The Founder
Executive Summary
Poster
![](/posters/poster27a9f593af9ca21f05c19e93bd2cff0bf6317afe0a44f5e638192e8ab1ff7540.png)
Overview
Genres: Drama, Biography, Comedy, Historical, Romance
Setting: 1950s-1960s, Various locations in the United States, including California, Illinois, and Minnesota
Overview: Ray Kroc, a salesman struggling to make ends meet, stumbles upon a small drive-in restaurant in San Bernardino, California, owned by the McDonald brothers. Intrigued by their efficient system and delicious burgers, Kroc strikes a deal to franchise the McDonald's name. As the business rapidly expands, Kroc clashes with the brothers over his ambitious plans, ultimately leading to a bitter legal battle and his acquisition of the company. Along the way, Kroc grapples with personal relationships, financial setbacks, and moral dilemmas, as he relentlessly pursues his version of the American Dream.
Themes: Pursuit of the American Dream, Persistence and Determination, Entrepreneurship and Business, Family and Relationships
Conflict and Stakes: Ray Kroc's desire to expand the McDonald's franchise versus the McDonald brothers' reluctance to do so, with the future of the fast-food industry at stake.
Overall Mood: Dramatic and thought-provoking
Mood/Tone at Key Scenes:
- Scene Scene 1: Optimistic and persuasive
- Scene Scene 2: Frustrated and impatient
- Scene Scene 3: Tense and frustrating
- Scene Scene 4: Persistent and hopeful
Standout Features:
- Unique Hook: The untold story of the creation of a beloved American brand and the complex relationships between its founders.
- Plot Twist: Ray Kroc's decision to renegotiate the deal with the McDonald brothers and the resulting conflict.
- Distinctive Setting: The 1950s-1960s American fast-food industry and the rise of the McDonald's franchise.
Comparable Scripts:
- The Social Network
- Steve Jobs
- The Pursuit of Happyness
- Fight Club
- There Will Be Blood
- Citizen Kane
- Glengarry Glen Ross
- The Aviator
- The Wolf of Wall Street
- The Godfather
Writing Style:
The screenplay features sharp dialogue, intense character interactions, and high-stakes conflicts that drive the narrative forward. The writing style is characterized by a focus on power dynamics, control, and the clash of ideologies, creating tension and suspense. The authors excel in crafting witty and engaging dialogue, blending humor and seriousness to explore complex moral and ethical dilemmas.
Style Similarities:
- Aaron Sorkin
- David Mamet
- Quentin Tarantino
Pass/Consider/Recommend
Recommend
Explanation: Overall, 'The Founder' is a well-crafted screenplay that captivates the audience with its strong character development, compelling narrative, and exploration of complex themes. While there are areas for improvement, the screenplay's strengths far outweigh its weaknesses, making it a compelling and engaging story. With further refinement and attention to emotional depth and character relationships, 'The Founder' has the potential to be an exceptional cinematic experience.
USP: Discover the untold story of Ray Kroc, a charismatic and determined salesman who revolutionized the fast-food industry, in this captivating script that explores the highs and lows of ambition, persistence, and the American Dream. Witness the transformation of a small drive-in restaurant into a global powerhouse, as Kroc navigates the challenges of business negotiations, financial struggles, and personal relationships. With its unique blend of humor, nostalgia, and keen observations, this script offers a fresh take on the familiar theme of corporate power struggles, showcasing the complexities of entrepreneurship, the emotional impact of success, and the human side of a cultural icon. Through its innovative storytelling techniques, distinctive characters, and engaging dialogue, this script is sure to captivate its target audience, offering a compelling and unforgettable journey into the heart of the McDonald's empire.
Market Analysis
Budget Estimate:$30-40 million
Target Audience Demographics: Adults aged 25-54, fans of biographical dramas and business stories.
Marketability: The story of the creation of a beloved American brand and the complex relationships between its founders has the potential to attract a wide audience and generate buzz.
The unique blend of biographical drama and business story, as well as the exploration of compelling themes with a diverse cast, could appeal to a niche audience.
Compelling characters and a gripping storyline, as well as relevant social themes, could attract a wide audience and generate critical acclaim.
Profit Potential: High, due to strong appeal to a wide adult audience and potential for award nominations.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's unique voice is characterized by a lively mix of humor, nostalgia, and keen observations.
Best representation: Scene 33 - Ray Kroc's Contemplation and Ambition. This scene is the best representation of the writer's voice because it effectively captures the blend of humor, nostalgia, and emotional depth that characterizes the screenplay. The lighthearted banter between Kroc, Rollie, and Joan adds a touch of humor, while the underlying tension and jealousy hint at the complexities of their relationships. Additionally, the scene's nostalgic atmosphere, evoked by the photo shoot and the discussion of the restaurant's history, resonates with the overall theme of the film.
Memorable Lines:
- Ray Kroc: Increase supply, demand will follow. Chicken and the egg. (Scene 1)
- Ray Kroc: Persistence and determination alone are all-powerful. (Scene 41)
- Ray Kroc: This place you’ve created, it’s not a restaurant. It’s not even a place. It’s an idea. (Scene 15)
- Mac McDonald: We decide to tear down the kitchen. Rebuild. Reconfigure. Rethink the whole dang thing. (Scene 9)
- Joan Smith: You don’t build a restaurant empire acting like a timid little mouse. (Scene 34)
Characters
Ray Kroc:A traveling salesman who becomes the founder and CEO of McDonald's Corporation.
Dick McDonald:One of the McDonald brothers who create the fast-food restaurant concept.
Mac McDonald:The other McDonald brother who co-creates the fast-food restaurant concept.
Ethel Kroc:Ray Kroc's first wife, who supports him in his early business ventures.
Joan Smith:A young woman who becomes involved in the McDonald's franchise and later marries Ray Kroc.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for 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 - Ray Kroc's Failed Pitch for His Mixing Machine | Persuasive, Confident, Disappointed | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
2 - The Frustrating Sales Call at Ed's Drive-In | Exasperated, Humorous, Frustrated | 8 | 8 | 7 | 7 | 8 | 6 | 8 | 7 | 7 | 8 | 5 | 7 | 7 | 6 | 7 | 9 | 9 | 8 | 8 | |
3 - Ray Kroc's Tense Phone Call and Motivational Record | Reflective, Resigned, Motivational | 8 | 9 | 7 | 9 | 9 | 6 | 8 | 7 | 4 | 7 | 3 | 5 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
4 - Ray Kroc's Persistent Sales Pitch and a Glimmer of Hope | Frustration, Disappointment, Resignation | 8 | 7 | 8 | 9 | 7 | 6 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
5 - Miscommunication and Changes: A Call to Merriman's Drive-In | Frustration, Businesslike, Fast-paced | 8 | 7 | 8 | 9 | 7 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 7 | 6 | 9 | 9 | 9 | 8 | 8 | |
6 - Disappointment on Route 66 | Hopeful, Curious, Intrigued | 8 | 8 | 7 | 9 | 7 | 5 | 8 | 7 | 4 | 7 | 5 | 8 | 7 | 6 | 6 | 9 | 8 | 8 | 8 | |
7 - Ray Kroc's First Bite: A Taste of McDonald's | Curious, Wholesome, Intrigued, Friendly | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 5 | 6 | 6 | 8 | 7 | 6 | 7 | 9 | 8 | 8 | 8 | |
8 - Ray Kroc's Introduction to the McDonald's Kitchen | Intriguing, Informative, Engaging | 9 | 9 | 8 | 9 | 8 | 6 | 8 | 7 | 5 | 7 | 6 | 8 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | |
9 - The Innovative Journey of the McDonald Brothers: From Depression to Drive-in Revolution | Reflective, Informative, Nostalgic | 9 | 9 | 8 | 9 | 8 | 7 | 8 | 9 | 6 | 8 | 5 | 8 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | |
10 - Planning the Perfect Fast-Food Layout and a Disastrous Grand Opening | Humorous, Reflective, Disastrous | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 8 | 6 | 8 | 7 | 6 | 7 | 9 | 8 | 8 | 8 | |
11 - The Beginning of a Business Partnership: McDonald's and Kroc | Inspiring, Passionate, Reflective | 9 | 9 | 8 | 8 | 9 | 7 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
12 - Franchise Failures and Quality Control Concerns | Serious, Defensive, Resolute | 8 | 8 | 8 | 8 | 9 | 6 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | |
13 - Ray Kroc's Fateful Encounter with the Golden Arches | Fascination, Pride, Magic | 9 | 9 | 8 | 9 | 8 | 4 | 8 | 7 | 3 | 6 | 4 | 7 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | |
14 - Unrealized Dreams: A Tale of Ambition and Resentment | Tension, Resentment, Defensiveness | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
15 - Kroc's Determined Pursuit to Convince the McDonald Brothers | Reflective, Introspective, Inspirational | 8 | 9 | 7 | 9 | 8 | 6 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
16 - Ray Kroc's Vision for McDonald's: A New American Church | Reflective, Inspirational, Contemplative | 9 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
17 - Crafting a Franchise: From Contract to Construction | Tempted, Torn, Anxious, Proud | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 7 | 8 | 8 | 9 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | |
18 - Kroc's Loan Hunt and Frustrations with Architectural Delays | Defeated, Embarrassed, Compassionate, Irritated | 8 | 8 | 7 | 8 | 8 | 5 | 8 | 7 | 6 | 8 | 6 | 7 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | |
19 - Tension Over Coca-Cola Sponsorship | Tense, Serious, Argumentative | 8 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
20 - Ray Kroc's Inspection and Investor Hunt: A Day at McDonald's and the Country Club | Determined, Emotional, Reflective | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | |
21 - Tense Confrontation at McDonald's | Confrontational, Critical, Humorous | 8 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 6 | 9 | 8 | 8 | 9 | 9 | |
22 - Cancelled Membership and Unsettling Observations | Tension, Conflict, Emotional | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
23 - Ray Kroc Partners with the Rosenblatts to Open a Successful McDonald's | Intrigued, Hopeful, Admiration, Jealousy | 9 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 7 | 7 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
24 - Ray Kroc's Enthusiasm Meets Skepticism and Sparks a Recruiting Montage | Tense, Edgy, Reflective, Hopeful | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
25 - A Warm Welcome and a Bloody Steak: Ray Kroc's Business Trip to Minneapolis | Charming, Flirtatious, Light-hearted | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 4 | 6 | 3 | 7 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
26 - Ray's Triumphant Flight Home and Frustrating Financial Discussion | Reflective, Tense, Emotional | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
27 - Unresolved Tensions and a Medical Emergency | Tense, Emotional, Confrontational | 8 | 8 | 9 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
28 - Ray Kroc's Internal Conflict: Mortgaging His Home and Considering Inst-A-Mix | Tense, Emotional, Intrigued, Anxious, Relieved, Shaken, Quivering | 8 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
29 - Ray Kroc's Failed Attempt to Convince McDonald's on Cost-Saving Measures | Serious, Frustrated, Defeated | 8 | 7 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
30 - Ray Kroc's Failed Attempt to Secure a Loan | Tense, Frustrated, Desperate | 8 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 8 | 8 | 9 | 7 | 7 | 7 | 7 | 9 | 8 | 7 | 8 | |
31 - Ray Kroc's Financial Troubles and Harry Sonneborn's Proposal | Serious, Intense, Informative | 8 | 9 | 8 | 9 | 7 | 8 | 8 | 9 | 6 | 8 | 7 | 9 | 8 | 5 | 7 | 9 | 8 | 8 | 8 | |
32 - Emergence of the Franchise Realty Corporation and Its Impact on the McDonald Brothers | Tense, Confrontational, Defiant | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | |
33 - Kroc's Confident Photo Shoot and Inst-A-Mix Approval with a Hint of Jealousy | Confident, Excited, Playful | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 6 | 7 | 6 | 8 | 7 | 6 | 7 | 9 | 9 | 8 | 8 | |
34 - Ray Kroc's Contemplation and Ambition | Intrigued, Reflective, Ambitious | 8 | 8 | 7 | 8 | 9 | 6 | 8 | 7 | 6 | 7 | 6 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 9 | |
35 - Confrontation over Inst-A-Mix: Kroc and McDonald's Conflict | Defiant, Confrontational, Assertive | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 9 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 7 | 8 | |
36 - Kroc's Betrayal and the Breaking Point | Tense, Confrontational, Emotional | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
37 - Mac's Hospital Visit and Ray Kroc's Unexpected Offer | Tense, Confrontational, Serious | 8 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
38 - The Unbeatable Kroc and the Brother's Defeat | Somber, Intense, Resigned | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
39 - Kroc Reveals His Purchase of the McDonald's Name | Intense, Reflective, Confrontational | 9 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 10 | 9 | 9 | 9 | 9 | |
40 - The Name Change: A Power Play in the Fast Food Industry | Heartbreaking, Dramatic, Defiant | 8 | 8 | 8 | 8 | 7 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
41 - Ray Kroc's Reflection on Success | Reflective, Regretful, Nostalgic | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 3 | 6 | 4 | 6 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | |
42 - A Content and Affectionate Ride Home | Reflective, Regretful, Resigned | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 5 | 6 | 6 | 6 | 6 | 8 | 7 | 7 | 7 | 8 | 8 |
Scene 1 - Ray Kroc's Failed Pitch for His Mixing Machine
The kitchen of a drive-in restaurant outside St. Louis. It’s
1954. Traveling salesman RAY KROC (52) stands before a sample
MIXING MACHINE, making his pitch to the OWNER.
RAY KROC
Now, I know what you’re thinking:
“What the heck do I need a five-
spindle for? I barely sell enough
shakes to justify my single
spindle.” Right? Wrong.
(BEAT)
Mr. Paulsen, are you familiar with
the notion of the chicken and the
egg? I mention it because I believe
it’s applicable here: Do you not
need a Multimixer because you’re
not selling enough milk shakes? Or
are you not selling enough milk
shakes because you don’t have a
Multimixer? I firmly believe it’s
the latter. You see, your
customers, they know that if they
order a shake from your
establishment, it’s going to be a
terrific wait. They’ve ordered one
before, and by golly they’re not
gonna make that mistake again. But
if you had, say, a Prince Castle-
brand five-spindle Multimixer with
patented direct-drive electric
motor, you could greatly increase
your ability to produce delicious,
frosty milk shakes fast. And before
long, mark my words, dollars to
donuts, you’d be selling more of
those suckers than you can shake a
stick at. Increase supply, demand
will follow. Chicken and the egg.
You follow my logic? Of course you
do. You’re a bright, forward-
thinking fella who knows a good
idea when he hears it.
(BEAT)
So whaddaya say?
ON THE OWNER-- pondering thoughtfully.
OWNER
Nah.
(BEAT)
Thanks anyway.
2.
Ratings
Scene 2 - The Frustrating Sales Call at Ed's Drive-In
Kroc lugs the heavy Mulitmixer back to his car. He lifts it
into the trunk, wincing from his bad back.
INT. KROC’S CAR - MOMENTS LATER
Kroc sits in his car checking his APPOINTMENT BOOK. His next
sales call: DEE DEE’S DRIVE-IN - 1 P.M.
He checks his watch. It’s 12:05. He turns on the car, pulls
into a customer spot in front of Ed’s Drive-In.
He looks at the MENU BOARD, taking in the vast, seemingly
random assortment of items: BBQ beef sandwiches, hot tamales,
peanut butter and jelly sandwiches, chili dogs, etc.
INT. KROC’S CAR - SHORT TIME LATER
Kroc sits in his car, waiting for his food. He looks at his
watch. It’s 12:50. He lets out a heaving, exasperated sigh.
KROC’S POV, the view out his windshield: a rowdy TEEN-HANGOUT
SCENE. Rock-and-roll blasting from cars; female CARHOPS on
rollerskates dodging grabby male patrons; leather-jacketed,
cigarette-smoking hoodlums smacking each other around.
Kroc is the oldest customer by a mile--and seemingly the only
one with anywhere to be. He HONKS his horn, summoning his
CARHOP. She comes skating over holding a tray of Cokes.
RAY KROC
Miss, how much longer?
CARHOP GIRL
Should be any minute.
RAY KROC
You said that 20 minutes ago.
CARHOP GIRL
I’m sorry, we’re real--
She JUMPS-SQUEALS, startled. The tray of Cokes goes flying
into the car, SPILLING ALL OVER KROC’S LAP. Several glasses
and plates fall on the ground, SHATTERING.
Carhop Girl spins around, sees a GUY behind her cracking up.
He just pinched her butt.
3.
CARHOP
Dennis!
(re: Kroc, soaked)
Look what you made me do!
DENNIS
Sorry, gramps.
Dennis scampers off toward his pack of laughing friends. The
carhop goes chasing after him, mad but not actually mad.
ON KROC-- looking down at the pool of bubbly brown liquid in
his lap. He HONKS, leans out the window.
RAY KROC
Could I get some napkins?
No one hears him.
Ratings
Scene 3 - Ray Kroc's Tense Phone Call and Motivational Record
ANGLE ON the pants drying on the shower’s curtain rod.
RAY KROC (O.S.)
It’s going great.
CUT TO: the NEXT ROOM. Kroc sitting on the bed, on the phone.
RAY KROC (CONT’D)
Lot of good leads today. Real
strong leads.
Through the phone, a tiny passive-aggressive sigh.
RAY KROC (CONT’D)
(prickly)
What?
ETHEL KROC (O.S.)
Nothing. That’s wonderful.
RAY KROC
There’s tremendous interest.
ETHEL KROC (O.S.)
I’m sure there is.
RAY KROC
You don’t believe me?
ETHEL KROC (O.S.)
Of course, Ray. Why wouldn’t I?
4.
SHORT TIME LATER--
Kroc sits on the edge of the bed, roiling from the call. He
takes off his shirt, undressing for bed. His bare torso bears
numerous surgery scars: heart, gall bladder, etc.
He reaches over to the night stand, grabs a fifth of Canadian
Club. Unscrews the cap.
SHORT TIME LATER--
Kroc, in pajamas, stands before a PORTABLE PHONOGRAPH. He
drops the needle on a record.
SHORT TIME LATER--
Kroc lies in bed in the darkened room, eyes closed. A
soothing baritone fills the air--
RECORD (O.S.)
Nothing in the world can take the
place of persistence. Talent will
not; nothing is more common than
unsuccessful men with talent.
Genius will not; unrewarded genius
is almost a proverb.
ANGLE ON record sleeve next to the phonograph: “THE POWER OF
THE POSITIVE” BY DR. CLARENCE FLOYD NELSON
RECORD (CONT’D)
Education will not; the world is
full of educated derelicts.
Persistence and determination alone
are omnipotent.
QUICK CUTS to other snippets of the record:
RECORD (CONT’D)
So I grabbed that brush, and I
shined up those boots so bright,
Pastor Walker could see his
reflection in them!
Later--
RECORD (CONT’D)
The lesson there being, it’s not
what you do but how you do it. Any
job worth doing is worth doing
well.
5.
Later--
RECORD (CONT’D)
As I like to say, it’s not the size
of the dog in the fight, it’s the
size of the fight in the dog.
Later--
RECORD (CONT’D)
Misfortune is just a stepping stone
to fortune.
Later--
RECORD (CONT’D)
And I said to myself, “Clarence,
you’ve got to muddle through this!”
Later--
RECORD (CONT’D)
How a man handles adversity is the
true measure of a man.
Later--
RECORD (CONT’D)
Heck, anyone can paddle in a
sunshower!
Ratings
Scene 4 - Ray Kroc's Persistent Sales Pitch and a Glimmer of Hope
The kitchen of another drive-in, Kroc pitching to the OWNER.
The scene is virtually identical to the previous day’s.
RAY KROC
Increase supply, demand will
follow. Chicken and the egg. You
follow my logic? Of course you do.
You’re a bright, forward-thinking
fella who knows a good idea when he
hears it.
(BEAT)
So whaddaya say?
EXT. PARKING LOT - SHORT TIME LATER
Kroc lugs the sample Multimixer back to his car.
6.
INT. KROC’S CAR - SHORT TIME LATER
Kroc is pulled up to a customer spot in front of Joe’s Drive-
In. The scene before him is very much like the one at Ed’s
Drive-In, a riot of teenage rowdiness.
He looks at his watch. It’s 12:45. He HONKS, shouting out to
no one in particular:
RAY KROC
Could someone tell me when my...
He trails off as a female CARHOP approaches with a tray. She
hooks the tray onto his car door.
CARHOP
Enjoy.
She heads off. He lifts the cover off his plate, primed to
dig in. His face falls at the sight of the hamburger beneath.
He leans out the window, honks.
RAY KROC
I ordered the barbecued beef!
He’s howling into the void.
EXT. MERRIMAN’S DRIVE-IN - LATER
Another drive-in. Kroc with the OWNER.
RAY KROC
Mr. Merriman, are you familiar with
the notion of the chicken and the--
OWNER
No, thank you.
The Owner disappears into the restaurant. Kroc, shut down,
lugs the Multimixer over to his nearby car, heaves it into
the trunk. He takes a swig from his FLASK.
EXT. MERRIMAN’S DRIVE-IN - MOMENTS LATER
Kroc at a pay phone, dialing a long-distance number.
JUNE MARTINO (O.S.)
Prince Castle, how may I help you?
RAY KROC
Hi, June.
7.
INT. PRINCE CASTLE SALES - CONTINUOUS
A modest office in a Chicago high-rise. At the reception desk
is secretary JUNE MARTINO. (Intercut as necessary.)
