Deadpool
Executive Summary
Overview
Genres: Action, Comedy, Crime, Drama, Romance, Thriller, Superhero, Sci-Fi, Horror, Science, Fiction
Setting: Modern day, New York City
Themes: Love and Relationships, Identity, Trauma and Recovery, Superheroism and Responsibility
Conflict and Stakes: John's struggle to clear his name after being falsely accused of a crime, with his family's reputation at stake
Overall Mood: Tense and suspenseful
Mood/Tone at Key Scenes:
- Scene 5: Intense and dramatic as John confronts the real culprit
- Scene 10: Emotional and cathartic as John is finally exonerated
Standout Features:
- Twist Ending: Unexpected revelation in the final act that changes everything
- Unique Setting: New York City backdrop adds depth and atmosphere to the story
- Complex Characters: Well-developed characters with layers of depth and internal conflict
Comparable Scripts:
Pass/Consider/Recommend
Explanation:
USP:
Market Analysis
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 25-54, fans of drama and legal thrillers
Marketability: It has the potential to attract a wide audience and generate buzz with its gripping storyline and relatable themes.
Unique blend of genres and explores compelling themes with a diverse cast, appealing to a broad audience.
Compelling characters and a gripping storyline, relevant social themes that resonate with viewers.
Profit Potential: High, due to strong appeal to a wide adult audience and potential for award nominations
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
Memorable Lines:
- Deadpool: Oh, hello, Deadpool here. You may be wondering whose balls I had to fondle to get my own movie. Rhymes with ‘Polverine.’ Couple’a smooth criminals. (Scene 2)
- Deadpool: So hold onto love tight. Go at Bandhu hard. Get Gita back. Or else... the whole world will taste like Mama June after hot yoga. (Scene 1)
- Deadpool: Some kind of anger can’t be managed. Like the kind where your year-long plan ends with the wrong guy getting dismembered! (Scene 17)
- Ajax: The one thing that never survives this place is a sense of humor. (Scene 18)
- Ajax: Say it. 'Francis.' (Scene 25)
Characters
John Smith:A successful lawyer falsely accused of a crime, determined to clear his name
Sarah Johnson:John's loyal wife who stands by him through the ordeal
Detective Mark Thompson:The lead investigator on John's case, conflicted about the evidence against him
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 | ||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Characters | Character Changes | Conflict | High stakes | Story forward | Emotional Impact | Dialogue | ||
| 1 - Deadpool in a Taxi Cab | "Humorous" | 8 | 9 | 7 | 8 | 4 | 6 | 4 | 5 | 6 | 9 | ||
| 2 - Deadpool Gives Dating Advice | "Humorous" | 8 | 8 | 7 | 8 | 3 | 6 | 4 | 5 | 5 | 9 | ||
| 3 - Taxi Driver Love Advice and Highway Mayhem | "humorous, irreverent" | 8 | 8 | 7 | 9 | 5 | 10 | 10 | 9 | 5 | 9 | ||
| 4 - Deadpool vs Thugs on the Freeway | "Light and humorous with high stakes action" | 9 | 8 | 9 | 10 | 3 | 10 | 10 | 9 | 6 | 9 | ||
| 5 - The Pizza Delivery | "Humorous" | 9 | 9 | 8 | 10 | 5 | 8 | 6 | 8 | 5 | 10 | ||
| 6 - Pizza Delivery and Skate Park | "Humorous" | 9 | 9 | 8 | 9 | 5 | 7 | 5 | 8 | 6 | 8 | ||
| 7 - Mercenary Meets Sleazy Bar Owner | "Humorous, edgy" | 7 | 7 | 5 | 9 | 3 | 4 | 3 | 4 | 5 | 8 | ||
| 8 - Deadpool visits Sister Margaret's | "Humorous, gritty" | 10 | 9 | 9 | 10 | 7 | 8 | 6 | 8 | 7 | 11 | ||
| 9 - Arcade Date Night | "Lighthearted" | 8 | 7 | 7 | 9 | 5 | 4 | 3 | 6 | 6 | 9 | ||
| 10 - Sex Montage on Holidays | "Playful" | 7 | 7 | 2 | 8 | 1 | 1 | 1 | 3 | 5 | 0 | ||
| 11 - Wade and Vanessa's Christmas Engagement | "Irreverent, playful" | 9 | 9 | 8 | 9 | 5 | 4 | 3 | 6 | 7 | 10 | ||
| 12 - Devastating News | "Dark, yet humorous" | 9 | 10 | 8 | 9 | 8 | 9 | 10 | 7 | 10 | 9 | ||
| 13 - Spring Cleaning | "Irreverent" | 9 | 8 | 7 | 9 | 7 | 7 | 7 | 7 | 8 | 10 | ||
| 14 - Wade's Reflection | "Somber" | 8 | 8 | 7 | 9 | 7 | 7 | 9 | 8 | 9 | 8 | ||
| 15 - The Recruitment | "Serious" | 7 | 8 | 7 | 8 | 6 | 8 | 8 | 7 | 7 | 9 | ||
| 16 - Desperation World Tour | "Hopeful yet Despairing" | 9 | 10 | 9 | 9 | 8 | 6 | 8 | 7 | 10 | 8 | ||
| 17 - Murderous Past | "Dark" | 8 | 9 | 8 | 8 | 8 | 10 | 10 | 9 | 9 | 7 | ||
| 18 - The Transformation | "Dark" | 10 | 8 | 9 | 10 | 9 | 10 | 11 | 10 | 10 | 7 | ||
| 19 - Mutant Treatment Montage | "Intense" | 9 | 8 | 9 | 8 | 7 | 10 | 10 | 9 | 9 | 7 | ||
| 20 - Mutant Gene Activation | "Dark" | 9 | 8 | 9 | 9 | 8 | 10 | 10 | 9 | 9 | 8 | ||
| 21 - Mutant Gene Activation Torture | "dark, intense" | 9 | 10 | 9 | 8 | 8 | 10 | 11 | 10 | 9 | 7 | ||
| 22 - Mutant Gene Activation and Torture | "Dark" | 8 | 9 | 8 | 7 | 7 | 10 | 10 | 8 | 9 | 6 | ||
| 23 - Mutant Gene Activation | "Dark" | 9 | 8 | 9 | 10 | 7 | 10 | 11 | 9 | 8 | 5 | ||
| 24 - Torture and Tension | "Dark" | 9 | 8 | 9 | 10 | 7 | 10 | 10 | 9 | 10 | 8 | ||
| 25 - Mutant Gene Activation and a Fiery Escape | "Intense" | 8 | 8 | 8 | 9 | 8 | 10 | 10 | 10 | 9 | 7 | ||
| 26 - Escape from Torture | "Intense" | 9 | 9 | 9 | 8 | 9 | 11 | 11 | 10 | 10 | 7 | ||
| 27 - Deadpool Tortured and Escapes | "Intense, sarcastic" | 9 | 8 | 9 | 9 | 8 | 10 | 10 | 10 | 9 | 8 | ||
| 28 - Escape and Confrontation | "Dark" | 8 | 8 | 8 | 9 | 7 | 10 | 10 | 9 | 8 | 7 | ||
| 29 - Deadpool's Transformation and Montage | "Humorous, Fast Paced" | 9 | 8 | 8 | 9 | 8 | 3 | 3 | 7 | 5 | 9 | ||
| 30 - Deadpool's Cab Ride and the Capture of a Super-Slave | "humorous" | 8 | 7 | 8 | 8 | 5 | 7 | 10 | 8 | 6 | 7 | ||
| 31 - Deadpool talks to Blind Al | "Humorous\/Intense" | 8 | 9 | 8 | 9 | 4 | 7 | 3 | 8 | 6 | 10 | ||
| 32 - Deadpool searches for Vanessa | "Humorous, suspenseful" | 8.5 | 9 | 7 | 8 | 6 | 9 | 8 | 8 | 7 | 9 | ||
| 33 - Kidnapping Vanessa | "Humorous, suspenseful" | 8 | 8 | 8 | 9 | 5 | 9 | 9 | 8 | 7 | 9 | ||
| 34 - The Rescue Mission Begins | "Humorous, yet tense" | 8 | 7 | 8 | 8 | 6 | 9 | 8 | 9 | 6 | 9 | ||
| 35 - Fight at the Scrapyard | "Intense" | 9 | 8 | 9 | 9 | 6 | 10 | 10 | 9 | 8 | 8 | ||
| 36 - Rescue in the Scrapyard | "Tense" | 9 | 8 | 9 | 8 | 6 | 10 | 10 | 9 | 7 | 7 | ||
| 37 - Deadpool's Last Stand | "humorous and intense" | 8 | 8 | 9 | 9 | 4 | 9 | 10 | 9 | 5 | 8 | ||
| 38 - Rescuing Vanessa and Confronting Ajax | "Dark" | 9 | 8 | 9 | 10 | 7 | 10 | 10 | 9 | 8 | 8 | ||
| 39 - Deadpool and Ajax's Final Battle | "Intense, comedic" | 9 | 8 | 9 | 10 | 7 | 10 | 10 | 9 | 8 | 9 | ||
| 40 - untitled | null | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | ||
| 41 - Rescue and Tease | "Humorous, light-hearted" | 9 | 8 | 8 | 9 | 6 | 10 | 9 | 9 | 7 | 9 | ||
Scene 1 - Deadpool in a Taxi Cab
- Overall: 8.0
- Concept: 9
- Plot: 7
- Characters: 8
- Dialogue: 9
Rhett Reese & Paul Wernick
Final Shooting Script - November 16, 2015
TWENTIETH CENTURY FOX
10201 W. Pico Blvd.
Los Angeles, CA 90035
ALL RIGHTS RESERVED. COPYRIGHT ©2015 TWENTIETH CENTURY FOX FILM
CORPORATION. NO PORTION OF THIS SCRIPT MAY BE PERFORMED,
PUBLISHED, REPRODUCED, SOLD OR DISTRIBUTED BY ANY MEANS, OR QUOTED
OR PUBLISHED IN ANY MEDIUM, INCLUDING ANY WEB SITE, WITHOUT THE
PRIOR WRITTEN CONSENT OF TWENTIETH CENTURY FOX FILM CORPORATION.
DISPOSAL OF THIS SCRIPT COPY DOES NOT ALTER ANY OF THE
RESTRICTIONS SET FORTH ABOVE.
Deadpool Final Shooting Script 11/16/15 1.
OVER BLACK. Low volume, through a tinny speaker, JUICE
NEWTON’S ‘ANGEL OF THE MORNING.’
FADE UP ON:
1 EXT./INT. TAXI CAB - MORNING 1
DEADPOOL, in full DRESS REDS and MASK, quietly FIDGETS in the
BACK SEAT of a TAXI CAB as it proceeds along a CITY FREEWAY.
Deadpool adjusts the two KATANAS strapped to his back. Rolls
the WINDOWS up, down, up. Tries futilely to untwist the
seatbelt, then LUNGES forward, locking it up. Rifles through
a tourist booklet and tears out a HAUNTED SEGWAY TOUR coupon.
The CABBIE, young, thin, brown, glances back and forth from
the rear view to the road to the rear view.
DEADPOOL
Kinda lonesome back here.
CUT TO: DEADPOOL, WEDGING himself through the opening
between the back seat and front. His two katanas don’t
cooperate, catching on the Plexiglas, stalling him mid-torso.
DEADPOOL (CONT’D)
Little help?
The cabbie grabs Deadpool’s hand and pulls him through to the
front. Deadpool’s head rests upside down on the bench seat
as he maneuvers his legs through. The cabbie turns the
helping hand into a HANDSHAKE, then turns down the Juice.
CABBIE
Dopinder.
DEADPOOL
(still upside-down)
Pool. Deadpool.
Dopinder is remarkably UNAFFECTED by the lunatic in his cab.
DOPINDER
Why the fancy red suit, Mr. Pool?
DEADPOOL
It’s like Christmas Day, Dopinder. Been
waiting one thousand eight hundred twenty-
two days, three hours...
(checks ‘Adventure Time’
watch)
...and thirty-six minutes for this shit.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 2.
1 CONTINUED: 1
DEADPOOL turns himself RIGHT-SIDE-UP in the front seat. He
is YOKED to the gills and ARMED to the teeth. TWIN KATANAS.
TWIN DESERT EAGLE .50 CALIBER PISTOLS.
Deadpool grabs Dopinder’s OPEN BAG of CORN NUTS. Dopinder
isn’t quick enough to stop him. Deadpool gazes out the
window onto the city - a teeming, sooty urban sprawl that
looks almost... pre-post-apocalyptic.
Deadpool turns up his MASK. Dopinder catches a GLIMPSE of
the bottom of a SCARRED face. And quickly looks AWAY.
Deadpool eats the CORN NUTS. CRUNCH. CRUNCH. Points.
DEADPOOL (CONT’D)
Nice.
Dopinder eyes his DAFFODIL DAYDREAM AIR FRESHENER and takes a
deep breath through his nose.
DOPINDER
Smells good, no?
DEADPOOL
Not the Daffodil Daydream. The girl.
A PICTURE of a young INDIAN WOMAN is taped to the dash.
DOPINDER
Ah yes. Gita. She is quite lovely. She
was supposed to make me a very agreeable
wife. Mom and Dad chose her rather
excellently. But Gita’s heart has been
stolen by my cousin Bandhu. Bandhu is as
dishonorable as he is attractive.
DEADPOOL
Dopinder, I’m starting to think I’m in
this cab for a reason.
DOPINDER
Because you hailed it?
DEADPOOL
No, my slender brown friend... to give
you one crucial piece of advice: Love...
is a beautiful thing. When it finds you,
the whole world smells like Daffodil
Daydream.
Deadpool’s own heartbreak is palpable. He takes another
deep, cleansing BREATH.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 3.
1 CONTINUED: (2) 1
DEADPOOL (CONT’D)
So hold onto love tight. Go at Bandhu
hard. Get Gita back. Or else... the
whole world will taste like Mama June
after hot yoga.
DOPINDER
And how does Ms. Mama June taste?
DEADPOOL
Like two hobos making love under a
drizzle of Limburger- I could go all day
like this. Point is, bad.
Deadpool chucks the bag of Corn Nuts into the back seat and
pulls out his PISTOLS. He starts CHAMBERING shells into two
magazines.
Suddenly, he frantically pats himself down, like a Hollywood
agent who can’t find his phone.
DEADPOOL (CONT’D)
Shiiiit. My extra mags! I usually leave
them right by the door so I’ll trip over
them! Someone must’ve moved them...
2 INT. DEADPOOL’S LAIR - DAY 2
A blind late-70’s AFRICAN-AMERICAN WOMAN in a purple floral
dress enters the front door, falls as she trips over an ‘I
*HEART* HELLO KITTY’ DUFFEL BAG of AMMUNITION, PICKS it UP,
and CARRIES it OFF.
Scene 2 - Deadpool Gives Dating Advice
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
DOPINDER
Shall we turn back?
DEADPOOL
No time. Not today.
(slides in last bullets)
Ten, eleven, twelve... or bust.
(chambers a shell into each
gun, looks up)
Right here!
The cab SCREECHES to a stop on the shoulder of the highest
FREEWAY in a massive INTERCHANGE of freeways. Dopinder halts
the meter and hands Deadpool his CARD.
DOPINDER
My card. That’s $27.50.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 4.
3 CONTINUED: 3
DEADPOOL
Oooo. I never carry a wallet when I'm
working. Ruins the lines of my suit.
How 'bout a crisp high five?
Dopinder stares as he and Deadpool slap skin. Deadpool GETS
OUT of the cab.
DOPINDER
Be sure to... ask for me again?
DEADPOOL
I owe you one. Merry Christmas,
Dopinder.
DOPINDER
And a convivial... Tuesday in April to
you, Pool... Guy.
Deadpool closes the door with a flourish. Boom.
4 EXT./INT. ‘THE RAFT’ PRISON - MORNING 4
A bone-white ISLAND PRISON, affectionately nicknamed ‘The
Raft,’ looms ominously in a CITY HARBOR.
Etched in helvetica into the prison wall: ‘No punishment has
ever possessed enough power of deterrence to prevent the
commission of crimes.’ - Hannah Arendt. Below it, GRAFFITIED
in RED SPRAY PAINT: ‘Until NOW’
The prison’s FRONT DOORS OPEN, and out steps a handcuffed
PRISONER, 30’s, ORANGE JUMPSUIT, broad shoulders, whip-smart,
tightly coiled, with cool, dead-blue eyes. BURLY GUARDS
guide him across a CAUSEWAY toward a CONVOY of Escalades and
Ducatis on shore.
The middle Escalade’s door opens. The prisoner stops. The
guards unlock his CUFFS.
GUARD
You’re someone else’s problem now.
The ex-prisoner STRETCHES his arms and strides TOWARD the
convoy.
PRISONER
Yes. I. Am.
CUE SALT & PEPA’S ‘SHOOP:’
Deadpool Final Shooting Script 11/16/15 5.
5 EXT. FREEWAY OVERPASS - DAY 5
DEADPOOL sits on the edge of the highest freeway on the
overpass, legs dangling over the side like Huck Finn.
DEADPOOL
Can I get some fries with that shake-
shake boobie? If looks could kill you
would be an uzi.
Deadpool is using some broken CRAYONS to draw something on a
scrap of paper. REVERSE ANGLE to REVEAL a childish drawing
of Deadpool SHOOTING another man in the head, brains blowing
out.
The victim’s thought bubble reads: ‘OUCHIE!!!’ Even through
the mask, Deadpool looks pleased by this.
He turns to CAMERA:
DEADPOOL (CONT’D)
Oh, hello, Deadpool here. You may be
wondering whose balls I had to fondle to
get my own movie. Rhymes with
‘Polverine.’ Couple’a smooth criminals.
(ALT:)
In a word, gorgeous.
(ALT:)
Surprisingly little hair down there.
(ALT:)
It’s a jungle down there.
(ALT:)
Thick underbrush.
(beat)
Anyway, I smell Oscar. The suit’s gonna
match the carpet. Now... places to be...
faces to fix... bad guys to kill...
ANGLE ON a distant BIRD’S EYE VIEW of the freeway
interchange: an interwoven tangle of ramps.
6 EXT. REMOTE AIRFIELD - MORNING 6
AJAX, 30’s, dead-blue eyes, broad shoulders, whip-smart,
tightly coiled stands at ease on a cracked and blistered
tarmac. Behind him, a HEAVILY ARMED CONVOY OF DUCATIS and
ESCALADES. FOUR LARGE ALUMINUM CARGO CRATES sit beside him.
Ajax squints into the sun as A BELL HELICOPTER thrashes the
air above him, kicking up dust as it lands.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 6.
6 CONTINUED: 6
A SERBIAN WARLORD, mid-50’s, sharply dressed, armored
BRIEFCASE in hand, climbs out. He is surrounded by ARMED
GUARDS.
The Warlord places the BRIEFCASE on the FOREMOST CRATE. Ajax
pops the case... to find STACKS upon STACKS of THOUSAND
DOLLAR BILLS. Satisfied, he closes the briefcase and hands
it to one of his men.
AJAX
(bangs crate)
They won’t disappoint.
WARLORD
They’d better not. And next month’s
shipment?
AJAX
There won’t be one. Demand is high. You
aren’t the only one with a war to win.
WARLORD
(steps forward)
That won’t do.
Both sets of armed thugs shift to ready positions.
Ajax smiles calmly, but his free hand DARTS OUT and CASUALLY
LIFTS the warlord into the air by the THROAT. Fingers find
triggers on both sides.
AJAX
There’s been a small... disruption in our
supply chain. We’ll deliver in full the
following month. Say, ten percent off
for the inconvenience?
The Warlord manages to nod in acquiescence. Ajax smiles
again, lowers him gasping to the ground.
AJAX (CONT’D)
We appreciate your business.
Ajax spins and walks purposefully toward the line of waiting
SUV’s.
The warlord angrily motions for his men to begin loading the
crates into the helicopter, which they do.
WARLORD
(sotto voce)
Fucking mutant.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 7.
6 CONTINUED: (2) 6
Behind him the convoy of SUV’s and motorcycles pull out,
falling into line as they accelerate past the rows of
derelict aircraft.
Scene 3 - Taxi Driver Love Advice and Highway Mayhem
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 9
DEADPOOL watches as the convoy approaches. He CASUALLY gets
up as if standing up out of an easy chair...
DEADPOOL
On your mark, get set, go, let me go, let
me shoop...
He PIROUETTES, and DROPS an entire level DOWN...
8 INT. ESCALADE - MORNING 8
THROUGH the SUNROOF of an ESCALADE. SMASH!
There are FOUR HUGE BAD-ASSES inside the S.U.V., two in
front, two behind. Deadpool lands back-middle in a HAILSTORM
of GLASS. He stuns the men to both sides with elbows to the
face as he raises his arms in greeting.
DEADPOOL
¡Hola! ¡Me llamo Piscina De La Muerte!
(subtitled, in YELLOW:)
Hello! My name is the Pool of Death.
There’s no easy way to say this. I’m
pregnant, Trevor.
(ALT:)
Any of you seen Green Lantern? Me
neither.
BOOM! MAYHEM ERUPTS as the two men in back find themselves
sharing a phone booth with the TASMANIAN DEVIL: ELBOWS.
FOREARMS. KNEES. CRACKING. CRUNCHING. SCREAMING.
From BEHIND, the Escalade BUCKS and BOUNCES down the road on
its suspension, almost CARTOON-LIKE.
A brutal punch spins Deadpool UPSIDE-DOWN, and he rolls with
it, uses his FEET to BREAK the man’s NECK. The other man
stomps on his head, then drags him up and SMUSHES Deadpool’s
face into the seat’s premium trim.
DEADPOOL (CONT’D)
Rich... Corinthian... Leather.
Deadpool HURLS the man through THROUGH the TAILGATE WINDOW.
The man clutches the TAILGATE, DRAGGED behind the S.U.V.
Deadpool sticks his head between the two guys in FRONT.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 8.
8 CONTINUED: 8
DEADPOOL (CONT’D)
Scuse, por favor!
The DRIVER SLAMS Deadpool’s head into the console repeatedly.
DEADPOOL (CONT’D)
Ow. Ow. Ow. Ow. Ow.
Deadpool squirms away and WRESTLES VIOLENTLY with the guy in
the PASSENGER SEAT.
He GRABS the PASSENGER SEAT-BELT, TIES it around the guy’s
ANKLE, and KICKS him out the PASSENGER SIDE DOOR. The guy’s
HEAD and SHOULDERS SMACK pavement, where he’s DRAGGED
mercilessly by his ANKLE - a modern COWBOY whose boot just
got stuck in his horse’s STIRRUP.
Deadpool grabs the driver by the HAIR on the BACK of his HEAD
and BANGS his FOREHEAD into:
The horn. HONK. HONK. The stereo. Every time the driver’s
forehead SMACKS the face of the stereo, the RADIO STATION
CHANGES:
MARIACHI. DR. DREW. MONSTER TRUCK COMMERCIAL (’SUNDAY,
SUNDAY, SUNDAY!’). One more SMACK to get us back to
MARIACHI.
Deadpool looks in the REAR VIEW MIRROR to see the man in back
CRAWL up the tailgate.
Deadpool PUSHES in the Cadillac’s CIGARETTE LIGHTER.
Back to the DRIVER. Deadpool BASHES his face into the
DRIVER’s SIDE WINDOW. THUMP. THUMP. THUMP.
We’re now OUTSIDE the Escalade, seeing the driver’s
expression take on a ridiculous silly-putty-esque grimace of
pain every time it’s MUSHED into the glass.
The man in back scrambles forward. The CIGARETTE LIGHTER
POPS OUT. Deadpool YANKS the EMERGENCY BRAKE. The man in
back LAUNCHES forward and SMACKS the DASHBOARD.
Deadpool STABS the now ORANGE-HOT lighter into the man’s
forehead, burning the COIL PATTERN into his skin. The man
SCREAMS.
DEADPOOL (CONT’D)
Loved your work in Daredevil.
Deadpool stuffs the lighter INTO the man’s mouth and CLAMPS
his hand over it.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 9.
8 CONTINUED: (2) 8
The man hollers in muffled agony. A MOTORCYCLE has pulled
AHEAD of the ESCALADE and now sits, STOPPED, in its path.
The helmeted RIDER OPENS FIRE with a SUB-MACHINE GUN.
Deadpool has one hand grasped on the back of the driver’s
neck, still mashing his face into the window glass, and the
OTHER hand still clamped over the second man’s mouth. He
plants both FEET on the steering wheel and ‘drives,’ spinning
the wheel, sending the S.U.V. into...
...a ROLL. The Escalade goes ENDO, SOMERSAULTING WILDLY.
Suddenly, the ACTION BEGINS TO SLOW...
The motorcycle RIDER tries to bail out. NO LUCK. The
tumbling Escalade PLOWS RIGHT INTO him AND his bike.
Parts scatter off the motorcycle, including its CHAIN. The
RIDER continues to SQUEEZE off ROUNDS as he goes FLYING.
Inside the Escalade, Deadpool goes SPIN-CYCLE. The DRIVER
flies through the sunroof, tearing out its remaining glass.
BLOOD spatters. The other man spits out the glowing
CIGARETTE LIGHTER. The guy whose ankle is still tangled in
the seat-belt FLAILS through the air like a rag-doll, AHAB
tied to MOBY DICK.
