SQUARE, SAN FRANCISCO - DAY Chris sits in his now familiar spot on the fountain wall out front of the Bell Western building. He’s finishing signing some paper work with another young executive. CHRIS
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EXT. BUS BENCH, SAN FRANCISCO - LATER They’re waiting for the bus together. Christopher’s coloring. Chris is just sitting there. The bus comes. It blocks them from view. After a while, it leaves. The two are still sitting there.

the pursuit of happyness

A father's love and determination know no bounds as he fights to provide for his family amidst financial struggles and homelessness.

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Overview

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Unique Selling Point

**Unique Selling Proposition:** Experience the riveting journey of Chris Gardner, a determined father facing overwhelming challenges, in this unique and inspiring screenplay. Through authentic and emotionally resonant storytelling, immerse yourself in the struggles, triumphs, and sacrifices of a man fighting to provide a better life for his son. Explore themes of resilience, perseverance, and the transformative power of family bonds, as Chris navigates financial hardships, broken promises, and the pursuit of a dream that seems just out of reach. This screenplay is not just a story; it's an unforgettable journey that will touch your heart and inspire you to never give up on your aspirations.

AI Verdict & Suggestions

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Gemini
 Recommend
Claude
 Recommend
GPT4
 Recommend
Story Facts

Genres: Drama, Family, Thriller, Slice of Life, Biography, Comedy, Sports, Finance, Action, drama, family

Setting: 1976-1981, Venice, California and San Francisco

Themes: Poverty and Homelessness, Fatherhood, Determination and Perseverance

Conflict & Stakes: Chris's struggle to find a job, provide for his family, and create a better future for his son amidst financial hardship and personal challenges

Mood: Hopeful and Inspirational

Standout Features:

  • Emotional Depth: The deep emotional connection between Chris and his son drives the heart of the story.
  • Real-Life Inspiration: Based on a true story, adding authenticity and resonance to the narrative.
  • Character Development: The growth and transformation of Chris as a character throughout the story.
  • Social Commentary: Explores themes of poverty, perseverance, and the American Dream.
  • Parent-Child Relationship: The bond between Chris and Christopher is a central and compelling aspect of the screenplay.

Comparable Scripts: The Pursuit of Happyness (2006) Movie, The Fresh Prince of Bel-Air (1990-1996) TV Show, The Wire (2002-2008) TV Show, The Wire (2002-2008) TV Show, The Wire (2002-2008) TV Show

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Writer Exec

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Overall Score: 8.10
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