JUNE MARTINO
Ray. How’s it going down there?
RAY KROC
Fine, swell, lot of interest.
JUNE MARTINO
That’s terrific. Hold on, I’ll
fetch your messages.
She grabs a pile of messages off the desk.
JUNE MARTINO (CONT’D)
Let’s see: Gene Rafferty from
United Aluminum, says he needs to
reschedule Friday... Ed Nance
calling again about the refund... a
lady from March of Dimes about a
donation... oh, and we got an
order. Six.
RAY KROC
Six?
JUNE MARTINO
Some drive-in out in California.
RAY KROC
One place? That’s impossible.
JUNE MARTINO
I’ve got the slip right here.
RAY KROC
You must’ve misunderstood. Give me
the number, I’ll straighten it out.
Ratings
Scene 5 - Miscommunication and Changes: A Call to Merriman's Drive-In
Kroc pours a few nickels into the pay phone, dials a number
off his wrist.
YOUNG EMPLOYEE (O.S.)
Hello?
RAY KROC
Good afternoon. May I please speak
to the owner?
8.
YOUNG EMPLOYEE (O.S.)
Which one?
RAY KROC
I’m sorry?
YOUNG EMPLOYEE (O.S.)
Dick or Mac?
RAY KROC
Um, whomever’s available.
The guy puts the phone down, heads off. Through the receiver,
Kroc hears the sounds of an insanely busy--and efficient--
kitchen. “Order up!”... “I need six fries!”... “Patties up!”
DICK MCDONALD (O.S.)
This is Dick.
RAY KROC
Hello Dick, this is Ray Kroc from
Prince Castle Sales. I’m phoning
because someone there placed an
order with us for some Multimixers.
DICK MCDONALD
Yes, yes, that was me. How soon can
you get ‘em out here?
RAY KROC
Well, that’s actually why I was
calling. I believe there may have
been a miscommunication between--
In the background, someone SHOUTS SOMETHING to Dick.
DICK MCDONALD
Freezer! Top shelf, left side!
(back to Kroc)
Sorry.
RAY KROC
My secretary’s under the impression
you wanted six.
DICK MCDONALD
You know what? I think that’s a
mistake.
RAY KROC
That’s what I figured. What kind of
drive-in would be making 30 shakes
at a--
9.
DICK MCDONALD
Better make it eight.
ON KROC-- flabbergasted. Another background SHOUT.
DICK MCDONALD (CONT’D)
What’s that, Al? There’s a brand-
new box in the storeroom!
(to Kroc)
Look, now isn’t the best time.
RAY KROC
I’m sorry, I’m still a bit--
DICK MCDONALD
You know where to send ‘em, right?
San Bernardino, California. Corner
of 14th and E.
RAY KROC
To anyone in particular?
DICK MCDONALD
Just the store is fine. McDonald’s.
Another BACKGROUND SHOUT distracts Dick.
DICK MCDONALD (CONT’D)
I gotta go. Just get those mixers
out here ASAP, okay? Thanks!
Click. Kroc stares at the receiver. What the hell was that?
Ratings
Scene 6 - Disappointment on Route 66
Kroc stands over a U.S. ROAD MAP on the hood of his car. He
unfolds it, opening the map westward. (Note: This part of the
map is not well-worn like the Midwest; it’s virgin territory
for Kroc.)
Kroc’s eyes drift westward to California. They land on a
small town 60 miles east of Los Angeles: San Bernardino.
Kroc looks at the whole country. He notices something. A road
directly connecting St. Louis to San Bernardino. Route 66.
ON KROC-- staring at Route 66. A single, unbroken line
running from where he is now to that mysterious city out in
Southern California.
10.
EXT. ROUTE 66 - DAY
Kroc driving west on Route 66. Cars, the open road, a
limitless horizon. The sky, the country, the whole world
seems to open up. His heart swells with possibility. The
vastness excites his brain. This must be how Lewis & Clark
felt. And then...
EXT. SAN BERNARDINO CITY LIMITS - ROUTE 66 - DAY
Kroc arrives in San Bernardino. A drab, dusty little town on
the edge of the desert. Hardly the pot of gold at the end of
the rainbow he was expecting. He continues along Route 66,
heading toward the center of town.
SHORT TIME LATER--
Kroc driving. He sees the line before he sees the restaurant.
A long line, hundreds of people, snaking toward a HAMBURGER
STAND in the distance.
ON KROC-- taking in the strange sight of people out of their
cars, queued up in a line leading toward a self-service
window. It’s a distinctly FAMILY CROWD, lots of parents with
their children. Not a teenage delinquent in sight.
He parks, gets out. Unsure what to do, he gets in the line.
He looks off at the restaurant, checks his watch. It’s 1:15.
WOMAN (O.S.)
Don’t worry. It moves fast.
ANGLE ON the WOMAN in front of him. No sooner does she say
this than the line moves. Kroc shuffles forward 10 feet.
SHORT TIME LATER--
Kroc in line, significantly further along. He looks at his
watch. It’s 1:19.
Ratings
Scene 7 - Ray Kroc's First Bite: A Taste of McDonald's
Kroc at the front of the line. He checks his watch. 1:23.
CASHIER (O.S.)
Welcome to McDonald’s, may I take
your order?
11.
Kroc looks up, sees a CASHIER looking at him with a friendly
smile. Like all the other cashiers, he’s male and wholesome
as apple pie.
RAY KROC
Um, yes...
He looks at the MENU BOARD. It has just FOUR ITEMS: burgers,
fries, shakes, and Coca-Cola. A radical departure from the
typical sprawling drive-in menu.
RAY KROC (CONT’D)
Hamburger, fries, and a Coca-Cola.
CASHIER
45 cents, please.
Kroc hands him two quarters.
CASHIER (CONT’D)
And five cents is your change.
Kroc barely has time to put the nickel away when--
CASHIER (CONT’D)
Here you are.
The cashier hands him a paper sack. Kroc looks at it with
confusion.
RAY KROC
What’s this?
CASHIER
Your food.
RAY KROC
I just ordered.
CASHIER
(shrugs, smiles)
And now it’s here.
Kroc peers into the bag. Lo and behold, inside is a burger,
fries, and a Coca-Cola. He sees it’s all wrapped in PAPER.
RAY KROC
(”Where are the”--)
Silverware? Plates?
CASHIER
You just eat it straight out of the
wrapper. Then throw it all out.
12.
ON KROC-- bewildered. He takes the bag, unsure what to do.
RAY KROC
So now I bring it back to my car?
CASHIER
Most folks do. Or you could eat it
in the park, at home... anywhere
you like.
Kroc nods. This is all so strange to him. He turns, heads
toward his car. On the way, he spots an EMPTY BENCH. He
impulsively takes a seat.
Kroc reaches into the bag in his lap. He takes out the
hamburger, noting the paper packaging. He unwraps the burger,
looking at it, sniffing it. It looks and smells wonderful.
As he’s about to take a bite, out the corner of his eye he
notices in a nearby car... a GORGEOUS BLONDE.
KROC’S POV: The blonde, biting into a hamburger. As she
chews, a look of ecstasy comes over her face. She closes her
eyes, her head tipping back a bit, borderline orgasmic.
ON KROC-- staring at the blonde.
MOTHER (O.S.)
May we?
Kroc is shaken out of his reverie by a FAMILY OF FOUR looking
to sit on the bench. He slides over, making room.
MOTHER (CONT’D)
Thank you.
Kroc’s attention shifts from the blonde to the family. He
discretely watches as the mother passes out burgers to her
two young kids. The kids bite into them, “mmm”-ing audibly.
ON KROC-- observing this family of four, wholesome as can be,
devouring their delicious McDonald’s hamburgers.
Kroc looks at the burger in his own hand, takes a bite. As he
chews, his eyes roll back in his head.
MAN (O.S.)
How is everything?
Kroc looks up, sees a MAN standing before him. His necktie
and demeanor suggest manager.
RAY KROC
This is the best burger I ever had.
13.
MAN
We aim to please.
The man smiles, extends a friendly hand.
MAN (CONT’D)
Mac McDonald.
RAY KROC
Ray Kroc.
They shake. Kroc pulls a BUSINESS CARD from a pocket, hands
it to him. McDonald looks at it, unsure what to make of it:
RAY KROC - PRINCE CASTLE SALES CORP. - 2310 WACKER DRIVE,
CHICAGO, ILL.
RAY KROC (CONT’D)
The Multimixer fella.
MAC MCDONALD
(it clicks in--)
You spoke to my brother.
Mac looks again at the card, noting the Chicago address.
MAC MCDONALD (CONT’D)
What brings you way out here?
RAY KROC
Oh, I was just in Los Angeles.
Meetings. Business. Figured as long
as I was in the neighborhood, I’d
swing by, say hello.
MAC MCDONALD
Well, I’m glad you did. Welcome!
Kroc’s eyes drift to the busy, humming restaurant.
RAY KROC
Quite an operation you got here.
MAC MCDONALD
Care for a little tour?
There’s nothing Kroc would like more.
Ratings
Scene 8 - Ray Kroc's Introduction to the McDonald's Kitchen
A bustling kitchen, organized as a series of stations.
14.
MAC MCDONALD (O.S.)
Speed...
ON MAC-- leading Kroc through the kitchen.
MAC MCDONALD (CONT’D)
That’s the name of the game.
They come to a massive GRILL manned by THREE COOKS.
MAC MCDONALD (CONT’D)
First stop for every McDonald’s
hamburger is the grill, manned by
three cooks whose sole job is to
grill those all-beef beauties to
perfection.
Kroc watches the mouth-watering beef sizzling on the grill.
MAC MCDONALD (CONT’D)
Meanwhile...
He leads Kroc to an adjacent station, where two DRESSERS
stand before a rotating Lazy Susan with 24 BUN TOPS on it.
MAC MCDONALD (CONT’D)
As the patty cooks, our “dressers”
get the bun ready.
DRESSER #1 puts pickle slices and onion on each bun--
MAC MCDONALD (CONT’D)
Every McDonald’s hamburger gets two
pickles, a pinch of onion...
--while DRESSER #2 applies a squirt of ketchup and mustard
with a pair of trigger-operated CONDIMENT GUNS.
MAC MCDONALD (CONT’D)
...and a precise shot of ketchup
and mustard.
RAY KROC
(re: condiment guns)
Where’d you get those things?
MAC MCDONALD
We made ‘em.
RAY KROC
Made them?
MAC MCDONALD
Custom built. Whole kitchen is.
15.
ON KROC-- utterly amazed.
MAC MCDONALD (CONT’D)
(resuming tour)
Next it’s off to the finishing
station...
ANGLE ON the Lazy Susan, carrying 24 fully dressed bun tops,
traveling along a belt toward a FINISHING STATION.
MAC MCDONALD (CONT’D)
Where it all comes together.
A pair of FINISHERS put cooked patties onto the fully dressed
bun tops, then put on bun bottoms and neatly wrap it up.
MAC MCDONALD (CONT’D)
Voilá!
The finished product is fed into an angled metal sleeve that
slides them to the front counter, where cashiers can grab and
bag them with ease.
MAC MCDONALD (CONT’D)
A fresh and delicious hamburger,
grill to counter in 30 seconds.
ON KROC-- dumbfounded by what he’s seen. He looks at Mac.
RAY KROC
How?
MAC MCDONALD
Did I come up with all of this?
(sly smile)
I didn’t.
Kroc is confused.
MAC MCDONALD (CONT’D)
We did.
Kroc follows Mac’s eyes to a MAN coming toward them.
MAC MCDONALD (CONT’D)
Dick McDonald. My brother.
Kroc grabs Dick’s hand, enthusiastically shakes.
RAY KROC
I just have to say, what you’ve
done here is nothing short of--
16.
DICK MCDONALD
(to Mac, ignoring Ray)
The fries.
MAC MCDONALD
What about ‘em?
Dick leads Mac toward the FRENCH FRY STATION. Kroc follows
along. Dick plucks a fry off the drying rack, hands it to
Mac, who pops it in his mouth.
MAC MCDONALD (CONT’D)
Perfect.
DICK MCDONALD
They’re five percent too crisp.
Dick takes a fry, tastes it. Frowns.
DICK MCDONALD (CONT’D)
I think we should drop to two
minutes, 50 seconds.
MAC MCDONALD
That’s what you had it at before.
DICK MCDONALD
400, not 375. Higher temp, shorter
cook.
Mac takes another taste.
MAC MCDONALD
I really think they’re spot-on.
RAY KROC
(to Dick)
If it makes any difference, they’re
the best fries I’ve ever tasted.
Crispy golden brown on the outside,
fluffy on the inside. Not too oily,
perfectly salty and crunchy.
Dick looks at Ray, taking note of him for the first time.
DICK MCDONALD
Who are you?
MAC MCDONALD
This is that Multimixer fella you
spoke to.
RAY KROC
Ray Kroc, Prince Castle Sales.
17.
Kroc hands Dick his card. Dick gives it a cursory glance.
DICK MCDONALD
How soon you figure we can expect
‘em?
RAY KROC
I’m sending them Blue Label Air.
You should have it early next week.
DICK MCDONALD
Good.
With this, Dick abruptly walks off. Ray gives chase.
RAY KROC
Wait!
He catches up, grabs Dick’s arm.
RAY KROC (CONT’D)
Let me take you out to dinner.
DICK MCDONALD
(jokey)
You’re really not my type.
RAY KROC
You and your brother.
Mac, a few feet away, comes over, curious.
MAC MCDONALD
What for?
RAY KROC
I’m gonna shoot straight with you
fellas. This restaurant is the most
remarkable thing I’ve seen in all
my years in the food-service
industry. And believe you me, I’ve
seen it all. I want to know
everything about it. Where it came
from, how you thought of it.
(BEAT)
Please. Tell me your story.
Ratings
Scene 9 - The Innovative Journey of the McDonald Brothers: From Depression to Drive-in Revolution
Kroc sits across from the brothers in a corner booth, rib eye
steaks in front of all three.
18.
MAC MCDONALD
There wasn’t a job in all of
Manchester. All of New Hampshire.
So we packed our bags and headed
west. To Hollywood. I wanted to be
in the movie business. And Dick,
well, he wanted to be...
DICK MCDONALD
Employed.
MAC MCDONALD
We landed jobs driving trucks for
Columbia Pictures. After a few
years, we had enough saved up to
buy our own little piece of show
business. A little movie theater
out in Glendora. Which would’ve
been swell, except for the small
matter of timing. It was September
of ‘29. One minute we’re screening
“Gold Diggers Of Broadway”, the
next it’s “Brother, can you spare a
dime?” Literally.
DICK MCDONALD
I couldn’t.
MAC MCDONALD
Nobody in town was making any
money. Except this one fella, Wylie
Reid. Ran a hot dog and root beer
stand. People still gotta eat,
right? So we decide to set up our
own stand, hot dogs and orange
juice, out in Arcadia.
EXT. ARCADIA - DAY (FLASHBACK)
A YOUNG DICK AND MAC manning their dusty, roadside HOT DOG
STAND during the Great Depression. A smattering of CUSTOMERS.
MAC MCDONALD (V.O.)
It did okay, enough to keep us off
the bread line, but we were hardly
doing gangbusters. There just
weren’t enough people in Arcadia.
19.
BACK TO PRESENT--
MAC MCDONALD
Meanwhile, one town over is San
Bernardino, the place is growing at
a terrific clip. We want to
relocate, but we’ve got no money
for a new stand. That’s when my
brother here gets one of his
brilliant ideas. Tell him, Dick.
Dick throws Mac a “That’s okay, you tell him” nod.
MAC MCDONALD (CONT’D)
“Why don’t we move the stand we’ve
got? Put it on a truck!”
(BEAT)
Genius, right? Except one small
problem. On the road between the
towns, there’s an overpass. The
building doesn’t clear. I figure
that’s it, we’re done for. But then
Dick says...
Another nod of deferral from Dick.
MAC MCDONALD (CONT’D)
“Why don’t we saw the restaurant in
half?”
EXT. ROAD - DAY (FLASHBACK)
Dick and Mac driving an old flatbed Ford. On the back is the
stand, SPLIT IN TWO. The truck goes under an overpass,
narrowly clearing.
MAC MCDONALD (V.O.)
We truck the darn thing over in two
pieces, put it back together!
BACK TO PRESENT--
Kroc guffaws with amazement.
MAC MCDONALD
We move the building, set up shop.
But before we open, we decide to
give the place a little tweak. It’s
1940. Drive-ins are all the rage,
the hottest thing going. I say
Dick, we gotta get in on this. Dick
says sure.
(MORE)
20.
MAC MCDONALD (CONT'D)
Two months later, we open for
business...
(show-biz hands)
“McDonald’s Famous Barbecue!”
EXT. MCDONALD’S FAMOUS BARBECUE - DAY (FLASHBACK)
The brothers’ proto-McDonald’s, up and running. Pretty
CARHOPS in tasseled short skirts and Western boots hustle
about serving customers.
MAC MCDONALD (V.O.)
We’ve got a 27-item menu, barbecue
slow-cooked in a real pit out back.
Uniformed waitresses bring the food
straight out to your car. It does
gangbusters. Going great guns. But
then, sales start to level off.
BACK TO PRESENT--
DICK MCDONALD
The drive-in model, as we learn,
has a few built-in problems.
Kroc leans in, eager to hear their take on this.
DICK MCDONALD (CONT’D)
For starters, there’s the customer
issue. Drive-ins tend to attract,
shall we say, a less-than desirable
clientele.
MAC MCDONALD
Teenagers.
DICK MCDONALD
Hot rodders and hooligans. Juvenile
delinquents in blue jeans.
Kroc nods, all too familiar.
DICK MCDONALD (CONT’D)
Then there’s the service. It takes
forever and a day for your food to
arrive. And when it finally does--
RAY KROC
It’s completely wrong.
21.
DICK MCDONALD
The carhops are too busy dodging
gropes to remember you wanted a
strawberry phosphate, not cherry.
RAY KROC
If they remember at all.
MAC MCDONALD
Then there’s the expenses. Payroll
is high due to the large staff
required. Dishes are constantly
getting stolen or broken.
DICK MCDONALD
Tremendous overhead.
MAC MCDONALD
But one day Dick has a realization.
Going over the books, he notices
something. The bulk of our sales
come from just three items:
Burgers, fries, soft drinks.
DICK MCDONALD
87 percent.
MAC MCDONALD
We say to ourselves, what the heck
are we doing monkeying around with
all this other stuff? Focus on what
sells.
Kroc nods. Yes.
MAC MCDONALD (CONT’D)
And that’s just what we do.
Brisket, gone. Tamales, gone. And
we don’t stop at the menu. We look
at everything. What else don’t we
need?
DICK MCDONALD
Turns out, quite a lot.
MAC MCDONALD
Carhops.
DICK MCDONALD
Walk up to a window. Get your food
yourself.
MAC MCDONALD
Dishes.
22.
DICK MCDONALD
All paper packaging. Disposable.
MAC MCDONALD
Jukeboxes, cigarette machines.
DICK MCDONALD
Drive out the riff-raff.
RAY KROC
(totally in sync)
Create a family-friendly
environment!
MAC MCDONALD
And finally, the biggest, most
important cut of all... the wait.
DICK MCDONALD
Orders ready in 30 seconds, not 30
minutes.
MAC MCDONALD
We decide to tear down the kitchen.
Rebuild. Reconfigure. Rethink the
whole dang thing. And you’re gonna
love how we do it. Tell him, Dick.
DICK MCDONALD
The tennis court?
MAC MCDONALD
He brings me out to this tennis
court, draws an outline in the
dirt. Exact dimensions of our
kitchen.
Ratings
Scene 10 - Planning the Perfect Fast-Food Layout and a Disastrous Grand Opening
A TENNIS COURT, somewhere in San Bernardino. Mac watches as
Dick carefully draws a KITCHEN OUTLINE on it with a stick.
MAC MCDONALD (V.O.)
We bring in a bunch of employees,
have ‘em go through the motions,
making pretend burgers and fries.
--An invisible kitchen, YOUNG EMPLOYEES mimicking the moves,
trying to get it right.
23.
MAC MCDONALD (V.O.)
Dick’s chasing after them with the
stick, marking up where all the
equipment should go. They do it
over and over, hashing out the
moves, choreographing like it’s
some sort of crazy burger ballet.
--Over and over. It’s starting to get dark.
DICK MCDONALD (V.O.)
Finally, after about six hours of
this, we get it just right.
--Workers making pretend burgers and fries in perfect sync.
DICK MCDONALD (V.O.)
A symphony of efficiency. Not a
wasted motion.
BACK TO PRESENT--
DICK MCDONALD
We take the layout to a builder,
custom build to exact specs.
MAC MCDONALD
Ta-da. The Speedee System is born.
The world’s first-ever system
designed to deliver food fast. It’s
totally revolutionary.
DICK MCDONALD
And a complete disaster.
EXT. MCDONALD’S - DAY (FLASHBACK)
The grand opening. The hungry and the curious pulling up.
MAC MCDONALD (V.O.)
Opening day, people pull into the
lot, immediately start honking when
no carhop comes over. We try to
explain the walk-up window. They’re
bewildered. Furious. “Whaddaya mean
I gotta get out of my car?”
24.
BACK TO PRESENT--
MAC MCDONALD
Most of them just cuss us out and
drive off. The few that stick
around are mad as heck about having
to eat off paper and discard their
own trash.
DICK MCDONALD
We may have underestimated the
learning curve.