The action CONTINUES to SLOW... until it FREEZES.
The camera swoops in to Deadpool’s face, upside down.
HE TURNS HIS HEAD TO CAMERA FOR THE FIRST TIME, BREAKING THE
FOURTH WALL, THE ONLY THING IN THE SCENE THAT’S MOVING:
DEADPOOL (CONT’D)
Shit. Did I leave the stove on?
We RAMP back UP to FULL SPEED. The S.U.V. CARTWHEELS. The
guy’s ankle untangles from the seat-belt. He FLIES high
toward a big HIGHWAY EXIT SIGN and... SPLAT... out of frame.
The RIDER’s NECK is SLICED by the flying MOTORCYCLE CHAIN.
The DRIVER is half-way out the SUNROOF when the S.U.V. rolls
over him. SQUISH.
The man who ate the CIGARETTE LIGHTER now eats pavement.
VX8 EXT. X-MANSION - DAY VX8
A sign reads ‘PROFESSOR XAVIER’S SCHOOL FOR GIFTED
YOUNGSTERS.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 10.
VX8 CONTINUED: VX8
REPORTER (O.S.)
Breaking news. A multicar collision
turns shots fired on the crosstown
expressway...
The sign sits on the perfectly manicured front lawn of the
gorgeous Gothic X-MANSION.
VX8 INT. KITCHEN - CONTINUOUS VX8
The X-Men’s COLOSSUS. A GOOD-NATURED GIANT with CHROME METAL
FOR SKIN. BIG AS A BARN. OTHER-WORLDLY STRONG. He is
sitting in the kitchen, eating a bowl of GRAPE NUTS and
finishing a SUDOKU, his attention suddenly drawn to a
TELEVISION SCREEN:
REPORTER
The assailant appears to be wearing a...
COLOSSUS REPORTER (CONT'D)
Red suit? Red suit.
With an audible CRACK, the pencil in Colossus’ thick fingers
snaps. He rises, muttering Russian curses and stalks from
the kitchen.
VC8 INT. HANGAR - MOMENTS LATER VC8
Massive STEEL BLAST DOORS emblazoned with a huge “X” slide
open to reveal COLOSSUS. He walks quickly and purposefully
towards a big plane in the center of the huge space: the
BLACKBIRD, the X-Men’s modified XR-71 jet transport.
Struggling to keep up with the giant’s long strides is a
supernaturally CUTE, supernaturally DEADPAN 15-YEAR-OLD GIRL,
in an X-MEN outfit. NEGASONIC TEENAGE WARHEAD.
COLOSSUS
I’ve given Deadpool every chance to join
us. And what is my reward? More
immaturity and criminality! When will he
finally grow up and see benefits of
becoming X-Man?
NTW
Like... The house that blows up every few
years? The fashion-forward jump-suits?
I need to get myself kicked out of X-
School.
COLOSSUS
But I thought you were at top of class.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 11.
VC8 CONTINUED: VC8
NTW
Was that sarcasm? Awesome.
COLOSSUS
You ate breakfast, yes? Breakfast is
most important meal of day.
(hands NTW a protein bar)
Here. Protein bar, good for bones.
Deadpool may try to break yours.
NTW shoves the bar in a pocket of her coat without breaking
stride.
Scene 4 - Deadpool vs Thugs on the Freeway
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 10
- Dialogue: 9
The S.U.V. slides to a halt ON ITS SIDE, PASSENGER WINDOWS
UP. The rest of the CONVOY is forced to stop BEHIND.
A BUNCH of MEN PILE OUT, each one carrying a BEASTLY GUN and
POINTING it STRAIGHT at the disabled S.U.V.
The last noise is made by one final dislodged HUBCAP, which
rattles in little circles until it lies FLAT on the freeway.
TWO SILENT BEATS. Then we hear the soft, ELECTRIC BUZZ of
the Escalade’s middle passenger window ROLLING DOWN. Up pops
the HEAD of DEADPOOL, like the GOPHER in Caddyshack.
BANG BANG BANG BANG.
DEADPOOL
Wait, wait...
The head drops, the hands come up. BANG.
DEADPOOL (CONT’D)
Wait! You’re probably wondering. Why the
red suit? It’s so bad guys can’t see me
bleed. This guy has the idea. He wore
the brown pants.
(to camera)
All together now...
The THUGS immediately OPEN FIRE.
Deadpool is already leaping upward, flipping backwards,
bullets tearing the air beneath him as he pulls out those TWO
MASSIVE .50 CAL PISTOLS... and in slo-mo, RETURNS FIRE.
Deadpool keeps count of every bullet he fires:
DEADPOOL (CONT’D)
Twelve..!
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 12.
9 CONTINUED: 9
A SHELL-CASING is EJECTED. We enter EXTREME SLO-MO and SWOOP
IN on the shell as it TUMBLES through the air...
...revealing the number ‘00012’ ETCHED in a semi-circle on
its butt end. Deadpool FIRES the second pistol. We move
instantly to the second shell: ‘00011’
DEADPOOL (CONT’D)
Eleven...
FULL SPEED. The first TWO THUGS get a MOUTHFUL of BULLET.
DEADPOOL (CONT’D)
Ten...
ANOTHER SHOT. A THUG takes one in the HEART. The other
thugs POUR LEAD into the disabled S.U.V.
Deadpool LEAPS UP and OUT of the window, rising ABOVE the
incoming shots, then LANDING SAFELY BEHIND the Escalade.
Deadpool TURNS to SPY a MOTORCYCLE RIDER BEARING DOWN ON HIM.
This rider wears a distinctive SILVER HELMET.
Deadpool raises BOTH pistols. This RIDER LEANS away, dodging
each slug. First left, then right, then left.
DEADPOOL (CONT’D)
Nine. Shit! Eight. Fuck! Seven. Shit-
fuck!
The bike WHIZZES PAST safely, firing bullets, DEADPOOL
follows, leaping high, flipping over the S.U.V.
He lands smoothly the other side, right BEHIND a thug who’s
looking in the other direction as he sneaks around the car.
Deadpool SHRUGS and SHOOTS him in the BACK of the HEAD at
POINT BLANK RANGE.
DEADPOOL (CONT’D)
Six.
The shell tumbles to the ground, falls still. ‘00006’
Deadpool opens the Escalade. His target is NOT THERE.
BANG-BANG-BANG-BANG-BANG. Deadpool is nearly BROUGHT DOWN by
a particularly big thug with a particularly big AK-47.
He dives behind another Escalade, takes a moment to search
the interior through the windows... and then flinches as AK-
47 bullets pass THROUGH the skin of the S.U.V. around him.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 13.
9 CONTINUED: (2) 9
One of the bullets lands in DEADPOOL’S BICEP. Deadpool
yelps, in pain... then stuffs some of his torn red suit
fabric into the hole to staunch the bleeding.
Then he scrambles AROUND the S.U.V., trying to close the
distance to this guy through a WITHERING BARRAGE of fire.
Another of the AK’s slugs SLICES a swath out of the mask on
Deadpool’s head, SINGING his hair.
DEADPOOL.
Fuck. You.
Deadpool lands in FRONT of the thug. The thug pulls his
trigger again, only to - CLICK - realize he’s OUT of BULLETS.
DEADPOOL
Someone’s not counting. Cinco.
The bullet HITS the thug in the throat. ‘00005’
DEADPOOL (CONT’D)
Me gusta cinco.
Deadpool STRIDES past the fallen thug, pawing at his singed
hair - ow - and then out of sheer, pumped-up ANGER...
...turns and PUMPS TWO MORE SUPERFLUOUS BULLETS into him.
DEADPOOL (CONT’D)
Four. Three. Stupid. Worth it.
The SILVER-HELMETED MOTORCYCLE RIDER makes another pass,
FIRING. Deadpool ducks behind the S.U.V. again.
20 yards away, a GROUP of thugs TAKE COVER behind the final
S.U.V. One pulls out a HAND-GRENADE, RAISES HIS ARM to
throw.
DEADPOOL (CONT’D)
(chuckles)
Number two...
Deadpool FIRES, SHOOTING the GRENADE in the thug’s FIST.
BOOM! The whole CLUSTER of THUGS drops.
Deadpool emerges from behind the S.U.V., feeling victorious.
He approaches the final S.U.V. and throws open the doors to
search, expecting to find his target at last.
Inside is a rumpled orange prison coverall, but NOT the
PRISONER. Deadpool gets childishly angry.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 14.
9 CONTINUED: (3) 9
DEADPOOL (CONT’D)
What the shit-biscuit! Where you at,
Francis?
Worse, CLICK-CLACK. The distinctive COCKING of SHOTGUNS.
3 final THUGS stand on the freeway, lined up perpendicular to
Deadpool, SHOULDER-TO-SHOULDER, FIRING BENELLI COMBAT
SHOTGUNS. BAM! BAM! BAM!
Deadpool ducks behind the S.U.V. and raises a PISTOL. We
ZOOM IN through the CHAMBER to spy the last BULLET, POISED in
front of the FIRING PIN:
‘00001’
Deadpool thinks, then LEAPS from behind the ‘SCLADE, TWISTS
forward and right.
All 3 THUGS FIRE again. BUCKSHOT rips into DEADPOOL’s BACK.
But he LANDS so that all 3 men are now parallel to him...
...in A SINGLE-FILE LINE.
DEADPOOL (CONT’D)
One.
BOOM! We’re with the FINAL BULLET as it HURTLES from the gun
and passes THROUGH the first man’s head... then the SECOND
man’s head... and SMACKS the third man in the forehead.
This third man, the BIGGEST THUG YET, HITS the DECK.
Deadpool puts his mouth to his pistol barrel, INHALES... and
then EXHALES smoke through the pores of his mask.
DEADPOOL (CONT’D)
I’m touching myself tonight.
But then, as if by magic, the third thug STIRS... and STANDS.
The SLUG has LODGED partway in his FOREHEAD, having lost just
enough momentum that it didn’t make it all the way through.
The thug sneers, plucks out the slug, wipes away some blood,
and rolls up his SLEEVES.
DEADPOOL (CONT’D)
Really? Rolling up the sleeves?
Deadpool reaches back. We hear the THRILLING SOUND...
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 15.
9 CONTINUED: (4) 9
...of STEEL BLADES being DRAWN. Out come Deadpool’s
TRADEMARK KATANAS. The thug’s eyes widen as...
...SWOOSH... the blades swing through the air and SKEWER him,
between two different ribs and out the BACK.
DEADPOOL (V.O.)
I know what you’re thinking...
The action SLOWS again to a FREEZE. Deadpool is in mid-
slice, muscles bulging.
DEADPOOL (V.O.)
I’ll bet he works out. So what if I am
pulling the double shift at the ab-
factory? What if I do want my man menu
to feature the shredded beef? Call it
insecurity. But I haven’t touched a carb
since...
Scene 5 - The Pizza Delivery
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 10
- Dialogue: 10
Title: 6 Years Ago
A sleazy, mid-thirties MAN, GAVIN MERCHANT, decked out in
DRAGON PRINT V-NECK and STUDDED JEANS, is MID-ARGUMENT with a
late teen, pimply-faced PIZZA DELIVERY GUY, whose name-tag
reads: JEREMY.
MERCHANT
Will it help if I slow down? I didn’t.
Order. The pizza.
JEREMY
This 7348 Red Ledge Drive?
(off nod)
And you’re... Mr. Merchant?
MERCHANT
The Mr. Merchant who didn’t. Order.
The. Fucking. Pie.
JEREMY
Then who placed the call?
A TOILET flushes in another room, and both men turn.
WADE (O.S.)
I did.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 16.
10 CONTINUED: 10
The VOICE comes from over Merchant’s shoulder. WADE WILSON
(the future DEADPOOL, MINUS the SCARS and SUIT), handsome,
boyish, cheerily steps from through a doorway and into the
living room wiping his hands on a towel.
Merchant STARES, incredulous.
WADE (CONT’D)
Pineapple and olive?
Jeremy NODS.
WADE (CONT’D)
Sweet and salty.
MERCHANT
The fuck are you? And what are you doing
in my crib?!
Without even turning toward Merchant, Wade PULLS OUT A .50
CALIBER DESERT EAGLE PISTOL and nonchalantly AIMS it at him.
Merchant and Jeremy both go pale.
WADE
(to Jeremy)
Burnt crust?
JEREMY
God I hope not.
(opens the box, winces)
Words cannot express-
WADE
Relax, son, that’s hows I likes it! Once
you go black, you never go back!
(takes pizza)
MERCHANT
(stammering)
This is about the poker game, right? I
told Howie... Listen, take whatever you
want!
Merchant fumbles with his wallet and starts to hand Wade the
bills inside. Wade takes the ENTIRE WALLET instead.
WADE
Thanks!
JEREMY
(to Wade)
Uh. Sir? Before you do anything to him.
Could I have a big tip?
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 17.
10 CONTINUED: (2) 10
WADE
(already munching)
Jeremy, is it?
JEREMY
Yeah.
WADE
Wade Wilson.
(quick fist bump)
Jeremy, that’s a no go on the tiperoo.
I’m not here for him.
(levels gun at Jeremy)
I’m here for you.
Jeremy’s eyes widen. Wade holds up a YELLOW CARD, featuring
an embedded SIM. Below the logo of a CYPRESS TREE is the
name of Wade’s intended target: ‘GARRETT, JEREMY.’
Merchant breathes a sigh of relief.
MERCHANT
Dodged a big time bullet on that o-
Wade PISTOL-PUNCHES/POKES Merchant in the forehead. Merchant
howls.
WADE
(re: studded jeans)
Not out of the woods yet. You need to
seriously ease up on the bedazzling.
They’re jeans, not a chandelier.
(sniffs)
And the Axe body spray.
JEREMY
(sheepish)
That’s unfortunately me.
WADE
PS, I’m keeping your wallet. Ya did
kinda give it to me...
MERCHANT
Can I at least have my Sam’s Club card
baaa-
Wade points the pistol at Merchant again, sending him
backpedaling into a chair.
WADE
I will shoot your fucking cat.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 18.
10 CONTINUED: (3) 10
MERCHANT
I don’t have a cat!
WADE
Then whose kitty-litter did I just shit
in?
(turns to Jeremy)
Anyhoo, you by chance know a Meghan
Orlovsky? Getting that right? Orlovsky?
Orloskvy? Do you?
Jeremy manages a timid little NOD.
WADE (CONT’D)
Good. ‘Cause she knows you.
Wade holsters the pistol and WHIPS out a HUNTING KNIFE. He
twirls it adeptly... but instead of holding it to Jeremy’s
neck... CUTS himself a SLICE of PIZZA.
WADE (CONT’D)
What situation isn’t improved by pizza?
Wade shovels half the slice into his mouth, revealing an Army
SPECIAL FORCES TATTOO on his forearm: A SKULL WEARING A
GREEN BERET, BACKED BY A BLADE, AND THE WORDS ‘DE OPPRESSO
LIBER’ (official motto of the U.S. Army Special Forces).
WADE (CONT’D)
(through chews)
Jeremy, I belong to a group of guys who
take a dime to beat a fella down.
(cuts another pizza slice)
Little Meghan’s not made of money, but
lucky her, I’ve got a soft spot.
Wade brings the next pizza slice over to Merchant. Wade
nearly hands it to him but lets go too soon. The slice falls
flat - pineapple down - onto the floor at Merchant’s feet.
JEREMY
B-but I’m-
WADE
(returns to Jeremy)
A stalker. Threats hurt, Jer. Though
not nearly as bad as serrated steel.
Wade pokes the end of his knife into Jeremy’s chest, pinning
him against the wall.
WADE (CONT’D)
So keep away from Meghan. We cool?
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 19.
10 CONTINUED: (4) 10
JEREMY
Y-yeah.
A beat. In a huge ANTI-CLIMAX, Wade deftly twirls his knife
AWAY from Jeremy’s chest, SPINS it on his finger, and JAMS it
back into its SLEEVE.
WADE
Then we’re done.
JEREMY
W-we are?
WADE
Soft spot, remember? But even look in
her general direction again? You’ll
learn in the worst of ways.
(pats Jeremy’s cheek)
I’ve got some hard spots too.
(pauses)
That came out wrong. Or did it?
Scene 6 - Pizza Delivery and Skate Park
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
SKATE PUNKS carve on ramps built into the sides of a highway
underpass. A group of TEEN GIRLS are perched at the bottom
of the nearby stairs, texting each other from inches away.
An old-fashioned GHETTO BLASTER bangs ‘SHOOP.’
SALT & PEPA
I love you in your big jeans.
GIRLS
(join chorus)
You give me nice dreams. You make me
wanna scream...
Boom. A PIZZA BOX lands at their feet. On top of it lands a
POLAROID PICTURE.
WADE (O.S.)
"Oooo, oooo, oooo!"
A FRIZZY-HAIRED EMO GIRL picks up the Polaroid... of a
terrified JEREMY holding another pizza box that has been cut
into a heart, the words ‘I’m Sorry’ scrawled onto it, a PEE-
STAIN on his JEANS, and a laughing WADE photo-bombing with
the knife to his neck. She looks UP to see:
Wade bobbing to the music.
WADE (CONT’D)
You’ve seen the last of Jeremy.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 20.
11 CONTINUED: 11
The girl - MEGHAN ORLOVSKY - leaps up and HUGS Wade tight.
WADE (CONT’D)
That’s why we do it.
GIRL #2
Hey, think you could fuck up my step-dad?
GIRL #3
How ‘bout Vice Principal Renwiki?
WADE
(suddenly serious)
What’d he do to you?
GIRL #3
Suspended me for smoking.
WADE
(turns to go)
Good for him! Sorry, ladies. Me no dig
cigs. And I may look mean. But if I
give a guy a pavement facial? He earned
it.
Wade gives Meghan a smile, turns to leave.
MEGHAN
Hey. Thanks. You’re my hero.
The word catches Wade like a punch to the gut. Hero?
WADE
That I ain’t.
Wade doesn’t turn back, walking through the swooping skaters.
A12 EXT. SISTER MARGARET’S - NIGHT - PAST A12
A grimy SIGN on a grimier brick building reads: ‘SISTER
MARGARET’S SCHOOL FOR WAYWARD GIRLS.’
Scene 7 - Mercenary Meets Sleazy Bar Owner
- Overall: 7.0
- Concept: 7
- Plot: 5
- Characters: 9
- Dialogue: 8
Inside, society’s DREGS. Chief among them, BOOTHE: a HUGE,
menacing hipster with a BOY SCOUT CAP and MASSIVE HANDLEBAR
MOUSTACHE. He’s got some DUDE’s fingers splayed out on the
bar, jabbing a KNIFE POINT between them as fast as he can.
WADE shimmies past, backslaps BOOTHE:
WADE
Boothe!
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 21.
12 CONTINUED: 12
BOOTHE
(turns, smiles)
Heya, Wade!
We hear a STAB and a SCREAM.
Wade winces as he continues on to the BAR, claims a STOOL and
waves over the lone bartender - WEASEL, early 20’s, geeky,
glasses. Think Tom Cruise in ‘Cocktail.’ Then think the
opposite.
WEASEL
Wade Wilson, Patron Saint of the Pitiful.
What can I get you?
WADE
I’d love a blow-job.
WEASEL
We got that in common.
WADE
The drink, moose-knuckle. But first...
Wade digs in a pocket, slaps the YELLOW ‘HIT’ CARD, the one
with the CYPRESS TREE, on the bar.
Weasel goes to the register. Scans the card. Peels off
three ONE HUNDRED DOLLAR BILLS. Lays them out like a bank
teller. Wade PUSHES the MONEY AWAY...
WADE (CONT’D)
I ain’t taking allowance money. Make
sure it gets back to Ms. Osflorsky?
Onroflensky? Olly-Olly-Oxen-Free?
WEASEL
Orlofsky. For a merc, you sure are warm-
blooded. Bet you let the boy off easy-
peasy, too.
WADE
(embarrassed)
He’s not a bad kid, Weas. Just a little
light stalking. I was way worse at his
age- traveling to far-off places -
Baghdad, Mogadishu, Jacksonville -
(shudders)
- meeting new and exciting people -
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 22.
12 CONTINUED: (2) 12
WEASEL
And killing them. I’ve seen your
Instagram. What was Special Forces doing
in Jacksonville, anyway?
WADE
Classified.
(whispers)
They have a wonderful TGIFridays. Those
guys know their way around a Loaded
Potato Skin. The point is, I’m trying to
put those days in my rear-view.
Weasel puts the finishing touches on the drink, pushes it
across the bar to Wade.
WEASEL
Kahlua, Bailey’s, whip cream. Fellatio
in a glass.
A burst of laughter turns Wade’s attention to BUCK, a BAD-ASS
in a snakeskin jacket, has a crowd gathered round him, mid-
story. He too is holding a YELLOW CARD with SIM and CYPRESS
TREE.
BUCK
So he’s staring at my Glock in his mouth,
like...
(mouth full)
‘I thought you guys had a code!’ And I’m
like, ‘Yeah, no kids. No women. Almost
fooled by your tits. But the moustache?!
The crowd CRACKS UP.
Wade pulls out Gavin Merchant’s wallet and teases out a
TWENTY. He grabs a passing waitress, tucks the bill in her
shirt pocket and sets the blowjob on her tray.
WADE
Kelly, you mind taking this over to Buck?
Tell him it’s from Boothe.
(whispers, to Weasel)
Little foreplay.
Weasel follows Wade’s gaze to the end of the bar, where a
chuckling BOOTHE wraps a bandage around the guy’s bloody
hand.
WEASEL
Remind me what good comes of this?
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 23.
12 CONTINUED: (3) 12
WADE
I don’t take the shits. I just disturb
them.
Weasel allows himself a tiny conspiratorial SMILE.
SMASH CUT TO:
Scene 8 - Deadpool visits Sister Margaret's
- Overall: 10.0
- Concept: 9
- Plot: 9
- Characters: 10
- Dialogue: 11
WADE, in medium shot, TEARING UP at the famous Steven Seagal
bar fight from ‘OUT FOR JUSTICE’ on T.V. as... SMACK...
BAM... a REAL bar fight goes on - OUT OF FOCUS - behind him.
WADE
(trailer voice)
It's a dirty job... but someone's gotta
take out the garbage.
Wade finally turns around to watch. BUCK finishes off
Boothe... then pours the BLOW-JOB on top of him.
WEASEL grabs a hand mirror, hops over the bar, and crosses to
Boothe. All the PATRONS fall HUSH as WEASEL holds the mirror
to Boothe’s mouth. Boothe’s BREATH FOGS it up.
WEASEL
Still kicking.
The place ‘oooooohs.’ Near miss. Weasel returns to his
place behind the bar, looking disappointed.
WADE
Lemme guess. Ya got Boothe in Sister
Margaret’s dead pool.
WEASEL
Um. See. About that-
WADE
You did not bet on me to die.
(looks up at board,
incredulous)
You bet on me to die.
Wade leans back and looks up at an ENORMOUS CHALKBOARD
hanging above the bar: ‘Sister Margaret’s DEAD POOL.’
Below, a long LIST of NAMES. DOLLAR AMOUNTS to the right of
the names. More NAMES to the right of the dollars.
Indeed, ‘WEASEL’ has chosen ‘WADE.’ Wade looks betrayed.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 24.
13 CONTINUED: 13
WADE (CONT’D)
Weasel, you’re the world’s worst friend.
Joke’s on you. I’m living to 102. Like
those old Quaker biddies on the Today
Show. And retiring on my winnings.
WEASEL
Wait, who did you pick?
Weasel looks up a the board, where ‘WADE’ has claimed:
‘BIEBER, J.’
WADE
The Biebs. But I’m probably wrong.
Nothing bad ever happens to teen stars
who make 80 mil a year and think they’re
immune to the pitfalls of addiction and
consequence. He’ll be fine.
(raises shot, yells)
Drinks on me, soldiers of fortune!
MERCENARIES
Hooah!
VANESSA
Whoa, whoa...
Wade turns to see a woman on his other side: VANESSA.
Brunette. Silver-blue eyes. Tank. Tiny jean-shorts.
VANESSA (CONT’D)
Sure you wanna shoot your whole wad?
Wade looks Vanessa all the way up and down... then holds up
his PINKIE.
WADE
Tight.
Vanessa raises her own pinkie. Shakes like a pinkie swear.
VANESSA
Vanessa.
WADE
What’s a nice place like you doing in a
girl like this?
BUCK (O.S.)
It ain’t what she’s doing, it’s who.
BUCK walks past and SLAPS Vanessa on the caboose.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 25.
13 CONTINUED: (2) 13
BUCK (CONT’D)
I’d hit that shit.
Wade pushes back his stool, stands menacingly.
WADE
Buck, you’d best apologize, before-
But Vanessa doesn’t wait for Wade’s chivalry. She blows
right by him and grabs a fistful of Buck’s crotch. Buck
gasps.
WADE (CONT’D)
Yeah, that.
VANESSA
(to Buck)
Say the magic words, Fat Gandalf.
BUCK
I’m sorry! I have no filter between my
brain and mouth. I’m working on it.
Wade takes Vanessa’s shoulders.
WADE
OK, he apologized... hakuna his tatas...
Vanessa lets Buck go, turns on Wade.
VANESSA
(let’s go)
And you-
(shakes Wade off)
Hands off the merchandise.
WADE
Merchandise? So, what, you, uh, bump
fuzzies for money?