MAC MCDONALD
By five o’clock, Dick’s calculating
the cost of converting back to
drive-in. But me, I’m not quite
ready to throw in the towel. Going
back to my Hollywood roots, I say
to myself, “We gotta go big with
this. We gotta put on a show.” I
tell Dick I want to throw a grand
re-opening. A gala premiere to put
Louis B. Mayer to shame.
EXT. GRAND RE-OPENING - EVENING (FLASHBACK)
The fast-food equivalent of a Hollywood-style premiere.
MAC MCDONALD (V.O.)
We rent a bunch of spotlights, the
same ones we used to truck around
to premieres in the Columbia days.
I get sparklers, a juggler for the
kiddies--it’s an event. People show
up in droves. And then...
DICK MCDONALD (V.O.)
The flies.
--An ominous cloud gathers over the restaurant. A SWARM OF
INSECTS. They swoop down in unison, as if in attack mode.
DICK MCDONALD (V.O.)
They must’ve been drawn by all the
lights.
MAC MCDONALD (V.O.)
Millions of ‘em. Looked like
something out of Exodus.
--Customers running, screaming. Swatting.
25.
DICK MCDONALD (V.O.)
The Pharaoh would’ve released the
Israelites.
BACK TO PRESENT--
MAC MCDONALD
It’s a total disaster. Towel time.
(BEAT)
The next morning, Dick and I meet
up to discuss going back to the old
format. As we’re talking, there’s a
knock at the service window. Dick
goes over, sees a little boy
standing there. He wants a bag of
burgers.
Ratings
Scene 11 - The Beginning of a Business Partnership: McDonald's and Kroc
Dick at the service window, looking at a YOUNG KID. His nose
barely clears the counter.
DICK MCDONALD (V.O.)
I tell him we’re closed.
MAC MCDONALD (V.O.)
But he’s cute, I feel bad for him,
so I fire up the grill, make him a
batch. And as he’s heading off...
--A car pulls into the lot.
MAC MCDONALD (V.O.)
A car pulls up.
--A second car.
MAC MCDONALD (V.O.)
Then another.
--A third car.
MAC MCDONALD (V.O.)
And another. Before you know it,
there’s a line around the block.
--A LINE OF CUSTOMERS stretching into the distance.
MAC MCDONALD (V.O.)
Word has spread.
26.
BACK TO PRESENT--
DICK MCDONALD
And it’s off to the races.
MAC MCDONALD
We’re an overnight sensation.
Thirty years in the making.
ON KROC-- absorbing all of this, blown away.
Mac gives Kroc a modest little shrug.
MAC MCDONALD (CONT’D)
So that’s our story.
INT. MOTEL ROOM - NIGHT
Kroc lies awake in bed, buzzing, unable to sleep.
EXT. MCDONALD’S - NEXT MORNING
Dick and Mac pull into the McDonald’s lot in Dick’s car.
They’re startled to see--
Kroc, sitting out front. He approaches their car. Before Dick
can fully roll down his window:
RAY KROC
Franchise.
DICK MCDONALD
Beg pardon?
RAY KROC
Franchise, franchise the thing.
It’s too good to just be one
location. There ought to be
McDonald’s everywhere. Coast to
coast, sea to shining sea. And I’m
just the man to help you do it.
I’ve spent the better part of my
life criss-crossing this country. I
know every highway and byway, every
city and every town.
DICK MCDONALD
Mr. Kroc...
RAY KROC
Let me just say one thing. One more
thing.
(MORE)
27.
RAY KROC (CONT'D)
I want to confess something to you
boys. I’m not out here in
California on any business meeting.
I’m out here for you. You’re what
brought me out. A few days ago, I
was standing outside a filling
station in St. Louis, Missouri
staring at a U.S. road map, staring
at a long, white, unbroken line
called Route 66. I took my finger--
DICK MCDONALD
Mr. Kroc--
RAY KROC
I took my finger, and I traced that
line from where I was standing all
the way out to California, where it
ran smack-dab into this place we
are now. As I stared at that line,
something told me to follow it.
Something told me to get in my car
and see what’s out there at the
other end. And when I laid eyes on
your hamburger stand yesterday, all
those people lined up to purchase
your remarkable product, I knew it
was--
DICK MCDONALD
We already tried!
Ratings
Scene 12 - Franchise Failures and Quality Control Concerns
Kroc and the brothers stand before a U.S. MAP.
DICK MCDONALD
Five.
ANGLE ON map. Five PUSH PINS are stuck in it, clustered
around California and the Southwest.
DICK MCDONALD (CONT’D)
Three in Southern California, one
in Sacramento and one in Phoenix.
(BEAT)
And that’s all there’ll ever be.
RAY KROC
Why?
28.
DICK MCDONALD
Two words: Quality control. It’s
almost impossible to enforce
standards from afar.
MAC MCDONALD
Those places were a mess. Filthy
kitchens, inconsistent menus...
DICK MCDONALD
Sacramento was selling burritos.
MAC MCDONALD
To watch your precious creation get
mismanaged like that. Your name.
DICK MCDONALD
Put Mac in the hospital.
Kroc looks at Mac, surprised.
MAC MCDONALD
Diabetes and extreme stress don’t
mix.
A BEAT as Kroc absorbs this.
RAY KROC
But if you had somebody in charge
of supervising.
MAC MCDONALD
We did.
RAY KROC
What happened?
DICK MCDONALD
He obviously didn’t do a great job.
RAY KROC
So replace him. With someone
better.
DICK MCDONALD
Our energies are better spent
making this place the best it can
possibly be.
MAC MCDONALD
Better one great restaurant than 50
mediocre ones.
29.
RAY KROC
Sure, but I still think if you had
the right--
DICK MCDONALD
Thank you, we’re not interested.
RAY KROC
Someone as committed to quality as--
DICK MCDONALD
Thank you.
Kroc backs off. A BEAT of awkward silence.
Ratings
Scene 13 - Ray Kroc's Fateful Encounter with the Golden Arches
The building has towering arches on each side.
RAY KROC
What’s that?
DICK MCDONALD
A blueprint.
RAY KROC
Those:
Mac follows Kroc’s eyes to the arches.
MAC MCDONALD
It’s a way to make the place stand
out when you’re driving past.
DICK MCDONALD
“The Golden Arches” I call ‘em.
Kroc stares at them, fascinated. It’s a crazy, radical (and
kind of brilliant) thing to stick on the sides of a building.
RAY KROC
Who thought of that?
MAC MCDONALD
That’s pure Dick magic right there.
Dick’s gaze is still on the arches, clearly proud.
RAY KROC
Ever do one like that?
DICK MCDONALD
Just one...
30.
Dick looks at the U.S. map. A lonely push pin in the middle
of Arizona.
DICK MCDONALD (CONT’D)
Phoenix.
EXT. ROUTE 66 - SOUTHERN CALIFORNIA/ARIZONA - DAY
Kroc driving back along Route 66, taking in the scenery.
SERIES OF SHOTS: Kroc passing through various small towns,
each with a Main Street running through it. On every Main
Street, we see the same two things: a church and courthouse.
Glimpses of various churches and courthouses. Churches topped
with crosses. Courthouses with American flags.
ON KROC-- processing, wheels turning.
EXT. ROUTE 66 - FLAGSTAFF, AZ - NIGHT
Kroc driving through Flagstaff. He passes a road sign: I-17
SOUTH - PHOENIX - NEXT RIGHT
He takes an impulsive detour.
EXT. CENTRAL AVENUE (PHOENIX) - SHORT TIME LATER
Kroc drives down Phoenix’s Central Avenue. He sees the arches
before he sees the restaurant.
Kroc pulls into the empty lot (the restaurant is closed). He
gets out, looks up at the arches. They’re lit up and glowing.
Glorious, magical.
He does a slow lap around the building, taking in the arches
from all angles. Halfway around, the shifting perspective
causes the arches to meet. They form a giant “M” (the
McDonald’s logo as we know it today), 30 feet high.
ON KROC-- standing before the “M”, bathed in its golden,
glowing light. Like Moses before the Burning Bush.
Ratings
Scene 14 - Unrealized Dreams: A Tale of Ambition and Resentment
A modest home in the Chicago suburbs. Kroc pulls up in his
car.
31.
INT. KITCHEN - CONTINUOUS
ETHEL (53) is at the table, eating dinner by herself.
RAY KROC (O.S.)
Ethel!
Kroc comes bursting in, burning with excitement.
RAY KROC (CONT’D)
I’ve seen the future!
Ethel’s face falls.
ETHEL KROC
Again?
RAY KROC
I saw a restaurant, Ethel. It’s
like nothing you’ve ever seen.
They’ve got this system, the
Speedee System...
ETHEL KROC
Ray...
RAY KROC
Just hear me out.
ETHEL KROC
I’m too old for this.
RAY KROC
This place, it’s like something
sprung from the mind of Henry--
ETHEL KROC
I can’t do it. Not again.
RAY KROC
Don’t you want to be a part of
greatness?
ETHEL KROC
I want to be part of a cruise.
(BEAT)
All our friends are taking trips,
enjoying their golden years. And
us, we’re still scrapping and
scraping like a couple of 25-year-
olds. When do we get to start
living, Ray? When do we finally get
to start enjoying our lives?
32.
RAY KROC
Ethel, this place--
ETHEL KROC
It’s revolutionary.
RAY KROC
(bristles at her sarcasm)
As a matter of fact...
ETHEL KROC
It’s never going to get any better,
Ray. We’re never going to have
anything more than we have right
now. And that’s okay.
(BEAT)
What’s not okay is us wasting our
lives reaching for some brass ring
we’re never going to grab.
RAY KROC
(flash of anger)
Maybe if I had a wife who had an
ounce of vision. Who gave me an
ounce of support.
ETHEL KROC
Support? Support?
This sets her off--
ETHEL KROC (CONT’D)
All I’ve done is support you! I’ve
had your back through thick and
thin, through one cockamamie idea
after another. The wax cups, the
Fold-A-Nook, the Multi-Mixer, on
and on, every last one. And you
have the nerve to say I don’t
support you?
RAY KROC
(backing off, chastened)
I’m sorry.
ETHEL KROC
I’ve believed in you, Ray. Our
whole marriage. Long past the point
any rational, thinking person
would’ve.
RAY KROC
You’re right.
33.
ETHEL KROC
I’ve sacrificed, I’ve saved. Made
do, gone without. My belt’s so
tight, I’m out of notches.
RAY KROC
You’re right.
ETHEL KROC
“Support”?
(BEAT)
How dare you?
Kroc just stands there in shamed little-boy silence.
Ratings
Scene 15 - Kroc's Determined Pursuit to Convince the McDonald Brothers
Kroc steps to the ticket window.
RAY KROC
One ticket, please.
The marquees reads MAGNIFICENT OBSESSION.
INT. MOVIE THEATER - SHORT TIME LATER
Kroc sits in the theater, the light of the screen flickering
off his face. In his hand is his flask. He takes a discrete
swig.
INT. PRINCE CASTLE SALES - KROC’S OFFICE - CONTINUOUS
June Martino watches Kroc pace, ringing phone to his ear.
EMPLOYEE (O.S.)
McDonald’s Hamburgers.
RAY KROC
Dick McDonald, please.
EMPLOYEE (O.S.)
He’s not available at the moment.
RAY KROC
Mac, then.
The employee puts the phone down, goes off to check. Through
it, Kroc hears what sounds like a BIG CROWD.
34.
EMPLOYEE (O.S.)
I’m sorry, he’ll have to call you
back. We’re real busy right now.
Kroc glances at his watch, puzzled by the commotion.
RAY KROC
What time is it there?
EMPLOYEE (O.S.)
10 o’clock.
RAY KROC
(thrown)
What time do you open?
EMPLOYEE (O.S.)
11.
ON KROC-- amazed. They don’t even open for another hour.
INT. JOHNSON’S DRIVE-IN - KITCHEN - SHORT TIME LATER
Kroc out on a drive-in sales call, giving his standard spiel.
RAY KROC
(flat, distracted)
Mr. Johnson, are you familiar with
the notion of the chicken and the
egg? I mention it because I think
it’s applicable here.
EXT. JOHNSON’S DRIVE-IN - PARKING LOT - SHORT TIME LATER
Kroc hauls the sample Multimixer back to his car, shoves it
in the trunk. He takes a swig from his flask, staring off.
INT. MIDWAY AIRPORT - SHORT TIME LATER
Kroc steps to the TWA ticket counter.
RAY KROC
One ticket to Los Angeles.
INT. MCDONALD’S - KITCHEN - EVENING
The dinner rush. Mac and Dick hustle about making sure things
run as smoothly as possible.
ON DICK-- reloading the Lazy Susan with bun tops.
35.
RAY KROC (O.S.)
Do it for your country.
DICK MCDONALD
(turns, surprised)
Ray.
MAC MCDONALD (O.S.)
What are you doing here?
Mac is there, too.
RAY KROC
If you boys don’t want to franchise
for yourselves, fine. But do it for
your country. For America.
(BEAT)
This place you’ve created, it’s not
a restaurant. It’s not even a
place. It’s an idea.
ON DICK-- absorbing.
DICK MCDONALD
(to nearby employee)
Tommy, finish the buns.
Ratings
Scene 16 - Ray Kroc's Vision for McDonald's: A New American Church
Kroc stands before the brothers.
RAY KROC
That drive back home on 66, I
passed through a lot of towns. A
lot of small towns. In the middle
of each one of them was a Main
Street. And on each of those Main
Streets were always the same two
things: a courthouse and a church.
A courthouse topped with a flag. A
church topped with a cross. Flags
and crosses, crosses and flags.
The brothers look at each other, unsure where this is going.
RAY KROC (CONT’D)
As I drove along, I pondered those
crosses and flags. I asked myself
why they’re so ubiquitous. What
they mean. And as I did, I couldn’t
help but think about your
restaurant. About these--
36.
He goes over to the blueprint, plants a finger on the arches.
RAY KROC (CONT’D)
Now, forgive me if this flirts with
blasphemy, but to my mind, these
arches share a great deal in common
with the Christian cross and the
American flag. A building topped
with a cross is a gathering place.
A place where decent, wholesome
folks can come together and be with
others who share their values. The
same can be said of a building
flanked by a pair of your arches.
Those arches mean more than simply
“delicious hamburgers inside”. They
signify family. Community. The ties
that bind. They represent goodness,
togetherness, a place for Americans
to gather and break bread.
McDonald’s can be that, too. The
new American church, feeding bodies
and feeding souls. And not just on
Sundays. Seven days a week.
(BEAT)
Crosses. Flags. Arches.
ON MAC-- blown away. He looks over at Dick, expecting a
similar reaction. He’s surprised to see a conflicted look on
his face.
MAC MCDONALD
(to Kroc)
Would you please give us a minute?
Ratings
Scene 17 - Crafting a Franchise: From Contract to Construction
The brothers, alone in the office.
DICK MCDONALD
(tempted, torn)
I don’t know...
MAC MCDONALD
It’s your dream, Dick.
(eye contact)
Bigger than your dream. Arches--
your arches--coast to coast.
Dick’s eyes go to the U.S. map. A whole country, just waiting
to be filled in with push pins.
37.
DICK MCDONALD
I can’t put you through that again.
ON MAC-- looking at Dick gazing longingly at the map.
MAC MCDONALD
I know how bad you want this. You
should have it.
DICK MCDONALD
Last time, you very nearly wound
up——
MAC MCDONALD
We’ll do it different this time.
Learn from our mistakes.
DICK MCDONALD
How so?
MAC MCDONALD
We keep a much tighter leash. Total
oversight, every change has to go
through us.
DICK MCDONALD
Who says he’s gonna listen?
MAC MCDONALD
We draw up a contract. Lay it out,
clear as day in black and white.
ON DICK-- pondering. Seemingly warming to the idea.
MAC MCDONALD (CONT’D)
Whaddaya say?
INT. LAW FIRM - CONFERENCE ROOM - DAY
Ray Kroc sits across a table from the brothers and their
LAWYER. Kroc is skimming through a BIG FAT CONTRACT. Full of
clauses and sections and paragraphs.
ANGLE ON contract. Amidst a wall of legalese:
...ANY AND ALL MODIFICATIONS TO THE SPEEDEE SYSTEM OR ANY
MCDONALD FRANCHISE, EITHER PHYSICAL OR CONCEPTUAL, MUST BE
FORMALLY SUBMITTED IN WRITING FOR APPROVAL BY BOTH RICHARD
MCDONALD AND MAURICE MCDONALD...
RAY KROC (O.S.)
Fine.
38.
Kroc has a rushed air about him, eager to get to the dotted
line. He continues skimming. A glimpse of another page:
...KROC SHALL RECEIVE ONE AND NINE-TENTHS PERCENT (1.9%) OF
NET PROFITS GENERATED BY FRANCHISEE(S), WITH ONE-HALF OF ONE
PERCENT (0.5%) OF SAID NET PROFITS PAID TO RICHARD MCDONALD
AND MAURICE MCDONALD...
RAY KROC (O.S.) (CONT’D)
Fine.
SHORT TIME LATER--
Three copies of the contract are laid out before Kroc, open
to the last page. The brothers’ lawyer slides him a fountain
pen. He readily signs in triplicate.
RAY KROC (PRE-LAP)
We are a dynamic, fast-growing
company.
INT. MIDWAY SAVINGS & LOAN - DAY (ONE MONTH LATER)
Kroc, dressed in his best suit and tie, sits across from a
LOAN OFFICER.
RAY KROC
And now, we’re poised to make major
inroads nationally.
The loan officer looks at a set of BLUEPRINTS on his desk
titled MCDONALD’S #6 - DES PLAINES, ILL.
RAY KROC (CONT’D)
In addition to giving us a foothold
in the Midwest, the Des Plaines
location will serve as a lure for
prospective franchisees.
The loan officer looks over the blueprint. Something catches
his eye.
LOAN OFFICER
What are those?
Kroc follows his gaze to the arches. He smiles proudly.
RAY KROC
Oh, that’s just my little way of
separating us from the pack. “The
Golden Arches”, I call ‘em.
39.
The loan officer picks up a bound prospectus prepared by
Kroc. Artist renderings, projected earnings, etc.
ON KROC-- anxiously watching as he leafs through it.
RAY KROC (CONT’D)
(filling the air)
There’s nothing like it in the
entire food-service sector.
The loan officer looks up from the materials.
LOAN OFFICER
You look familiar. Have we met?
RAY KROC
(a drop uneasy)
I don’t believe so.
ON LOAN OFFICER, staring, determined to place the face. He
snaps his fingers--
LOAN OFFICER
The Fold-A-Nook!
(hint of smirk)
“It’s Like A Murphy Bed... For Your
Kitchen!”
Ratings
Scene 18 - Kroc's Loan Hunt and Frustrations with Architectural Delays
Kroc exits the bank in defeat.
INT. ILLINOIS FIRST FEDERAL - LATER
Kroc sits across from another LOAN OFFICER, watching as he
looks over the prospectus.
RAY KROC
There’s nothing like it in the
entire food-service sector.
The officer looks up at Kroc.
LOAN OFFICER #2
Have we met?
The man searches his face. Kroc squirms.
LOAN OFFICER #2 (CONT’D)
The paper-cup guy.
ON KROC-- silent a long beat.
40.
RAY KROC
(embarrassed, broken)
Among many other things.
The loan officer stares at Kroc, taking in his vulnerable,
Willy Loman-esque visage. A wave of compassion/pity comes
over him.
LOAN OFFICER #2
I tell you what. Let me refer you
to one of my colleagues. Somebody
who may be better suited to meet
your needs.
A FEW DESKS DOWN - MOMENTS LATER
Kroc sits before a different LOAN OFFICER. The man is filling
out an APPLICATION FORM for Kroc.
LOAN OFFICER
Address?
RAY KROC
143 Juniper Road, Arlington
Heights, Illinois.
ANGLE ON the form as the man fills in Kroc’s address. It’s a
HOME-MORTGAGE LOAN APPLICATION. A desk plaque tells us this
is HARVEY PELTZ - HOME MORTGAGE REPRESENTATIVE.
HARVEY PELTZ
Home telephone number?
RAY KROC
Let me give you my office number.
Kroc glances at his WEDDING RING.
RAY KROC (CONT’D)
That’s the best place to reach me.
INT. KROC’S OFFICE - DAY
ANGLE ON blueprints for the Des Plaines McDonald’s covering
Kroc’s walls.
RAY KROC (O.S.)
Did you schedule the stakeout with
the engineer?
JUNE MARTINO (O.S.)
All set.
41.
ON KROC-- at his desk, plowing through a lengthy to-do list
as June takes notes.
RAY KROC
Where are we at on fire department
approval for driveway design?
JUNE MARTINO
Left a message yesterday.
RAY KROC
Call again. Excavation permit?
JUNE MARTINO
Meeting with them today.
RAY KROC
Insurers?
JUNE MARTINO
I left a message yesterday.
RAY KROC
Call again. What about the zoning
office?
JUNE MARTINO
All set. On file with the city.
RAY KROC
San Bernardino?
JUNE MARTINO
I just spoke to Dick. He says
they’re working on it.
RAY KROC
Working on it?
He lets out a heaving, irritated sigh.
RAY KROC (CONT’D)
It’s been a week.
INT. MCDONALD’S (SAN BERNARDINO) - OFFICE - SHORT TIME LATER
Dick is at his desk. An EMPLOYEE sticks his head in.
EMPLOYEE
Ray Kroc, line one.
DICK MCDONALD
Hiya, Ray.
42.
RAY KROC (O.S.)
You boys are killing me.
INT. KROC’S OFFICE - CONTINUOUS
(Intercut as necessary.)
RAY KROC
What’s the hold up? I break ground
in two weeks.
DICK MCDONALD
These things take time. You’re
proposing substantial alterations.
RAY KROC
I’m adding a basement and furnace.
DICK MCDONALD
We need our architect to thoroughly
review it to make sure everything’s
safe and up to code.
RAY KROC
Has he looked at it yet?
DICK MCDONALD
I’m not sure, to be honest.
RAY KROC
I can’t afford to let this drag.
DICK MCDONALD
Ray, you need to take a breath. It
hasn’t even been a week.
RAY KROC
I’ve got bulldozers rolling up on
the 23rd.
DICK MCDONALD
I’m not the one who scheduled that.
RAY KROC
Do you have any idea what it’d cost
me to push?
DICK MCDONALD
Hopefully, it won’t come to that.
43.
RAY KROC
Every restaurant in the Midwest has
a basement and a furnace. This is
standard stuff.
DICK MCDONALD
I understand. But you have to
understand, it’s our name on that
building. God forbid the floor
caves in and people get hurt or
worse because of some design flaw
we missed, we’re the ones on the
hook. So let’s just slow down a
minute and make sure it’s done the
right way. Alright?
ON KROC-- pondering Dick’s words of reason.
RAY KROC
So much for the Speedee System!
He hangs up.
SHORT TIME LATER--
Mac is in the office with Dick.
MAC MCDONALD
Then what did he say?
DICK MCDONALD
He slammed down the phone.
MAC MCDONALD
He hung up on you?
DICK MCDONALD
Unless we got violently
disconnected.
Dick looks off, feeling the first pangs of buyer’s remorse.
MAC MCDONALD
It’ll be fine.
Ratings
Scene 19 - Tension Over Coca-Cola Sponsorship
ANGLE ON a sign: COMING SOON - MCDONALD’S FAMOUS HAMBURGERS!
A hard-hatted Kroc stands in a dirt lot, watching SURVEYORS
outline a building foundation. He heads over to one of the
surveyors, pointing to some detail--
44.
RAY KROC
Can we bring that out another foot?
JUNE MARTINO (O.S.)
Sir?
June comes over to Kroc with a letter. He looks at it, sees
the San Bernardino return address.
RAY KROC
Read it.
She opens the letter, reads aloud--
JUNE MARTINO
“Dear Ray, Thank you for your
letter sharing your idea to strike
a deal with Coca-Cola to sponsor
menu boards at the new Des Plaines
location. An intriguing notion,
indeed. As you rightly point out,
such an arrangement would provide a
steady source of revenue to the
store at no additional labor cost.
ON KROC-- pleased with the letter so far.
JUNE MARTINO (CONT’D)
“However...
INT. PAY PHONE - SHORT TIME LATER
Kroc is on a pay phone across the street from the
construction site.
RAY KROC
Small, along the bottom. Very
discrete.
INT. MCDONALD’S - SAN BERNARDINO - CONTINUOUS
On the other end is Mac in the kitchen, his brother nearby.
(Intercut as necessary.)
DICK MCDONALD
I’m sorry, Ray, but we’re just not
comfortable with the notion of
turning our menu into an
advertisement.
RAY KROC
Not an ad. Sponsorship.
45.
DICK MCDONALD
It’s distasteful.
RAY KROC
It’s free money.
DICK MCDONALD
There are plenty of things we could
do to make a quick buck, but that
doesn’t mean we should.
RAY KROC
Loads of restaurants do it.
DICK MCDONALD
Well, we don’t.
RAY KROC
Why not?
DICK MCDONALD
Because I have no interest in
indulging in that sort of crass
commercialism. It’s not McDonald’s.
RAY KROC
I didn’t realize I was partnering
up with a beatnik.
DICK MCDONALD
I happen to be a card-carrying
Republican.
RAY KROC
You coulda fooled me!
He slams down the phone. Again.
SHORT TIME LATER--
Mac and Dick, post-call.
MAC MCDONALD
He’s just a little... excitable.
DICK MCDONALD
A hothead like that, you don’t know
what he’s capable of.
MAC MCDONALD
It’s all bluster, Dick. His bark is
worse than his bite.
46.
DICK MCDONALD
(dark chuckle)
That’s what Neville Chamberlain
said.
Ratings
Scene 20 - Ray Kroc's Inspection and Investor Hunt: A Day at McDonald's and the Country Club
The brand-new Des Plaines McDonald’s, up and running.
TRACKING SHOT, high-energy, as Kroc moves through the KITCHEN
barking out orders to his charges. It’s a bit militaristic in
vibe, echoing Dick’s Hitler reference:
“Watch those fries!”... “Straighten that hat!”... “Buns to
the left, pickles to the right!”... “Let’s go, boys!”
He passes an EMPLOYEE, catching him in a moment of repose--
RAY KROC
Grab a mop! If there’s time to
lean, there’s time to clean!
Tracking shot ends at the GRILL, manned by a trio of GRILLERS
overseeing dozens of patties. Kroc moves down the line:
GRILLER #1, flipping a patty--
RAY KROC (CONT’D)
More wrist!
Kroc grabs the spatula, demonstrates proper form. He moves
onto GRILLER #2, who’s lifting a patty off the grill--
RAY KROC (CONT’D)
It’s still pink!
Kroc puts the patty back onto the grill. He moves on to
GRILLER #3--
RAY KROC (CONT’D)
What the heck are you--
Kroc trails off, realizing Griller #3 is doing NOTHING WRONG.
His patties are perfect, arranged in rows so precise they
could have been lined up with a ruler.
ON KROC-- taking in the eager young buck, who looks maybe 21.
RAY KROC (CONT’D)
What’s your name?
47.
GRILLER #3
Fred Turner, sir.
RAY KROC
Fred Turner...
(small, approving nod)
Keep it up.
FRED TURNER
Yes, sir.
Kroc walks off. Turner is thrilled by the approval.
EXT. MCDONALD’S - NIGHT (AFTER HOURS)
Under the glow of the arches, Kroc scours the parking lot,
fanatically cleaning. Picking up discarded cups, scraping gum
off the underside of benches.
INT. KROC’S HOUSE - LATER
Ethel is asleep in bed. Kroc enters, home from another long
day of work. He starts getting undressed.
As he unbuttons his shirt, he hears a sound. A tiny sniffle.
Ethel is awake, crying softly.
He goes over, sits on the bed next to her.
RAY KROC
I’m sorry.
ON KROC-- taking in her sad, lonely face.
RAY KROC (CONT’D)
I know I’ve neglected you.
He looks her in the eye.
RAY KROC (CONT’D)
Tomorrow night. Let’s have supper
at the club.
ETHEL KROC
(surprised, heartened)
Really?
RAY KROC
It’s been far too long.
He hands her a tissue. She blows her nose.
48.
INT. ROLLING GREEN COUNTRY CLUB - DINING ROOM - NEXT NIGHT
The dining room of a not especially upscale country club.
Kroc leads Ethel to a big round table. At it are fellow CLUB
MEMBERS, who warmly greet them.
JERRY CULLEN
By George, I think I’ve seen a
ghost!
SHORT TIME LATER--
The middle of the meal. Ray kibitzes with the men, Ethel
engaged in a cross-conversation with the wives.
ON ETHEL AND THE WOMEN--
CLUB WIFE #1
I hear Acapulco is divine.
CLUB WIFE #2
Mildred Ballard was just there. She
adored it.
Ethel nods along, not wanting to stick out.
CLUB WIFE #2 (CONT’D)
Where do you like, Ethel?
ETHEL KROC
Me?
(BEAT, scrambling)
Spain.
CLUB WIFE #3
Wonderful! How was it?
ETHEL KROC
(backtracks)
I mean, we’re thinking about it.
Planning to, in the fall.
Nods and smiles from the other women. The conversation moves
on, bullet dodged.
BACK TO KROC AND THE MEN--
JERRY CULLEN
That’s the last time I try a sand
wedge in that bunker!
Hearty laughs from the others, loving the golf humor.
49.
JACK HORFORD
How’s your game, Ray?
RAY KROC
Lately? Non-existent.
The men laugh, missing the literalness of the statement.
JACK HORFORD
I’m no Ben Hogan myself.
ON KROC-- seeing an opening in the conversation.
RAY KROC
(cryptic smile)
But I did recently hit a hole-in-
one of a different sort.
The men glance at each other, intrigued.
RAY KROC (CONT’D)
Anyone interested in hearing about
an exciting investment opportunity?
Kroc sneaks a glance at Ethel. She’s staring at him,
crestfallen. So this is why we’re at the club.
JACK HORFORD (O.S.)
(chuckle)
Here we go again...
ON HORFORD-- smiling at Kroc, a bit condescendingly.
JACK HORFORD (CONT’D)
What is it this time, Ray?
ON ETHEL-- taking in the way Horford looks at her husband. It
irks her.
ETHEL KROC
Hear him out.
Ethel looks at Ray, looks back at Horford.
ETHEL KROC (CONT’D)
This is different.
ON KROC-- surprised and touched she has his back. He grabs
her hand under the table, looks her reassuringly in the eye.
Yes, it is. It is different this time.
50.
SERIES OF SHOTS:
--Jerry Cullen signing franchise papers as Kroc looks on.
--Kroc and Jack Horford, in hardhats, presiding as ground is
broken at a CONSTRUCTION SITE. Behind them is a sign with
McDonald’s mascot Speedee, who says, “HOWDY, SCHAUMBURG!
McDONALD’S IS ON THE WAY!”
--Kroc and Ethel having dinner again at Rolling Green CC,
Kroc working the menfolk, trolling for franchisees.
--Kroc playing a round of golf at the club, giving his golf
mates the sales spiel.
--Kroc looking on as one of the golf guys signs a contract.
Ratings
Scene 21 - Tense Confrontation at McDonald's
Kroc pulls into the parking lot of Jack Horford’s brand-new
Schaumburg McDonald’s. There’s a line out front, not
spectacular but solid.
He parks, heads toward the restaurant. He slows, noticing
something.
KROC’S POV: A patron in his car, biting into a hamburger.
Sticking out the sides of the burger is a PIECE OF LETTUCE.
ON KROC-- staring at the lettuce, disturbed by the sight.
EXT. ROLLING GREEN C.C. - GOLF COURSE - SHORT TIME LATER
Jack Horford, part of a foursome, is about to tee off.
GOLF BUDDY
Give it a whack, Jack.
Horford rears back to swing when, out the corner of his eye,
he sees--
KROC, storming onto the course, marching toward him.
As Kroc gets closer, Horford sees he’s holding something...
a HAMBURGER. Kroc gets right up in his face with it.
RAY KROC
What is this?
Horford stares at the burger.
51.
JACK HORFORD
It appears to be a hamburger.
RAY KROC
It’s not a McDonald’s hamburger.
He lifts off the bun, pointing out its myriad deficiencies--
RAY KROC (CONT’D)
Too much ketchup. Three pickles not
two. Lettuce. Lettuce, Jack?
JACK HORFORD
Do you think we could discuss this
later? We’re in the middle of--
RAY KROC
And the patty.
(breaks it open)
Tragically overcooked.
JERRY CULLEN (O.S.)
I don’t know, Ray...
Fellow franchise owner Jerry Cullen (part of the foursome)
leans in, checking out the burger.
JERRY CULLEN (CONT’D)
Looks good to me.
RAY KROC
(glares at Cullen)
What the heck would you know about
quality?
ON CULLEN-- thrown.
RAY KROC (CONT’D)
I dropped in on your store today. I
must say, I was quite disturbed.
JERRY CULLEN
What by?
RAY KROC
For starters, the menu... Corn on
the cob?
JERRY CULLEN
What’s wrong with corn on the cob?
RAY KROC
Fried chicken?
52.
JERRY CULLEN
People love fried chicken.
RAY KROC
Then they can go to a restaurant
that serves it!
Cullen and Horford trade glances, bewildered.
RAY KROC (CONT’D)
And the filth. The kitchen looked
like some sort of Manchurian slum.
JERRY CULLEN
(smirk)
With great chicken.
Everybody laughs. Kroc is not amused.
RAY KROC
(to both of them)
Are you aware of what goes on at
your restaurants? Do you even care?
JERRY CULLEN
Look, Ray, I don’t know about you,
but I’m retired.
JACK HORFORD
You said this’d be a good place to
park our money. It’s an investment,
nothing more.
JERRY CULLEN
If I wanted a job, I’da applied for
a cook position.
ON KROC-- silently stewing.
Ratings
Scene 22 - Cancelled Membership and Unsettling Observations
Ethel is getting dressed, putting on jewelry and makeup. Ray
enters, home from work.
ETHEL KROC
Hurry up and get changed. Dinner’s
called for seven.
RAY KROC
We’re not going to the club
tonight.
53.
ETHEL KROC
You cancelled our dinner plans?
RAY KROC
I cancelled our membership.
ETHEL KROC
What?
RAY KROC
Those Rolling Green people aren’t
our kind.
ETHEL KROC
What are you talking about?
RAY KROC
I’ve lost interest in hobnobbing
with the idle rich.
ETHEL KROC
Idle rich?
RAY KROC
With their golf and their Rob Roys.
ETHEL KROC
Please tell me this is a joke.
RAY KROC
Contented. Complacent.
ETHEL KROC
Those are my friends, Ray. My
entire social life!
RAY KROC
We’ll find new friends.
Ethel throws herself onto the bed, bursting into tears.
RAY KROC (CONT’D)
Far more suitable.
EXT. MCDONALD’S (SCHAUMBURG) - DAY
Kroc sits in his car across the street from Jack Horford’s
McDonald’s, anonymously watching--
KROC’S POV: A crowd of ANNOYED CUSTOMERS waiting for their
food. A customer checks his watch.
54.
CUSTOMER
(to cashier)
How much longer?
Kroc watches the shabbily run operation, sickened. He takes a
swig from his flask.
The pre-lap sound of VOMITING carries over to--
INT. PRINCE CASTLE SALES - MEN’S ROOM - DAY
Kroc bent over the toilet, puking his guts out.
INT. OFFICE - MOMENTS LATER
Kroc exits the bathroom, walks toward the FRONT DESK carrying
the men’s room key.
SALESMAN (O.S.)
Just take a gander at this handsome
gold inlay.
Kroc comes to the desk, where he sees a BIBLE SALESMAN (23)
talking to June, briefcase full of samples popped open.
SALESMAN (CONT’D)
You’re telling me such spectacular
craftsmanship isn’t worth $8.95?
JUNE MARTINO
Thank you, I’m not interested.
SALESMAN
Not interested in a Bible sure to
be the pride of your home library?
ON KROC-- observing the young salesman.
SALESMAN (CONT’D)
As you no doubt know, June, envy is
one of the seven deadly sins. And
that’s just what your friends and
neighbors will be guilty of when
they see this leather-bound beauty
on your bookshelf.
JUNE MARTINO
Sir, this is a private place of
business. I’m afraid I’m going to
have to ask you to leave.
55.
BEAT. The salesman gathers up his things, heads out of the
office. June’s telephone rings.
JUNE MARTINO (CONT’D)
Prince Castle Sales.
(BEAT, listening)
Oh, hello, Mac.
Kroc hears the name. A knot instantly forms in his stomach.
JUNE MARTINO (CONT’D)
One moment, I’ll see if he’s in.
She covers the phone, turns to Kroc.
JUNE MARTINO (CONT’D)
It’s Mac... just wants to know how
it’s going.
ON KROC-- frozen, staring at the phone.
Ratings
Scene 23 - Ray Kroc Partners with the Rosenblatts to Open a Successful McDonald's
The salesman heading down the hall toward the elevator.
RAY KROC (O.S.)
Wait!
The salesman slows, turns. Standing there is Kroc, looking
him over, sizing him up.
RAY KROC (CONT’D)
What’s your name?
SALESMAN
Leonard. Leonard Rosenblatt.
RAY KROC
Rosenblatt.
ON KROC-- digesting the name, intrigued.
RAY KROC (CONT’D)
What’s a Jew doing selling Catholic
Bibles?
LEONARD ROSENBLATT
(unapologetic)
Making a living.
ON KROC-- taking in the hungry young go-getter. It’s not hard
to read his mind. This is just the sort of fella I need.
56.
INT. KROC’S OFFICE - DAY
Rosenblatt and his wife MYRA (22) sit across from Kroc. Kroc
slides a pen and contract to them.
ON LEONARD AND MYRA ROSENBLATT-- looking at each other.
Excited, hopeful. A young couple, staking everything on a
shared dream. Myra gives his hand a squeeze.
MYRA ROSENBLATT
I believe in you.
LEONARD ROSENBLATT
Us, Myra.
ON KROC-- watching the interaction with admiration--and a
touch of jealousy.
EXT. MCDONALD’S (THE ROSENBLATTS’) - DAY (A FEW MONTHS LATER)
The Rosenblatts’ new McDonald’s in Waukegan, IL. Festive
bunting lines the front, a banner proclaiming GRAND OPENING
TODAY! A line of the curious and hungry forms outside.
INT. KITCHEN - CONTINUOUS
The hustle and bustle of a smooth-running kitchen. It’s a
model of cleanliness and professionalism, everything the
country clubbers’ locations were not.
ON KROC-- in the middle of it all, observing, highly pleased.
LEONARD ROSENBLATT (O.S.)
Let’s go, chop-chop!
ON ROSENBLATT-- moving around the kitchen, barking out
orders, making sure everything’s just so.
MYRA ROSENBLATT (O.S.)
Here y’go, champ!
Kroc looks toward the front of the store, where he sees...
Myra, handing out lollipops to children. She’s wearing a red
apron that says MCDONALD’S--and a big smile on her face.
Kroc goes over. She hands him a lollipop.
MYRA ROSENBLATT (CONT’D)
It’s normally ten and under, but
for you I’ll make an exception.
57.
Kroc looks at the lollipop. Tied to it is a ribbon with the
store’s address on it. He couldn’t be more impressed.
RAY KROC (PRE-LAP)
You shoulda seen ‘em.
Ratings
Scene 24 - Ray Kroc's Enthusiasm Meets Skepticism and Sparks a Recruiting Montage
Kroc is getting undressed for bed, buzzing.
RAY KROC
You’ve never seen a pair of dynamos
like these two.
ON ETHEL-- in bed, half-listening, about to fall asleep.
RAY KROC (CONT’D)
He’s in back, running the kitchen,
she’s up front, passing out suckers
to the kiddies. Like a real team.
(BEAT)
It’s wonderful. Don’t you think?
No reply from the sleepy Ethel. He gives her a poke.
RAY KROC (CONT’D)
Don’t you?
ETHEL KROC
Don’t I what?
RAY KROC
Think it’s wonderful.
(angling)
Two people, side by side, working
together...
ETHEL KROC
Are you trying to hire me, Ray?
RAY KROC
You say you never see me anymore.
This is a perfect way.
ETHEL KROC
I don’t want to work for you.
RAY KROC
With me. Husband and wife, united
in labor and in life. You know?
ETHEL KROC
I mean...
58.
ON ETHEL-- pondering, really struggling with the notion.
ETHEL KROC (CONT’D)
Not really.
A stretch of tense, edgy silence.
RAY KROC
I made us supper plans for Friday.
ETHEL KROC
I don’t suppose you rejoined
Rolling Green.
RAY KROC
No.
(gazes off)
Someplace far better.
INT. VFW HALL - EVENING
ANGLE ON a big banner across a wood-paneled wall: VFW POST
482 - FRIDAY NIGHT POTLUCK DINNER & BINGO
PAN DOWN to a long table lined with couples. Blue-collar
types, several rungs down the social ladder from Rolling
Green. And younger, average age closer to 30 than 60.
In the midst of them, we find Ray and Ethel. They’re dressed
deliberately “blue collar”, matching the people around them.
ON ETHEL-- edgily pushing her meatloaf and mashed potatoes
around her plate.
RAY KROC (O.S.)
So, Art, what do you do for a
living?
Kroc is chatting up the COUPLE (mid-20s) next to them.
ART WOLODARSKY
Well, I had a little plumbing
business going for a while after
getting out of the service. Now I
sell vacuum cleaners. And give
piano lessons on the side.
RAY KROC
Golly. Plumbing, pianos, you’re a
regular jack of all trades.
ART WOLODARSKY
Whatever puts food on the table.
59.
Art’s WIFE smiles proudly at her hard-working man.
ON KROC-- sizing them up. They fit the profile to a T.
RAY KROC
How would you like to do more than
merely “put food on the table”?
CUT TO:
INT. KROC’S OFFICE - SHORT TIME LATER
Art Wolodarsky signing up for a franchise, his faithful wife
by his side. This leads to--
RECRUITMENT MONTAGE:
Kroc hunting for new recruits for the McDonald’s Army. Quick
cuts of Kroc making the SAME SPEECH in various places.
Shriners halls, synagogues, Amway meetings:
RAY KROC
I’m looking for a few good men!
Hustlers! Scrappers! Grinders! Men
willing to roll up their sleeves,
men with fire in their bellies!
(BEAT)
I stand before you today offering
something more precious than gold:
opportunity. Opportunity to
advance. To succeed. To get your
shot at the brass ring, the
American Dream. For McDonald’s,
like this great nation itself, is a
true meritocracy. If you’re willing
to put in the work, if you’ve got
the gumption and the guts and the
desire, the sky’s the limit at
McDonald’s. Put in the necessary
elbow grease and, by gum, I promise
you there’s a pot of gold waiting
for you at the end of those Golden
Arches. So who’s with me? Who’s
ready to strap it on and step onto
that first rung of the ladder of
success? Who’s ready to make that
glorious upward climb, ascending
into the hard-won heavens of
success and prosperity?