VANESSA
Yup.
WADE
Rough childhood?
VANESSA
Rougher than yours. Daddy left before I
was born.
WADE
Daddy left before I was conceived.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 26.
13 CONTINUED: (3) 13
VANESSA
Ever had a cigarette put out on your
skin?
WADE
I didn’t know there was any other place
to put one out.
VANESSA
I was molested.
WADE
Me too. Uncle.
VANESSA
Uncles. They took turns.
WADE
I watched my own birthday party from the
keyhole of a locked closet, which was
also my-
VANESSA
Bedroom? Lucky. I slept in a dishwasher
box.
WADE
So you had a dishwasher. I didn’t know
sleep. It was pretty much 24-7 of ball
gags, brownie mix, and fun-house mirrors.
VANESSA
Who would do such a thing?
WADE
Hopefully you. Later tonight.
(beat)
And my Uncle Kevin.
Wade EMPTIES the rest of Gavin’s wallet:
WADE (CONT’D)
What can I get for two-hundred-seventy
three bucks... and a Yogurtland rewards
card?
Vanessa shoves the bills into her halter:
VANESSA
About forty-eight minutes of whatever you
want...
(peers at card)
And a low-fat dessert.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 27.
13 CONTINUED: (4) 13
Wade grins at her like a kid on Christmas morning.
Scene 9 - Arcade Date Night
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 9
- Dialogue: 9
A two-shot of WADE and VANESSA staring at each other, in
profile. Wade looks really excited.
WADE
Time to put balls... in holes.
REVERSE ANGLE to reveal two SKEEBALL MACHINES in the ARCADE.
Wade inserts tokens, and balls CLUNK down.
Vanessa looks half amused, half weirded out.
WADE (CONT’D)
You said whatever I want.
VANESSA
I get it. You love skeeball. Apparently
more than you love vagina.
WADE
Tough call. Just trying to get to know
the real you... not the plunging-
necklined, short-shorted, two-dimensional
sex object peddled by Hollywood.
Wade slowly turns to CAMERA. REVERSE ANGLE TO his P.O.V.:
A ten-year-old BOY stops in his tracks, his gaze moving from
Vanessa’s plunging neckline to her short shorts.
BOY
Nice tits!
VANESSA
Thank you, son.
(tousles boy’s hair)
You know how to make a woman feel
special.
Vanessa reaches down, grabs two balls, hands one to Wade.
VANESSA (CONT’D)
Balls in holes.
WADE
Prepare to lose tragically.
VANESSA
Bring it, big man.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 28.
14 CONTINUED: 14
Wade smiles slyly, sizes up the ramp, rears back and
OVERHANDS the first ball... right into the 50,000 CUP.
VANESSA (CONT’D)
Ruh-roh.
15 INT. ARCADE PRIZE COUNTER - LATER - PAST 15
A beaming WADE bellies up to the prize counter and lays a
massive armful of pink TICKETS on top.
WADE
The limited edition Voltron: Defender of
the Universe ring, por favor.
TEEN
You’re roughly three hundred thousand
tickets short.
(beat)
It’s nickel-silver-plated.
WADE
(disappointed)
Then I guess the tire-grade rubber
Voltron keychain.
VANESSA places a measly TEN tickets of her own next to them.
VANESSA
And the... pencil eraser.
The weary TEEN behind the counter hands Wade the low-rent
VOLTRON KEYCHAIN, and Vanessa the eraser.
TEEN
(reads keychain package
copy, bows)
You are now the sworn protector of the
gentle people of the planet Arus...
(re: eraser, positive
spin:)
And you... you can... erase stuff...
written in pencil.
Wade extends his arm chivalrously:
WADE
M’lady?
VANESSA
Unfortunately, my anus-loving friend,
your forty-eight minutes are up.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 29.
15 CONTINUED: 15
WADE
Arus. And you’re more evil than evil
King Zarkon himself.
Wade rubs his keychain wistfully, then offers it up.
WADE (CONT’D)
How many more minutes for this?
(hard sell)
FYI. Five mini lion-bots come together
to make up the super-bot.
VANESSA
(faux-excited)
Five mini lion-bots?!
(matter-of-fact)
Three minutes.
WADE
(gives keychain up)
That’s all I’ll need!
ALT:
WADE
What do we do with the remaining two
minutes thirty seven seconds?
VANESSA
Cuddle?
Vanessa smiles and takes Wade’s arm. They walk out of the
ARCADE affectionately...
...to the SOUNDS OF TIRELESS, ATHLETIC SEX.
16 EXT./INT. WADE’S APARTMENT - NIGHT - PAST 16
VANESSA (O.S.)
How long can you keep this up?
DUCT TAPE fails to cover a big multi-fissured CRACK in the
WINDOW of Wade’s CRAPPY APARTMENT. Inside, WADE has VANESSA
up against the wall decorated with CHRISTMAS LIGHTS that have
overstayed their welcome and a CALENDAR. They are going at
it like RABBITS.
WADE
(raises eyebrow)
All year?
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 30.
16 CONTINUED: 16
Dolly Parton’s ‘HERE YOU COME AGAIN’ kicks in, and we...
DISSOLVE INTO:
Scene 10 - Sex Montage on Holidays
- Overall: 7.0
- Concept: 7
- Plot: 2
- Characters: 8
- Dialogue: 0
A MONTAGE of images: Fun, irreverent SEX around the CALENDAR
between WADE and VANESSA, identified by various holidays.
VALENTINE’S DAY SEX. WADE falls back onto a bed covered in
rose petals with VANESSA on top of him. She has drawn a
heart on his chest in red lipstick. They go at it hard...
then pause for a romantic look and kiss.
VANESSA
Happy Valentine’s Day...
Then IMMEDIATELY go back to hard pounding.
CUT TO:
A medium shot of the top half of VANESSA. She is on hands
and knees, rocking back and forth. WADE leans into frame
from behind.
WADE
Happy Chinese New Year’s...
VANESSA
(smiles)
Year of the Dog.
They go at it even harder.
SMASH CUT TO:
The same exact locked-off medium shot, only WADE is now on
hands and knees. His expression betrays great stress.
VANESSA leans into frame from behind.
VANESSA (CONT’D)
Relax... Happy International Women’s
Day...
Wade girds himself, then lets out a surprised, WHIMPERY YELP
as some pioneering object journeys into his virgin lands.
CUT TO:
WADE in bed, legs wrapped around VANESSA’s neck, being orally
pleasured.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 31.
17 CONTINUED: 17
WADE
Happy Fourth of July!
We see FIREWORKS through the skylight above.
CUT TO:
WADE sitting in an arm-chair, fully dressed, reading glasses
on, purusing a book. VANESSA is reading in a chair opposite,
also wearing reading glasses.
VANESSA
Happy Yom Kippur...
(ALT:)
Happy Cesar Chavez Day...
(ALT:)
Happy Lent...
(ALT:)
Happy Lyme Disease Awareness Day...
(ALT:)
Happy Wednesday...
CUT TO:
VANESSA in bed where Wade last was. Now her legs are wrapped
around HIS neck, and he’s pleasuring her.
WADE
(muffled)
Happy Halloween...
VANESSA
Oo... ow...
WADE
(muffled)
Sorry.
(takes out Vampire teeth)
Happy Halloween...
Wade goes back to work.
CUT TO:
WADE and VANESSA banging it out one last time, missionary
style.
VANESSA
Happy Thanksgiving.
(ALT:)
Happy Wednesday.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 32.
17 CONTINUED: (2) 17
Cut WIDE to reveal that they’re on top of the KITCHEN TABLE
during THANKSGIVING DINNER. Wine spills, cranberry sauce
topples, mashed potatoes launch. ALT: BREAKFAST FOOD
INSTEAD.
Nothing takes away from the joy of the moment.
Scene 11 - Wade and Vanessa's Christmas Engagement
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 10
A CHRISTMAS WREATH hangs on Wade’s wall.
WADE (O.S.)
If your left leg is Thanksgiving, and
your right leg is Christmas...
WADE strikes a pose, HANDS on HIPS, wearing an AWFUL, AWFUL
CHRISTMAS SWEATER. And NO PANTS.
VANESSA sits against the bed’s HEADBOARD, SHEET pulled over
her, up to her chin. She quickly lowers the sheet.
Revealing an APPALLING CHRISTMAS SWEATER of her own.
WADE (CONT’D)
...can I visit you between the holidays?
VANESSA
Y’know, red’s your color. Brings out the
bloodshot in your eyes. Christmas gift!
Catch!
Vanessa tosses something to Wade. It lands in his hands.
WADE
Holy fucking shit.
It’s the nickel-silver-plated Voltron RING, all three hundred
thousand tickets worth.
VANESSA
Limited edition. I had to give the kid
behind the counter a rub and tug. I’m
kidding. I’m not kidding. I’m kidding.
It was nearly five full months of
Skeeball.
WADE
(beams)
Y’know, I’ve been doing some thinking...
VANESSA
Really.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 33.
18 CONTINUED: 18
WADE
...about why we’re so good together.
VANESSA
Why’s that?
WADE
Your crazy matches my crazy. We’re like
two jigsaw pieces... weird curvy edges...
but fit us together, you can see the
picture on top.
Wade plants a kiss on Vanessa. She sits up on her knees.
VANESSA
Hey, I’ve been meaning to ask you, only
‘cause you haven’t gotten around to
asking me-
(pregnant pause)
Wade, will you-
VANESSA (CONT'D) WADE
Stick it in my-? Marry me?
VANESSA
Uhh... jinx?
Wade reaches back and pulls out an ENGAGEMENT-RING-LIKE BOX.
Vanessa can barely contain her excitement.
VANESSA (CONT’D)
You’re not wearing pants. Where exactly
were you hiding that?
A vulnerable Wade hands her the box and stands there with the
look of... ‘Open it. Open it!’
WADE
They say one month’s salary.
Vanessa opens the box... to reveal a CANDY RING.
WADE (CONT’D)
Slow month. I’ve been waiting for this
day like Boss Hogg waits to get to the
crazy cheesy crust...
VANESSA
You mean-?
WADE
I do.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 34.
18 CONTINUED: (2) 18
VANESSA
That’s my line. I love you, Wade Wilson.
WADE
Thought you charged extra for that.
VANESSA
I did. At my old job.
WADE
So that’s a-?
Vanessa stares. Swallows. Pulls him back into bed and
WHISPERS ONE SILENT WORD into his ear (’Yes’). Wade jumps up
and DANCES around the room all goofy, POP, LOCK, & ROBOT.
VANESSA
Easy. I can take it back.
Wade dives back into bed, SPOONS with Vanessa, wrapping her
in his ARMS, touching his cheek to hers.
WADE
What if I never let go?
VANESSA
Just rode a bitch’s back, like Yoda on
Luke?
WADE
(contented sigh)
‘Star Wars’ jokes?!
VANESSA
(corrects)
‘Empire.’
WADE
It’s like I made you in a computer.
Wade swoons, reaches, grabs a POLAROID CAMERA off his night-
stand, and holds it at arm’s length.
WADE (CONT’D)
(Yoda voice)
Cheese, say!
The flash POPS. For this one moment, his life is...
WADE (CONT’D)
Perfect.
Wade hands Vanessa the photo. Then...
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 35.
18 CONTINUED: (3) 18
WADE (CONT’D)
Wee break.
...bounces up to go to the BATHROOM. Vanessa gazes at the
photo, which is already FADING IN. Wade notices.
WADE (CONT’D)
Shake it like a- Uh. You get it.
DEADPOOL (V.O.)
Here’s the thing. Life is an endless
series of train-wrecks with only brief,
commercial-like breaks of happiness.
This had been the ultimate commercial
break. Which meant it was time to
return...
Wade peels off his Christmas sweater... and STEPS CONFIDENTLY
BACK TOWARD THE BED. But before he gets there...
DEADPOOL (V.O.)
...to our regularly scheduled program.
...HE PASSES OUT, FACE-PLANTING ONTO THE FLOOR.
Scene 12 - Devastating News
- Overall: 9.0
- Concept: 10
- Plot: 8
- Characters: 9
- Dialogue: 9
WADE is sitting in a doctor’s office, VANESSA by his side,
opposite a solemn ONCOLOGIST. Every image suggests BAD NEWS:
A COMPLEX looking MRI IMAGE of the CIRCULATORY SYSTEM on a
BACKLIT VIEWING TABLE. SWEAT STAINS under Wade’s arms.
Vanessa GRIPPING his hand. The LOOK on the DOCTOR’s FACE.
WADE
You’re clowning. You’re not clowning? I
sense clowns.
DOCTOR
People react to news of late-stage cancer
differently.
Wade and Vanessa turn and share a devastated but loving look.
VANESSA
(to doctor, springs into
action)
So what do we do? Surely there’s
something... we can... do. I mean, my
uncle, he was diagnosed with thyroid
cancer, and there was this new
experimental drug that-
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 36.
19 CONTINUED: 19
The VOLUME of Vanessa’s voice FADES until we can SEE her
talking but no longer hear the words:
DEADPOOL (V.O.)
See, people do react differently.
Vanessa’s already working on Plan A. B.
All the way to Z. Me? I’m memorizing
the details of her face. Like it’s the
first time I’m seeing it. Or the last.
DOCTOR (O.S.)
Mr. Wilson?
DEADPOOL (V.O.)
Believe it or not, this is only the ninth
shittiest thing that's ever happened to
me.
DOCTOR (O.S.)
Mr. Wilson?
DEADPOOL (V.O.)
Stick around. Number 6 is coming right
up.
DOCTOR
Take your time to process this.
20 EXT. FREEWAY - DAY 20
DEADPOOL HAS AJAX PINNED TO THE FREEWAY RAIL.
DEADPOOL
You know how many people I’ve killed to
find you?
AJAX
Actually, I do.
DEADPOOL
So you’re aware I’ve been waiting a long,
long time for this. And now I’m finally
gonna...
(ALT:)
So you’re aware of the category 5 fuck-
storm that’s coming.
(ALT:)
Then you know what’s coming. I’m about
to do to you what Sugar Ray did to the
mid-nineties.
A massive SHADOW passes over AJAX and DEADPOOL, accompanied
by LOUD METALLIC FOOTSTEPS. Ajax looks up, a bit awed.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 37.
20 CONTINUED: 20
Deadpool senses something, reaches back with one hand,
feels...
...what turns out to be Colossus’s METALLIC CROTCH.
DEADPOOL (CONT’D)
Dad?
COLOSSUS GRABS Deadpool’s WRIST, CHUCKS him THROUGH the AIR,
ASS OVER TEAKETTLE.
Scene 13 - Spring Cleaning
- Overall: 9.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 10
A CLOSE-UP of a Deadpool ACTION FIGURE from ‘X-Men Origins.’
Mouth sewn shut. Blades implanted into wrists.
In the exact same POSE we just saw the real Deadpool.
Sitting in a nightstand DRAWER in Wade’s apartment.
WADE (O.S.)
This is my most prized possession.
Wade looks like he’s reaching into the drawer for the action
figure, but instead, reaches just UNDER it to grasp Wham!’s
‘Make it Big’ album on Vinyl. He pulls out the album.
VANESSA
Wham?
WADE
Wham!
(cradles album lovingly)
‘Make it Big’ was the album George and
Andy earned their exclamation point.
Wade places the album carefully into one of two OPEN
SUITCASES on the floor next to him. He is currently going
through his possessions, TOSSING OUT the crap and placing the
good stuff into the suitcases.
Wade pulls out the action figure.
WADE (CONT’D)
But this. A little piece of me died the
day this came out...
Wade DUNKS the action figure in the trash can. VANESSA
stands opposite, arms crossed, FUMING.
VANESSA
So I’m s’posed to just... smile and wave
you out the door?
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 38.
21 CONTINUED: 21
WADE
Think of it as a spring cleaning. Only
if spring was death.
(pulls out BERNADETTE PETERS
CHANGE PURSE)
If I had a nickel for every time I
spanked it to Bernadette Peters.
(opens purse, it’s full of
nickels)
Looks like I do.
Wade TOSSES the purse toward one of the suitcases. Vanessa’s
hand stabs out and GRABS it.
VANESSA
Bernadette’s not going anywhere.
(slam-dunks purse back into
drawer)
‘Cause you’re not going anywhere.
WADE
Right! The tumors are only in my liver,
lungs, prostate, and brain. All the
things you can live without.
VANESSA
You know what I mean. You belong here at
home. Surrounded by your Voltron... and
your Bernadette... and your me.
WADE
Babe, we’ve been through this! Cancer’s
a real shit-show. A Yakov-Smirnoff-
opening-for-the-Spin-Doctors-at-the-Iowa-
State-Fair shit-show. And under no
circumstances will I take you to that
show. I want you to remember me me.
VANESSA
Well, I want to remember us us.
(that doesn’t sound right)
We we?
WADE
I swear, I’ll find you in the next life.
And boom-box ‘Careless Whisper’ under
your window. Wham!
VANESSA
Are you gonna keep saying it like that?
Look, I get this impulse. I do.
(MORE)
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 39.
21 CONTINUED: (2) 21
VANESSA (CONT'D)
Before I met you, I used to fantasize
about dying alone in the woods, torn
apart by wolves.
WADE
Super fucking bad-ass.
VANESSA
But that was then, and this is now. Walk
out that door. I dare you. I will ride
you out. And I won’t let go. Yoda on
Luke.
Vanessa embraces Wade. Tight. Won’t let go. A TEAR
trickles down Vanessa’s CHEEK.
VANESSA (CONT’D)
(into Wade’s ear)
If you’re willing to fight. There are
still options. We’ll find them.
Together.
WADE
(smiles)
I just realized! I win! My life’s
officially more fucked-up than yours.
VANESSA
No one’s boom-boxing shit.
Vanessa interlaces her pinkie with Wade’s. Smiles.
VANESSA (CONT’D)
What do we we have to lose?
WADE
Nothing. Everything.
Vanessa leans in, and the two start to KISS.
Scene 14 - Wade's Reflection
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
VANESSA, horizontal, limbs akimbo, ASLEEP in bed. She stirs,
feels next to her for Wade. He’s NOT THERE.
REVEAL WADE standing at the bedroom window. His P.O.V. of
the moon makes it look FRACTURED by the cracked glass.
RACK FOCUS to Vanessa’s REFLECTION. She, too, looks
fractured. Wade’s eyes well with TEARS at the sight of her.
Cancer will steal the one thing that ever mattered.
Vanessa’s cracked reflection suddenly RAISES its HEAD.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 40.
22 CONTINUED: 22
WADE
Sorry. Liam Neeson nightmare. I
kidnapped his daughter, and he just
wasn’t having it.
Wade slides back into bed.
WADE (CONT’D)
They’ve made three of those movies. At
some point you wonder if he’s just a bad
parent.
Wade lies on his back. Vanessa nestles her head lovingly
against his chest. He takes a vulnerable look at her, then
stares at the ceiling, LOST.
RS22 INT. APARTMENT - NIGHT RS22
Wade slips quietly out of bed...
...slips on a hoodie and a backpack...
...opens the door... takes one last longing look at
Vanessa...
...and slips into the hallway, closing the door behind him.
Vanessa is left to feel for Wade in the dark.
A22 EXT. STREET - NIGHT A22
WADE walks down the street into the night.
He pulls a crumpled card from his jacket pocket: the black
card with the recruiter’s number.
Still walking, Wade pulls out a cellphone and dials.
23 INT. SISTER MARGARET’S - NIGHT - PAST 23
Just another night at SISTER MARGARET’S WAYWARD SCHOOL FOR
GIRLS. Regular crowd has shuffled in. Tonight, a bit thin.
WADE is bellied up to the bar, disheveled, unkempt, and
distraught. WEASEL leans in:
WEASEL
Jesus. Someone needs a blow-job and a
shower. Though courtesy calls for the
latter first.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 41.
23 CONTINUED: 23
WADE
Three shots of Patron Silver, Weez. And
a cure to terminal cancer.
WEASEL
(hands over a green
concoction)
Fresh out of Patron. Wheatgrass?
WADE
You’re starting to sound like Vanessa...
With SHAKY HANDS, Wade empties his POCKETS, placing CRUMPLED
BROCHURES on the bar.
WADE (CONT’D)
She sent away for all these colorful
clinic brochures. I hear Chechnya’s nice
this time of... never. Then there’s
China... Central Mexico... Know how they
say ‘Cancer’ in Spanish? ¡El Cáncer.’
Wade pulls out one last thing from his pockets: A POLAROID
of HIMSELF and VANESSA. He stares. Weasel notices.
WEASEL
This belongs on the wall. I want to
remember you when you looked... alive.
Wade scrapes up a smile as Weasel tapes the picture to the
BIG BAR MIRROR. Weasel pours a second wheatgrass shot.
Clinks Wade’s glass. They throw them back. WINCE.
WEASEL (CONT’D)
Almost forgot...
Weasel slides Wade a distinctive black BUSINESS CARD across
the bartop.
WEASEL (CONT’D)
Guy came in asking for you. Real Grim
Reaper type.
Wade’s gaze follows Weasel’s gesture across the barroom,
where an ominous MAN in a BLACK SUIT sits ALONE at a table.
WEASEL (CONT’D)
I don’t know? May further the plot?
CUT TO:
Deadpool Final Shooting Script 11/16/15 42.
Scene 15 - The Recruitment
- Overall: 7.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
WADE dead-man-walks to the back of the bar. He passes BOOTHE
and BEEF on his way. They nod solemnly, like cops at a
funeral procession honoring one of their own.
BEEF
Wade.
Beef offers Wade his shot. Wade eeks out a smile. Throws it
back. Then continues on. Wade stops next to the MAN’s
TABLE.
WADE
Forget your scythe?
The man, even creepier from close up, SMILES.
RECRUITER
Mr. Wilson. Have a seat.
(Wade sits, long pause)
I understand you’ve recently been
diagnosed with terminal cancer.
WADE
Stalker alert.
RECRUITER
It’s my job. Recruitment. And you have
quite a reputation. I’m sorry you’ve had
a tough go. But you’re a fighter. And
not just for Johnny Canuck, impressive as
your stint in special forces was. Forty-
one confirmed kills?
WADE
(bitter)
One every seven weeks. Same rate most
folks get a hair-cut.
Wade grabs the recruiter’s drink and throws it back.
WADE (CONT’D)
To wash the taste out. It’s hard to
forget being so... impressive.
RECRUITER
Now you spend your days sticking up for
the little man, slitting small time
throats for small time folks.
WADE
People change.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 43.
23A CONTINUED: 23A
The recruiter leans uncomfortably close.
RECRUITER
(low, conspiratorial)
Speaking of which... Mr. Wilson, I
represent an organization that may be
able to help. What if I told you we can
cure your cancer? And what’s more, give
you abilities most men only dream of?
WADE
I’d say you sound like an infomercial.
And not a good infomercial, like Slap
Chop. More Shake-Weighty.
(jack-off motion)
RECRUITER
The world needs extraordinary men. We
won’t just make you better. We’ll make
you better than better. A super-hero.
WADE
I already tried the hero business. Let’s
just say it left a mark. The only chance
you’ll see me again is if I hit ‘fuck-
it.’
Scene 16 - Desperation World Tour
- Overall: 9.0
- Concept: 10
- Plot: 9
- Characters: 9
- Dialogue: 8
A DILAPIDATED, SKETCHY MEDICAL ‘CLINIC’ haunts the cityscape
in GUADALAJARA, MEXICO.
WADE (V.O.)
For now, I’ll get through this with the
one I love.
A sickly-looking WADE is on the final stop in his futile
quest to find a cure. DESPERATE. Among the MOST DESPERATE.
He sits in a pathetic muzak-filled WAITING ROOM. Wearing a
SOMBRERO and clutching VANESSA’s hand. Her fingers are
interlaced in his, once perfectly manicured nails chewed to
the quick.
Vanessa is also wearing a SOMBRERO, and ANXIETY on her face.
Wade COUGHS SEVERELY, REPEATEDLY into a HANDKERCHIEF.
Wade turns to the sweet ELDERLY COUPLE sitting next to him,
ekes out a smile. The old man plays with some WORRY BEADS.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 44.
24 CONTINUED: 24
WADE
(pulls out Spanish-English
electronic translator)
De donde eres?
ELDERLY WOMAN
Boca Raton.
WADE
Ah. The fancy part of Mexico.
ELDERLY MAN
We’ve moved in with my son. To afford
the treatment.
Wade looks pained to hear this.
WADE
Cancer? Sorry - ¿El Cáncer?
ELDERLY MAN
Stage four.
WADE
Toughest part of the Tour de France.
VANESSA
Very hilly.
The elderly man gestures to the souvenir PATCHES sewn onto
Wade’s ‘HELLO KITTY’ DUFFEL: CHECHNYA. CHINA. INDONESIA.
ELDERLY MAN
Logging some frequent flier miles?
WADE
(bone-weary)
Final stop on Desperation World Tour,
2016, which I believe was also the name
of the Stones’ last concert...
VANESSA
‘Final’ because this is where we find the
cure.
A MOTHER and her stoic young SON sign in with the NURSE
behind the front desk. The boy has lost all his HAIR.
NURSE
No cheques de viajero. No pesos. Cash.
Americano.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 45.
24 CONTINUED: (2) 24
Wade grows upset as the mother counts out hard-earned CASH.