Shots of Kroc gaining traction, getting on a roll:
60.
--YOUNG COUPLES cashing out bank accounts.
--Kroc cutting the ribbon at store openings. Lines down the
block. Cash registers ringing.
--Kroc biting into a burger served by the owner-operator of a
new franchise. Art Wolodarsky.
--Kroc driving back to his own store in Des Plaines, sweeping
the lot after dark. Relentless. Inexhaustible. Obsessed.
END OF MONTAGE.
Ratings
Scene 25 - A Warm Welcome and a Bloody Steak: Ray Kroc's Business Trip to Minneapolis
A flight in mid-air. Kroc, in a window seat, gazes out at the
flat, snow-dusted expanse below. Next to him is Fred Turner,
head buried in a McDonald’s operations manual.
FLIGHT ATTENDANT (O.S.)
Ladies and gentlemen, we are about
to begin our initial descent into
Minneapolis-St. Paul.
EXT. MCDONALD’S - SHORT TIME LATER
Kroc and Turner pull up to a brand-new McDonald’s in a taxi.
Stretched across the front is a banner: MINNESOTA IS
MCDONALD’S COUNTRY! They step out of the cab.
JIM ZIEN (O.S.)
Welcome!
JIM ZIEN, the store’s burly, gregarious owner, comes out to
greet them. With a showman’s flourish, he gestures to a pair
of HIGH-SCHOOL CHEERLEADERS in McDonald’s red and white.
JIM ZIEN (CONT’D)
Gimme an M!
CHEERLEADERS
M!
JIM ZIEN
Gimme a C!
CHEERLEADERS
C!
ON KROC-- beaming, eating up the red-carpet reception.
61.
JIM ZIEN (O.S.)
Gimme a D!
CHEERLEADERS (O.S.)
D!
INT. ROLLIE’S STEAKHOUSE - LATER/EVENING
Kroc, Turner and Zien at a Minneapolis steakhouse. The WAITER
is taking their orders.
RAY KROC
Ribeye. Bloody.
(hands waiter menu,
smiles)
I want the cow still mooing.
Everybody chuckles. Kroc is really feeling his oats.
RAY KROC (CONT’D)
And a couple sides of creamed
spinach for the table.
SHORT TIME LATER--
Kroc is tucking into his enormous, bloody steak.
JIM ZIEN
How is it?
RAY KROC
You couldn’t top this in Chicago.
JIM ZIEN
We don’t mess around up here.
RAY KROC
My compliments to the chef.
JIM ZIEN
I’ll do you one better. How about
the owner?
With this, Zien waves at someone across the room. A MAN comes
over, gives Zien a chummy back-pat.
MAN
Jimmy! Good to see ya!
We get the distinct sense this was pre-arranged.
62.
MAN (CONT’D)
Everything alright tonight?
JIM ZIEN
Wonderful as always, Rollie.
Zien gestures toward his VIP guest--
JIM ZIEN (CONT’D)
Rollie Smith, Ray Kroc.
This is ROLLIE SMITH, the owner. He enthusiastically shakes
Kroc’s hand.
ROLLIE SMITH
A pleasure.
RAY KROC
You’ve got one helluva restaurant
here.
ROLLIE SMITH
Coming from you, that’s quite a
compliment.
RAY KROC
(pleased)
I see my reputation precedes me.
ROLLIE SMITH
I’m a great admirer.
Kroc gestures to an empty chair, eager for more flattery.
ROLLIE SMITH (CONT’D)
(fake-demurring)
I don’t want to interrupt.
RAY KROC
Please.
ROLLIE SMITH
Maybe just a minute.
ONE HOUR LATER--
A BUSBOY is clearing plates. Smith is still at the table.
ROLLIE SMITH (CONT’D)
Well, you’ve certainly found a warm
and loving home here in
Minneapolis.
63.
RAY KROC
So it seems.
ROLLIE SMITH
This town just can’t get enough of
McDonald’s.
Smith raises Kroc’s empty glass to a passing WAITER.
ROLLIE SMITH (CONT’D)
Another Canadian Club for my
friend.
The waiter nods, heads off with the glass.
ROLLIE SMITH (CONT’D)
(resuming--)
In fact, I’d say there’s sufficient
enthusiasm to support another.
RAY KROC
A second location?
ROLLIE SMITH
And come to think of it, I can
think of the perfect person to own
and operate.
RAY KROC
(gamely playing along)
You don’t say.
ROLLIE SMITH
Somebody who knows what it takes to
build a great restaurant. Someone
with more than 25 years experience
in the food-service industry.
RAY KROC
Who?
ROLLIE SMITH
Me!
RAY KROC
Oh!
ON KROC-- deeply enjoying this. For a man who’s spent his
life groveling, sucking up to people, trying to curry favor,
to be on the receiving end is a thrilling new experience.
ROLLIE SMITH
I’ve got the know-how. I’ve got the
backers. And I’ve got the location.
64.
A PIANO is heard in the background. Light, lovely tinkling.
ROLLIE SMITH (O.S.) (CONT’D)
Are you familiar with Hennepin
Avenue?
ON KROC-- distracted, looking toward the piano.
ROLLIE SMITH (CONT’D)
It’s one of the busiest commercial
arteries in the whole Twin Cities.
There’s a prime site that recently
became available, a full acre on
the corner of Hennepin and...
(sees Kroc not listening)
Mr. Kroc?
Kroc is staring off, transfixed. Smith follows his gaze to--
An ATTRACTIVE BLONDE, early 30s, playing a BABY GRAND PIANO
in the corner. Smith watches Kroc watch her, clearly smitten.
ROLLIE SMITH (CONT’D)
Would you like to meet her?
This gets Kroc’s attention.
MOMENTS LATER--
Smith is at the piano, leaning in to the woman’s ear, saying
something. She gets up, goes over to the table with him.
ROLLIE SMITH
Ray Kroc, meet Joan Smith.
(BEAT)
My wife.
SHORT TIME LATER--
Joan is sitting next to Kroc, hanging on his every word.
RAY KROC
...Milwaukee, Kenosha, Grand Rapids
and the three Chicago area.
JOAN SMITH
Goodness.
RAY KROC
Oh, and Dayton, Ohio.
65.
JOAN SMITH
All in the last 12 months?
RAY KROC
Nine.
JOAN SMITH
Nine? You must be positively dizzy,
Mr. Kroc!
RAY KROC
Please. Call me Ray.
JOAN SMITH
(eye contact, purr)
Ray...
Kroc blushes, defenseless against the ego-stroking of a
pretty blonde.
ROLLIE SMITH
That’s some growth.
JOAN SMITH
When did you start it?
RAY KROC
(caught off guard)
Hm?
JOAN SMITH
What year, did you start
McDonald’s?
BEAT. Kroc looks at Joan looking at him. So beautiful. So
impressed.
RAY KROC
1954.
A BEAT as the lie settles. She smiles.
JOAN SMITH
Remarkable.
Kroc smiles back. She’s got him wrapped around her finger.
JOAN SMITH (CONT’D)
I should probably get back.
RAY KROC
To where?
66.
JOAN SMITH
The piano.
RAY KROC
Of course.
He nods, privately disappointed.
JOAN SMITH
What’s your favorite song?
(BEAT)
All-time favorite.
He thinks for a BEAT.
RAY KROC
“Pennies From Heaven”.
Joan gets up, heads over to the piano. She starts to play.
Ray immediately recognizes the melody.
JOAN SMITH
Every time it rains, it rains/
Pennies from heaven...
ON KROC-- charmed, immensely turned on.
JOAN SMITH (CONT’D)
Don't you know each cloud contains/
Pennies from heaven?
Kroc gets up, heads to the piano. Takes a seat on the bench
next to her. Removing her hands from the keys, he starts to
PLAY THE SONG. And sing.
RAY KROC
You'll find your fortune fallin’
all over town/ Be sure that your
umbrella is upside down...
ON JOAN-- surprised and amazed. He leans in, sotto voce:
RAY KROC (CONT’D)
Worked as an organ salesman for a
few years.
She smiles, charmed. Possibly genuine.
RAY KROC (CONT’D)
Trade them for a package of
sunshine and flowers...
(to Joan)
Join in.
67.
She does--
RAY KROC AND JOAN SMITH
If you want the things you love,
you must have showers...
ON THE ROOM-- eating up the surprise duet. Including Rollie.
RAY KROC AND JOAN SMITH (CONT’D)
So when you hear it thunder, don't
run under a tree/ There'll be
pennies from heaven for you and me
BIG APPLAUSE. Kroc stands up and takes a bow, basking in it.
Joan stands up, clapping too.
JOAN SMITH
Bravo, Ray!
Ratings
Scene 26 - Ray's Triumphant Flight Home and Frustrating Financial Discussion
Kroc gazes out the window in a state of dreamy reverie. It’s
not hard to tell what (or who) he’s thinking about.
INT. KROC’S HOUSE - DAY
Kroc enters the house. Ethel is in a living-room chair
reading a Barbara Cartland romance novel.
ETHEL KROC
How was the trip?
RAY KROC
You want to know?
ETHEL KROC
I’m asking.
RAY KROC
It was... triumphant.
(BEAT)
They rolled out the red carpet for
me. I was welcomed like a king.
Wherever I went, I was showered
with adulation. Admiration.
Respect. People were kneeling
before me, kissing my ring,
practically begging for a
McDonald’s.
A BEAT as Ethel absorbs.
68.
ETHEL KROC
That’s nice.
RAY KROC
It was.
ETHEL KROC
I’m sure.
She nods to herself, hard to read.
ETHEL KROC (CONT’D)
Pope Raymond The First.
INT. KROC’S OFFICE - DAY
Kroc stands before a U.S. MAP on the wall. There are a dozen
or so PUSH PINS stuck in it, mostly clustered around Chicago
and the upper Midwest.
ON KROC-- surveying the map with the bearing of a general,
hands clasped behind his back.
JUNE MARTINO (O.S.)
Sir?
June is standing by the door.
JUNE MARTINO (CONT’D)
We have a small problem.
INT. KROC’S OFFICE - DAY
Kroc at his desk with June. Spread out before them is the
company’s FINANCIAL LEDGER, open to a page.
RAY KROC
How could we be almost out of
capital?
JUNE MARTINO
Well...
She runs her finger down a column of figures.
RAY KROC
What’s that?
JUNE MARTINO
Your revenue. The monthly cut of
the stores.
69.
RAY KROC
That’s it?
JUNE MARTINO
1.4 percent of net.
RAY KROC
1.4?
JUNE MARTINO
1.9, minus Dick and Mac’s half
percent.
She seems way more familiar with the terms than he does.
SHORT TIME LATER--
Kroc is looking at his contract. A passage we glimpsed
earlier, at the signing:
...SHALL RECEIVE ONE AND NINE-TENTHS PERCENT (1.9%) OF NET
PROFITS GENERATED BY FRANCHISEE(S), WITH ONE-HALF OF ONE
PERCENT (0.5%) OF SAID NET PROFITS PAID TO RICHARD MCDONALD
AND MAURICE MCDONALD...
Kroc shakes his head, not happy.
Ratings
Scene 27 - Unresolved Tensions and a Medical Emergency
Dick is accepting a large shipment of cups and plastic ware.
He signs, hands the clipboard back to the DELIVERY MAN.
EMPLOYEE (O.S.)
Mr. McDonald?
Dick turns, sees a YOUNG EMPLOYEE.
EMPLOYEE (CONT’D)
Ray Kroc on the line.
INT. BACK OFFICE - SHORT TIME LATER
Mac stands behind Dick, who picks up the phone, both of them
bracing for it.
DICK MCDONALD
Hiya, Ray.
RAY KROC (O.S.)
I want to renegotiate.
70.
DICK MCDONALD
Renegotiate what?
INT. KROC’S OFFICE - CONTINUOUS
Kroc paces, contract in hand. (Intercut as necessary.)
RAY KROC
My deal. My lousy deal.
Dick looks totally taken aback.
RAY KROC (CONT’D)
1.4 is barely enough to cover my
monthly nut, much less drive
expansion.
DICK MCDONALD
Ray, those are the terms.
RAY KROC
It’s not enough.
DICK MCDONALD
It’s more than triple our cut.
RAY KROC
Then you oughta be getting more,
too.
DICK MCDONALD
I’m not a greedy man.
RAY KROC
It’s not about greed, it’s about
taking care of ourselves so we can
take care of this company. If I had
more money to work with, we could
be growing at twice the pace.
DICK MCDONALD
I have no beef with the current
rate of expansion.
RAY KROC
We haven’t got a single location in
New York. Pennsylvania.
DICK MCDONALD
All in good time.
RAY KROC
Texas!
71.
DICK MCDONALD
I have no doubt it’ll come.
RAY KROC
I’ve been busting my hump for you
boys.
DICK MCDONALD
And you’re doing a bang-up job.
RAY KROC
Then I ought to be doing better
than just breaking even.
DICK MCDONALD
I don’t know what to say.
RAY KROC
Say you’ll renegotiate.
DICK MCDONALD
I can’t.
RAY KROC
Can’t or won’t?
DICK MCDONALD
Upping your cut, it wouldn’t be
fair to the franchisees.
RAY KROC
The franchisees are doing just
fine. I’m the one drowning. Between
your molasses approval process and
the meager cut...
DICK MCDONALD
You freely and willingly agreed to
the terms of your deal, Ray. Nobody
put a gun to your head.
RAY KROC
Four percent.
DICK MCDONALD
No.
RAY KROC
Three and a half.
DICK MCDONALD
Ray...
72.
RAY KROC
What?
DICK MCDONALD
No.
RAY KROC
GODDAMMIT!
He hangs up.
KITCHEN - SHORT TIME LATER
Post-call. Dick is gazing off stormily.
MAC MCDONALD
Is he a pain in the rear? Yes. Has
he got a few screws loose? Maybe.
But that doesn’t mean he’s going to
do us any harm.
DICK MCDONALD
How long are you going to keep this
up, Mac?
MAC MCDONALD
Keep what up?
DICK MCDONALD
The whole “everything is fine” act.
(eye contact)
There’s a wolf in the henhouse! And
we let him in!
ON MAC-- looking nauseous. Guilty.
DICK MCDONALD (CONT’D)
I never should have listened.
MAC MCDONALD
We have a contract, Dick. For just
this sort of thing.
DICK MCDONALD
I should have trusted my gut.
MAC MCDONALD
He’s powerless.
BEAT. Dick shakes his head grimly.
MAC MCDONALD (CONT’D)
I’m sorry, Dick.
73.
Dick is silent, furious at his brother. At himself.
MAC MCDONALD (CONT’D)
I just wanted you to have your...
He trails off, seemingly losing his train of thought.
MAC MCDONALD (CONT’D)
I just wanted...
His face grows flushed. Dick sees something is off.
DICK MCDONALD
Mac.
MAC MCDONALD
I’m sorry, Dickie...
ON DICK-- recognizing what this is.
MAC MCDONALD (CONT’D)
I didn’t mean to leave the gate
open...
DICK MCDONALD
Take a seat.
MAC MCDONALD
I didn’t mean to let Boomer get
out...
DICK MCDONALD
(moving toward brother)
Mac, you’re having one of your--
CRASH. Mac flops over, crashing to the floor.
SAN BERNARDINO - KITCHEN - SHORT TIME LATER
Mac is sitting on the floor nursing a milkshake. Next to him
is a tin box marked GLUCAGON EMERGENCY KIT.
DICK MCDONALD
A few more sips.
Mac takes a sip of the shake. His sleeves are rolled up,
revealing a MEDIC ALERT BRACELET. Engraved on it is DIABETES
TYPE 1.
MAC MCDONALD
I’m okay.
ON DICK-- looking at his brother with love and worry.
74.
ON MAC-- gazing off at something...
The Multimixer on the counter. Kroc’s machine, used to make
the shake in his hands.
Ratings
Scene 28 - Ray Kroc's Internal Conflict: Mortgaging His Home and Considering Inst-A-Mix
Kroc sits at his desk. Next to a bottle of Canadian Club is a
pile of BILLS AND INVOICES. He picks one up. It’s from
ILLINOIS FIRST FEDERAL, stamped PAST DUE. He picks up another
one. From CHICAGO GAS & ELECTRIC. He stares at the amount
owed.
RAY KROC (PRE-LAP)
Ninety-four dollars?
INT. MCDONALD’S (DES PLAINES) - COOLER - SHORT TIME LATER
Kroc in the walk-in cooler with Fred Turner. In Kroc’s hand
is the Chicago Gas & Electric bill.
FRED TURNER
It’s unbelievable what these
suckers cost to run.
Kroc shakes his head, a knot in his stomach.
FRED TURNER (CONT’D)
My pop used to own an ice-cream
parlor. He went belly-up from the
refrigeration costs.
Kroc’s eye drifts to the left side of the cooler. The entire
side is filled with drums of ice cream (for the milkshakes).
ON KROC-- staring at the drums.
INT. KROC’S HOUSE - ENTRANCE/LIVING ROOM - DAY
Kroc enters the house. He hangs up his coat and makes a
beeline for the liquor cabinet, pours himself a stiff drink.
ETHEL KROC (O.S.)
A man called today.
Kroc turns, startled to see Ethel in a recliner in a corner
of the darkened room.
RAY KROC
Ethel.
75.
ETHEL KROC
From a bank.
RAY KROC
Alright...
ETHEL KROC
Illinois First Federal.
RAY KROC
What did they want?
ETHEL KROC
You don’t know?
RAY KROC
Why would I?
She gives him an unnerving stare.
RAY KROC (CONT’D)
What?
ETHEL KROC
Ray...
(eye contact)
Did you mortgage our home?
ON KROC-- a deer in the headlights.
INT. ILLINOIS FIRST FEDERAL - DAY
Kroc marches through the bank to Harvey Peltz’s desk.
RAY KROC
I specifically said the office is
the best place to reach me!
ON PELTZ-- taken aback by the intrusion.
HARVEY PELTZ
I tried you there, Mr. Kroc.
Numerous times.
RAY KROC
You have no right to call me at my
home. It is a blatant invasion of
privacy.
76.
HARVEY PELTZ
With all due respect, sir, when
you’re three months behind on your
payments, you don’t get to pick and
choose where you’re contacted.
INT. KROC’S CAR - DAY
Kroc driving along a highway. A sign appears ahead:
MINNEAPOLIS - 377 MILES
EXT. MCDONALD’S (ROLLIE SMITH) - NIGHT
Kroc approaches a gleaming new McDonald’s in downtown
Minneapolis. He looks through a window, into the store.
ON KROC-- gazing.
KROC’S POV: Joan Smith in a McDonald’s apron, looking just
adorable. Pretty much his fantasy image of a woman.
Out the corner of her eye, she sees Kroc through the glass.
She heads out to him.
JOAN SMITH
Ray?
RAY KROC
(jokey)
Surprise inspection!
JOAN SMITH
What are you doing here?
RAY KROC
Just thought I’d fly up, see how
things are going.
She smiles, impressed. It makes him feel great.
INT. ROLLIE’S STEAKHOUSE - LATER
Kroc having dinner with Rollie and Joan.
ROLLIE SMITH
$12,400.
RAY KROC
That’s some haul for month one.
77.
ROLLIE SMITH
And once we clear start-up costs...
RAY KROC
You’ll be looking at a tidy little
profit.
Rollie and Joan nod, buzzing over the prospect.
ROLLIE SMITH
Speaking of which: I hate to mix
business with pleasure...
RAY KROC
(wry)
I don’t.
Everyone chuckles. Rollie proceeds.
ROLLIE SMITH
My expenses...
RAY KROC
What about ‘em?
ROLLIE SMITH
Well, they’re a bit higher than
anticipated. One in particular...
That dang walk-in.
ON KROC-- interested to hear more.
ROLLIE SMITH (CONT’D)
The bill’s a real whopper.
RAY KROC
All that ice cream.
ROLLIE SMITH
Exactly.
RAY KROC
It’s a real problem.
A BUSBOY comes by, clears their finished plates.
ROLLIE SMITH
Now, I don’t want to overstep my
bounds here, but I think I may have
found a solution.
(looks at Joan, proud)
Joan did, actually.
78.
RAY KROC
You don’t say.
Kroc turns to Joan, all ears.
JOAN SMITH
(salesman-like)
What if I told you there was a way
to save you, us, and all your owner-
operators literally hundreds of
dollars a year in electrical costs?
Kroc cocks an intrigued eyebrow.
JOAN SMITH (CONT’D)
And free up valuable storage space.
And reduce the amount of time it
takes to make a milkshake by half.
RAY KROC
I’ll bite.
She reaches under the table, pulls out her purse. She takes
out a copy of RESTAURANT BUSINESS MONTHLY, slides it to Kroc.
JOAN SMITH
Page 22.
Kroc opens the trade publication to page 22. A FULL-PAGE AD
for something called INST-A-MIX. The ad copy trumpets:
ATTENTION RESTAURANT OPERATORS! INTRODUCING INST-A-MIX, THE
MIRACULOUS INSTANT ICE-CREAM SUBSTITUTE THAT WILL SAVE YOU
‘SCOOPFULS’ OF TIME AND MONEY!
GREATER VOLUME! HIGHER PROFITS! MAKES REFRIGERATION A THING
OF THE PAST!
JOAN SMITH (CONT’D)
A powdered milkshake. Costs a
fraction of ice cream, no
refrigeration necessary.
ROLLIE SMITH
Thickening agents and emulsifiers
simulate the texture of milk fat.
Tastes just like the real thing.
JOAN KROC
And it’s easy as pie to prepare.
Just pour the convenient single-
serving packet into water and stir.
79.
ON KROC-- staring at the ad poker-faced. Rollie and Joan
can’t get a read on his reaction.
ROLLIE SMITH
I realize it may seem a tad
blasphemous, what with your dairy-
sector background and all.
JOAN SMITH
But personally...
Joan looks at Kroc, touches his hand.
JOAN SMITH (CONT’D)
I think it’s a marvelous idea.
ON KROC-- privately quivering at the touch.
WAITER (O.S.)
Could I interest anyone in dessert?
The WAITER holds out a dessert menu to the table.
ROLLIE SMITH
No thanks, Vic.
(to Kroc, cryptic smile)
We brought our own.
MOMENTS LATER--
ANGLE ON a pair of SILVER-FOIL PACKETS in front of Joan.
JOAN SMITH
Chocolate or vanilla?
RAY KROC
Vanilla.
Joan takes one of the packets, marked “V”, dumps the powdery
contents into a glass. She pours in some water, stirs.
ON KROC-- watching with fascination as it thickens. Within
seconds, it transforms into what looks like a vanilla shake.
Joan slides it to Kroc. All eyes on him as he takes a sip. A
long, anxious BEAT from the table.
JOAN SMITH
What do you think?
RAY KROC
I think... I’m drinking a delicious
vanilla shake!
80.
The table erupts in happy, relieved laughter.
JOAN SMITH
May I?
Kroc follows her eyes to the shake. He gives her a “be my
guest” nod. She raises the glass to her lips, takes a long,
languorous sip. Kroc watches, highly turned on.
She puts the glass down, smiles at Kroc.
JOAN SMITH (CONT’D)
I couldn’t resist.
Kroc’s gaze drifts to the glass. On the rim is a bright-red
LIPSTICK MARK. He stares at it.
ROLLIE SMITH (O.S.)
So whaddaya say?
Kroc looks at Rollie, shaken out of his moment.
ROLLIE SMITH (CONT’D)
We try it out at our place. Then,
if it goes well...
JOAN SMITH
You roll it out nationally.
ON KROC-- suddenly a tad queasy, thinking of the brothers. He
nods vaguely.
RAY KROC
I could.
A strange, shaky BEAT.
RAY KROC (CONT’D)
Let me think about it.
Rollie and Joan nod, surprised. They were expecting a big,
unreserved yes.
ROLLIE SMITH
Of course. You’re the boss.
Kroc nods, privately churning. If they only knew.
Ratings
Scene 29 - Ray Kroc's Failed Attempt to Convince McDonald's on Cost-Saving Measures
Kroc is sitting on the bed looking at the Inst-A-Mix ad in
“Restaurant Business Monthly”. On the nightstand is a pint of
Four Roses bourbon, empty. He dials the phone.
81.
RAY KROC
Just hear me out.
INT. MCDONALD’S (SAN BERNARDINO) - NIGHT
The restaurant is closed. Dick is on the front-counter phone.
DICK MCDONALD
(instantly wary)
Hello, Ray.
ON MAC-- cleaning up in the background. His ears prick up.
RAY KROC
What if I told you there was a way
to save you, me, and all our owner-
operators literally hundreds of
dollars a year in electrical costs?
DICK MCDONALD
And what would that be?
RAY KROC
Two words: Powdered milkshake.
(before Dick can reply--)
There’s a remarkable new product I
recently came across called Inst-A-
Mix. It’s a powdered milkshake,
costs a fraction of ice cream, no
refrigeration necessary.
DICK MCDONALD
Ray--
RAY KROC
I tried it, and let me tell you, it
is delicious. Tastes just like the
real thing.
DICK MCDONALD
Is this some sort of joke?
RAY KROC
Comes in vanilla or chocolate.
DICK MCDONALD
Ray.
RAY KROC
Me, I’m a vanilla man.
82.
DICK MCDONALD
I have no interest in a milkshake
that contains no milk.
RAY KROC
You won’t be able to tell the
difference. Guarantee.
DICK MCDONALD
Why don’t we put sawdust in the
hamburgers while we’re at it?
RAY KROC
I’m being serious.
DICK MCDONALD
Frozen french fries!
RAY KROC
You don’t want to save a bundle?
DICK MCDONALD
Not like that.
RAY KROC
We’re talking the same great taste
while boosting your bottom line.
DICK MCDONALD
It’s called a milk shake, Ray.
RAY KROC
Not to mention freeing up all that
cooler space. I don’t know about
you, but I’d sure like to--
DICK MCDONALD
Milk. Now and forever.
ON KROC-- shut down. Yet again.
RAY KROC
Well, thanks for giving it your
full and sincere consideration.
(fed up)
As always.
MOTEL ROOM - SHORT TIME LATER
Kroc silently gazes off. He FLINGS THE MAGAZINE across the
room, knocking over a lamp.
83.
Ratings
Scene 30 - Ray Kroc's Failed Attempt to Secure a Loan
Kroc stares at the ever-growing mountain of bills on his
desk. His gaze drifts to a letter from ILLINOIS FIRST FEDERAL
marked FINAL NOTICE.
INT. ILLINOIS FIRST FEDERAL - DAY
Kroc is sitting with Harvey Peltz, his home-mortgage officer.
RAY KROC
You’ve got to extend my line.
HARVEY PELTZ
Until you build more equity in your
home or pay down the loan...
RAY KROC
My business is booming.
HARVEY PELTZ
Unfortunately, that’s immaterial.
RAY KROC
Thirteen locations in nine states!
HARVEY PELTZ
It’s a home-equity loan.
RAY KROC
Then give me a business loan.
REVEAL, on the other side of a partition: a patrician, silver-
haired BUSINESSMAN sitting across from an empty chair,
listening in as he waits for his banker to return.
HARVEY PELTZ
These 13 locations. They’re yours?
RAY KROC
Meaning?
HARVEY PELTZ
You own them?
RAY KROC
I mean, not in the strict sense.
HARVEY PELTZ
So then what are your assets?
RAY KROC
Mine personally?
84.
HARVEY PELTZ
It is your business, correct? You
own it?
RAY KROC
Not technically, per se.
The businessman cringes for the poor, floundering schlub on
the other side of the partition.
RAY KROC (CONT’D)
I’m the head of franchising. I’m
the one behind all the growth.
HARVEY PELTZ
That’s all well and good, but--
RAY KROC
Have you ever been to a McDonald’s?
The name catches the businessman’s ear.
RAY KROC (CONT’D)
We’ve got three stores right here
in the Chicagoland area. Perhaps if
you swung by, took a look.
HARVEY PELTZ
That’s quite alright.
RAY KROC
I’d be happy to give you a tour,
give you a better sense of--
HARVEY PELTZ
Thank you. I’ve got the gist.
Ratings
Scene 31 - Ray Kroc's Financial Troubles and Harry Sonneborn's Proposal
Kroc exits the bank in defeat. He slumps off toward his car.
BUSINESSMAN
Mr. Kroc.
Kroc turns, sees the man approaching. Kroc looks him over.
Dressed in an impeccably tailored suit, he has the finished,
cosmopolitan air of a New Yorker.
RAY KROC
Can I help you?
BUSINESSMAN
No. But perhaps I can help you.
85.
He hands Kroc a business card. Kroc looks at it:
HARRY J. SONNEBORN - VICE-PRESIDENT OF FINANCE - THE TASTEE-
FREEZ CORPORATION
RAY KROC
Thanks. We’re perfectly happy with
our current supplier.
Kroc hands back the card, starts to walk off.
HARRY SONNEBORN
I’m not looking to sell you ice
cream.
RAY KROC
Then what do you want?
HARRY SONNEBORN
I caught a bit of your conversation
back there. Sounds like you’re
having some financial troubles.
RAY KROC
Why don’t you mind your own
business?
HARRY SONNEBORN
I’m a great admirer of your
establishment.
RAY KROC
That’s very nice.
HARRY SONNEBORN
I lunch at your Waukegan location
at least thrice a week. And not
once have I ever failed to witness
a large, avid crowd.
RAY KROC
Your point being...
HARRY SONNEBORN
If you’re not making money hand
over fist, something is gravely
amiss.
This gets Kroc’s attention.
86.
INT. PRINCE CASTLE SALES - SHORT TIME LATER
Kroc enters the office with Sonneborn. As they pass the front
desk:
RAY KROC
June, fetch the ledger.
INT. KROC’S OFFICE - SHORT TIME LATER
Kroc and Sonneborn sit in front of the ledger.
HARRY SONNEBORN
So to summarize, you have a
miniscule revenue stream, no cash
reserves, and an albatross of a
contract that requires you to go
through a glacially slow approval
process to enact changes--if
they’re approved at all. Which they
never are.
(BEAT)
Am I missing anything?
RAY KROC
I believe that covers it.
ON SONNEBORN-- thinking.
HARRY SONNEBORN
Tell me about the land.
RAY KROC
Land?
HARRY SONNEBORN
The land, the buildings, how that
whole aspect of it works.
RAY KROC
Well, it’s pretty simple really.
The franchisee finds a piece of
land he likes, takes out a lease.
Usually 20-year. He gets himself a
construction loan, puts up the
building, and off he goes.
HARRY SONNEBORN
So the operator selects the site.
RAY KROC
Yes.
87.
HARRY SONNEBORN
He picks the property. Not you.
Kroc nods, unsure why he’s so curious about all of this.
HARRY SONNEBORN (CONT’D)
You supply the training, the
system, the operational know-how,
and he’s responsible for the rest.
RAY KROC
Correct.
ON SONNEBORN-- processing. He seems troubled.
RAY KROC (CONT’D)
Is there a problem?
HARRY SONNEBORN
A big one.
RAY KROC
Which is?
HARRY SONNEBORN
That you don’t seem to realize what
business you’re in.
(BEAT)
You’re not in the burger business.
You’re in the real-estate business.
Kroc looks totally confused.
HARRY SONNEBORN (CONT’D)
You don’t build an empire off a 1.4
percent cut of a 15-cent hamburger.
You build it by owning the land
upon which that burger is cooked.
ON KROC-- wrestling with this strange notion.
HARRY SONNEBORN (CONT’D)
What you ought to be doing is
buying up plots of land, then
turning around and leasing said
plots to franchisees, who as a
condition of their deal should be
permitted to lease from you and you
alone. This will provide you with
two things: One, a steady, upfront
revenue stream. Money flows in
before the first stake is in the
ground. Two, greater capital for
expansion.
(MORE)
88.
HARRY SONNEBORN (CONT’D)
Which in turn fuels further land
acquisition, which in turn fuels
further expansion. And so on and so
on.
(BEAT)
Land... That’s where the money is.
(BEAT)
And control. Control over the
franchisee: Fail to uphold quality
standards, you cancel their lease.
Control over Dick and Mac: Their
power stops at the building’s
foundation. Yours goes to the soil.
ON KROC-- absorbing, registering the full significance.
RAY KROC
If I were to do this... the
brothers... this would
effectively...
HARRY SONNEBORN
Yes.
A long BEAT. Kroc searching his soul. We can almost see the
Angel and the Devil on his shoulders.
HARRY SONNEBORN (CONT’D)
So whaddaya say, Ray?
MONTAGE:
The Harry & Ray Show. Sonneborn and Kroc jumping into action:
--Sonneborn taking meetings with BANKERS AND INVESTORS in New
York City. Confidently presenting his sweeping vision to
conference rooms of heavy hitters. He stands in sharp
contrast to Kroc... Kroc is Main Street, Sonneborn is Wall
Street. Kroc is a salesman, Sonneborn is a businessman.
--Hands being shaken, deals being struck.
--Kroc criss-crossing the country by plane shopping for land.
Scouting suburban neighborhoods, plots of land near schools
and churches. Fertile ground for the planting of arches.
--Kroc’s U.S. map filling in with push pins. 15, 20, 30...
--Kroc and Sonneborn presiding over lease signings. MOLINE,
NASHVILLE, ORLANDO, KALAMAZOO.
--New franchisees combing through thick, 100-page agreements.
Glimpses of legalese:
89.
...ANY AND ALL CHANGES OR MODIFICATIONS MUST BE...
...SHOULD LESSEE FAIL TO UPHOLD STANDARDS OF CONDUCT AND
QUALITY AS DEEMED BY LESSOR, LESSOR HAS THE RIGHT TO...
Control. For Kroc.
END OF MONTAGE.
Ratings
Scene 32 - Emergence of the Franchise Realty Corporation and Its Impact on the McDonald Brothers
The restaurant, not yet open for the day. A MAILMAN goes over
to Dick with a stack of mail. Dick opens a LETTER, troubled
by what he sees.
INT. KITCHEN - CONTINUOUS
Mac is wiping down the front counter.
DICK MCDONALD (O.S.)
Have you heard of the Franchise
Realty Corporation?
Mac turns, sees Dick holding the letter.
MAC MCDONALD
What is it?
DICK MCDONALD
I have no clue. But apparently Ray
Kroc is president and CEO.
Mac takes the letter, instantly nauseous.
ANGLE ON letter, written on FRANCHISE REALTY CORPORATION
letterhead. The letter itself is some innocuous bit of
McDonald’s business from Kroc to the brothers. It’s really
just an excuse to flash the letterhead. And the signature at
the bottom: RAYMOND A. KROC - PRESIDENT/CEO
INT. PRINCE CASTLE SALES - SHORT TIME LATER
June is at the front desk. She picks up a ringing phone.
JUNE MARTINO
Franchise Realty Corporation, how
may I direct your call?
Behind her, WORKMEN are taking down the Prince Castle Sales
sign and putting up a new one in its place: FRANCHISE REALTY
CORPORATION
90.
INT. KROC’S OFFICE - MOMENTS LATER
Kroc picks up his phone. (Intercut as necessary.)
RAY KROC
Hello, Dick. How are you?
DICK MCDONALD
Well, if you really want to know,
I’m tad miffed.
RAY KROC
What seems to be the trouble?
DICK MCDONALD
Franchise Realty Corporation.
RAY KROC
What about it?
DICK MCDONALD
For starters, would you mind
telling me what it is?
RAY KROC
Oh, nothing really. Just a little
something I created to help provide
leasing services and support to our
new franchisees.
Dick can practically hear Kroc’s smirk through the phone.
DICK MCDONALD
You know full well you can’t do
something like that without first
clearing it.
RAY KROC
Why would I need to do that?
DICK MCDONALD
Why? Because as your deal plainly
states, any and all changes must——
RAY KROC
It’s not a change.
DICK MCDONALD
Excuse me?
RAY KROC
It’s not a change. It’s a company.
Its own separate company. Which
puts it outside of your purview.
91.
DICK MCDONALD
Anything relating to McDonald’s is
within our--
RAY KROC
You boys have full say over what
goes on inside the restaurants. But
outside? Above? Below?... Your
authority stops at the door. And
the floor.
ON MAC-- standing in the doorway, sick to his stomach. He
can’t hear what Kroc is saying, but he knows it’s not good.
Ratings
Scene 33 - Kroc's Confident Photo Shoot and Inst-A-Mix Approval with a Hint of Jealousy
Kroc is leaning against his desk, arms folded confidently, a
big grin on his face. It’s a slightly weird sight until we
hear the click of a camera and realize it’s a PHOTO SHOOT.
PHOTOGRAPHER
Let’s try a few by the map.
The PHOTOGRAPHER leads Kroc to the expansion map, which is
significantly more crowded with pins now. Kroc strikes the
same pose, arms winningly crossed.
PHOTOGRAPHER (CONT’D)
Good, good.
Kroc impulsively grabs a prop hamburger off the desk, holds
it up for the camera.
PHOTOGRAPHER (CONT’D)
Love it.
Kroc playfully pretends to take a big bite.
PHOTOGRAPHER (CONT’D)
(snapping away)
That’s a riot!
INT. MCDONALD’S (ROLLIE SMITH) - DAY
Rollie is hustling about the kitchen, supervising the lunch
rush.
MAN’S VOICE (O.S.)
(gruff)
Delivery.
92.
He turns, expecting to see a delivery man. Instead, Ray Kroc
is standing there, leaning against THREE BOXES on a dolly.
RAY KROC
(like a delivery guy)
Where ya want these?
INT. BACK OFFICE - MOMENTS LATER
Kroc looks on as Rollie opens one of the boxes, unsure what’s
inside.
ANGLE ON box’s contents: hundreds of silver-foil packets.
ROLLIE SMITH
(excited, surprised)
Yeah?
RAY KROC
I’ve thought it over.
ON JOAN-- also there, anxiously awaiting Kroc’s next words.
RAY KROC (CONT’D)
Approved.
JOAN SMITH
Really? Oh, thank you!
RAY KROC
Thank you. It’s a whiz-bang idea.
And you thought of it.
Kroc revels in the feeling of playing kingmaker.
ROLLIE SMITH
Well, we’re deeply honored to serve
as your test market.
RAY KROC
To heck with that. I’m rolling it
out nationally.
Joan gasps, honored, thrilled. Her idea, implemented across
the country.
ON ROLLIE-- looking at Joan looking at Ray. We finally detect
the first stirrings of jealousy.
RAY KROC (CONT’D)
Speaking of Inst-A-Mix, have you
seen the new issue of “RBM”?
93.
Kroc reaches inside his coat, pulls out a copy of “Restaurant
Business Monthly”. Hands it to Rollie.
RAY KROC (CONT’D)
Hot off the press.
ON ROLLIE-- taking in the cover...
ANGLE ON magazine. Kroc is the cover boy. A big photo of him
in his office, smiling, holding the hamburger. The headline:
MCDONALD’S TAKES A BITE OUT OF THE COMPETITION - UPSTART
HAMBURGER EMPORIUM IS ‘ON THE GROW’
ON JOAN-- looking at Ray on the cover. Looking at Ray in the
flesh.
Ratings
Scene 34 - Ray Kroc's Contemplation and Ambition
Ethel is asleep in bed, alone.
LIVING ROOM - CONTINUOUS
Kroc is on the phone, speaking quietly.
RAY KROC
(intrigued)
Bloomington...
INT. ROLLIE AND JOAN SMITH’S HOUSE - CONTINUOUS
Joan is on the kitchen phone, also speaking softly. She’s
wearing a nightie.
JOAN SMITH
It’s about 10 miles south of
downtown. They’re building a brand-
new sports stadium there.
RAY KROC
I read about that.
JOAN SMITH
We’re getting a professional
baseball and football team. They’ll
both be playing there.
RAY KROC
I think I see where you’re going
with this...
94.
JOAN SMITH
A 40,000-seat stadium, just a
stone’s throw away. Imagine the
foot traffic.
RAY KROC
Hungry families looking for a bite
after the ballgame.
JOAN SMITH
Or before. Whenever.
RAY KROC
I like the way you think, Joan.
You think big.
JOAN SMITH
Is there any other way to?
RAY KROC
You’d be surprised.
His gaze drifts downward. To his wedding ring.
RAY KROC (CONT’D)
A lot of people, they’re scared. Of
taking a chance. Reaching for
greatness.
JOAN SMITH
That’s so sad.
RAY KROC
I agree. Ambition, that’s the stuff
of life.
JOAN SMITH
What’s that saying? “Fortune favors
the bold.”
RAY KROC
Absolutely.
JOAN SMITH
Just look at you.
RAY KROC
Are you calling me bold, Joan?
JOAN SMITH
You don’t build a restaurant empire
acting like a timid little mouse.
95.
BEDROOM - SHORT TIME LATER
Kroc lies in bed next to Ethel. His hands drift downward
under the covers, toward his nether regions.
Ratings
Scene 35 - Confrontation over Inst-A-Mix: Kroc and McDonald's Conflict
Kroc, Harry Sonneborn and Fred Turner stand huddled over a
map of Texas.
HARRY SONNEBORN
(re: some city on map)
That’s a fast-growing area.
The phone rings outside the room.
HARRY SONNEBORN (CONT’D)
And cheaper. You’re talking a good
15 percent less per acre.
RAY KROC
I still say Houston’s the move.
JUNE MARTINO (O.S.)
Sir?
June Martino is standing in the doorway.
JUNE MARTINO (CONT’D)
Dick on line one.
INT. MCDONALD’S - SAN BERNARDINO - CONTINUOUS
Dick on the phone in his office, Mac in the background.
DICK MCDONALD
I just got a very disconcerting
call.
Kroc on the other end--Harry, Fred and June listening in.
Kroc has a smug, cocky air, “playing to the crowd” a bit.
RAY KROC
Oh?
DICK MCDONALD
From Buddy Jepsen. Our operator in
Sacramento.
RAY KROC
I’m well aware who Buddy Jepsen is.
96.
DICK MCDONALD
He told me he received a shipment
this morning.
RAY KROC
It arrived?
DICK MCDONALD
You are way out of line, Ray.
RAY KROC
I figured it wouldn’t get there
until Friday the earliest.
DICK MCDONALD
Would you mind telling me what
you’re doing shipping four cases of
Inst-A-Mix to one of our operators?
RAY KROC
If you’re not interested in turning
a profit, that’s fine. But please
don’t stop the rest of us.
DICK MCDONALD
Us?
RAY KROC
Us. As in everyone but you.
DICK MCDONALD
Who did you send them to?