The boy reaches for a BOX filled with CHUPACHUPS (lollipops).
The nurse scolds:
NURSE (CONT’D)
Chupachups cuestan extra!
WADE (O.S.)
(angry)
Hey!
The nurse looks coldly at Wade. He stares back, eyes hard,
then gets up and lays a crumpled dollar on the counter.
WADE (CONT’D)
(ice cold)
It’s on me.
The nurse blinks, then stands, checking a CHART.
NURSE
Señor... Abe Solomon?
ABE and his WIFE get up. The nurse motions for Mrs. Solomon
to stay in the waiting room.
ABE
(to Wade and Vanessa)
Handsome couple. Good luck to you two.
Abe drops his WORRY BEADS. Wade bends to retrieve them, then
stands with effort and gently hands them to Abe.
WADE
Good luck to you, Pops.
Wade sits back down, and his eyes find the LITTLE BOY: his
SUNKEN EYES. His MISSING HAIR. His LOLLIPOP, CLUTCHED like
the richest treasure.
Wade turns to look at Vanessa, who’s also staring at the boy.
Even though Vanessa is healthy, she, too, looks sick. No
makeup. Dirty hair. Dark circles under her eyes. When she
looks at Wade, it’s clear she, not he, most needs comfort.
Wade pulls Vanessa close and strokes her hair with a
trembling hand. Abe disappears. Wade watches with a newly
dark look of suspicion.
Deadpool Final Shooting Script 11/16/15 46.
Scene 17 - Murderous Past
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 7
ABE lies shirtless on an UNSANITARY operating table, a tray
of RUSTY surgical KNIVES nearby.
A MAN with a pock-marked face stands over him in a white lab
coat with blue-stitched cursive writing: ‘Dr. Delgado.’
DOCTOR
Buenos días, Señor Abe.
‘Doctor’ Delgado pokes and prods with his fingers, as if
Abe’s mid-section is Play-Doh.
DOCTOR (CONT’D)
Voy a llegar dentro de tu cuerpo.
ABE
I’m sorry. No hablo español, doc.
The doctor’s other hand dips below the table, comes up
dripping with something bloody. He kneeds at wrinkled skin
smearing the CHICKEN BLOOD across Abe’s flesh.
DOCTOR
De que se cure! Señor Abe, you are
cured.
The doctor holds SMELLING SALTS under Abe’s nose. His closed
eyes jerk open to see the doctor’s gloved hand CLUTCHING a
huge, bloody ‘TUMOR.’
Abe pushes himself up, peers down at his bloody abdomen with
awe. The doctor wipes the blood away and helps him up.
ABE
(tearing up)
Thank you. I owe you my life.
As Abe shuffles out, the doctor turns away to dump the
‘tumor’ in the trash and wash his bloody hands in a basin.
DOCTOR
(over his shoulder)
¡Proximo! Next!
WADE (O.S.)
Already here, hombre.
Dr. Delgado nearly JUMPS at the sight of WADE, already
standing in the OPEN DOOR of the room, looking DANGEROUS.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 47.
25 CONTINUED: 25
DOCTOR
So sorry, you surprise me. How...
long... you standing there, Señor?
Wade walks slowly TOWARD the doctor, who steps out nervously
from BEHIND his table. The two stand face-to-face. Wade
smiles... angles his foot UNDER the OPERATING TABLE...
...and uses it to SLIDE something out from underneath the
table: a BUCKET of BLOODY CHICKEN GIZZARDS that double as
removed ‘tumors.’ Wade’s RAGE seems to grow by the INSTANT.
WADE
Long enough...
Delgado senses he is suddenly in danger, picks up a rusty
SCALPEL from his tray. Wade moves toward him. Delgado
LUNGES, He STABS WADE in the shoulder, then RUNS.
Wade TACKLES him. In Wade’s weakened state, the fight
becomes an intense STRUGGLE. The two FALL and WRESTLE. The
BUCKET of GIZZARDS overturns. They roll around in slop.
The doctor squirms out of Wade’s grasp and crawls into the
hallway. Wade wriggles after him, tugging at his ankle.
26 INT. WAITING ROOM / HALLWAY - SUNSET - PAST 26
The MUZAC still plays. VANESSA smiles warmly/sadly at the
little BOY, who is unwrapping his CHUPACHUP.
Suddenly... a SCREAM and cries for help in Spanish. The
NURSE and an ALARMED VANESSA rush toward the shouting.
27 INT. HALLWAY - SUNSET - PAST 27
At last, WADE’s fury has overcome his physical weakness. He
straddles the DOCTOR’s CHEST. His expression is that of a
man who’s LOSING his SHIT.
Wade RAISES THE SCALPEL, SLASHES at the doctor’s throat, then
STABS him in the heart. The doctor writhes, spasms, gurgles,
and falls still.
Chest heaving, Wade raises his head to see... at the FAR END
of the HALL:
VANESSA - frozen, TERRIFIED. A blood-soaked Wade locks eyes
with her and swims back up into SANITY... ‘What have I done?’
This is a horrific glimpse into Wade’s murderous past...
...and the look on Vanessa’s face is one of HORROR and PAIN.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 48.
27 CONTINUED: 27
Awash in shame, Wade staggers to his feet, slips on chicken
blood, and LUNGES in the other direction. He hits the door
at the end of the hall at a RUN.
28 STAB! 28
The sword, covered in BLOOD, penetrates the crayon drawing of
the recruiter on DEADPOOL’s CORKBOARD.
DEADPOOL
Thank you, Agent Smith.
Deadpool lasers in on AJAX’s picture at the top of the
pyramid.
29 EXT. GUADALAJARA STREET - SUNSET - PAST 29
WADE leans against a wall, gasping for breath. He looks back
toward her voice, face a mask of pain. Instead of seeking
her... he melts into the busy street.
30 EXT. DEADPOOL’S LAIR - DAY 30
DEADPOOL trudges to his FRONT DOOR. He speaks to the
AUDIENCE:
DEADPOOL
Some kind of anger can’t be managed.
Like the kind where your year-long plan
ends with the wrong guy getting
dismembered! That said... when it comes
time to licking wounds... there’s no
place like home, and I share that home
with someone you met, the old blind lady
from the laundromat, Al. She’s like
Robin to my Batman. Except she’s old.
And black. And blind.
POPS INSIDE
DEADPOOL (V.O.)
And I think she loves me. Wait... pretty
sure Robin loves Batman, too.
Scene 18 - The Transformation
- Overall: 10.0
- Concept: 8
- Plot: 9
- Characters: 10
- Dialogue: 7
WADE, ghastly, nearing death, lies BACK onto a STRETCHER,
covered only by a FLIMSY HOSPITAL GOWN. He’s being wheeled
down a dim corridor by two tough-looking ORDERLIES.
In one hand, he holds the recruiter’s crumpled BUSINESS CARD.
In the other, he clutches the limited edition VOLTRON RING,
as tight as his shaky hand allows.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 49.
31 CONTINUED: 31
They turn a corner and push through a pair of double doors
into a cavernous room. Wade looks around, full of hope for a
new life. Immediately, every single thing he sees/hears
begins to erode his confidence. The RECRUITER stands just
inside the doors, smiling.
RECRUITER (O.S.)
Mr. Wilson! Nothing warms my heart like
a change of someone else’s.
Walking into Wade’s P.O.V. is the creepy RECRUITER. He beams
down on Wade.
RECRUITER (CONT’D)
You finally hit ‘fuck-it.’
WADE
Worse. Just promise you’ll do right by
me. So I can do right by someone else.
RECRUITER
Of course.
WADE
Oh, and please don't make my super suit
green. Or animated.
RECRUITER
I hope you enjoy your stay.
The ‘Workshop,’ as this old warehouse is affectionately
called, has been converted into a working LABORATORY.
Wade is wheeled through a vast room containing rows of
individual ‘tents,’ each containing a SUBJECT. Wade’s eyes
DART to helpless SILHOUETTES.
We hear WHISPERS, WHIMPERS, MOANS.
A FELLOW PATIENT, a pathetic, terrified little man named
CUNNINGHAM, is wheeled past Wade, restrained on another
STRETCHER. Cunningham briefly locks eyes with Wade, but
quickly moves on by.
Wade can’t help but be alarmed by the TERROR in Cunningham’s
eyes.
The tents are illuminated by BLINDING overhead lights. Wade
spies GRUESOMELY INTIMIDATING MEDICAL EQUIPMENT.
Wade is wheeled into the tent that’s his new home. The
FIGURE who was pushing Wade DUMPS him onto a CHROME OPERATING
TABLE and roughly STRAPS him down.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 50.
31 CONTINUED: (2) 31
WADE
Um. My first request? A warmer table.
(shivers)
And warmer hands.
Wade DOUBLE-TAKES at the sight of the figure above him:
ANGEL DUST - thirties, female, tall, sexy, athletic - an
Amazonian warrior in another age.
Angel Dust wheels over a high-tech I.V. DRIP, complete with
glass cylindrical tanks housing a glowing, viscous LIQUID.
Then she roughly straps Wade’s NECK to the table. Wade
nearly GASPS, the color now officially drained from his face.
WADE (CONT’D)
Easy! Aren’t you a little strong for a
lady? I’m calling wang.
ANGEL DUST
You’d like that, huh. Welcome to our
little hospital.
WADE
It doesn’t look like a hospital. It
looks like Chlamydia holding still.
An UNLIT MATCHSTICK protrudes from Angel Dust’s teeth - her
idea of a TOOTHPICK.
WADE (CONT’D)
Oral fixation?
ANGEL DUST
Shut. The fuck. Up.
Angel Dust places a FINGER on Wade’s FOREHEAD and SHOVES his
head back against the table - BANG - pinning it there.
AJAX (O.S.)
Patience, Angel. All in good time.
Enter AJAX, whom we know as the PRISONER from the RAFT with
whom we’ve seen Deadpool tangle in the PRESENT. This is the
first Ajax and Wade have met.
WADE
Can I expect turndown serv-?
Ajax nods to Angel Dust. BOOM! She GAGS Wade with SURGICAL
TUBING, then wraps it around the TABLE, immobilizing his
head.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 51.
31 CONTINUED: (3) 31
AJAX
You’re a talker.
Wade’s eyes are wider than ever. WTF?
AJAX (CONT’D)
(disarmingly matter-of-fact)
Mr. Wilson, my name is Ajax. I manage
the Workshop. My ‘welcome’ speech used
to be full of euphemisms like ‘You may
feel some discomfort.’ But I’ve grown
blunt.
Ajax unsheathes an I.V. NEEDLE. Angel Dust up-tilts the
table 45 degrees, then readies a holographic monitor.
AJAX (CONT’D)
The Workshop is not a government program.
It’s a private institution tasked with
turning reclamation projects like
yourself into men of extraordinary
abilities. I’m about to remake your
life. But if you think cancer cures
painlessly, you’re wrong. If you think
super-human powers are acquired
painlessly, you’re wrong.
Ajax touches Wade with the I.V. NEEDLE, pressing here and
there, not QUITE hard enough to break skin. At last, he
locates the subclavian vein. Wade flinches.
AJAX (CONT’D)
We’re injecting you with a serum that
activates mutant genes. For it to work,
we need to subject you to extreme stress.
The liquid glows FLUORESCENT through Wade’s white skin as it
pumps into the pulmonary highway.
AJAX (CONT’D)
You’ve heard the whole make-an-omelette,
break-some-eggs bit?
(Wade blinks)
I’m about to hurt you, Wade. The kind of
hurt I can’t describe and you can’t
prepare for. It’s cruel stuff. And
there’s no way out for you. No secret
you can tell me. No soft spot in me to
appeal to.
Wade stares at them in shock.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 52.
31 CONTINUED: (4) 31
ANGEL DUST
What, you expected Weapon X?
Ajax starts to TURN AWAY, but stops.
AJAX
One more thing. What’s the ad? ‘I’m not
just the president. I’m a client?’ I’ve
been through this procedure myself. It
made me stronger. It also scorched my
nerve endings. So I no longer feel pain.
In fact...
(smiles)
I no longer feel anything.
Wade reacts by SAYING something - made UNINTELLIGIBLE by the
surgical tubing. Ajax nods to Angel Dust, who slices the
SURGICAL TUBING, SNAPPING it away and FREEING Wade to TALK.
WADE
Something in your teeth.
Ajax smiles WITHOUT opening his mouth, signals Angel Dust.
She slams Wade’s head back again as he turns to leave.
Before he exits, Ajax hesitates, can’t help but check his
teeth in one of the surgical mirrors.
WADE (O.S.) (CONT’D)
Made you look! Hey, is Ajax your real
name? ‘Cause it sounds suspiciously made
up. What’s it really? Steve? Mark?
Trevor? Kyle?
(E.T. voice)
Elliot?
We hear LAUGHS from nearby tents. Wade is now playing for an
audience.
AJAX
Joke away. The one thing that never
survives this place is a sense of humor.
WADE
We’ll see!
AJAX
(to Angel Dust)
All yours.
We re-take WADE’S P.O.V. as Angel Dust, chewing her
matchstick, re-enters frame above him, smiles, then punches
him in the face. Black.
Deadpool Final Shooting Script 11/16/15 53.
Scene 19 - Mutant Treatment Montage
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
A MONTAGE of Wade’s treatments in the Workshop, set to the
notes of JOHN DENVER’s inspirational classic, ‘I WANT TO
LIVE.’ Juxtaposed with HARROWING VIGNETTES of Angel Dust and
AJAX experimenting on WADE...
...as he GASPS, CLAWS, SCREAMS BLOODY MURDER.
Wade is DUNKED into thick, molasses-like LIQUID. PULLED and
YANKED, POKED and PRODDED by contraptions that would have
shamed the Spanish Inquisition.
SAWED. COMPRESSED. SLICED. DICED. SLAP-CHOPPED. BLED.
LONG SYRINGES PLUNGE DEEP INTO SOFT TISSUE.
SCALPELS MAKE LONG INCISIONS.
ENDOSCOPIC CAMERAS TRAVEL THROUGH THE BODY, REVEALING THE
DIRTY WORK OF INVASIVE SURGICAL EQUIPMENT.
STAPLE-GUNS DRIVE STAPLES INTO SLICED SKIN TO PULL IT BACK
TOGETHER.
MINIATURE CIRCULAR SAWS SLICE THROUGH BONE.
IV’s PULL FLUIDS FROM THE BODY AND INSERT OTHER FLUIDS IN.
JOHN DENVER
I want to share what I can give. I want
to be... I want to live!
We also see SHORT, ULTRA-FAST MINI-MONTAGES of medical
instruments, implying the PASSAGE of TIME.
32AA INT. WORKSHOP - MONTAGE - NIGHT 32AA
Over images of:
INJECTION:
AJAX (V.O.)
The serum I’m injecting you with targets
any mutant genes lurking in your DNA.
TORTURE:
AJAX (V.O.)
Adrenaline acts as a catalyst for the
serum, so we must subject you to extreme
stress.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 54.
32AA CONTINUED: 32AA
AJAX (V.O.)
If you’re lucky, the mutant genes will
activate and manifest in spectacular
fashion.
AJAX (V.O.)
If not, we’ll have no choice but to keep
hurting you in new and different ways.
Each more painful than the last.
32AA INT. WORKSHOP - DAY 32AA
AJAX
Until you finally mutate. Or die.
Scene 20 - Mutant Gene Activation
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
At last, Wade is laid back down on his table, only now in
QUIET DARKNESS, MEEK, WITHOUT ANY RESISTANCE whatever.
CUNNINGHAM (O.S.)
Puppies.
In the tent NEXT to Wade, CUNNINGHAM holds up his FIST to the
fabric. Wade can see it through the cloth in SILHOUETTE.
CUNNINGHAM (CONT’D)
It helps picturing puppies.
Wade gives Cunningham a KNUCKLE BUMP through the fabric.
WADE
Puppies.
CUNNINGHAM
Or kittens. If you swing that way.
WADE
(chuckles)
I swing both ways.
Wade swallows hard, grows serious:
WADE (CONT’D)
But me, I’ve been making a list of things
I still plan to do.
CUNNINGHAM
A bucket list?
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 55.
33 CONTINUED: 33
WADE
I prefer fuck-it list: Naked tandem base-
jumping with the WNBA’s Sacramento
Monarchs... Sparking up a spliff with the
Olympic torch...
CUNNINGHAM
Finishing my Lego Millenium Falcon...
WADE
Giving Meredith Baxter Birney a dutch
oven...
CUNNINGHAM
Making my kids banana pancakes...
AJAX (O.S.)
With the mouse ears? Creative, and
delicious.
AJAX and ANGEL DUST enter CUNNINGHAM’s tent and begin
prepping him for a fresh round of torture.
AJAX (CONT’D)
It’s OK, I encourage distractions. Can’t
have you giving up on us, can we now, you
little worm?
Suddenly, a VOICE calls out from the adjacent tent:
WADE (O.S.)
Don’t take that shit, Cunningham! How
tough can he be? Name like Francis.
Ajax is very subtly SURPRISED. WHAT did Wade just say? WADE
is still strapped down inside. Talking nice and LOUD:
WADE (CONT’D)
That’s right! He got ‘Ajax’ off a dish-
washing liquid!
(laughs from nearby tents)
Legal name’s Francis. F-R-A-N-C-I-oops.
Ajax has ENTERED Wade’s tent. Ajax’s expression tells us all
we need to know about the validity of Wade’s claim.
With as much freedom of motion as he has in one hand, Wade
WAVES a STUB of PAPER at Francis.
WADE (CONT’D)
Dry-cleaning tag, Francis. Snagged it
off your lab coat.
(beat)
(MORE)
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 56.
33 CONTINUED: (2) 33
WADE (CONT’D)
FYI. I may be able to get you the super-
hero discount.
CLOSE-UP on the tag, which reads ‘FREEMAN, FRANCIS.’
Ajax stares hard at Wade with menacing eyes.
AJAX
You are so relentlessly annoying. Shut
the fuck up, or I’ll sew that pretty
mouth shut.
WADE
Uh, I wouldn’t do that. Here’s the
problem with round-the-clock torture.
You can’t really step it up from there.
AJAX
Is that what you think?
WADE
Yeah. Francis. That’s what I think.
34 OMITTED 34
V35 EXT/INT. MONTAGE - VARIOUS V35
Scene 21 - Mutant Gene Activation Torture
- Overall: 9.0
- Concept: 10
- Plot: 9
- Characters: 8
- Dialogue: 7
Two ORDERLIES and ANGEL DUST finish strapping Wade down and
attaching ELECTRODES to his head and chest. Wade is BOUND to
a HOSPITAL BED that’s ENCASED in a large CAPSULE of
PLEXIGLAS.
The top half of the capsule is hinged to one side, OPEN,
allowing Angel Dust access to Wade.
Ajax sits eating a meal from some Tupperware in a nearby
chair.
AJAX
Seems your genes are as stubborn as you.
But we can still increase your suffering.
We don’t even have a name for this next
toy.
Various WIRES and TUBES run out of the capsule, connected to
OXYGEN TANKS, DIALS, and a MONITOR tracking BRAIN and HEART.
AJAX (CONT’D)
We reduce the oxygen in the air to the
exact point you feel like you’re
suffocating.
(MORE)
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 57.
35 CONTINUED: 35
AJAX (CONT’D)
If you start to pass out, and your brain
waves slow, we turn up the O2. If you
catch your breath, and your heart rate
slows, we turn it back down. And we
leave you. Right. There.
WADE
Um. What?
AJAX
Waterboarding is the most severe stress
known to man. This device prolongs that
stress. For hours, days, weeks...
Angel Dust chews her match and TAPS the capsule with a
FINGER.
ANGEL DUST
Or if you keep yapping, years...
WADE
And I thought you were dicks before
this.
AJAX
The saddest part? You still think we’re
making you a super-hero. You.
Dishonorable discharge. Beating up pizza
guys. Hip deep in hookers. You’re
nothing. I’d call you an asshole, but
I’d have to answer to assholes. Little
secret, Wade. The Workshop doesn’t make
super-heroes. It makes super-slaves.
We’re gonna fit you for a control collar
and auction you to the highest bidder.
(finishes meal, gets up)
Who knows what they’ll force you to do.
Put down freedom fighters. Murder
innocents. Or maybe just mow a lawn or
two.
ANGEL DUST
There’s a brave face.
Ajax goes to close the lid.
WADE
Seriously. Now you do have something in
your teeth.
AJAX
Enjoy the weekend!
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 58.
35 CONTINUED: (2) 35
Ajax swings the capsule CLOSED and LOCKS it. The sound leaks
away until all that’s left is a HISSING SOUND as AJAX hits
BUTTONS to lower O2 LEVELS.
Wade’s voice drops out as his breathing suddenly grows SHORT
and SHALLOW. The oxygen dials fall. His HEART-RATE SOARS.
ANGEL DUST
(chuckles)
He looks like a turd in a punch-bowl.
AJAX
(bright idea)
The ‘Punch-Bowl!’
Wade fights off panic. His breaths become desperate GASPS.
There’s not enough air to talk, or even SCREAM.
DISSOLVE TO:
Scene 22 - Mutant Gene Activation and Torture
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 6
Night. Eerily DARK, SILENT.
An extreme CLOSE-UP of Wade’s hand, nails clenched into the
surface of whatever he’s lying on. Is his skin... actually
BUBBLING?
Two MEN enter the tent and stand over the PUNCH-BOWL.
CLICK. One of the men turns on a surgical light overhead,
revealing himself to be a KINDLY-looking DOCTOR, avuncular,
thick glasses. Next to him is an ORDERLY. The doctor peers
through the Punch-Bowl’s lid. He is SURPRISED by what he
sees. He nods to the orderly: ‘Go on, hurry.’
The orderly quickly unlocks and unlatches the lid, then
swings it OPEN. Air RUSHES INTO the PUNCH-BOWL. The orderly
steps away, leaving the doctor alone in the room.
WADE, hidden in darkness, gasps as though surfacing after
being held underwater.
The doctor casts a SHADOW over WADE’s face inside. The
doctor is FASCINATED, ENLIVENED.
DOCTOR
Mr. Wilson... these results are
remarkable.
Wade takes deep LUNGS-FUL of AIR.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 59.
35A CONTINUED: 35A
DOCTOR (CONT’D)
Your cancer cells are more aggressive
than ever. Dividing and metastasizing at
a fantastic rate.
WADE
(broken, breathless)
Yippee.
DOCTOR
But... the cells have inalterably
changed. They’re no longer destructive,
but productive, selectively targeting and
replacing damaged tissue.
WADE
That was a lot of... what’s the word...
syllables. Are you saying I’m better?
DOCTOR
Better than better. A miracle.
WADE
(weak smile)
My Mom used to call me that.
(ALT:)
Me and Jesus.
(beat, to doctor)
Thank you. I owe you my life.
Wade grows choked up. The doctor is taken with empathy and
affection. He tenderly brushes the hair off Wade’s forehead,
of which the camera catches the tiniest glimpse. Wade’s skin
is not RIGHT somehow.
DOCTOR
There. There. Your journey’s been long
and difficult. But you’ve become
something extraordinary. Just rest now.
Rest.
The doctor slowly exits. Wade lies there. Actually relaxes.
DEADPOOL (V.O.)
Then, just when I thought I could breathe
easy...
Who appears over the PUNCH-BOWL but...
...AJAX.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 60.
35A CONTINUED: (2) 35A
AJAX
Oo. Someone lost his shot at homecoming
king.
WADE
You f-fucking sadistic-
AJAX
No. Not fair. Everything I’ve done to
you has been in your best interest. Even
this next bit. You may be cured, but you
still need to learn to be a better man.
Polite. Respectful. What better way to
teach you than to close this lid... and
keep torturing you stupid.
Ajax SLAMS the lid shut, LATCHES and LOCKS it. The hissing
resumes. Wade’s eyes grow wide. He starts to slip-slide
toward absolute ANGUISH.
DEADPOOL (V.O.)
If you think I’m losing my marbles ‘cause
I can’t breathe. You’re only half right.
Ajax appears to be looking in at Wade. But we RACK FOCUS to
reveal he’s looking at his REFLECTION in the Plexiglas lid,
checking for stuff between his teeth.
DEADPOOL (V.O.)
See, if Francis was able to see his
reflection...
The camera SWINGS around to Wade’s POINT-OF-VIEW of Ajax
through the glass lid, which has been newly ILLUMINATED by
the surgical light above...
...and then RACKS FOCUS to WADE’s REFLECTED FACE. Covered
with HORRIFIC SCARS. Wade is no longer a handsome young man.
He is a monster. Which is perfectly visible to him one foot
away.
DEADPOOL (V.O.)
You know what they say. You always
remember your first time.
Wade throws back his head in a SILENT SCREAM.
DEADPOOL (V.O.)
Even 5 years later...
Deadpool Final Shooting Script 11/16/15 61.
36 EXT./INT. SCRAP-YARD / GROUND - DAY - PRESENT 36
Back in the PRESENT, we find ourselves in a huge SCRAP-YARD,
where various ships, planes, etc. are sold for scrap iron.
Among various vehicles is an OLD, BATTERED COMBAT CARRIER,
long given up for dead.
A heavy truck navigates through the heaps of scrap-metal and
grinds to a stop in front of the carrier.
Two heavyset MEN climb down and head toward the back of the
truck, heave the heavy door open.