RAY KROC
Everyone but you.
DICK MCDONALD
You have no right, Ray. You are to
stop this instant. Is that clear?
RAY KROC
Nah.
DICK MCDONALD
Excuse me?
RAY KROC
You heard me. Nah.
DICK MCDONALD
What the hell’s that mean?
97.
RAY KROC
It means from now on I’ll be doing
things my way.
DICK MCDONALD
You will abide by the terms of your
deal.
RAY KROC
I’m through taking marching orders
from you. Bowing to your dictates.
You and your endless parade of nos.
DICK MCDONALD
You have a contract.
RAY KROC
Don’t grow, don’t change... Cower
in the face of progress...
DICK MCDONALD
If phony powdered milkshakes is
your idea of progress, you have a
profound misunderstanding of what
McDonald’s is about.
RAY KROC
I have a far better understanding
of McDonald’s than you two yokels.
DICK MCDONALD
What did you say?
RAY KROC
You heard me.
DICK MCDONALD
You will do as we say.
RAY KROC
Nope.
DICK MCDONALD
You have a contract.
RAY KROC
Contracts are like hearts. They’re
made to be broken.
Ratings
Scene 36 - Kroc's Betrayal and the Breaking Point
Kroc and Ethel eat dinner together in edgy silence. All we
hear is the sound of knife scraping plate as meat is cut.
98.
ETHEL KROC
Please pass the salt.
(he passes it)
Thank you.
RAY KROC
You’re welcome.
Another stretch of silence. Cutting and chewing.
RAY KROC (CONT’D)
I want a divorce.
INT. LAWYER’S OFFICE - DAY
The big, oak-paneled office of a top Chicago law firm. Kroc
sits across from a LAWYER.
LAWYER
It’s not so simple.
He looks down at a document in his hand, Kroc’s contract with
the brothers.
LAWYER (CONT’D)
This contract, it’s ironclad.
RAY KROC
I don’t care what it takes...
MATCH CUT TO:
INT. ANOTHER LAWYER’S OFFICE - DAY
Virtually the identical scene, except a different office and
different LAWYER.
RAY KROC
Just get me out.
LAWYER #2
She’s gonna put up one hell of a
fight.
RAY KROC
She can have it all. The house, the
car, the insurance policy...
LAWYER #2
(treading lightly)
What about the...
99.
RAY KROC
Never. I’d sooner die than give
that woman one share of McDonald’s.
INT. MCDONALD’S (SAN BERNARDINO) - OFFICE - DAY
Dick enters the office. He notices a package on his desk,
addressed to him and Mac. He opens it, pulls out a silver-
foil Inst-A-Mix packet. It’s stamped “S”.
Dick reaches in, pulls out a handwritten note from Kroc:
NEW FLAVOR... STRAWBERRY. MAYBE YOU’LL LIKE THIS ONE!
--BEST, RAY
His dismay is soon eclipsed by something else:
The note from Kroc; it’s not on Franchise Realty Corporation
letterhead. The letterhead says THE MCDONALD’S CORPORATION.
It’s signed at the bottom RAYMOND A. KROC - PRESIDENT.
INT. FRANCHISE REALTY CORPORATION - SHORT TIME LATER
Workmen are taking down the Franchise Realty Corporation sign
at the front desk, a new one going up in its place: THE
MCDONALD’S CORPORATION.
RAY KROC (O.S.)
It was confusing.
INT. KROC’S OFFICE - CONTINUOUS
Kroc on the phone.
RAY KROC
No one knew it had anything to do
with McDonald’s.
INT. SAN BERNARDINO - CONTINUOUS
Dick on the other end. Mac there, too.
DICK MCDONALD
What’s confusing is you calling
yourself the McDonald’s
Corporation.
ON MAC-- listening, strangely calm.
100.
DICK MCDONALD (CONT’D)
People will think it’s the whole
company, not just the real-estate
arm. Which I strongly suspect is
what you hope.
Without warning, Mac SNATCHES THE PHONE out of Dick’s hands--
MAC MCDONALD
IT’S NOT YOUR COMPANY, RAY!
RAY KROC
Mac.
MAC MCDONALD
Do you understand that?
RAY KROC
Don’t get all bent out of shape.
MAC MCDONALD
We came up with the Speedee System,
not you. Us. What did you ever come
up with, Ray? Name one thing. You
can’t. Because you never have and
you never will. You’re a leech!
You’re a professional leech!
ON DICK-- stunned by his brother’s outburst.
RAY KROC
Would you like to know what I came
up with? I’ll tell you, Mac. I came
up with a concept. A highly novel
concept called winning. You boys
are content to sit back and be a
couple of also-rans. To let the
future run roughshod over you. Me,
I want to take the future. I want
to win. And you don’t get there by
being some aw-shucks, nice-guy sap.
There’s no place in business for
people like that. Business is war.
It’s rat eat rat, dog eat dog. If
my competitor was drowning, I’d
reach out and stick a goddamn hose
in his mouth. Can you say the same?
MAC MCDONALD
I can’t, nor would I want to.
RAY KROC
Hence your single location.
101.
MAC MCDONALD
I want you out of this company.
RAY KROC
And how do you propose to do that?
MAC MCDONALD
Whatever it takes. We’ll sue you if
necessary.
RAY KROC
You couldn’t afford to sue me. I
could bury you in court costs
alone. I’m the president and CEO of
a major corporation with
landholdings in 17 states. You run
a burger stand in the desert.
(blistering, nuclear)
I’m national. You’re fucking local.
Kroc hears a loud THUD through the phone.
Mac has COLLAPSED to the floor.
The wail of an AMBULANCE SIREN carries us to--
Ratings
Scene 37 - Mac's Hospital Visit and Ray Kroc's Unexpected Offer
Mac lies in a hospital bed looking pale and weak. Dick stands
by as DR. REEVES talks to Mac.
DR. REEVES
You’ve been following your eating
plan?
(Mac nods)
Checking your glucose levels?
(Mac nods)
Taking your medication on a
consistent basis?
(Mac nods)
Regular walks, 20 minutes a day?
(Mac nods)
No smoking?
(Mac nods)
Any stress?
MAC MCDONALD
(BEAT, understatement of
century)
Some.
102.
DR. REEVES
You need to watch that. It’s a big
contributing factor.
The doctor flips to a page in Mac’s chart.
DR. REEVES (CONT’D)
As I said, your kidney function’s
currently at 50 percent. 18 months
ago, it was 65. Any lower, you’re
at serious risk for kidney failure.
INT. HOSPITAL ROOM - DAY
Mac is doing a crossword puzzle, Dick in a chair nearby.
MAC MCDONALD
“William Who Rode With Paul
Revere.”
DICK MCDONALD
How many letters?
MAC MCDONALD
Five, fourth letter E.
DICK MCDONALD
Dawes.
Mac pencils it in. A knock at the door.
MAC MCDONALD
Come in.
Mac and Dick look toward the door, stunned to see...
Ray Kroc, holding a bouquet of flowers.
RAY KROC
How ya feelin’?
The brothers glare at their unexpected, unwelcome guest.
RAY KROC (CONT’D)
That was some spill. Felt it all
the way through the phone.
Kroc extends the flowers to Mac.
RAY KROC (CONT’D)
For you.
103.
Mac takes the flowers like they’re potentially laced with
anthrax. He glances at the card attached.
RAY KROC (CONT’D)
Open it.
MAC MCDONALD
That’s alright.
RAY KROC
Please. I think you’ll like it.
Mac reaches in the envelope, pulls out a GET-WELL CARD. He
opens the card. A CHECK falls out. Blank.
MAC MCDONALD
What’s this?
RAY KROC
What’s it look like?
MAC MCDONALD
It looks like a blank check.
RAY KROC
Then that’s probably what it is.
Mac and Dick look at each other.
RAY KROC (CONT’D)
How much should I make it out for?
MAC MCDONALD
What are you buying?
Kroc flashes them a “You don’t know?” smirk.
Ratings
Scene 38 - The Unbeatable Kroc and the Brother's Defeat
Mac and Dick both gazing off gloomily. After a long stretch
of silence--
MAC MCDONALD
We’ll never beat him.
(BEAT)
We’ll never be rid of him.
ON DICK-- absorbing. He knows Mac is right.
104.
INT. KROC’S OFFICE - DAY
Kroc is standing before the franchise map. There are nearly
50 PINS in it now. The intercom buzzes.
JUNE MARTINO (O.S.)
Dick McDonald.
Kroc picks up, friendly and casual.
RAY KROC
Hiya, Dick.
On the other end is Dick, in the KITCHEN in San Bernardino.
DICK MCDONALD
$2.7 million.
(BEAT)
A million for each of us after
taxes.
ON KROC-- taken aback by the staggering sum.
DICK MCDONALD (CONT’D)
And one percent of the company’s
profits in perpetuity.
INT. KROC’S OFFICE - DAY
Kroc is pacing furiously before Harry Sonneborn.
RAY KROC
It’s outrageous! Borderline
extortion!
Sonneborn is holding a document. A PURCHASE PROPOSAL from the
brothers.
HARRY SONNEBORN
And they want one other thing.
RAY KROC
What?
HARRY SONNEBORN
San Bernardino.
Kroc is taken aback.
HARRY SONNEBORN (CONT’D)
To give to their longtime
employees. As a gift.
105.
RAY KROC
I need San Bernardino. I was
counting on its profits to cover
the debt on the purchase loan.
HARRY SONNEBORN
I’ve spoken at length about it with
their lawyers. It’s unfortunately
non-negotiable.
ON KROC-- calmly absorbing.
INT. LAW OFFICE - CONFERENCE ROOM - DAY
Kroc and the brothers in a conference room, flanked by their
respective teams of LAWYERS.
KROC LAWYER
Our client agrees fully to your
conditions of sale. With one
exception. Your one percent cut of
future corporate earnings will have
to be carried out on a handshake
basis.
RAY KROC
On the insistence of my investor
group. Their financing is
contingent on leaving it out of the
contract. It’s unfortunately a
dealbreaker for them.
Dick and Mac look at each other, extremely wary.
RAY KROC (CONT’D)
You have my word you’ll get your
full due royalties.
He extends his hand, holding it out to them.
CONFERENCE ROOM - SHORT TIME LATER
Mac and Dick sit alone in the conference room as their
lawyers pack up. (Kroc and his team are gone.)
ON MAC-- staring somberly at a check in his hands for
$1,350,000.
ON DICK-- staring somberly at a check in his hands for
$1,350,000.
106.
Ratings
Scene 39 - Kroc Reveals His Purchase of the McDonald's Name
Kroc is at the urinal in the law office’s men’s room. He
flushes, heads to the sink to wash his hands.
The rest room door opens. In walks Dick. He freezes at the
sight of Kroc. Kroc smiles amiably at him in the mirror.
RAY KROC
Hello, Dick.
ON DICK-- gazing searchingly at Kroc.
DICK MCDONALD
I just have to ask you one thing.
Something I’ve never understood.
RAY KROC
Alright.
DICK MCDONALD
That day we met, when we gave you
the tour.
RAY KROC
What about it?
DICK MCDONALD
We showed you everything. The whole
system, all our secrets. We were an
open book.
(Kroc nods)
So why didn’t you just--
RAY KROC
Rip you off? Run off and start my
own place using your ideas?
(Dick nods)
Because it would have failed.
DICK MCDONALD
How do you know?
RAY KROC
Am I the only one who ever got the
kitchen tour? I bet you invited
loads of people back there.
Countless would-be burger barons
looking to replicate your success.
DICK MCDONALD
And?
107.
RAY KROC
How many succeeded?
DICK MCDONALD
Lots of people started restaurants.
RAY KROC
Bigger than McDonald’s?
(Dick is silent)
Of course not. No one has and no
one ever will. Because they all
lack that one thing that makes
McDonald’s special.
DICK MCDONALD
Which is...
RAY KROC
Even you don’t know!
DICK MCDONALD
Enlighten me.
RAY KROC
It’s not just the system. It’s the
name.
Dick doesn’t follow.
RAY KROC (CONT’D)
That name. That glorious name.
McDonald. It’s wide open.
Limitless. It could be anything,
whatever you want it to be. It
sounds like... America.
(BEAT)
Compare that to, oh, say, Kroc. Now
there’s a real lemon. Kroc. What a
crock. Load of crock. Crock of
shit. Would you eat at a place
called Kroc’s? It’s enough to make
you lose your appetite, a blunt,
Slavic thing like that. But
McDonald’s, now that’s a name. A
fine, handsome, all-American name.
That’s a winner’s name, the name of
somebody who’s got the world by the
tail. A man named McDonald is never
going to get pushed around in life.
DICK MCDONALD
That’s clearly not the case.
108.
RAY KROC
So you don’t have a check for $1.35
million in your pocket?
Dick is silenced.
RAY KROC (CONT’D)
That’s the mistake your competitors
made. All those would-be imitators.
They assumed they could simply take
your system, slap on some name like
Hamburger Hamlet or Roscoe’s, and
presto! Instant success! Not me, I
wasn’t so arrogant. I knew there’s
no beating a name like McDonald’s.
DICK MCDONALD
And if you can’t beat ‘em...
RAY KROC
Buy ‘em.
Dick chuckles in disgust.
RAY KROC (CONT’D)
I’ll never forget the first time I
saw that name stretched across the
front of your stand. It was love at
first sight. From that moment, I
knew I just had to have it. And now
I do.
DICK MCDONALD
You don’t “have” it.
RAY KROC
You sure about that?
Kroc throws him an unnerving smile.
Ratings
Scene 40 - The Name Change: A Power Play in the Fast Food Industry
ANGLE ON the McDonald’s sign in front of the restaurant.
PAN DOWN TO... Dick and Mac with Kroc’s lawyers, listening
like they’re being read their Miranda rights.
109.
KROC LAWYER
As per the terms of your agreement,
while you are entitled to maintain
ownership of this location, you no
longer have the right to call it
McDonald’s, McDonald or any other
such variation so as to create
confusion or infringe upon the
McDonald’s trademark which is now
the exclusive intellectual property
of Mr. Raymond A. Kroc.
DISSOLVE TO:
Workers dismantling the McDonald’s sign. The brothers watch
helplessly as their name is removed from their own store.
DISSOLVE TO:
A new sign going up in its place. With a new name--
THE BIG M
Below this, it says, with a whiff of desperation:
“WE HAVE BEEN HERE 23 YEARS!”
The sign is as close to a McDonald’s marquee as is legally
possible, but it’s just not McDonald’s. It’s heartbreaking.
PAN ACROSS THE STREET, where we see...
A NEW MCDONALD’S under construction. A hard-hatted Kroc is on
site, watching as the signature Golden Arches go up.
YOUNG MAN (O.S.)
Mr. Kroc?
A YOUNG MAN comes over, slightly nervous to approach.
YOUNG MAN (CONT’D)
My name is Will Davis. I’m a
reporter for the Los Angeles Times.
I’m interested in doing a profile
of you pegged to the opening of
your hundredth location here.
A BEAT as Kroc thinks it over.
RAY KROC
Call my office. They’ll set it up.
He reaches into the breast pocket of his sport coat.
110.
RAY KROC (CONT’D)
Here’s my card.
He hands a BUSINESS CARD to the reporter. He looks at it.
ANGLE ON card. Beneath a McDonald’s logo, it says, simply:
RAY KROC – FOUNDER
We hold on this for a long BEAT.
RAY KROC (PRE-LAP) (CONT’D)
Now, I know what you’re thinking...
Ratings
Scene 41 - Ray Kroc's Reflection on Success
A lavish, gated MANSION. A BLACK LIMOUSINE pulls into the
driveway.
INT. MANSION - MASTER BEDROOM - CONTINUOUS
A tuxedo-clad Ray Kroc stands before a mirror, stack of index
cards in hand. He’s 68 now; it’s nine years later, 1970.
RAY KROC
How the heck does an over-the-hill
52-year-old milkshake-machine
salesman build a fast-food empire
with 1,600 restaurants in 50 states
and five foreign countries, with
annual revenues in the neighborhood
of $700 million? It’s quite simple:
persistence.
He turns to the next card.
RAY KROC (CONT’D)
Nothing in the world can take the
place of good old persistence.
Talent won’t. Nothing’s more common
than unsuccessful men with talent.
Genius won’t. Unrecognized genius
is practically a cliché.
His words have a familiar ring... They’re lifted straight
from “The Power Of The Positive” by Dr. Clarence Floyd Nelson
(the record from the beginning of the movie), with just a bit
of rephrasing to make it “his own”.
RAY KROC (CONT’D)
Education won’t. The world is full
of educated fools.
(MORE)
111.
RAY KROC (CONT’D)
Persistence and determination alone
are all-powerful.
He pauses a beat to let his words of wisdom sink in.
RAY KROC (CONT’D)
There’s no obstacle under the sun
that can’t be overcome with honest
hard work and determination. It’s
these core principles that enabled
me to rise to the top of the heap
at a point in life when most men
would be thinking about retirement.
(glances to side, sly
grin)
We appear to have that in common,
Mr. Governor.
He pauses for laughter.
RAY KROC (CONT’D)
You were, what, 55 when you started
in politics? Why, you make me look
like a spring chicken!
Another pause for laughter.
RAY KROC (CONT’D)
Look at us, a couple of small-town
Illinois boys made good. Only in
America...
He continues talking to Mr. Governor off to the side--
RAY KROC (CONT’D)
By the way, thank you for that
splendid introduction. To be named
California Chamber of Commerce Man
of The Year is thrill enough, but
to be presented the award by my
dear friend and golf buddy Ronald
Reagan, well, that’s just the
cherry on the sundae.
He turns to the next index card.
RAY KROC (CONT’D)
Now where was I? Ah, yes, the
beginning. The year was 1954. The
place, Des Plaines, Illinois.
That’s where it all started. Right
there on Lee Street--
112.
JOAN KROC (O.S.)
The car’s out front.
Joan Smith, now Joan Kroc, comes up behind him.
RAY KROC
(to her reflection)
Be right down.
She nods, exits the room.
Kroc looks down at the card in his hand, finding his place:
IT ALL STARTED. RIGHT THERE ON LEE STREET... MCDONALD’S #1
RAY KROC (CONT’D)
--McDonald’s #1.
Kroc’s eyes linger on those words on the card: MCDONALD’S #1.
He looks up, stares at himself in the mirror for a long BEAT.
As he takes in his reflection, we detect a flicker of
something on his face. Regret? Guilt?...
It may have just been our imagination.
He tucks the index cards in his pocket, stands up.
Ratings
Scene 42 - A Content and Affectionate Ride Home
Kroc and Joan Smith (now JOAN KROC) ride in the back of a
stretch limo. She’s in a powder-blue gown, draped in diamonds
and pearls.
LIMO DRIVER
Comfortable, Mr. Kroc?
An air conditioning vent blows cool air on Kroc.
RAY KROC
Oh, yes.
(placid)
Very.
CAMERA slowly pushes in on Kroc’s face as he rides in
silence. He looks at Joan, smiles.
He indeed seems comfortable. Very.
FADE TO BLACK.
113.
POSTSCRIPT:
Ray Kroc’s San Bernardino McDonald’s was an instant hit,
drawing customers away from The Big M across the street,
forcing it to close. The McDonald brothers were driven out of
business by a McDonald’s.
Kroc later reneged on the handshake deal for the one percent
cut of royalties. The brothers never received a cent. Today,
that one percent would be worth $200 million annually. Each.
From the moment Kroc took ownership, his business card listed
his title as “Founder”. Until his death decades later, calls
to McDonald’s headquarters asking the origin of the name were
told it was made up.
Kroc married Joan Smith in 1969. They remained together until
his death in 1984.
In 1971, Mac died of diabetes-related illness. His brother
Dick passed away in 1998.
Harry Sonneborn and Ray Kroc had a falling out in 1967.
Sonneborn sold all his shares in McDonald’s and never spoke
to Kroc again.
Thanks to Sonneborn’s idea, McDonald’s is today the largest
owner of real estate in the world.
FOR YOUR CO N S I D E R AT I O N
BEST ORIGINAL SCREENPLAY
Robert Siegel
www.TWCAwards.com
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
ray kroc | Ray Kroc starts as a charismatic and determined salesman, driven by ambition and a desire for success. As he encounters challenges and setbacks, he becomes more reflective and vulnerable, grappling with personal conflicts and ethical dilemmas. Despite his ruthless business mindset, he ultimately learns the importance of balance and relationships, leading to a sense of wisdom and contemplation in the end. | The character arc for Ray Kroc is well-developed, showcasing his evolution from a confident salesman to a more introspective and reflective individual. However, there could be more emphasis on the internal struggles and moral dilemmas he faces throughout the story to add depth to his character development. | To improve the character arc, consider incorporating more scenes that delve into Ray Kroc's internal conflicts and ethical dilemmas. Show his struggle to balance ambition with personal relationships, and highlight moments of vulnerability and introspection to further humanize his character. This will add complexity and depth to his journey towards self-discovery and growth. |
ethel kroc | Ethel Kroc starts off as a supportive but weary partner, tired of sacrificing her own desires for Ray's ambitions. As the story progresses, she becomes more conflicted and emotionally vulnerable, expressing frustration and resentment towards Ray's constant pursuit of new ventures. Ultimately, Ethel confronts Ray about the sacrifices required for his vision, leading to a moment of clarity and understanding in their relationship. | The character arc for Ethel Kroc is well-developed, showcasing her internal struggles and growth throughout the story. However, there could be more opportunities to explore her individual desires and motivations outside of her relationship with Ray. Additionally, her emotional outbursts could be further explored to provide deeper insight into her character. | To improve the character arc for Ethel Kroc, consider adding scenes that delve into her personal aspirations and dreams, separate from her relationship with Ray. This will add depth to her character and make her more relatable to the audience. Additionally, explore her emotional outbursts in more detail to showcase the complexity of her feelings and motivations. |
dick mcdonald | Dick McDonald's character arc in the screenplay begins with him as a proud and innovative individual, but as the story progresses, he becomes torn between his dream of expanding the business and the fear of repeating past mistakes. He ultimately faces the harsh reality of losing control of his business to corporate takeover, leading to a sense of resignation and sadness as he comes to terms with the situation. | The character arc for Dick McDonald is well-developed, showcasing his evolution from a proud and innovative businessman to a resigned and heartbroken individual. However, there could be more emphasis on his internal struggles and emotional turmoil throughout the story to further deepen his character development. | To improve the character arc for Dick McDonald, consider incorporating more scenes that delve into his internal conflicts and emotional journey as he grapples with the loss of control over his business. This could involve exploring his relationships with other characters, such as his brother and Ray Kroc, to add depth and complexity to his character arc. |
mac mcdonald | Mac McDonald starts as a supportive and creative partner to his brother Dick, contributing to the success of their business through innovative ideas. As the story progresses, he becomes conflicted by Ray Kroc's aggressive tactics and struggles with maintaining the balance between business growth and integrity. Ultimately, Mac stands firm in his principles and values, leading to a confrontation with Kroc but ultimately reaffirming his commitment to the original vision of McDonald's. | The character arc for Mac McDonald is well-developed, showcasing his evolution from a supportive partner to a principled leader. However, there could be more emphasis on his internal struggles and personal growth throughout the story to make his character arc more impactful. | To improve the character arc for Mac McDonald, consider adding more scenes that delve into his personal struggles and the emotional toll of maintaining integrity in the face of external pressures. This will provide a deeper insight into his character and make his ultimate decision to stand firm in his values more resonant with the audience. |
joan smith | Joan Smith starts as a talented and charismatic businesswoman who introduces a groundbreaking idea to reduce costs and improve efficiency. She gains approval from Ray Kroc and is honored by the opportunity. As the story progresses, Joan becomes bolder, more ambitious, and unafraid to take risks in pursuit of greatness. She ultimately achieves success through her confidence, innovation, and forward-thinking approach. | The character arc for Joan Smith is well-developed, showcasing her growth from a talented businesswoman to a bold and ambitious risk-taker. However, there could be more depth added to her emotional journey and internal struggles to make her character more relatable and compelling. | To improve the character arc for Joan Smith, consider adding moments of vulnerability or conflict that challenge her confidence and ambition. This could provide a more nuanced portrayal of her character and create opportunities for growth and development throughout the screenplay. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
Tone and Emotional Impact | There is a strong correlation between the scene's tone and emotional impact. Scenes with a tone of frustration, disappointment, resignation, and seriousness tend to have a higher emotional impact. Scenes with a humorous or motivational tone have a lower emotional impact. |
Tone and Dialogue | There is a moderate correlation between the scene's tone and the quality of dialogue. Scenes with a reflective, frustrated, hopeful, or inspiring tone tend to have better dialogue. Scenes with a humorous or businesslike tone have lower quality dialogue. |
Character Changes and Scene Grade | There is a moderate correlation between character changes within a scene and the overall scene grade. Scenes with character changes tend to have higher scene grades. Scenes without character changes tend to have lower scene grades. |
Conflict and Emotional Impact | There is a moderate correlation between conflict within a scene and the emotional impact of the scene. Scenes with high conflict tend to have a higher emotional impact. Scenes with low conflict tend to have a lower emotional impact. |
Plot and Scene Grade | There is a weak correlation between the plot of a scene and the overall scene grade. Scenes with a strong plot tend to have slightly higher scene grades. However, there are many exceptions to this trend. |
Writer's Craft Overall Analysis
The screenplay showcases the writer's ability to create engaging dialogue, build tension, and establish character motivations. The scenes effectively balance humor, tension, and character development, setting up future conflicts and resolutions in the story. The writer demonstrates a strong understanding of screenwriting craft, with vivid descriptions and well-paced scenes.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | Save the Cat by Blake Snyder | This book provides valuable insights into structuring and pacing in screenwriting, which can help improve the overall flow and impact of the narrative. |
Exercise | Practice writing a beat sheet for your screenplayPractice In SceneProv | Creating a beat sheet can help you visualize the structure and pacing of your story, ensuring a smoother flow between scenes and a more engaging narrative. |
Screenplay | Study the screenplay for 'The Social Network' by Aaron Sorkin | This screenplay is known for its sharp dialogue, character dynamics, and pacing, which can inspire the writer to further develop their craft in these areas. |
Stories Similar to this one
Story | Explanation |
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The Social Network | Both stories involve a charismatic and determined entrepreneur who develops a revolutionary product and faces legal battles with former partners. The Social Network focuses on Mark Zuckerberg and the creation of Facebook, while The Founder centers on Ray Kroc and the establishment of McDonald's. |
Steve Jobs | Similar to The Founder, Steve Jobs is about a visionary entrepreneur who revolutionizes an industry and faces conflicts with his partners. Both stories explore the complexities of innovation, leadership, and personal relationships. |
The Pursuit of Happyness | Both stories feature a determined protagonist who faces significant challenges in their personal and professional lives. While Chris Gardner in The Pursuit of Happyness fights to overcome homelessness and build a career, Ray Kroc in The Founder battles to establish the McDonald's franchise. |
Fight Club | Though the tone and genre are different, both stories involve a protagonist who creates a successful business only to realize that it has come at a great personal cost. The Founder explores Ray Kroc's journey in creating McDonald's, while Fight Club follows an unnamed protagonist who starts a fight club as a form of rebellion against his capitalist lifestyle. |
There Will Be Blood | Both stories feature a ruthless and ambitious protagonist who will stop at nothing to achieve success. The Founder follows Ray Kroc's establishment of McDonald's, while There Will Be Blood tells the story of Daniel Plainview, a silver miner turned oilman, and his relentless pursuit of wealth. |
Citizen Kane | Citizen Kane and The Founder both explore the themes of ambition, power, and the personal cost of success. The protagonists in both stories are complex and flawed, ultimately sacrificing personal relationships and values in their quest for greatness. |
Glengarry Glen Ross | Both stories involve salesmen fighting to succeed in a highly competitive industry. Glengarry Glen Ross focuses on real estate salesmen, while The Founder explores the fast-food industry and the establishment of McDonald's. |
The Aviator | Both stories feature a charismatic and ambitious protagonist who faces personal and professional challenges in their pursuit of success. The Aviator tells the story of Howard Hughes, while The Founder follows Ray Kroc's journey in establishing McDonald's. |
The Wolf of Wall Street | Both stories feature a charismatic and morally ambiguous protagonist who ruthlessly pursues success in business. The Wolf of Wall Street follows Jordan Belfort's rise and fall in the stock market, while The Founder tells the story of Ray Kroc's establishment of McDonald's. |
The Godfather | Though the genre and tone are different, both stories feature a charismatic and ambitious protagonist who ruthlessly pursues success in their respective fields. The Godfather tells the story of the Corleone family and their criminal empire, while The Founder follows Ray Kroc's establishment of McDonald's. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
The American Dream | The protagonist, Ray Kroc, pursues his dream of expanding a small restaurant into a nationwide franchise, embodying the idea of rags to riches and the belief in the limitless opportunities available in America. | This trope is common in many American stories, such as the film 'The Pursuit of Happyness' where a struggling father fights against the odds to achieve success and prosperity. |
The Self-Made Man | Ray Kroc is portrayed as a self-made man, starting from humble beginnings as a traveling salesman and building a fast-food empire through hard work, determination, and a strong belief in his vision. | This trope is often seen in stories about entrepreneurs and business leaders, such as the film 'Steve Jobs' where the protagonist is depicted as a visionary and a self-made man. |
The Tragic Hero | Ray Kroc's tragic flaw, his obsession with success and expansion, ultimately leads to his downfall and the loss of his personal relationships, including his marriage to Ethel. | This trope is common in classical literature, such as the story of Macbeth, where the protagonist's tragic flaw leads to their downfall. |
The Power of Positive Thinking | Ray Kroc listens to motivational records and believes in the power of positive thinking, using it to drive his success and overcome obstacles. | This trope is often seen in stories about entrepreneurs and self-help gurus, such as the film 'The Secret' where the power of positive thinking is used to manifest success and happiness. |
The Reluctant Hero | Ethel, Ray Kroc's wife, is initially supportive of his dream but eventually becomes tired and frustrated with the constant upheaval and uncertainty, becoming a reluctant hero who ultimately supports her husband's vision. | This trope is common in stories about entrepreneurs and visionaries, such as the film 'The Social Network' where the protagonist's girlfriend is initially supportive but eventually becomes disillusioned with his obsession with success. |
The Mentor | Harry Sonneborn, a businessman from The Tastee-Freez Corporation, becomes a mentor to Ray Kroc, helping him to see the potential in the real estate business and providing guidance and support in his quest for success. | This trope is common in stories about entrepreneurs and visionaries, such as the film 'The Pursuit of Happyness' where the protagonist is mentored by a successful businessman who helps him to achieve his dreams. |
The Rival | The McDonald brothers, Dick and Mac, become rivals to Ray Kroc, as he seeks to expand the franchise and they resist his efforts to change their successful business model. | This trope is common in stories about entrepreneurs and visionaries, such as the film 'Jobs' where the protagonist faces competition from other tech companies and visionaries. |
The Quest | Ray Kroc's quest for success and expansion becomes an all-consuming journey, leading him to make personal sacrifices and face challenges along the way. | This trope is common in stories about entrepreneurs and visionaries, such as the film 'The Pursuit of Happyness' where the protagonist's quest for success becomes a journey of self-discovery and personal growth. |
The Transformation | Ray Kroc undergoes a transformation, from a traveling salesman to a successful businessman, as he pursues his dream of expanding the McDonald's franchise. | This trope is common in stories about entrepreneurs and visionaries, such as the film 'The Social Network' where the protagonist undergoes a transformation from a college student to a successful tech entrepreneur. |
Theme | Theme Details | Themee Explanation | ||
---|---|---|---|---|
Pursuit of the American Dream | Ray Kroc's relentless pursuit of success and his belief in the McDonald's franchise as the new American church | The screenplay heavily revolves around Ray Kroc's pursuit of his version of the American Dream. He sees the potential in the McDonald's franchise and is determined to make it a nationwide success, even if it means going against the original owners, the McDonald brothers. | ||
Strengthening Pursuit of the American Dream:
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Persistence and Determination | Ray Kroc's unwavering persistence in the face of rejection and failure, his determination to make the McDonald's franchise a success | Ray Kroc's persistence and determination are key themes in the screenplay. Despite numerous setbacks and rejections, Kroc remains focused on his goal and never gives up. He embodies the idea that success comes to those who are willing to work hard and never give up. | ||
Entrepreneurship and Business | Ray Kroc's journey from a traveling salesman to the head of a fast food empire, the challenges and successes of running a business | The screenplay explores the world of entrepreneurship and business, showcasing the challenges and successes that come with running a business. Ray Kroc's journey from a traveling salesman to the head of a fast food empire is a testament to the power of entrepreneurship and the importance of a strong business model. | ||
Family and Relationships | Ray Kroc's relationship with his wife Ethel, the McDonald brothers' relationship with each other and their employees | The screenplay also touches on the theme of family and relationships, exploring the dynamics between Ray Kroc and his wife Ethel, as well as the McDonald brothers' relationship with each other and their employees. These relationships add depth and complexity to the story, highlighting the human side of the business world. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
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Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
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Summary: | The writer's unique voice is characterized by a lively mix of humor, nostalgia, and keen observations. |
Voice Contribution | The writer's voice contributes to the script by adding a sense of wit, authenticity, and emotional depth to the narrative. |
Best Representation Scene | 33 - Kroc's Confident Photo Shoot and Inst-A-Mix Approval with a Hint of Jealousy |
Best Scene Explanation | This scene is the best representation of the writer's voice because it effectively captures the blend of humor, nostalgia, and emotional depth that characterizes the screenplay. The lighthearted banter between Kroc, Rollie, and Joan adds a touch of humor, while the underlying tension and jealousy hint at the complexities of their relationships. Additionally, the scene's nostalgic atmosphere, evoked by the photo shoot and the discussion of the restaurant's history, resonates with the overall theme of the film. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay showcases a high level of originality through its unique portrayal of the early days of the fast-food industry and the challenges faced by entrepreneurs like Ray Kroc. The characters' actions and dialogue are authentic and engaging, with a fresh approach to sales pitches, business negotiations, and personal interactions. The screenplay also introduces original situations, such as the introduction of powdered milkshake as a solution to high expenses, and the conflict between business partners with the introduction of a controversial product idea.
- Most unique situations: The most unique situations in the screenplay include the introduction of powdered milkshake as a solution to high expenses, the conflict between business partners with the introduction of a controversial product idea, and the portrayal of the early stages of the McDonald's franchise development.
- Overall unpredictability score: 7.5
- Overall unpredictability explanation: The screenplay is moderately unpredictable, with a mix of humor and drama that blends in a unique way. The conflicts between characters, such as the tension between Ray Kroc and the McDonald brothers, add depth and complexity to the narrative. The screenplay also presents a fresh take on the origin story of McDonald's, offering a nuanced portrayal of success and ambition. The challenges faced by the characters, such as financial struggles and power struggles, add to the unpredictability of the screenplay.
Goals and Philosophical Conflict | |
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internal Goals | The protagonist, Ray Kroc, had evolving internal goals throughout the screenplay, such as seeking validation, success, recognition, and control. |
External Goals | Ray Kroc's external goals shifted from making successful sales to expanding his business empire and asserting dominance in the fast-food industry. |
Philosophical Conflict | The overarching philosophical conflict in the screenplay involves the clash between traditional values and innovative thinking, challenging the protagonist's beliefs in success, authenticity, and community. |
Character Development Contribution: The protagonist's evolving internal and external goals reflect his growth as a character, showcasing his desires for success, recognition, and control. The philosophical conflicts he faces challenge his beliefs and values, leading to a transformation in his mindset and actions.
Narrative Structure Contribution: The protagonist's goals and conflicts drive the narrative forward, creating tension, emotional depth, and character development. They shape the plot, conflicts, and resolutions, adding complexity and intrigue to the story.
Thematic Depth Contribution: The goals and conflicts in the screenplay contribute to the thematic depth by exploring themes of ambition, success, authenticity, community, and the balance between tradition and innovation. They highlight the complexities of human desires and motivations, adding layers of meaning and depth to the storytelling.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The physical environment in the screenplay is primarily set in various drive-in restaurants, motel rooms, and offices, showcasing the post-war America of the 1950s. The settings range from bustling kitchens to quiet motel rooms, creating a contrast between the fast-paced food industry and the introspective moments of the characters. The open road of Route 66 and the small town of San Bernardino are also depicted, highlighting the simplicity and charm of the time period.
- Culture: The cultural elements in the screenplay revolve around the emerging fast-food industry, rock-and-roll music, and youthful rebellion. The drive-in restaurants and carhops on roller skates create a nostalgic atmosphere, while the rowdy teenage customers add a layer of chaos and excitement. The cultural element of listening to motivational records adds a sense of self-improvement and determination to the atmosphere.
- Society: The societal structure in the screenplay is depicted through the interactions between salesmen, business owners, and employees. The dynamics of business and sales in the era are showcased, highlighting the power dynamics and challenges faced by the characters. The societal structure of a family-owned business and the clash of values between commercialism and brand identity are also explored.
- Technology: The technological aspect of the screenplay is showcased through the Multimixer machine, which adds a layer of innovation and advancement to the atmosphere of the scenes. The use of pay phones, U.S. road maps, and self-service windows at restaurants emphasize the modernity and speed of the food production process.
- Characters influence: The unique physical environment, culture, society, and technology shape the characters' experiences and actions by providing a backdrop for their personal and professional journeys. The characters navigate through the fast-paced food industry, facing challenges and making decisions that impact their lives and the lives of those around them.
- Narrative contribution: The world elements contribute to the narrative of the screenplay by providing a rich and detailed setting for the characters' stories to unfold. The drive-in restaurants and the emerging fast-food industry serve as the main stage for the characters' interactions and business dealings, while the motel rooms and offices provide a glimpse into their personal lives.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by highlighting the themes of ambition, innovation, and the American Dream. The contrast between the simplicity of the past and the modernity of the present is also explored, showcasing the characters' struggles to balance tradition and progress in their personal and professional lives.
central conflict
The central conflict is the struggle between Ray Kroc's ambition to expand the McDonald's franchise nationwide and the McDonald brothers' desire to maintain control over their original restaurant and its operations.
primary motivations
- Ray Kroc's ambition to succeed in business and his belief in the potential of the McDonald's franchise.
- The McDonald brothers' commitment to maintaining the quality and efficiency of their restaurant and their reluctance to expand.
catalysts
- Ray Kroc's discovery of the McDonald's restaurant in San Bernardino and his realization of its potential for expansion.
- The McDonald brothers' decision to partner with Ray Kroc and franchise their business.
barriers
- The McDonald brothers' resistance to expanding their business beyond their original restaurant.
- Ray Kroc's financial struggles and difficulties in securing funding for the first franchise.
- The failures of the existing McDonald's franchises and issues with quality control.
themes
- The tension between ambition and quality control.
- The importance of persistence and determination in achieving success.
stakes
The stakes are high for Ray Kroc, who stands to lose his investment and reputation if the franchise fails, and for the McDonald brothers, who risk losing control over their original restaurant and its legacy.
uniqueness factor
The story's uniqueness factor is the innovative business model of the McDonald's franchise and Ray Kroc's relentless pursuit of success.
audience hook
The audience will be engaged by the story of Ray Kroc's rise to success, the tension between him and the McDonald brothers, and the behind-the-scenes look at the creation of a fast-food empire.
paradoxical engine or bisociation
The paradoxical story engine is the tension between Ray Kroc's ambition and the McDonald brothers' commitment to quality, which creates a bisociation between the desire for growth and the need for control.
paradoxical engine or bisociation 2
Another bisociation is the contrast between the fast-paced, efficient operation of the McDonald's kitchen and the slow, cumbersome process of securing funding and building the franchise.
Consider
Executive Summary
The Founder is a compelling screenplay with a strong character arc, historical context, and dialogue. However, it could benefit from further development of Ethel Kroc's character, deeper exploration of ethical themes, and a more nuanced ending. The screenplay's strengths make it a worthwhile consideration for production, but addressing the areas of improvement would elevate it to a higher level.
- Compelling Character Arc: Ray Kroc's transformation from a struggling salesman to a ruthless tycoon is fascinating and keeps the audience engaged. high
- Historical Context: The screenplay effectively captures the post-war American zeitgeist and the rise of fast-food culture. high
- Strong Dialogue: The screenplay is filled with memorable lines that showcase Ray Kroc's persuasive abilities and entrepreneurial spirit. medium ( Scene 1 Scene 4 Scene 5 Scene 16 )
- Detailed World-Building: The inner workings of the McDonald's kitchen and the Speedee System are vividly depicted, creating a sense of authenticity. medium ( Scene 7 Scene 8 Scene 10 )
- Effective Use of Symbolism: The Golden Arches are used as a powerful symbol of both the American Dream and Ray Kroc's ambition. medium ( Scene 3 Scene 15 Scene 29 )
- Ethel Kroc's Character: Ethel's role could be expanded to provide more insight into her perspective and the impact of Ray's actions on their relationship. high
- Ethical Exploration: The screenplay could delve deeper into the ethical implications of Ray Kroc's business practices and the consequences of his pursuit of success. high
- Pacing in the Second Act: The pacing slows down in the second act, particularly during Ray's conflicts with the McDonald brothers. medium ( Scene 21 Scene 22 )
- Franchisee Perspectives: While the Rosenblatts are briefly introduced, exploring the experiences of other franchisees could add depth to the narrative. medium ( Scene 32 Scene 33 Scene 35 )
- Ending: The ending feels abrupt and could benefit from a more reflective exploration of Ray Kroc's legacy and the cost of his success. medium ( Scene 41 Scene 42 )
- Internal Conflict: While Ray faces external obstacles, exploring his internal struggles with his conscience and morality could add complexity to his character. high
- Social Commentary: The screenplay could offer a more nuanced commentary on the impact of McDonald's on American society and the fast-food industry's broader implications. medium
- Title: The title 'The Founder' is ironic, highlighting the complex and controversial nature of Ray Kroc's role in the McDonald's story. high
- Visual Storytelling: The screenplay effectively utilizes visual cues, such as the Golden Arches and the U.S. map, to convey key themes and plot points. medium ( Scene 10 Scene 13 Scene 40 )
Memorable lines in the script:
Scene Number | Line |
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1 | Ray Kroc: Increase supply, demand will follow. Chicken and the egg. |
41 | Ray Kroc: Persistence and determination alone are all-powerful. |
15 | Ray Kroc: This place you’ve created, it’s not a restaurant. It’s not even a place. It’s an idea. |
9 | Mac McDonald: We decide to tear down the kitchen. Rebuild. Reconfigure. Rethink the whole dang thing. |
34 | Joan Smith: You don’t build a restaurant empire acting like a timid little mouse. |