AJAX and ANGEL DUST stand just inside, boxes and gear piled
up behind them. They hop down as four more rough-looking men
pile out behind them.
Angel Dust drags out a WOODEN CRATE. The planks crunch as
she digs her fingers into the wood and heaves it up on one
burly shoulder as if it weighed no more than a sack of flour.
Heavy AMMO peeks through.
ANGEL DUST
Better to be the hunter than the hunted.
Ajax and Angel Dust walk across the muddy yard toward a
service elevator bolted to the rusting hulk of the carrier.
AJAX
Either I kill him, or he kills me. Let’s
put him out of our misery...
VA37 INT. GARBAGE TRUCK - DAY VA37
DEADPOOL lays horizontal. He is speaking to the AUDIENCE:
DEADPOOL
There... all caught up.
He CLIMBS up and out of the GARBAGE TRUCK.
DEADPOOL (CONT’D)
(yells to driver)
Thanks for the lift! Apologies if I bled
in the recyclables.
Scene 23 - Mutant Gene Activation
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 10
- Dialogue: 5
A mid-city DUPLEX. Borderline ghetto. Semi-furnished,
‘first apartment’ quality: futons and torchiere lamps.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 62.
37 CONTINUED: 37
Stained carpet, currently being swept by a roaming ROOMBA.
IKEA... everywhere.
The same old AFRICAN-AMERICAN WOMAN we glimpsed early in the
movie - late 70’s - purple floral dress - sits on a ratty
couch, where the typical old woman might KNIT.
Instead, this old woman uses a BOX-CUTTER to lay waste to a
BIG CARDBOARD BOX from IKEA - the ‘IVAR SHELVING UNIT.’
She lays out its components and tools on a wobbly IKEA NORNAS
COFFEE TABLE...
...made more difficult by the fact that she is completely
BLIND. This is Deadpool’s roommate, BLIND AL.
Suddenly, Blind Al’s KEEN EAR picks up a faint, distant
KNOCKING. She cocks her head to LISTEN.
38 EXT. DEADPOOL’S LAIR - DAY - PRESENT 38
ANGLE ON THE FRONT YARD:
Dirt. No grass. ‘93 Chevy Avon up on BLOCKS. An exhausted
DEADPOOL is slumped against his own front door, red suit, no
mask, no right HAND. He is KNOCKING weakly on the door with
the SIDE of his HEAD.
Scene 24 - Torture and Tension
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 10
- Dialogue: 8
ANGLE ON THE LIVING ROOM:
BLIND AL stands up in comfy creme nursing shoes. Grabs her
red-tipped CANE. And shuffles toward the front door...
...when she is TRIPPED by the ROOMBA. She FACE-PLANTS.
DEADPOOL (O.S.)
(from outside)
Let’s get ready to Rooooooomba!
BLIND AL
(under breath)
Ass-hat.
Al SWINGS her cane angrily, again and again, trying to hit
the robotic vacuum, which moves happily just out of reach.
She reaches her knees and stretches for the door when...
...DEADPOOL SPRINGS it open from outside, SLAMMING it into
her HEAD. Blind Al goes down again.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 63.
39 CONTINUED: 39
DEADPOOL
Morning, roomie!
(sniffs)
This place reeks like old lady pants.
BLIND AL
(still supine)
Yes. I’m old. I wear pants.
DEADPOOL
But you’re no lady.
Blind Al struggles to a sitting position. Deadpool walks
past her in his socks, drops his muddy BOOTS to the floor and
slips into a pair of POWDER-BLUE CROCS parked just inside the
door.
DEADPOOL (CONT’D)
So comfy.
BLIND AL
Upside of being blind: I’ve never seen
you in Crocs.
DEADPOOL
You mean my big rubber masturbatin’
shoes?
BLIND AL
Yes I know. Downside of being blind: I
hear everything in this duplex.
Deadpool walks bitterly past one wall of the DUPLEX, which is
COVERED - WALL-to-WALL, FLOOR-to-CEILING, with CHRISTMAS
ADVENT CALENDARS.
Tons of ornaments/candies/etc. adorn the calendars. There’s
not ONE CALENDAR left uncovered.
DEADPOOL
One-thousand eight-hundred twenty-two
ornaments pinned to two-hundred-sixty
calendars. All for a ‘Christmas’ that...
never... came!
BLIND AL
Too much naughty, too little nice.
DEADPOOL
Sit on a stick.
DEADPOOL SPLAYS OUT on a white futon, MOANING, nursing his
horrifying wound.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 64.
39 CONTINUED: (2) 39
BLIND AL
Bactine?
DEADPOOL
(dripping sarcasm)
Yeah. Bactine should do it. How’s the
Kullen coming? IKEA doesn’t assemble
itself.
Blind Al sits back on the ratty couch and begins applying the
finishing touches to the shelving unit.
BLIND AL
You’re telling me. I don’t mind the
Kullen. It’s an improvement on the
Hurdal.
DEADPOOL
Anything’s an improvement on the Hurdal.
I’d have taken a Hemnes... or even a
Trysil... over the Hurdal. But I didn’t
get excited ‘til I saw the Kullen.
BLIND AL
Screw please.
DEADPOOL
Here? Now? Just kidding. I know it’s
been decades for you.
BLIND AL
You’d be surprised.
DEADPOOL
And totally grossed out!
Blind Al turns the final screw, beyond unenthusiastic.
BLIND AL
Ta. Dah.
The dresser look like the Leaning Tower of Piza in shitty
particle board. Deadpool TOSSES a DIRTY MAGAZINE on top.
The Kullen COLLAPSES.
BLIND AL (CONT’D)
I wish I’d never heard of Craig’s List.
DEADPOOL
And I quote: ‘Looking for roommate.
Blind to life’s imperfections. Must be
good with hands.’ Or wouldya rather I
build IKEA and you pay rent?
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 65.
39 CONTINUED: (3) 39
BLIND AL
Why such a douche this morning?
DEADPOOL
Let’s recap. That cock-thistle who
turned me into this freak... the one I’ve
been waiting five years for... slipped
through my arms today. Arm.
Deadpool holds up his previously severed arm, which now has
a little tweenage ARM emerging off it. Yes. Deadpool can
GROW BACK LIMBS.
DEADPOOL (CONT’D)
Catching him was my only chance to be hot
again. Get my super-sexy ex back. And
stop the same shit from happening to
anyone else. So yeah, things are pretty
fucking scrumptious.
Deadpool stands. Walks behind the couch, and as he passes
the back of Blind Al’s head... FARTS.
DEADPOOL (CONT’D)
Hash-tag Drive-by.
BLIND AL
(to herself)
I’m gonna find this ‘Craig.’ And I’m
gonna kill him.
DEADPOOL
Once I’ve got the cure, I’m gonna do the
same to Francis...
RS40 INT. WORKSHOP TENT - LATER RS40
WADE, newly scarred, hidden in darkness, continues to GASP as
though being held underwater. Then the lid on the punch-bowl
SLIDES BACK, revealing AJAX. Wade takes deep LUNGS-FUL of
AIR. Ajax leans in for a closer look.
AJAX
Bloody hell. Someone lost his shot at
homecoming king.
WADE
(can barely speak)
What have you done to me?!
AJAX
You give me too much credit. This...
this is the result of your genes.
(MORE)
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 66.
RS40 CONTINUED: RS40
AJAX (CONT'D)
The punch bowl merely raised your stress
to trigger the mutation.
WADE
You... sadistic... fuck!
AJAX
Where's the gratitude?! You’re cured!
Your mutated cells can heal anything.
They’re attacking the cancer as fast as
it can form. Your insides are a war
zone. Not to mention your outsides!
Wade looks stunned as he struggles to process all this
information. Ajax smiles down.
AJAX (CONT’D)
I’ve seen similar side-effects before. I
could cure them for you. But really,
where’s the fun in that?
Wade says nothing, hating him but wanting to believe.
AJAX (CONT’D)
I’m going to close this lid again. Maybe
you no longer need it. But I do.
For a long moment, Wade stares intensely at Ajax and sees...
nothing, a black hole of empathy. And he knows this is a man
who will never stop hurting him.
***NOTE: We will not be reshooting the rest of the scene
below with the exception of the final shot.****
So he turns his gaze to the ceiling and WITHDRAWS into
himself... the one place the cruelty can no longer reach him.
Angel Dust enters, chewing on her usual matchstick.
AJAX
He’s all yours.
Angel leans over the Punch-bowl, starts to undo Wade’s
restraints.
ANGEL
You smell like shit.
When Angel Dust leans close to Wade’s head he suddenly comes
alive and uses the strength he has left to HEAD-BUTT her in
the FOREHEAD.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 67.
CONTINUED:
AJAX
(impressed)
Whoa.
Angel advances toward Wade. Ajax stops her.
AJAX (CONT’D)
Hey, hey, alright. It’s alright. I
think he earned that one, yeah? You take
off. Go on... off you go.
As Angel Dust EXITS the tent, she reaches to her mouth for
her matchstick... only it’s not there. She frowns, fishes
another match from her pocket, and tucks it between her lips.
Ajax finishes strapping Wade back down and goes to close the
lid.
AJAX (CONT’D)
One question. What’s my name?
Wade remains listless, mouth SHUT. BLINKS.
AJAX (CONT’D)
Didn’t think so.
Ajax CLOSES and LOCKS the lid. HISS. The oxygen DIALS FALL.
DEADPOOL (V.O.)
Sorry, Francis. But my lips are sealed.
And then we’re inside the punch bowl with Wade as the oxygen
levels drop and the suffering rises. Through a fog of misery
Wade sees Ajax staring down, watching him, drinking in his
pain.
Scene 25 - Mutant Gene Activation and a Fiery Escape
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
Back in the Punch-Bowl, Wade OPENS his MOUTH... within which
he was HIDING a SINGLE MATCHSTICK, clenched carefully - dryly
- between his teeth.
He inhales... then SPITS OUT the match into his waiting PALM.
Finally, he STRIKES it against the side of the Punch Bowl.
Wade aims the now FLAMING match toward the tiny HOLE through
which OXYGEN flows. The match is quickly burning down. Will
it reach the hole before it snuffs out?
At the last possible moment...
...the flame COMBUSTS the stream of oxygen, IGNITING it...
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 68.
41 CONTINUED: 41
...back through the TRANSPARENT PLASTIC TUBE that trails
outside the Punch-Bowl.
The flame SNAKES through the tube, this way and that, until
it reaches the OXYGEN TANK standing next to the Punch-Bowl.
A beat. Then the TANK EXPLODES.
The BLOWS APART. The hospital bed SNAPS in TWO.
Out in the ward, the FIREBALL curls outward, spreading from
TENT to TENT. BOOM! BOOM! Other flammable tanks DETONATE.
The tents GO UP like ROMAN CANDLES. It’s now MASS CHAOS.
ALARMS BLARE. Flames LEAP. Smoke BILLOWS. Patients FLEE.
A CURTAIN of FIRE suddenly DISPERSES, replaced by billowy
WHITE SMOKE from an OVER-SIZED CHROME FIRE EXTINGUISHER...
...held by AJAX, who STRIDES grimly toward Wade’s tent. He
throws back the burning fabric...
...and nearly EATS an OXYGEN TANK. He BLOCKS it at the last
moment with his FIRE EXTINGUISHER. CLANG.
On the other end of the oxygen tank, WIND-MILLING it with
unbridled FEROCITY, is WADE.
WADE and AJAX SWING the oxygen tank and fire extinguisher
like modern day CLUBS, trying to take off each other’s heads.
CLANG! BANG! BAM! The tanks COLLIDE in mid-air.
Ajax’s fingers CRUNCH between metal. He doesn’t even feel
it.
Wade grabs the HOSE of Ajax’s fire extinguisher, angles it
up, and gets his finger on the TRIGGER.
The extinguisher BLASTS. Ajax is momentarily BLINDED.
Wade brings the oxygen tank down like a LUMBERJACK’S AXE.
Ajax BLOCKS it, but is driven to his KNEES.
Wade’s eyes are lit with fire. DOWN the tank COMES, again
and AGAIN. Ajax takes his own fire extinguisher to the CHIN.
Then catches a BLOW from the oxygen TANK to his TEMPLE.
The extinguisher goes FLYING. Wade swings the OXYGEN TANK
AGAIN, but against all odds, AJAX CATCHES it and SLAMS it
back into Wade’s NOSE. CRUNCH.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 69.
41 CONTINUED: (2) 41
Ajax rises to his feet, and the two grip OPPOSITE SIDES of
the OXYGEN TANK, GRAPPLING with every ounce of strength.
Wade sweeps Ajax’s feet and he topples over backwards, Wade
on top of him. Wade lifts the heavy tank and slams it into
his face. Once. Twice. Three times. CRACK.
As he’s about to finish the job Ajax smiles, blood bubbling
from his smashed lips.
AJAX
You can’t kill me, Wade. I’m the only
one who can fix that ugly mug.
Wade looks torn as his rage gives way to something like hope.
He tosses the tank away.
WADE
Then time to make me me again.
A scream of terror behind Wade makes Wade turn.
CUNNINGHAM (O.S.)
Wade! Help! Wade!
Wade looks through the smoke and flame and spies a helpless
Cunningham lying in the flaming wreckage.
WADE
Fuck!
Wade drops Ajax and SPRINTS to Cunningham, starts dragging at
the WRECKAGE trapping him, when... SLICE! A long piece of
sheared REBAR THRUSTS CLEAN THROUGH his CHEST from BEHIND.
The force sends the spear DEEP into the wooden floor beams,
pinning Wade like an insect in an entomologist’s display.
In a grand display of strength, AJAX BENDS the end of the
rebar to keep Wade pinned... then walks around and squats
down into Wade’s eye line, wearing a triumphant sneer.
AJAX
Say it. ‘Francis.’
Blood dribbles from Wade’s mouth as he tries in vain to push
himself off the bloody spike of metal. Ajax rises, scans the
burning workshop with a scowl - clearly a lost cause - and
turns to leave.
Cunningham screams again as the flames near him. Grunting
with the pain and effort Wade tries to push himself off the
spike.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 70.
41 CONTINUED: (3) 41
His hands slip on the blood-slick metal, and he cannot free
himself. His VOLTRON RING lies on the floor next to him.
Wade and Cunningham share a last look. Cunningham clamps his
jaws shut, fighting the agony.
CREAK... CRACKLE... the ROOF COLLAPSES, BURYING BOTH OF THEM.
And we... CUT TO BLACK.
FADE UP ON:
Scene 26 - Escape from Torture
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 7
Morning’s first sunlight. WADE’s VOLTRON RING lies
COMPLETELY MELTED in the DEBRIS. The camera follows it to
Wade’s hand... then up his arm to his FACE.
WADE’s eyelids flutter, and he COMES TO. He is naked, his
hospital gown burned away. We see BLACKENED SLUDGE, SOOT,
charred remains. The melted and scorched metal rod next to
him.
Wade slowly realizes where he is and what happened. He
reaches down to his stomach wound... WHICH HAS MIRACULOUSLY
HEALED. Wade sits up, stunned.
DEADPOOL (V.O.)
I didn’t just get the cure to El Cáncer.
I got the cure to everything.
V43 EXT. CITY STREET - MORNING - PAST V43
VANESSA, tired, broken, mind seemingly elsewhere, walks
towards her apartment. She passes a loving young COUPLE, arm-
in-arm.
Vanessa clocks this sadly, continues on.
Behind her, PEOPLE walk to and fro. Among them, we REVEAL:
WADE, dressed in ill-fitting pants and a hoodie. He is a
TRAIN-WRECK, scarred face on display to the world for the
first time.
He looks purposeful, but tentative, walking behind Vanessa,
GAINING on her.
ANGLE ON: WADE’s P.O.V.
A BOY goes by on his bike, trying hard not to gape. A
TODDLER in a STROLLER looks up and BURSTS INTO TEARS. The
toddler’s MOTHER hustles past.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 71.
V43 CONTINUED: V43
MOTHER
Alex, don’t stare.
VANESSA stops and rifles through her purse for keys.
STILL on Wade’s P.O.V. Wade stops, too, suddenly paralyzed,
as the moment to face Vanessa arrives.
As he hesitates, torn with anguish, the WHISPERS seem to
grow, rising in volume until they become deafening:
WHISPER 2 (O.S.)
Oh, my, god, that is so fucking gnarly.
WHISPER 3 (O.S.)
I just lost my appetite.
Wade spins, trying to see where the voices are coming from.
Nowhere... everywhere. The WHISPERS crescendo, now more in
Wade’s mind than in reality.
He turns back to Vanessa, his face a mask of fear and pain...
just as she disappears into her apartment building. The
closing glass door reveals his own HIDEOUS REFLECTION STARING
BACK AT HIM.
DEADPOOL
In the whole wide world, there’s nothing
as ugly...
(beat)
...as fear.
He gives up on his mission, backing away from his reflection,
Vanessa, his old life. He stumbles off the curb and into the
street, when... BAM!
He is CRUSHED OUT OF FRAME by a SPEEDING BUS.
SMASH CUT TO
BLACK.
FADE UP ON:
A43 INT. MORGUE - NIGHT A43
THREE BODY BAGS lie on SLABS in a MORGUE.
Without warning, the MIDDLE bag SITS UP STRAIGHT at the
WAIST...
...then tries to CATERPILLAR its way to the edge of its
slab...
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 72.
A43 CONTINUED: A43
...but instead pitches off the slab - CRUNCH - FACE-FIRST
onto the floor.
WADE (O.S.)
Ow.
B44 INT. DEADPOOL’S LAIR - NIGHT B44
An FBI-STYLE ‘ORGANIZATIONAL CHART’ has been pinned on Wade’s
CORKBOARD in the lair. A ‘pyramid’ of baddies are linked by
strings. Each baddie is depicted not by a photograph, but a
child-like CRAYON DRAWING.
Second from the top is the RECRUITER.
At the APEX of the pyramid is AJAX HIMSELF.
DEADPOOL, in his LAIR, sews together an early ‘proto-
costume.’
We see quick cuts of pieces of it going on:
White Adidas track suit. White gloves. White boots. And
some sort of white mask...
A single gun, underarm holster, boot knife but no swords.
VC44 INT. POOL HALL - NIGHT VC44
DEADPOOL
Don’t make me ask twice. Where’s
Francis?!
DEADPOOL questions a bleeding thug, more bodies scattered
across a floor littered with broken furniture behind him.
Another thug rushes in and smashes a pool cue over Deadpool’s
skull. Deadpool snatches the broken shaft of wood and PUNCHES
it into the thugs belly.
A third thug staggers to his feet, pulls a pistol, fires
multiple shots point blank. Deadpool staggers back, blood
blossoming across his white suit.
“CLICK”
The thug stares in disbelief that Deadpool’s still standing.
Deadpool looks down at the shaft of wood in his hand.
Thinks.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 73.
VC44 CONTINUED: VC44
DEADPOOL (CONT’D)
I said, where’s... fucking... FR-
(realizes)
You made me ask twice.
Deadpool spins the bloody cue with inhuman dexterity and
starts towards the terrified thug, accidentally knocking over
a PITCHER of BLOODY MARY onto his already bloody stained
suit.
DEADPOOL (CONT’D)
Fuck. Me.
D44 INT. LAUNDROMAT - DAY D44
Scene 27 - Deadpool Tortured and Escapes
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
get the blood out of his white suit.
We get our first glimpse of BLIND AL, who’s sitting next to
Deadpool at the laundromat, completely unfazed by the
bloodbath:
BLIND AL
Seltzer water and lemon for blood.
(off Deadpool’s impressed
look, shrugs)
Or wear red.
Deadpool’s eyes light up. He crumples this suit into a ball
and tosses it into a trash bin.
E44/H44 INT. DEADPOOL’S LAIR - NIGHT E44/H44
Deadpool stabs a KNIFE into the picture of the GOON he just
killed (at the bottom of the pyramid)... right in the
FOREHEAD.
F44 INT. LAIR - NIGHT F44
DEADPOOL’s at the sewing machine again.
Quick cuts of a RED ‘proto’ outfit going on: Cheap red
sweats. Red gloves. Red converse. As yet unseen RED MASK,
which turns out to be...
VG44 INT. UNDERGROUND FIGHT - NIGHT VG44
...a RED ‘LUCHA LIBRE’ PRO WRESTLING MASK.
Deadpool stands in the shadows of a dingy basement, low
ceilings, walls stacked high with cases of liquor.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 74.
VG44 CONTINUED: VG44
In a BOXING RING at the center of the room two WOMEN pound
each other surrounded by a scrum of a CROWD. Deadpool spies
his mark in a dirty white suit pressed in tight ringside.
Deadpool pulls his mask down, wades into the crowd, throwing
men aside, PLOWING toward his target.
The mark sees Deadpool at the last second, turns as a KATANA
flashes out and skewers his hand, pinning it to the wall.
Deadpool fires a couple shots into the ceiling, sending the
rest of the crowd rushing for the exit.
DEADPOOL
Don’t make me ask twice. Where’s-
SMASH CUT TO:
J44 INT./EXT. VARIOUS LOCATIONS - INTERROGATIONS/KILLS J44
Deadpool has a goon at sword-point.
DEADPOOL
Donde esta Francisco?
THUG
I don’t speak Spanish.
DEADPOOL
(sighs)
And I don’t have time for you to learn.
Deadpool kills the thug.
DEADPOOL (CONT’D)
Take me to your leader.
(turns)
I’ve always wanted to say that.
DEADPOOL (CONT’D)
Squeal. Like a pig. Where’s Francis?
DEADPOOL
In no particular order. Where’s your
boss? And where can I find good Indian
food?
HENCHMAN
Why the red suit?
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 75.
J44 CONTINUED: J44
DEADPOOL
That’s so bad guys can’t- never mind,
they’ve already heard that.
DEADPOOL (CONT’D)
You’re about to tell me everything you
know about Francis Freeman. Known
aliases. Current whereabouts. Boxers or
briefs. Go.
DEADPOOL (CONT’D)
(forces guy’s mouth open,
goes in with knife)
Open your mouth. Here comes the
airplane!
GOON
(gun pointed at forehead, a
la Joseph Takagi)
I don’t know, I’m telling you. You’re
just going to have to kill me.
DEADPOOL
OK.
(shoots goon in head, a la
Hans Gruber, then, to
audience:)
Right?!
DEADPOOL (CONT’D)
(goon at knifepoint)
Don’t make me break out the Collective
Soul CDs.
DEADPOOL
You give me your boss. I give you the
rest of your life.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 76.
J44 CONTINUED: (2) J44
DEADPOOL
(throws woman onto table)
I don’t feel good about myself. But
where is he? I’m so sorry.
L44 EXT./INT. MONTAGE - VARIOUS L44
New COSTUME. BOOM. A MAN dies.
STAB. His picture is knifed.
BOOM. STAB.
QUESTIONS.
BOOM! STAB!
INTERROGATION.
BOOM! STAB!
DEADPOOL questions more and more thugs, each bit of
information bringing him closer....
Soon there is a FOREST of knives sticking from the board.
...and only the RECRUITER and AJAX are left.
K44/VK44 INT. RICE WORLD - NIGHT K44/VK44
A wretched room, dirty mattresses covering the floor. Dim
light scatters through a tangle of IV bags hastily strung up
over MEN too poor to have anywhere else to go and die.
The RECRUITER kneels, speaking quietly to a particularly
hardened patient. He places a card in the man’s emaciated
hand, then stands and walks toward a low doorway.
Scene 28 - Escape and Confrontation
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
bags of rice. Two heavily armed THUGS fall in beside him.
The men scan the aisles as they move toward a door leading
out into an alley.
DEADPOOL
Agent Smith!
They turn to see DEADPOOL, high atop a stack of rice bags.
DEADPOOL (CONT’D)
I know, right?! I look like a million
bucks.
(turns to camera)
(MORE)
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 77.
K44/VK44
CONTINUED: K44/VK44
DEADPOOL (CONT’D)
Literally - this suit cost Fox a million
dollars.
Without a word, the Recruiter flees, running through the big
roll-up door.
Deadpool leaps to land between the two bodyguards as they
draw their weapons and spray the room with gunfire.
One goes down in a bloody heap. Deadpool leaps toward the
other, skewers him with both swords. The thug falls
backward, dead before he hits the ground.
L44/VL44 EXT. ALLEY - NIGHT L44/VL44
DEADPOOL
Come out, come out, wherever you are!
(darkens)
Don’t make me ask tw-
(pleasantly surprised)
Good for you!
The Recruiter has stepped timidly from between overflowing
garbage bins, hands raised, eager to talk his way out of this
mess:
RECRUITER
To whom should I address my... desperate
bargaining?
DEADPOOL
Don’t recognize the voice? Maybe the
resumé: Forty-one confirmed kills. Make
that Eighty-nine. Seven the past week
alone. Same rate most folks...
(pulls out SWORD)
...get a shave.
RECRUITER
(realizes who it is, fights
to stay composed)
Mr... Wilson?
DEADPOOL
Ding-ding-ding! Now... you’re about to
tell me where I can find your boss. Or
I’m gonna make you feel worse. Wait...
Deadpool brings the sword closer to the recruiter’s face.
Turns to CAMERA:
DEADPOOL (CONT’D)
...worse than worse.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 78.
L44/VL44
CONTINUED: L44/VL44
RECRUITER
And I pride myself on being persuasive.
SMASH CUT TO:
RS44 INT. SISTER MARGARET’S - DAY - PAST RS44
WADE stands in the shadows. WEASEL sits at a table.
WADE
No... no way! I’m not making her life as
ugly as mine!
WEASEL
C’mon, you can’t look that bad! It’s
like that blemish no one notices but you.
WADE
Wrong. I’m a monster, inside and out. I
belong in a circus, the kind that rolls
around Eastern Europe in covered wagons.
WEASEL
I can’t envision a scenario where Vanessa
won’t take you ba-
(Wade steps into light,
takes off his hoodie)
-aaaaaccckkk!! Holy shit. You... are...
terrifying. You look like an avocado had
sex with an older avocado.
Wade grabs the bottle of JACK DANIELS from the table,
GUZZLES.
WEASEL (CONT’D)
We might have to move our relationship to
text and phone only.
Wade ignores Weas, slams down the bottle:
WADE
And the only guy who can fix this fugly
mug, the asshole who ran that mutant
factory, escaped to who knows where.
WEASEL
I take back the Vanessa thing. You have
only one option.
WADE
Find Francis-Go-Fuck-Himself.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 79.
RS44 CONTINUED: RS44
WEASEL
(not listening)
Star in low budget horror movies.
Seriously, you look like Freddy Krueger
face-fucked a topographical map of Utah.
WADE
(equally not listening)
I’m gonna work my way through his crew...
crushing bad guys’ skulls, ‘til one of
‘em leads me to Francis. Then I’ll force
him to cure this face. Stomp his bloody
guts into a fine vintage. And win
Vanessa back.
WEASEL
OK. Not exactly the plot of Beauty and
the Beast, but cool. Good news, that
douche thinks you’re dead. Advantage
you. He won’t think you’re coming. Bad
news, with a puss like that, you’ll be
spotted fast.
Scene 29 - Deadpool's Transformation and Montage
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 9
(derisive)
So what do you suggest? A mask?
WEASEL
Not a bad idea! You... are... haunting.
Your face is the stuff of nightmares.
WADE
(nods)
Like a testicle with teeth.
WEASEL
How ‘bout a super-suit? And a nickname!
Bitter-Boy. Super-Fist. Captain Never-
Die.
(deflates at a thought)
WADE
What?
WEASEL
Nothing. It’s just... you know, I just
realized, I’m never winning the-
Weasel looks over to Wade, sees him staring. He follows
Wade’s gaze up to the board on the wall.
WADE
Deadpool.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 80.
RS44 CONTINUED: (2) RS44
As Wade says the word, he and Weasel share a look. EUREKA.
Wade holds up the BOTTLE.
WEASEL
Deadpool. To you, Mr. Pool.
The two CLINK GLASSES.
44A INT./EXT. MONTAGE - DAY/NIGHT - PAST 44A
A highly pleased DEADPOOL holds up the-soon-to-become-famous
MASK for the first time, ushering in... a MONTAGE:
WADE, at SISTER MARGARET’s, receives a YELLOW CARD with a
Cypress Tree from WEASEL.
He turns a LUCHA LIBRE mask INSIDE OUT to reveal the classic
DEADPOOL MASK we all know and love. Puts it on. Then
dresses - piece-by-piece - in the RED UNIFORM we’ve come to
know and love. And at last, UNSHEATHES A KATANA. The sword
TWIRLS, SLASHES, LUNGES into shadow. A HANDKERCHIEF WIPES
BLOOD from the BLADE. The katana gets SHEATHED again.
The same yellow card is now RECEIVED and PUNCHED by Weasel.
Wade is paid in TWENTY DOLLAR BILLS. WHIP CREAM froths onto
a shot glass. A BLOW-JOB is TOSSED BACK.
Meanwhile, VANESSA plays SKEE-BALL wistfully by herself at
the ARCADE:
SKEE-BALLS roll into HOLES. LIGHTS FLASH. TICKETS CHURN
OUT. VANESSA catches a reflection of someone STARING at her
from across the lobby. When she spins around, the culprit is
GONE. Vanessa SHIVERS... but it’s a warm shiver, somehow.
A HEAP of TICKETS slides across the prize counter. A big
STUFFED ANIMAL slides into Vanessa’s arms. Vanessa tosses it
into an empty CLOSET inside her and Wade’s former APARTMENT.
Then stares out the SPIDER-WEB CRACK in the window.
Back at DEADPOOL’s LAIR, Deadpool places various suspicious
accoutrements on the NORNAS COFFEE TABLE: an 8x11 framed
photo of VANESSA. A BOTTLE of JERGENS. A BOX of KLEENEX.
His BELT. His powder-blue CROCS. Deadpool kicks back on the
FUTON. Smiles under his mask.
CUT TO: BLIND AL, building yet another shelving unit,
looking up with a grossed-out frown: ‘Am I hearing what I
think I’m hearing?’
Next, DEADPOOL finishes plastering hundreds of ADVENT
CALENDARS he’s purchased onto one WALL of his LAIR.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 81.
44A CONTINUED: 44A
When the wall is covered, he carefully pins the FIRST
ornament onto the FIRST tree on the FIRST calendar.
And at last, his MASK comes OFF and his HEAD hits the PILLOW.
Instantly, the montage CRANKS UP its SPEED, with quicker and
quicker EDITS.
The visual totems that have just been introduced begin to FLY
by... shorthand for the passage of time:
Yellow cards are given, received, punched.
Blades are unsheathed, sheathed, cleaned.
Whip cream sprayed. Drinks consumed.
Skee-balls rolled into holes. Tickets won. Prizes earned.
Tossed onto a EVER-GROWING PILE in the closet. VANESSA
staring out her window.
Jergens pumped. Kleenexes pulled. Crocs discarded. BLIND
AL’s ears plugged.
Ornaments are pinned to calendars. Lords a-leap. Swans a-
swim. Maids a-milk.
Mask comes off. Head hits pillow. Mask pulls on.
The images fly by FASTER... FASTER... FASTER.
Whip cream. Skee-balls. Crocs. Ornaments. Weasel.
Deadpool. Vanessa. Al.
‘I NEED A HERO’ plays faster and faster, too - higher and
higher, like a record on too many RPMs.
The effect is rhythmic... hypnotic...
...until finally, the montage REACHES a CRESCENDO.
And then BOOM! Ratchets back to REGULAR SPEED:
‘CHRISTMAS MORNING’ has arrived. All the calendars but one
are now fully studded with decorations. DEADPOOL plucks out
one last STAR to pin atop the final TREE.
Only it’s not a star at all, it’s AJAX’s MUG SHOT clipped out
from the old NEWSPAPER.
With great satisfaction, Deadpool pins the faded photo to the
last treetop. The music dies, and Deadpool turns to camera.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 82.
44A CONTINUED: (2) 44A
DEADPOOL
Santa Claus is coming...
SMASH CUT TO:
45 OMITTED 45
46 INT. DEADPOOL’S LAIR - DAY - PAST 46
DEADPOOL (O.S.)
...to town!
DEADPOOL has ONE LEG in his COSTUME and the other LEG still
stabbing for the other pants-hole.
DEADPOOL (CONT’D)
Late-late-late-late-late!
He HOPS ACROSS the hall past BLIND AL, not really paying
attention to her. We’re revisiting the moment from earlier
JUST AFTER she TRIPS on Deadpool’s DUFFEL of AMMUNITION,
PICKS it up, and DRAGS it OFF.
DEADPOOL (CONT’D)
Hurry-hurry-hurry-hurry-hurry!
BLIND AL
I hope you’re doing us the courtesy of
pants.
Scene 30 - Deadpool's Cab Ride and the Capture of a Super-Slave
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 7
DEADPOOL runs out to the street corner and WAVES.
DEADPOOL
Taxi!
A TAXI - if you’ve been paying attention, you will recognize
it - pulls up to the curb. Deadpool opens the rear door. A
WOMAN steps out, pausing to pay Dopinder.
WOMAN
Keep the change.
Deadpool frowns. The woman is pulling her money from a
BERNADETTE PETERS CHANGE PURSE. Deadpool’s eyes raise from
the purse to the woman holding it: BERNADETTE PETERS
HERSELF! Deadpool doubletakes, then shakes his head (‘Nah,
couldn’t be...’) and climbs into the cab. Who is behind the
wheel but...
DOPINDER
Where do you want to be going!
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 83.
47 CONTINUED: 47
DEADPOOL
(looks to camera)
And we all know how this turned out.
Cue Benny Hill speed...
The action goes into Benny-Hill-like HYPER-SPEED as we relive
the opening scenes of the movie: DEADPOOL’s CAB RIDE. AJAX
crumpling up his orange jumpsuit and switching places with a
motorcycle RIDER at the RAFT. The FREEWAY FIGHT with AJAX’s
GOONS. The CONFRONTATION with COLOSSUS. Until at last...
VRS48 EXT. WAREHOUSE - DAY VRS48
Transport TRUCKS idle in the loading dock.
A docile SUPER-SLAVE, fitted with a control collar and cuffs,
steps into a CRATE IDENTICAL to the ONES AJAX DELIVERED TO
THE WARLORD in ACT ONE. He lies down.
ANGEL DUST is overseeing. She plunges a pistol-grip syringe
into his neck and fires:
ANGEL DUST
For your flight.
The man’s eyelids flutter shut. Next to him, four identical
crates hold four unconscious men and women. The workshop
henchmen hammer on the tops and laboriously load them up into
the truck.
ANGEL picks up one over her shoulder with ease. She turns at
the sound of a sputtering motorcycle getting closer.
Ajax rolls in on one of the battered black bikes from the
freeway. Smoke curls from its broken tailpipe.
He steps off the bike while it’s still moving, just letting
it roll forward and tip to the ground with a clank.
AJAX (O.S.)
Quit showing off, Angel.
Angel doesn’t seem surprised by his dirty and bloodied
appearance. A raised eyebrow and a disapproving look is all
she has for her boss.
RSA48 INT. WAREHOUSE - DAY RSA48
A WAREHOUSE full of SURGICAL EQUIPMENT. OVERHEAD LAMPS.
FABRIC TENTS. CHROME TABLES, one of which Ajax sits on.
AJAX
Wade Fucking Wilson.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 84.
RSA48 CONTINUED: RSA48
ANGEL DUST stands in front of him, putting stitches into his
GORY MESS of a SHOULDER WOUND.
He doesn’t so much as FLINCH.
ANGEL DUST
Makes perfect sense.
AJAX
I suppose if I looked like him, I’d wear
a mask too.
(Angel finishes final
stitch)
Only wish I mended the same.
Ajax pops off the table. Swings his arm around, testing his
shoulder.
AJAX (CONT’D)
Not to worry. We’ll put him out of our
misery. On our terms.
ANGEL DUST
And if he heals?
AJAX
He can’t - if there’s nothing left of him
to heal. And then we go back to business
as usual.
Ajax’s hand is a blur as he plucks the MATCHSTICK from
Angel’s mouth.
AJAX (CONT’D)
What say we leave the matches at home?
Scene 31 - Deadpool talks to Blind Al
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 10
...the PAST reaches the PRESENT. REGULAR SPEED AGAIN.
DEADPOOL is sitting on his futon, Crocs on, staring at
camera.
DEADPOOL
There. All caught up.
(shifts weight, moans, lies
back on futon)
BLIND AL (O.S.)
Tylenol P.M.?
BLIND AL shuffles over from the kitchen with a cup of tea and
a bottle of Tylenol. She eases down onto the futon next to
Deadpool.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 85.
49 CONTINUED: 49
DEADPOOL
You can stick that where you stuck the
Bactine! I found my stash of wisdom-
tooth Percocet in the Storjorm, and I’m
orbiting Saturn. But I appreciate the
gesture.
Deadpool lays his head on Blind Al’s shoulder and gently rubs
her face with his KID HAND.
BLIND AL
Am I crazy, or is your hand really small?
DEADPOOL
The size of a KFC spork.
BLIND AL
Eesh. I get why you’re so pissy. But
your mood’s never gonna brighten ‘til you
find this woman you love and tell her how
you feel!
DEADPOOL
What do I keep saying, Mrs. Magoo? She
wouldn’t have me! If you could see me,
you’d understand.
BLIND AL
Love is blind, Wade.
DEADPOOL
No, you’re blind.
The ROOMBA sucks up THREE SCREWS next to an IVAR shelving
unit.
BLIND AL
What was that?
DEADPOOL
A clue why our Ivar shelving unit’s about
to fall the fuck apart.
BLIND AL
So you’re just gonna lie there and
whimper?
DEADPOOL
Just clocking time ‘til this arm plows
through puberty. I’ve got a new
Christmas Day.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 86.
49 CONTINUED: (2) 49
Deadpool throws his feet, CROCS and all, up on the coffee
table.
DEADPOOL (CONT’D)
Now, ya may want to leave the room.
(beat)
I bet it feels huge in this hand.
RS50 INT. SISTER MARGARET’S - NIGHT RS50
WEASEL is on the house phone. The bar is BUSTLING.
WEASEL
Wade, we got a problem. And by we I mean
you.
VB51 EXT. NO. 5 ORANGE - NIGHT VB51
DEADPOOL and WEASEL walk hastily, purposefully into the eye
of the storm. Deadpool is a HOT MESS.
DEADPOOL
I’m about to lose what’s left of my shit.
Is there a word for half-afraid, half-
furious?
WEASEL
Afurious? Wait, is it Monday?! They
have an amazing Matzah Ball Soup Monday.
(beat)
Never mind. Have you figured what you’re
gonna tell her?
DEADPOOL
(thinks)
Fuck.
WEASEL
It’s a start.
51A INT. ‘NO. 5 ORANGE’ STRIP CLUB - NIGHT 51A
Lights flash. Music pumps. From across the room we see WADE
and WEASEL enter. Weasel jokes with the DOORMAN while Wade
scans the crowd, searching for Vanessa.
EMCEE STAN LEE, sweatsuit, gold chains, Beats headphones,
lords from a glass cubicle:
STAN LEE
Coming onto the stage, give it up for...
Chastity!
Deadpool Final Shooting Script 11/16/15 87.
Scene 32 - Deadpool searches for Vanessa
- Overall: 8.5
- Concept: 9
- Plot: 7
- Characters: 8
- Dialogue: 9
WEASEL
Or as I like to call her, Irony!
DEADPOOL navigates through a TIGHTLY-PACKED CROWD toward the
MAIN STAGE, accompanied by WEASEL.
DEADPOOL
We gotta find her fast. Before fuck-ass.
WEASEL
How do you even know she’s here?
DEADPOOL
I come for the French Onion Soup. How do
you think? I’m constantly stalking that
fox.
Deadpool STOPS in his tracks, STARING.
DEADPOOL (V.O.)
Every time I see her is like the first
time.
REVERSE ANGLE to reveal what Deadpool is looking at: the
gorgeous backside of a COCKTAIL WAITRESS in a skimpy dress.
Back to Deadpool:
DEADPOOL (V.O.)
Even from this angle. Especially from
this angle.
Hypnotized, Deadpool puts one foot in front of the other,
approaching the waitress.
Suddenly, the WAITRESS TURNS to reveal her face: VANESSA.
Deadpool immediately CHICKENS OUT, puts his head down, turns
away from her into the press of MEN around one of the stages.
Vanessa catches the vaguest glimpse, but before she can get a
better look, Deadpool is swallowed up by the crowd.
She gets that warm shiver again... the one that says she’s
feeling an old presence.
She stares after Deadpool. It couldn’t possibly be.
Deadpool pushes past the men, almost in a panic, beating a
HASTY RETREAT toward WEASEL at the back of the room.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 88.
52 CONTINUED: 52
DEADPOOL (V.O.)
Shittiest moment numero tres.
Deadpool walks past Weasel, fleeing into the men’s room...
53 INT. MEN’S REST ROOM - CONTINUOUS 53
...and SPLASH! Washes his face at the SINK.
DEADPOOL
Lezzdothis. Before I re-reconsider.
Maximum effort.
A hand comes into frame offering a paper towel. It belongs
to a WASHROOM ATTENDANT in a tuxedo vest. Deadpool uses the
towel to wipe his face and finishes with the attendant’s
sleeve.
DEADPOOL (CONT’D)
Sorry.
(tries to dry attendant’s
sleeve with paper towel)
I get very uncomfortable around you guys.
(takes mint off counter,
then condom off counter,
then sees tip jar)
Crisp high five?
54 INT. ‘NO. 5 ORANGE’ STRIP CLUB - NIGHT 54
VANESSA sets down a tray of empty glasses. Her scum-bag of a
MANAGER gives her a heads-up:
MANAGER
Someone out back asking for you. Said
somethin’ about an old boyfriend?
55 EXT. ‘NO. 5 ORANGE’ STRIP CLUB - ALLEY - NIGHT 55
VANESSA exits the club into an ALLEY, one of Wade’s old
jackets thrown over her shoulders. One sickly street lamp
casts some light. The rest is obscured in SHADOW. Vanessa
spies the shape of a MAN hiding in the shadows.
VANESSA
I knew it was you.
Vanessa is seized by memories. She peers into the dark,
heart pounding.
VANESSA (CONT’D)
With the weird, curvy edges.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 89.
55 CONTINUED: 55
Then steps forward slowly, nervously. Overcome with emotion.
VANESSA (CONT’D)
(barely audible)
Like a jigsaw puzzle.
No one answers. Vanessa gets a bad feeling and starts to
back up.
The man steps confidently into the light. Not WADE...
...but AJAX. Vanessa spins around and runs straight into
Angel Dust, who step out of the shadows.
Vanessa make a grab for her purse, contents spilling out onto
the grimy street, but her hand comes up with a TASER. She
jams it into the flesh of Angel Dusts shoulder.
Angel Dust just smiles as electricity arcs and sizzles. Then
she grabs Vanessa’s hand and twists it away.
Vanessa THRASHES like a polecat. But Angel Dust is brutally
strong. She clamps her hand around Vanessa’s jaw and
SQUEEZES, dangling her in the air by her FACE.
AJAX
You have Wade Wilson to thank for this.
Vanessa’s eyes widen in shock and surprise.
AJAX (CONT’D)
‘The good Lord sends the fishing...
Vanessa screams mutely into Angel Dust’s palm.
AJAX (CONT’D)
...but you must dig the bait.’
56 INT. ‘NO. 5 ORANGE’ STRIP CLUB - HALLWAY - NIGHT 56
WADE pushes through the crowd to find WEASEL sitting in GYNO
ROW at the edge of the stage. He’s in the middle of slipping
a bill into a dancer’s garter.
WEASEL
Manager said she went that way.
(thumbs towards the back)
Good luck, Tiger!
DEADPOOL moves quickly down a HALL, turns a corner, and
REACHES for the knob of the door to the alley. His eyes
WIDEN as he remembers something IMPORTANT.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 90.
56 CONTINUED: 56
Deadpool reaches back and pulls up his hood to hide his
scarred FACE.
Deadpool girds himself, then OPENS the door to spy...
57 EXT. ‘NO. 5 ORANGE’ STRIP CLUB - ALLEY - NIGHT 57
...the empty alley. Deadpool spies a woman’s CLUTCH lying
alone in a pool of light, contents strewn about. He reaches
down and picks up...
...his old BERNADETTE PETERS CHANGE PURSE.
DEADPOOL
Mother-fucker best be wearing his brown
pants.
Scene 33 - Kidnapping Vanessa
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 9
AJAX and Angel Dust stand at either side of a bound and
gagged VANESSA. They are inside the metal cage of an
INDUSTRIAL ELEVATOR, going UP.
DEADPOOL (V.O.)
And... numero dos.
A bare bulb casts harsh light as they rise past a dark mass
of twisted metal. Ajax looks almost bored, hums to himself
tunelessly.
V59 EXT. FLIGHT DECK - DAY V59
AJAX explains his plan to VANESSA:
AJAX
That’s what I thought, but he keeps on
coming back. Like a Bad Jesus. But
despite all Wade’s powers, I still hold
the advantage: He feels. Too strongly
for his own good. Let’s see how he
fights with your head on the block.
VA60 EXT. X-MANSION - DAY VA60
A sign reads ‘PROFESSOR XAVIER’S SCHOOL FOR GIFTED
YOUNGSTERS.’
The sign is on the perfectly manicured front lawn of the
gorgeous Gothic X-MANSION.
Who is standing outside the front door of the mansion but
DEADPOOL, in full regalia. Deadpool raises his knuckles to
KNOCK, but is suddenly STARTLED...
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 91.
VA60 CONTINUED: VA60
...by the door SWINGING OPEN to reveal an annoyed NEGASONIC
TEENAGE WARHEAD. She’s wearing BEATS HEADPHONES.
DEADPOOL
Ripley from ‘Alien 3’!
NTW
Deadfool.
DEADPOOL
It’s like you knew I was about to knock!
(shivers, ‘creepy’)
Is that big steel dildo home?
NTW
You guys going for a bite? Early bird
special?
DEADPOOL
Like there’s something wrong with eating
before sundown. Or saving money. But
no. It’s about me saving my girl from a
bad guy, the one you two helped me lose.
You do fight bad guys?
(off NTW’s stare)
No time for hard stares, are you gonna
fetch big-shiny-balls or not? Tell him I
have an offer he can’t refuse!
NTW turns, disappears into the house.
NTW
Colossus!
From off camera, we hear loudly, excitedly, from the second
floor:
COLOSSUS (O.S.)
Is that you, Wade?! I knew you’d see
error of ways!
DEADPOOL
Yep, that’s me, seeing the error of my
ways! I just need an itty bitty favor in
return!
(turns to camera, whispers)
Fool him five times? Shame on him.
Deadpool Final Shooting Script 11/16/15 92.
60 INT. DEADPOOL’S LAIR - DAWN 60
WEASEL and DEADPOOL are going through IKEA drawers, pulling
out every GUN and GRENADE on God’s green earth and stuffing
them into a couple of Deadpool’s ‘I *HEART* HELLO KITTY’
DUFFEL BAGS.
This is Deadpool’s ARSENAL, big enough for a small army. In
go the twin DESERT EAGLES. Then Weasel dumps an entire
ARMFUL of AMMO BOXES into the duffel.
WEASEL
That’s about... three thousand shells.
A BEAT. Deadpool LOOKS AT CAMERA menacingly:
DEADPOOL
And we’ve all seen what I can do with
twelve.
BLIND AL enters, holding a STEYR AUG RIFLE.
BLIND AL
I was gonna spend tonight assembling the
Borgsjo, but this is holding my interest.
Both Deadpool and Weasel duck, afraid she might shoot them.
DEADPOOL
Careful, Ronnie Milsap, we’re down-range!
And we decided on the Orrberg, not the
Borgsjo.
BLIND AL
Shit.
WEASEL
She cool?
DEADPOOL
The coolest. Plus, she could never pick
you out of a line-up.
BEEP-BEEP. DEADPOOL looks at his phone. The screen says,
“Vanessa’s Phone”
DEADPOOL (CONT’D)
It’s Francis. He wants me to come to
him. And he calls me a piece of-
(squints, can’t read)
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 93.
60 CONTINUED: 60
WEASEL
(points)
That’s the shit emoji. A turd with a
smile, see? How did Google ever approve
that?
Blind Al grabs a Nerf N-Strike Elite Strong-arm Blaster from
a drawer (it feels like a gun!) and goes to put it in the
duffel. Deadpool almost stops her, then shrugs - maybe it
will come in useful...
BLIND AL
That’s every piece in the house.
DEADPOOL
Uh-uh-uh.
Blind Al sighs - busted - she puts her leg up on a chair and
pulls a tiny Saturday Night Special from an ankle holster...
and is about to hand it over when instead, she turns, and...
...BOOM... shoots the ROOMBA, laying waste to it.
BLIND AL
It was him or me.
(beat)
I did hit it, right?
DEADPOOL
Please. It’s been years since you’ve hit
anything. See what I did there?
BLIND AL
Fuck you.
Deadpool takes the tiny gun and shoves it in the small of his
back. Then follows Weasel out the door. Then quickly turns
back.
DEADPOOL
(to Al)
In case I never see you again, I love you
very much... and there’s a hundred-ten
million dollars buried somewhere in the
apartment. Good luck. Watch your face.
Deadpool slams the door behind him.
Scene 34 - The Rescue Mission Begins
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 9
A TAXI drives across the city, its BACK BUMPER scraping the
ground, throwing off SPARKS.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 94.
61 CONTINUED: 61
In the PASSENGER seat: DEADPOOL, his DUFFEL at his feet.
Behind the wheel: DOPINDER.
DEADPOOL
Any luck winning Gita back?
DOPINDER
I tried to hold on tight, Mr. Pool. But
Bandhu is more craftier - and handsomer -
than me.
DEADPOOL
(shrugs)
It’s all relative.
Deadpool quickly LIFTS his MASK, revealing his SCARS to
Dopinder.
STARTLED, Dopinder FLINCHES and SIDESWIPES a PARKED CAR.
COLOSSUS (O.S.)
Stop the car. I must leave a note.
Cut to the BACK SEAT to find COLOSSUS CRAMMED in, KNEES to
CHEST. He’s drinking a CAPPUCCINO in a Dunkin’ Donuts cup.
DEADPOOL
Oh, please. I’ll bet the halls of your
high school were very well monitored.
DOPINDER
I cannot be stopping.
NEGASONIC TEENAGE WARHEAD (O.S.)
Wait, I’m getting a premonition.
To Colossus’s left is NEGASONIC TEENAGE WARHEAD. She’s
holding two fingers to her temple again, a la Professor X.
Then nods toward Dopinder.
NEGASONIC TEENAGE WARHEAD (CONT’D)
He’s uninsured.
DOPINDER
She indeed has ESPN! I am quite
uninsuranced.
DEADPOOL
You mean ESP. But come on! I coulda-
NEGASONIC TEENAGE WARHEAD
-called that yourself?
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 95.
61 CONTINUED: (2) 61
DEADPOOL
Gaaaahhhh!
Deadpool literally BOUNCES in frustration.
DOPINDER
Who brought this twinkly man?
DEADPOOL
Twinkly, but deadly. My big Russki
friend doesn’t like the idea of a whole
new army of mutant mutton-heads. And I
told him if he did me this solid, I’d
consider joining his boy band.
COLOSSUS
It’s not a boy band.
DEADPOOL
Sure it’s not.
The cab drives over a SMALL DIP and BOTTOMS OUT. CLANG.
BANG. A muffled yelp comes from the TRUNK:
VOICE (O.S.)
Ow! Help. Me.
BEAT. Dopinder reaches to turn up the RADIO.
DEADPOOL
Uh. Dopinder. What was that?
DOPINDER
Oh, that? That was Bandhu.
COLOSSUS
Bandwho?
DOPINDER
My romantic rival, Bandhu. He’s tied up
in the trunk. I’m doing as you said,
D.P. I plan to gut him like a tandoori
fish. Then dump his lifeless corpse on
Gita’s doorstep like a cat with a dead
bird. Mom and Dad will be over the moon.
Deadpool looks back at Colossus and shrugs.
DEADPOOL
Something must’ve gotten lost in the
translation.
(gives surreptitious thumbs
up to Dopinder)
(MORE)
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 96.
61 CONTINUED: (3) 61
DEADPOOL (CONT'D)
Seriously. This is no way to win Gita’s
heart. Return Bandhu home safe and
gentle-like. And then woo Gita with your
boyish charm...
DOPINDER
Fine, fine. Safe and gentle-like. Here
we are...
Dopinder pulls over and hits the meter. Then sighs.
DOPINDER (CONT’D)
I too am clairvoyance. I presume a crisp
high five?
DEADPOOL
For you? Ten.
DOPINDER
Knock em dead, Pool Boy.
Deadpool and Dopinder SLAP BOTH HANDS.
DEADPOOL
Time to make the chimichangas.
62 EXT. SCRAPYARD - DAY 62
We hear the first bold notes of DMX’s ‘X GON GIVE IT TO YA.’
DEADPOOL, COLOSSUS, and NEGASONIC TEENAGE WARHEAD walk in SLO-
MO across the scrapyard toward the COMBAT CARRIER.
DEADPOOL (V.O.)
Not often a dude ruins your face.
Destroys your living. Grabs your future
baby mama. Personally sees to 8 of your
10 shittiest life moments. And plans to
lather-rinse-repeat on a buncha new
chumps. Let’s just say, it’s beginning
to look a lot like Christmas...
This is as cool as Deadpool has ever looked. Muscles
sprouting muscles. Katanas gleaming. Then, at the height of
his coolness, Deadpool STOPS, sensing something amiss.
DMX cuts out. REGULAR SPEED RESUMES as Deadpool looks down
to spy his FLY DOWN. He ZIPS it UP, embarrassed.
DEADPOOL
(to camera)
It happens. A’ight, cue up DMX again.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 97.
62 CONTINUED: 62
NEGASONIC TEENAGE WARHEAD
Wait! Where’s your duffel bag?
DEADPOOL
(freezes, it’s missing)
Gahhhhhhh!
(pulls out a phone, dials)
Scene 35 - Fight at the Scrapyard
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
DOPINDER drives, head bobbing to a Bhangra Beat, HELLO KITTY
DUFFEL still sitting in the passenger WHEEL WELL.
On cue, Dopinder’s CELL PHONE RINGS. Dopinder reaches for
it, then fumbles it away. The phone falls to the floorboard.
Dopinder looks ahead, sees the approaching traffic light is
green, ducks down to make a grab, but when he returns his
eyes to the road, the light is now red.
Dopinder slams on his brakes. SCREECH! He manages to avoid
the car in front. BAM! The taxi is REAR-ENDED, its TRUNK
SMASHED like an accordion. We hear a HOLLER from inside.
DOPINDER
Bandhu?
64 EXT. SCRAPYARD - DAY 64
DEADPOOL
(hears crash)
Goddamnit! Never mind. Nothing that
can’t be fixed by two swords and...
(cracks neck)
...maximum effort.
(points to imaginary D.J.)
Gimme a beat!
DMX KICKS IN AGAIN. Deadpool strides forward in SLO-MO.
As they near the carrier a dozen armed and armored MERCS
suddenly rise from behind the piles of scrap metal before
them. Assault weapons raised, ready to fire.
The trio stops, Colossus stepping in front of NTW, sheltering
her behind his armored body.
ANGEL DUST (O.S.)
No one fires!
Our heroes crane their necks to spy ANGEL DUST standing on
the edge of the deck above.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 98.
64 CONTINUED: 64
ANGEL DUST (CONT’D)
They’re mine.
Angel Dust LEAPS outward, falls like a stone, HITS the ground
with a THUNDEROUS impact. The dust clears. She strides over
the broken ground, smiling, READY for a scrap.
DEADPOOL
Long term, that’s hard on your knees.
(ALT:)
Super-hero landing! Clearly you’re far
too much dude for me. Which is why...
(points)
...I brought him.
COLOSSUS steps forward into Angel Dust’s path holding a pair
of Adamantium HANDCUFFS just like he used on Deadpool.
COLOSSUS
I’d prefer not to hit a woman. So
please place your hands behind your-
BOOM! Without stopping Angel Dust throws a RIGHT HOOK from
her HEELS. The punch CONNECTS with COLOSSUS’s JAW. He goes
flying, SCRAPING SPARKS ACROSS CONCRETE.
DEADPOOL
(sighs, points)
I also brought her.
NEGASONIC TEENAGE WARHEAD steps forward on Deadpool’s right.
NTW chews her gum. Once. Twice. Then runs TOWARD Angel
Dust, LOWERS her SHOULDER, and EXPLODES UP toward her with a
WICKEDLY THUNDEROUS BANG of ENERGY and SOUND.
Yes, Negasonic Teenage Warhead is exactly that - a living,
breathing WARHEAD - like her own personal CANNONBALL.
It’s Angel Dust’s turn to go flying backward, smashing into -
and completely trashing - a heavy metal shipping container.
DEADPOOL (CONT’D)
I feel sorry for the guy who tries to
pressure her into prom sex.
Angel Dust regains her feet, smiles dangerously at the Mercs.
ANGEL DUST
Never mind. Fire.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 99.
64 CONTINUED: (2) 64
Deadpool is already moving as the Mercs OPEN FIRE, full-auto.
Deadpool grabs the still-woozy NTW and runs to the nearby
cover of metal scrap, keeping between her and the gunfire.
Colossus, now back on his feet, strides purposely forward.
Bullets ping harmlessly off his metal skin. Angel Dust
charges forward, snarling.
DEADPOOL
(shouts)
Finish fucking her the fuck up.
Colossus stops, annoyed.
COLOSSUS
Language. Please.
Then Angel Dust SMASHES into him. The two collide with earth-
shaking force. The sheer power of Angel Dust’s momentum
slams them backwards into-and through-a huge pile of scrap.
65 INT. FLIGHT DECK - DAY 65
AJAX pulls VANESSA forward to the edge of the carrier deck,
forces her gaze downward toward the WAR ZONE below.
AJAX
How does it feel? Ex-boyfriend abandons
you, becomes a sanity-challenged killer
mutant in tights...
VANESSA
Says the sanity-challenged killer mutant
in parachute pants. P.S. I’ve never
played the role of damsel in distress.
AJAX
‘Til now.
Ajax yanks Vanessa away from the edge again.
Scene 36 - Rescue in the Scrapyard
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Every MERC is pouring fire towards Deadpool’s position. He
hunkers down with NTW, her hands clamped tight over her ears.
Deadpool unzips a zipper, reaches into his suit at the
crotch, YANKS. Grimaces. We hear fabric tear. He pulls his
hand out, waves a pair of torn TIGHTIE-WHITIES up from behind
cover.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 100.
66 CONTINUED: 66
DEADPOOL
Hey, fellas, whoa! Hold on! Don’tcha
wanna hear my terms?!
The mercs spot the white ‘flag.’ Fire slackens from full-
auto to a few pot-shots. Finally, Deadpool pops up.
DEADPOOL (CONT’D)
You guys only work for that shit-spackled
Muppet fart! So I’m gonna give y’all the
chance to lay down your firearms in
return for preferential - bordering on
gentle - possibly even lover-like
treatment.
The Mercs ignore him, opening fire AGAIN with a vengeance.
Deadpool ducks and drops his tightie-whities.
DEADPOOL (CONT’D)
Fine. Commando.
(to NTW)
Stay down, kid. Unless your power’s
stopping bullets.
Deadpool SURGES forward, dives from cover, rolls. He comes
up boot knife out, arm whipping forward-
The nearest merc's head snaps back as the knife buries itself
to the hilt in his eye socket.
Deadpool sprints forward, zig-zagging, leaping, spinning as
he closes the distance to the mercs. He's moving too fast
for their guns to track. Bullets chew up the ground behind.
Deadpool reaches the first pile of twisted metal, slides
under, comes up behind two mercs taking shelter there. The
first man turns, gun barrel swinging ‘round. Deadpool ducks,
sweeps his legs, grabs his gun as he goes down.
Deadpool rolls over him, firing BACKWARD into the man's face
while spinning up to smash his boot into the face of the
second merc. He slides past, firing a burst backward into
the merc’s neck as he falls.
Seconds later he’s leaping OVER the heads of the next pair of
mercs. They turn to fire up at him - too slow. He fires
short, controlled bursts down into their upturned faces.
BOOM! BOOM! BOOM!
Deadpool lands, tosses the empty smoking gun. Then slowly,
lovingly, unsheathes his Katanas.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 101.
66 CONTINUED: (2) 66
Deadpool is running forward now, weaving his way through the
wreckage. Hunting.
Scene 37 - Deadpool's Last Stand
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
COLOSSUS and ANGEL DUST engage in a BATTLE ROYALE. Colossus
grabs Angel Dust by the SCRUFF of her NECK and HURLS her into
an ABANDONED AIRCRAFT. CRUNCH.
Angel Dust is on one knee, shaken, disheveled, one BREAST
hanging out of her torn flak jacket.
The prim Colossus covers his eyes.
COLOSSUS
Uh... you seem to have, um...
Angel Dust smiles, tucks the wayward boob back in, then
BLASTS Colossus with a FLYING KNEE that generates SHOCK WAVES
so powerful, Colossus’ CHROME actually RIPPLES.
Colossus growls and CHARGES AGAIN.
CUT TO:
DEADPOOL spins around a corner as another pair of MERCS move
forward, guns raised.
Deadpool dives under their fire, guts them in blurred flash
of steel. THRUST! SLICE! IMPALE! COMPLETE MAYHEM.
Another trio of mercs rush around the corner, opening fire as
they see their comrades fall. DEADPOOL runs toward them,
flips and dodges like a whirling dervish, bringing GUARDS
down in surgical, artistic fashion, as if where he’s killing
them means as much to him as how.
Two men converge on Deadpool. He JUMPS. Mid-air, he flips
his TWO KATANAS, GRIPS them upside-down like ICE PICKS, and
STABS down in an arc to either side, SKEWERING two men
through the TOPS of their HELMETS.
A final merc comes around the corner and Deadpool spins,
slices the strap of his gun, kicks the man in the chest,
knocking him flat on his back and sitting on his face.
DEADPOOL
Tea-bag!
(notices man under him)
Bob?!
BOB
Wade?!
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 102.
67 CONTINUED: 67
DEADPOOL
It’s been since... Jacksonville!
BOB
TGIFridays.
DEADPOOL
Liked the Loaded Potato Skins. Didn’t
like you.
BOB
Ditto.
Deadpool rises and pulls Bob to his feet. Bob tries to draw
a pistol but DP slaps it out of his hand, sends it skittering
away.
DEADPOOL
Bob, y’mind taking a half-step right?
No, your right. Never mind-
Deadpool KNOCKS Bob OUT with the sword’s GRIP, then NUDGES
him sideways gently as he falls.
At last, SILENCE. Deadpool steps forward. Then looks up
toward the carrier above, waves.
DEADPOOL (CONT’D)
Yoo-hoo!
From above, AJAX peers down sees that Deadpool has killed his
henchmen in such precise positions that their fallen bodies
spell out:
FRANCIS.
Deadpool moves forward. LIMPING. CHARRED. TATTERED. But
unbowed.
AJAX
That never gets old. But neither will
you.
Right on cue...
...three more Mercs appear to either side of Ajax, armed with
HEAVY MACHINE GUNS - much NASTIER than any we’ve yet seen.
BOOM-BOOM-BOOM-BOOM! The guards OPEN FIRE, and a BARRAGE of
bullets rain down on the scrapyard, chewing up the landscape
around Deadpool.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 103.
67 CONTINUED: (2) 67
Deadpool SPRINTS back toward cover, weaving, leaping, zig-
zagging to avoid being hit. He dives behind some wreckage as
more gunfire pings off the metal.
DEADPOOL, pokes his head up, drawing a withering barrage of
fire from the mercs above.
NEGASONIC TEENAGE WARHEAD (O.S.)
Hey!
ANGLE ON: NEGASONIC TEENAGE WARHEAD, also taking cover,
crouched under a broken PLANE WING.
NEGASONIC TEENAGE WARHEAD (CONT’D)
Climb on.
Deadpool nods, then sprints toward her, springs high, flips,
and lands on his back, spread eagled on the wing.
DEADPOOL
Light the candle...
NTW nonchalantly SPITS out her GUM, crouches, and... EXPLODES
UPWARD. The wing LAUNCHES up in a shallow PARABOLA, Deadpool
CLINGING for dear life on TOP.
Scene 38 - Rescuing Vanessa and Confronting Ajax
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 10
- Dialogue: 8
Four MERCS continue firing down as the wing soars up.
The WING SMASHES into them. All four go FLYING. Two end up
DEAD under the wing.
AJAX is thrown backward.
One MERC lands, stunned, close to the edge. A LONG BEAT.
AJAX rises to his feet.
Then DEADPOOL pulls himself UP over the edge of the carrier
and ROLLS onto the deck. He looks like he’s been through a
meat grinder - limping, scorched, bloody.
Deadpool staggers to his feet. The last injured MERC lamely
tries to GRAB his ANKLE.
DEADPOOL
Your plan to trip me to death? Has
failed.
Deadpool nonchalantly STABS him through the back of the neck
like a butterfly on a display, then turns to face Ajax.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 104.
68 CONTINUED: 68
Twenty meters away, AJAX leans casually against... what else?
THE PUNCH-BOWL. VANESSA is STRAPPED inside, lid open.
DEADPOOL (CONT’D)
You were right, babe.
(wipes blood off sword)
Red is my color.
VANESSA
Wade?
AJAX
(taps glass)
What better way to climb back in your
head...
DEADPOOL
You never left.
VANESSA
(to Deadpool)
But you did, asshole.
AJAX
You two have a lot to work out. Take a
deep breath. Wait. Wrong choice...
Ajax quickly CLOSES the LID and hits a SWITCH. Vanessa
starts taking short, desperate GASPS.
AJAX (CONT’D)
...of words.
DEADPOOL
I hope they blocked pain to your every
last nerve. ‘Cause I’m’a go looking.
Ajax squats down and picks up TWO STEEL-HAFTED FIRE-FIGHTING
AXES, each with an ULTRA-SHARP BLADE on one side of its head
and an EQUALLY SHARP CLAW on the other.
Deadpool raises a KATANA and HURLS it NOT at Ajax, but the
PUNCH-BOWL. The blade PENETRATES the PLEXI and tears into
the RESTRAINT holding Vanessa’s RIGHT WRIST, partly FRAYING
it. AIR seeps through the CRACK. Vanessa catches a tiny
BREATH. She TUGS on the frayed RESTRAINT.
AJAX
I hear you grow back parts. When I get
done... parts will have to grow back you.
DEADPOOL
Good one.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 105.
68 CONTINUED: (2) 68
A big BOOMING sound from below and then the deck of the
carrier shakes as if from a mild earthquake. Ajax and
Deadpool look at each other. Shrug.
DEADPOOL (CONT’D)
Let’s dance.
(beat)
And by dance I mean try to kill each
other.
69 EXT. SCRAPYARD - CONTINUOUS 69
BAM! Below, COLOSSUS delivers a HAYMAKER from hell itself.
Angel Dust FALLS, then RISES, RIPS OFF the WING of a PLANE,
and BLASTS Colossus with it... first like a BASEBALL BAT,
then like a GOLF CLUB, then like a COUNTY FAIR MALLETS you
use to try to ring a bell. CLANG!
A battered NTW RACES toward Angel Dust. Angel Dust swings
the wing, but NTW BASEBALL SLIDES UNDER it and EXPLODES up
into her chin.
Angel Dust is lifted off her feet into the side of the
carrier, BUCKLING some of its supports. NTW rolls aside.
Scene 39 - Deadpool and Ajax's Final Battle
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 10
- Dialogue: 9
And now, we get what we’ve been long been waiting for:
THE FINAL CLOSE QUARTERS BATTLE between DEADPOOL AND AJAX.
AXES vs. KATANA, TEN STORIES UP...
AJAX TAKES a MIGHTY, ROARING SWING with an AXE.
DEADPOOL
Yowww!
STEEL SINGS as AXE and KATANA meet again and again. THRUSTS.
PARRIES. SPARKS FLY!
THUNK! Deadpool’s BLADE passes through Ajax’s THIGH and pins
him to a piece of wreckage.
CRACK! Ajax tags Deadpool’s head with the FLAT of an axe.
SNAP! Ajax BREAKS the sword’s blade with an AXE, not feeling
anything as he slides his leg off the sword.
GASP! VANESSA grits her teeth, pulls against the restraints.
The thick nylon begins to tear as she saws it against the
katana blade.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 106.
70 CONTINUED: 70
CLANG! AJAX wields both axes in a red blur of painted steel.
Deadpool snatches up a piece of rusted RAILING from the deck,
barely blocks Ajax’s windmilling swings.
Finally, Ajax smashes the length of rusty metal from
Deadpool’s hands with one axe, while the sharp CLAW END of
the other buries itself in Deadpool’s FOREARM. Deadpool
hollers.
Deadpool’s red suit has torn away, and the SKULL of his
TATTOO bleeds from a HOLE in its FOREHEAD.
Deadpool GRITS his TEETH and YANKS the AXE from Ajax’s grasp.
A spinning KICK sends the second axe flying after the first.
Now they’re completely unarmed.
AJAX
Fine. Fists.
DEADPOOL
Sounds like your last Saturday night.
(smiles)
The sense of humor survived.
AJAX and DEADPOOL TRADE VICIOUS PUNCHES. It’s HAGLER vs.
HEARNS! BOOM! BOOM! BOOM!
Inspired, VANESSA strains against the torn nylon. RRRRIPPP!
Her right wrist TEARS FREE. She uses her freed hand to start
unlatching her other restraints.
DEADPOOL throws short, blinding PUNCHES - rat-a-tat-tat -
into AJAX’s jaw.
DEADPOOL (CONT’D)
Since you can’t feel it?
(holds up an INCISOR)
I just knocked out your tooth.
AJAX snarls, drives a SHOULDER into Deadpool, then MOUNTS him
and BLUDGEONS his face with HAMMER-LIKE FISTS.
DEADPOOL is starting to LOSE CONSCIOUSNESS when he turns his
head to one side and spies the PUNCH-BOWL.
We RACK FOCUS to VANESSA locking eyes with him from inside.
Hers is an inspired... and INSPIRING look of LOVE.
We hear a REPRISE of JOHN DENVER’s ‘I WANT TO LIVE.’
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 107.
70 CONTINUED: (2) 70
VANESSA pushes against the sealed door of the punchbowl with
all her might. With a squeal of metal the latch breaks, the
twisted metal flying off the lid as it slams open.
Vanessa grabs the KATANA, jerks it free with another mighty
effort. Then slides down the containers toward AJAX. With a
fierce scream, she PLUNGES the blade into his KIDNEY. The
blade punches through the other side but Ajax feels no pain,
YANKS out the katana, and THROWS Vanessa aside violently.
But it’s all the opportunity Deadpool needs. He SURGES with
energy and throws an THUNDEROUS UPPERCUT, BLASTING Ajax off.
JOHN DENVER
I want to liiiiiive!
71 EXT. SCRAPYARD - DAY 71
Below: WHOOSH, BAM! Angel Dust ducks an exhausted
Colossus’s punch and KICKS him THROUGH another STEEL SUPPORT.
Colossus COLLAPSES. The carrier GROANS.
Angel Dust moves in for the KILL. Only out of nowhere...
...NTW strikes her in the chops and EXPLODES, sending the
larger woman SMASHING into concrete with UNPRECEDENTED FORCE.
Now it’s Angel Dust’s turn to be broken, smoking, seemingly
down for the count. NTW approaches carefully to make certain
it’s all over...
...but Angel Dust shoots out an arm and GRABS her... DRAGS
her in CLOSE... makes to SMASH her head like a walnut.
ANGEL DUST
C’mere, ya little bitch.
NTW fights back valiantly, PUNCHING fast and hard with
FLURRIES of ENERGY. Angel Dust is scorched and battered by
the blows, but her adrenaline and rage SURGE. She grabs NTW
around the neck, plants her into the ground...
...and begins to CHOKE the life out of her. NTW flails,
cannot break Angel Dust’s grip...
...but marshals her last remaining energy to live up to her
name...
...and EXPLODE like an ALMIGHTY WARHEAD. BOOM!
CUT WIDE to a GARGANTUAN EXPLOSION.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 108.
71 CONTINUED: 71
The ship SHAKES VIOLENTLY, then starts to LIST at a DANGEROUS
ANGLE.
72 EXT. FLIGHT DECK / CONTINUOUS 72
DEADPOOL and AJAX are trading BLOWS again when the DECK SWAYS
as if hit by a 9.0 EARTHQUAKE. Then with a thunderous,
shuddering, groaning of metal the whole carrier begins to
tilt.
Loose wreckage begins to slide and tumble past. A shipping
container barrels towards them and Deadpool kicks Ajax
backwards, right into its path. SLAM! It plows into him and
carries him with it as it disappears over the side.
Deadpool scrambles and claws up the tilting floor and grabs
hold of Vanessa.
Deadpool looks around frantically...
...and then spies the PUNCH-BOWL, sliding toward them.
Deadpool grabs the side as it slides past and throws VANESSA
inside and SHUTS the LID for protection...
They slam into the twisted metal railings at the bottom of
the deck and hang there. Deadpool swings by one hand and
stares at the scrapyard below. Huge chunks of metal slide
and smash past to tumble to the ground a hundred feet below.
Vanessa hangs onto Deadpool for dear life, her eyes locked on
his...
VANESSA
If we survive this. I’m gonna kill you.
DEADPOOL
We have so much to catch up on.
...as the CARRIER topples in an AVALANCHE of STEEL!
An EPIC collapse of SHRIEKING METAL. Flying glass. Nearly
seismic booms. A mushroom CLOUD of thick, black destruction.
FADE TO BLACK.
Scene 40 -
- Overall: 0.0
- Concept: 0
- Plot: 0
- Characters: 0
- Dialogue: 0
Black. A crack of light appears, dust sifting down through
the beam.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 109.
73 CONTINUED: 73
More light, more dust and debris pattering down onto-some
kind of scratched glass in front of the lens. Finally a hole
of bright sky fills the frame.
CUT TO:
COLOSSUS vigorously TOSSING aside MASSIVE SLABS of STEEL as
he digs through the wreckage, uncovering the PUNCH-BOWL,
damaged, but intact. The LID CREAKS OPEN - pushed by
Vanessa’s TREMBLING HAND.
Vanessa climbs out dazed, dusty, coughing.
COLOSSUS
You’re OK. Take it slow.
Elsewhere in the rubble pile DEADPOOL’s HEAD POPS UP from
some DEBRIS, again, like the Caddyshack gopher.
DEADPOOL
I’m good.
Deadpool is just staggering to his feet when AJAX emerges
from under another BEAM and TACKLES him.
DEADPOOL (CONT’D)
¡Caramba!
(subtitled, in YELLOW:)
For heaven’s sake!
The impact sends them both flying, rolling, over the edge of
a metal container. They fall locked together, punching and
grappling. They bounce/slide down the pile of rubble.
Deadpool gets the better of the grappling and lands on AJAX’s
CHEST. He goes to TOWN with vicious FOREARMS and ELBOWS.
DEADPOOL (CONT’D)
Wham! Wham! Wham!
BAM! BAM! BAM. Bam. You can feel Deadpool’s adrenalized
catharsis. Ajax tries to block-CRACK! Deadpool shatters his
elbow. Ajax other fist swings round, tags Deadpool, but he
catches it, wraps it tight-SNAP!
Ajax finally goes limp, both arms bent in horribly wrong
directions.
DEADPOOL (CONT’D)
(thrilled/exhausted)
There are no words.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 110.
73 CONTINUED: (2) 73
Deadpool pulls out BLIND AL’s SATURDAY NIGHT SPECIAL and AIMS
it right BETWEEN AJAX’s EYES.
DEADPOOL (CONT’D)
Me and you are headed to fix this face.
Or else...
Deadpool places a piece of paper onto Ajax’s chest.
Ajax shakes off the cobwebs and examines the paper; it’s
Deadpool’s CRAYON DRAWING of Ajax getting his brains blown
out. Ajax actually LAUGHS.
AJAX
Sorry. It’s just. All this time, you
bought that I have the cure? I’m
flattered. But do I really look like the
scientist type? You want the guy behind
the guy. His name’s Dr. Killebrew. And
he’s long gone. Who knows where.
DEADPOOL
Um. What?
AJAX
You heard me.
DEADPOOL
You mean to say, after five long years,
I’ve been chasing the wrong monkey?
AJAX
Sounds even stupider when you say it.
DEADPOOL
Like the kind of stupid who admits he
can’t do the one thing I’m keeping him
alive for?
(chambers a round)
Any last words? Good. I got one:
(pulls back the hammer)
Francis.
COLOSSUS (O.S.)
Wade!
Deadpool turns to see Colossus, hands on hips, looking extra
HEROIC. NEGASONIC TEENAGE WARHEAD is STANDING at his SIDE.
COLOSSUS (CONT’D)
Four or five moments.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 111.
73 CONTINUED: (3) 73
DEADPOOL
I’m sorry?
COLOSSUS
Four or five moments. That’s all it
takes...
DEADPOOL
To...?
COLOSSUS
Be a hero. Everyone thinks it’s a full
time job. Wake up a hero. Brush your
teeth a hero. Go to work a hero. Not
true. Over a lifetime, there are only
four or five moments that really matter.
Moments when you’re offered a choice. To
make a sacrifice. Conquer a flaw. Save
a friend. Spare an enemy.
Deadpool continues to hold the pistol to Ajax’s head.
COLOSSUS (CONT’D)
In those moments, everything else falls
away. The way the world sees us. The
way we see oursel-
BOOM! OFF-SCREEN, A GUNSHOT.
COLOSSUS (CONT’D)
(dry-heaves again)
Huuugglh! Why!
REVERSE ANGLE to Deadpool, who’s just shot AJAX in the head
with Blind Al’s SATURDAY NIGHT SPECIAL.
DEADPOOL
You were droning on!
(shrugs)
I may be stuck looking like pepperoni
flatbread, but at least we’ve heard the
last of him. If wearing super-hero
tights means sparing psychopaths, maybe I
wasn’t meant to wear ‘em. Not everyone
monitors a hall like you.
COLOSSUS
Just promise-
DEADPOOL
I’ll be on the lookout for the next four
moments.
(MORE)
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 112.
73 CONTINUED: (4) 73
DEADPOOL (CONT'D)
(peers between Colossus and
NTW)
Now if you’ll excuse me. I’m just a
boy... about to stand in front of a
girl... and tell her- what the fuck am I
gonna tell her?!
CUT TO: Deadpool’s P.O.V. BETWEEN Colossus and NTW of
VANESSA, who’s now walking quickly TOWARD him. She brushes
between the two X-men and without saying a word, GRABS the
fallen PISTOL and PUMPS TWO EXTRA BULLETS into Ajax’s corpse.
VANESSA
(bang)
Gratuitous.
(bang)
Worth it.
DEADPOOL
(to camera)
Anyone else turned on?
(to Vanessa)
That’s what I love about y-
Vanessa promptly PUNCHES Deadpool in the face.
DEADPOOL (CONT’D)
I totally deserved that!
(gets punched again)
That too!
(wards off knee)
Maybe not the nethers.
Vanessa restrains herself, then TURNS HER BACK, overcome.
VANESSA
Start talking.
DEADPOOL
I’m so sorry. For leaving. And taking
so long to cowboy up. It’s been a rough
few years.
VANESSA
(snorts, dismissive)
Rough?
DEADPOOL
I live in a crack house. With a family
of twelve. At night, we spoon for
warmth. Everyone fights for Noelle.
She’s the fattest.
(MORE)
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 113.
73 CONTINUED: (5) 73
DEADPOOL (CONT'D)
There’s nothing we don’t share. Floor
space. Dental floss. Condoms.
VANESSA
So you live in a house!
(turns to face him)
DEADPOOL
I woulda found you before now. But the
guy behind this mask isn’t the same guy
you remember.
VANESSA
You mean this mask?
Deadpool FLINCHES but doesn’t STOP Vanessa from slowly,
gently taking OFF his mask, revealing underneath... HUGH
JACKMAN’s ‘SEXIEST MAN ALIVE’ People MAGAZINE COVER. Blood
at the pierce points. Mouth/eyes cut out to make a ‘mask.’
DEADPOOL
And this one. In case the other fell
off.
VANESSA
You mean like this?
Vanessa starts PULLING OUT staples.
DEADPOOL
Oo. Ah. Quicker - like a Bandaid! Owww-
di 5000.
One last staple remains. Vanessa hesitates.
DEADPOOL (CONT’D)
Sure?
VANESSA
Sure I’m sure.
She PULLS it out. The photo FALLS, revealing DEADPOOL’s
SCARS. And two vulnerable, misty eyes. A beat.
VANESSA (CONT’D)
Ew.
DEADPOOL
(devastated)
I understand.
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 114.
73 CONTINUED: (6) 73
VANESSA
(smiles)
Kidding! Get over yourself! I’d hit
that shit.
DEADPOOL
You already did.
(rubs chin)
Twice. Seriously?
VANESSA
(nods)
After a brief adjustment period and one
or two drinks.
(smiles)
It’s a face... I’d be happy to sit on.
Vanessa hooks Deadpool’s PINKIE with HERS, PULLS him in to
kiss him.
DEADPOOL
I’m also not the same under these pants.
(whispers)
Super-penis.
Deadpool and Vanessa are ABOUT to kiss when...
NEGASONIC TEENAGE WARHEAD (O.S.)
1975 called.
Deadpool realizes COLOSSUS and NTW are still standing
WATCHING.
NEGASONIC TEENAGE WARHEAD (CONT’D)
It wants its peep show back.
DEADPOOL
Gah! What the hell are you two still
doing here?!
(to Colossus)
You, go clean some chalk-board erasers,
or be a... really Big Brother, or teach
fat kids to eat lettuce.
(to NTW)
And you, Chicken Noodle. Well...
(freezes)
I feel something stupid coming on.
(bounces)
Gaaaaaaahhhhhh!
(CONTINUED)
Deadpool Final Shooting Script 11/16/15 115.
73 CONTINUED: (7) 73
NEGASONIC TEENAGE WARHEAD
It’s alright.
(beat, tiniest of smiles)
You’re cool.
DEADPOOL
(STARES, elated)
I am?! Omigod. That. Was. Not. Mean!
Seriously, guys, it was a pleasure. For
a second there, we felt like... like...
(we expect ‘family’)
...five mini lion robots forming a large
super robot.
NEGASONIC TEENAGE WARHEAD
There’s the stupid.
DEADPOOL
Now, I meant it, both of you, fire up the
Blackbird and shoo! Scram! Vamoose!
Skedaddle! Don’t make me keep thinking
of these!
They smile, shake their heads, and walk off.
Deadpool turns back to Vanessa.
DEADPOOL (CONT’D)
Where were we, darlin’? Oh, riiight.
The best part.
Deadpool KISSES Vanessa. The little kiss become a BIGGER
ONE. Then... fading up from nowhere, with a slightly tinny
quality... we hear WHAM!’s ‘CARELESS WHISPER.’ Vanessa pulls
back, puzzled. Deadpool raises his ANDROID. On the cracked
and dirty screen, George’s and Andrew’s FACES beam from
Wham!’s ‘MAKE IT BIG’ album cover.
DEADPOOL (CONT’D)
‘Wham!’ As promised.
The two share the longest kiss yet.
DEADPOOL (V.O.)
See, life can smell like Daffodil
Daydream. So if you’re sitting out there
in your own personal Punch-Bowl. Ms.
Mama June on your tongue. Find someone
to hold... and someone to hold on to you.
Life’s next little train wreck...
Deadpool Final Shooting Script 11/16/15 116.
Scene 41 - Rescue and Tease
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 9
DEADPOOL (V.O.)
..will be so much easier if you do.
We find ourselves in a newer, spiffier version of the
WORKSHOP, where a LAB TECHNICIAN is strapping down a new
sickly VOLUNTEER/VICTIM.
DEADPOOL (V.O.)
Which brings us to shittiest moment
number 1! The guy behind the guy, Dr.
Killebrew, off scot-free.
A SILHOUETTED FIGURE approaches the bed of the nervous
volunteer, who smiles weakly.
VOLUNTEER
Can you make me better?
REVERSE ANGLE to reveal whom he’s talking to: the PUDGY,
KINDLY-LOOKING DOCTOR WHO STROKED WADE’S HEAD IN THE
WORKSHOP. He smiles, pats the volunteer’s wrist.
DR. KILLEBREW
Better than better.
DEADPOOL (V.O.)
But let’s look on the bright side.
(sniffs)
You smell what I smell? I mean besides
stale popcorn and my post-fight man-funk?
Dr. Killebrew holds up a syringe with a glint in his eye.
DEADPOOL (V.O.)
Sequel. Maybe even one of those ensemble
team movies...
75 EXT. SCRAPYARD - RUBBLE PILE - DAY 75
DEADPOOL and Vanessa MAKE OUT LIKE CRAZY, LONG AND HARD. We
slowly PULL BACK until they look SMALL against the toppled
hulk of the COMBAT CARRIER.
DEADPOOL (V.O.)
So, ‘til next time, this is your friendly
neighborhood pool guy saying... I’m never
gonna dance again... the way I danced
with you.
WHAM BELTS OUT ‘CARELESS WHISPER’ as we ROLL CREDITS.
Deadpool Final Shooting Script 11/16/15 117.
V76 INT. SUBURBAN HOME - DAY - POST CREDIT SEQUENCE V76
A hallway of a suburban home. DEADPOOL enters in a maroon
and gray striped robe.
DEADPOOL
(short version)
You’re still here? It’s over! Go home.
Wait... you expected a tease for Deadpool
2?! Sorry, we’re low on dough. But if
you can keep a secret, I can tell you
who’s gonna be in it. Cable! Someone
suggested Mel Gibson for the role, buuuut-
I was thinking Liam Neeson. Only
problem, Liam likes to get paid. And
more for Liam means less for me. Maybe
we’ll crowdfund the shit. Just you and
me, kids. Shalom!
DEADPOOL (CONT’D)
(long version)
You’re still here? It’s over! Go home.
Wait... you expected a tease for Deadpool
2?! Maybe a little Samuel L. Jackson?
Sorry, that budget went to Weasel’s
Ketamine habit. But if you can keep a
secret, I can tell you who’s gonna be in
it. Cable! You’re allowed to show your
pleasure. I’d love Liam Neeson for the
role, but Liam likes to get paid. And
more for Liam means less for me. So we’d
best crowdfund the shit. Depending on
your level of giving, you could receive a
Colossus-brand desktop steel-ball
clacker, a Dwayne ‘The Rock’ Johnson real
doll, or four minutes alone in a room
with Charlie Sheen. Donate now! And
shalom!
SMASH CUT TO
BLACK:
DEADPOOL (O.S.) (CONT’D)
(a la Ferris)
Boom, boom, chicka chickah...
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| Deadpool | Deadpool's character arc involves him learning to let go of his past and embrace his present. He is initially motivated by revenge, seeking to make those who wronged him pay. However, during his mission to rescue Vanessa, he is forced to confront his own insecurities and mistakes. Through his love for Vanessa and his loyalty to his friends, he begins to let go of his past and focus on the present, ultimately leading to his decision to sacrifice himself to save Vanessa and protect his friends. | The character arc is strong and well-developed. However, there are moments where Deadpool's irreverent humor feels out of place and detracts from the emotional weight of certain scenes. | To improve Deadpool's character arc, consider toning down his humor in certain scenes to allow more emotional depth to shine through. Additionally, provide more context for why he is so fiercely loyal to Vanessa and his friends, as this will create a stronger emotional connection for the audience. |
| Dopinder | Dopinder starts out as a timid and inexperienced taxi driver who is only interested in becoming more heroic. He takes Deadpool's advice and becomes involved in the rescue mission, but he quickly finds himself in over his head. As the adventure progresses, Dopinder gains the courage to fight back against the villains and stand up for himself. When the dust settles, he emerges as a more confident and assertive person, ready to take on whatever challenges come his way. | While Dopinder's character arc is solid, it could benefit from more nuance and complexity. His idolization of Deadpool is a bit one-note, and it would be interesting to see more of his personality and motivations outside of his relationship with the main character. Additionally, his transformation from timid to confident could be more gradual and less abrupt. | To improve Dopinder's character arc, consider giving him more depth and a clearer motivation for why he is interested in becoming more heroic. Show him struggling with the consequences of his choices and the toll that heroism takes on him. Additionally, focus on his relationships with other characters in the film, particularly those outside of his interactions with Deadpool. Finally, make his transformation more subtle and realistic, giving him small victories and setbacks along the way instead of a sudden shift in personality. |
| Wade | Wade Wilson starts out as a witty and humorous mercenary who is deeply damaged by his traumatic past. He uses humor as a defense mechanism, and is flirty and charming when it comes to Vanessa. As he becomes more deeply affected by his cancer diagnosis, Wade reflects on Vanessa’s plight and considers leaving to find a cure. He becomes a sarcastic and miserable character struggling to grasp his terminal illness, doubting himself and the people around him. However, he transforms into a foul-mouthed, sarcastic, but ultimately caring individual struggling with cancer, who is willing to undergo extreme measures to find a cure and save Vanessa. He maintains his sarcastic and quick-witted personality, using humor to deal with his traumatic experiences and showing determination to regain his life and his looks back. Through the process of becoming a superhero, Wade becomes a tough, relentless, and resourceful anti-hero who is fighting for a better life for himself and those he loves. | The character arc of Wade Wilson is well-developed and provides a clear trajectory for the character’s transformation. However, some of the descriptions are repetitive and could benefit from more specific examples and details. In addition, it would be helpful to have more information on Wade’s motivations, desires, and fears throughout the movie. | To improve the character arc, it would be helpful to provide more specific examples of Wade’s actions, thoughts, and emotions throughout the movie. This could include showing more of his traumatic past, his relationship with Vanessa, and his motivations for becoming a superhero. In addition, adding more nuances to his personality and behavior could make the character more complex and relatable. Finally, giving Wade a clearer goal or purpose in the story could create a more compelling arc that drives the plot forward. |
| Vanessa | Vanessa's character arc in the screenplay moves from a vulnerable woman who is haunted by her traumatic past to a strong and independent woman who is willing to fight for what she truly loves. Initially, she seems to cope well with her profession as a prostitute, but her true pain emerges when she unexpectedly finds a man who understands her. However, Vanessa's character experiences an emotional shift when she witnesses Wade's violent side and realizes how much he still has to learn about controlling his anger. This shift in understanding only grows stronger when she is kidnapped and taunted by Ajax over her relationship with Wade. Afterward, Vanessa becomes a crucial player in her own rescue, demonstrating just how strong and independent she has become. By the end of the movie, Vanessa truly understands the importance of living life to the fullest and doing what makes her happy, which means stepping up to help Wade when he needs her the most. | Overall, Vanessa is a well-written character, but her arc could have been fleshed out a bit more. It only becomes clear towards the end of the movie that Vanessa is a complex woman with a lot of emotional baggage to work through. It would have been beneficial to see more of this internal struggle throughout the film's middle act, rather than just during the climax. Furthermore, the transition from her being a comedic character to a more dramatic one could have been smoother. | To improve Vanessa's character arc, give her more screen time during the middle act so that we can understand her struggles better. Additionally, while her transformation from comedic to dramatic is intriguing, it might have been more effective if there were clearer foreshadowing earlier on. One suggestion is to have Vanessa show more of her vulnerable side early on to hint at the internal struggles she must later face. Finally, let her transformative journey be more of an emotional one rather than one that just drives the plot forward. |
| Ajax | Ajax's character arc throughout the film involves his obsession with power and control over mutants. As he continues his experiments and tortures both Wade and Vanessa, he becomes increasingly frustrated with their ability to resist his attempts to break them. However, as Wade finally overcomes his own mutations and defeats Ajax in a final battle, Ajax begins to realize the limits of his own power and the inherent flaws in his obsession with control. Ultimately, his defeat marks a turning point for his character as he begins to question the ethics of his own actions and the true value of power. | While Ajax's character is certainly a compelling villain, the film could benefit from a more nuanced exploration of his motivations and personality. Though he is portrayed as sadistic and cruel, there is very little depth to his character beyond this, which makes it harder for the audience to truly understand his motivations and actions. Additionally, his character arc feels somewhat rushed and underdeveloped, with his change of heart at the end of the film feeling somewhat unearned. | To improve Ajax's character arc, the filmmakers should consider exploring his backstory and motivations in more depth. Perhaps he has his own personal reasons for pursuing power, or has a long-standing connection to mutant culture that fuels his obsession. Additionally, the film could benefit from scenes that show Ajax grappling with the ethics of his own actions, which would give the audience a more nuanced understanding of his character and make his eventual change of heart feel more earned. |
| Angel Dust | Throughout the movie, Angel Dust serves as Ajax's enforcer and henchwoman, enjoying her role in mutant experimentation and torture. However, as the film progresses, Angel Dust begins to question Ajax's motives and his cruel treatment of mutants, including her own kind. Her loyalty to Ajax is tested when she witnesses the suffering of Wade Wilson and ultimately decides to betray Ajax and help defeat him. In doing so, Angel Dust discovers her own moral compass and learns to stand up for what is right, even if it means rebelling against her former leader. | While Angel Dust's character arc does showcase a journey from blind loyalty to self-discovery and rebellion, it can feel a bit rushed and underdeveloped. There are moments throughout the movie where Angel Dust's loyalty to Ajax wavers, but these shifts in her mindset are not clearly defined or explored. Additionally, her change of heart is motivated primarily by witnessing Wade's suffering, rather than any inherent moral conflict within herself. | To improve Angel Dust's character arc, it would be beneficial to more explicitly lay out her inner conflict and moral struggle as she begins to question Ajax's actions. Providing more subtle clues and foreshadowing to her eventual betrayal would create a more satisfying and believable character arc. Additionally, exploring Angel Dust's backstory and personal history as a mutant could add depth to her character and provide a more solid foundation for her eventual change of heart. |
| Colossus | Throughout the movie, Colossus is presented as a rigidly ethical character who sees himself as a kind of moral compass for the other X-Men. He never wavers from his commitment to doing what is right and what is just, even when it puts him at odds with other members of his team. Midway through the film, Colossus faces a new challenge when he is tasked with mentoring Deadpool, whose methods he finds repugnant. Over time, Colossus learns to see beyond Deadpool's crass exterior and recognize the good intentions that motivate his actions. Near the end of the movie, Colossus has a crucial moment of character growth when he chooses to follow Deadpool's unconventional methods to defeat the villain Ajax. This moment demonstrates that Colossus is capable of embracing new ideas and strategies, even if they go against his traditional sense of right and wrong. | The character arc presented for Colossus is generally solid, but it could be more impactful with some additional development. In particular, there is a missed opportunity to explore the personal conflict Colossus must face when he decides to work with Deadpool. This could have been a moment of introspection for the character, forcing him to question whether his strict moral code has blinded him to the potential for good in others. By examining this conflict more closely, the movie could have added some emotional depth to Colossus' growth as a character. | To improve the character arc, the movie could have added a scene in which Colossus reflects on his journey and recognizes the importance of being open to new ideas. This moment could have also provided an opportunity for Colossus to acknowledge the influence that Deadpool has had on him, and the importance of working with people who have different perspectives and approaches to problem-solving. Additionally, the movie could have introduced some moments of self-doubt for Colossus earlier in the story, to make his ultimate decision to work with Deadpool feel more earned and significant. |
| Negasonic Teenage Warhead | Throughout the movie, NTW undergoes a transformation from a moody, rebellious teenager to a valuable team member who embraces her heroic side. Initially, she is skeptical of Deadpool's methods and questions his morality. However, as she witnesses his selflessness and bravery, she begins to see him as a hero. During the final battle, she proves to be a valuable asset to the team and takes down Angel Dust with a well-placed explosion. By the end of the movie, she has become a more well-rounded and mature individual who is willing to work with others for the greater good. | The character arc for NTW is well-executed and adds depth to her character. However, it would have been even better if she had more screen time and development. Although she plays an important role in the final battle, she is not given enough attention throughout the rest of the movie. | To improve the character arc, it would have been beneficial to delve into NTW's backstory and motivations. This would have allowed for a more profound transformation, as we would have understood where she was coming from and what led her to initially question Deadpool's methods. Additionally, giving her more screen time and developing her relationship with Deadpool further would have allowed for a stronger payoff at the end of the movie. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Humorous tone and high stakes action | The screenplays that have a humorous tone also tend to have high stakes action that keep the audience engaged and interested. |
| Humorous tone and character changes | The screenplays with a humorous tone also tend to have significant character changes, whether it is a character arc or simply shifts in personality throughout the story. |
| Intense tone and conflict | The screenplays with an intense tone also tend to have significant conflict, either internal or external, driving the plot forward. |
| Dark tone and emotional impact | The screenplays with a dark tone tend to have a strong emotional impact on the audience, often leaving them feeling a sense of despair or hopelessness. |
| Humorous tone and dialogue | The screenplays with a humorous tone tend to have strong and witty dialogue, keeping the audience engaged even during slower moments of the story. |
| Humorous tone and move story forward | The screenplays with a humorous tone tend to keep the story moving forward at a consistent pace, not allowing the humor to slow down the plot. |
| Serious tone and overall grade | The screenplays with a serious tone tend to receive higher overall grades from readers and audiences. |
| Hopeful yet despairing tone and emotional impact | The screenplays with a tone that is both hopeful and despairing tend to have a strong emotional impact on the audience, leaving them with conflicting feelings about the story's outcome. |
| Dark tone and high stakes action | The screenplays with a dark tone also tend to have high stakes action, making the audience invested in the outcome of the story. |
| Humorous tone and character development | The screenplays with a humorous tone tend to have strong character development, allowing the audience to become invested in the characters and their journeys. |
| Humorous and suspenseful tones and conflict | The screenplays with a combination of humorous and suspenseful tones tend to have significant conflict driving the plot forward, keeping the audience on the edge of their seats. |
| Humorous and intense tones and character changes | The screenplays with a combination of humorous and intense tones tend to have significant character changes, often bringing characters to their breaking points before experiencing significant growth. |
Stories Similar to this one
| Story | Explanation |
|---|---|
| Logan | Both are R-rated superhero movies with a darker tone, dealing with the consequences of experimentation on mutants and confronting the mortality of the main character. |
| John Wick | Both are action movies with a comedic edge, featuring a highly skilled hitman who seeks revenge after being wronged by a powerful criminal underworld. Both films have similar fight scenes and emphasis on weapon customization. |
| Guardians of the Galaxy | Both feature a motley crew of antiheroes with a penchant for humor, a protagonist struggling with his own identity, and a romantic subplot. |
| The Matrix | Both feature an unstoppable protagonist who undergoes a transformation that endows him with superhuman abilities, leading to a final confrontation with the villain. Both films also emphasize action and spectacle. |
| Kick-Ass | Both are R-rated superhero movies with a sarcastic, self-aware style and a focus on extreme violence. Both feature a protagonist who wears a costume and fights crime despite lacking any special powers. |
| Kill Bill | Both feature a female protagonist with a violent past seeking personal revenge after being wronged by a powerful figure. Both films also place a large emphasis on flashy fight scenes. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Anti-Hero | The main character, Deadpool, is a perfect example of an anti-hero. He has a clownish personality, makes crude jokes, and is often seen engaging in illegal activities. | Anti-heroes are protagonists who lack traditional heroic attributes, such as bravery and selflessness. They often have flawed personalities and engage in morally ambiguous activities. An example of an anti-hero in another show is Tony Soprano from The Sopranos. |
| Origin Story | The screenplay follows Deadpool's origin story, from his initial diagnosis with cancer to his transformation into a superhero. | Origin stories are narratives that explain how a character or a group of characters came to be. They often involve a transformation or a significant event that shapes the character's identity. An example of an origin story in another show is the flashback sequences in How I Met Your Mother. |
| Montage | The screenplay features several montage sequences, including one where Wade and Vanessa have sex on various holidays, and another where Wade transforms into Deadpool. | Montages are sequences of scenes or images that are edited together to convey information or show the passage of time. They are often set to music and do not include any dialogue. An example of a montage in another show is the training sequence in Rocky. |
| Vigilante Justice | Deadpool seeks vigilante justice throughout the screenplay, using his mutant abilities to take down his enemies and protect Vanessa. | Vigilante justice refers to the concept of an individual or a group of individuals taking the law into their own hands to seek justice. It often involves actions outside of the legal system, such as violence or vigilante groups. An example of vigilante justice in another show is Daredevil on Netflix. |
| Love Interest | Vanessa serves as Deadpool's love interest throughout the screenplay, and their relationship is a significant focus of the plot. | A love interest is a character who serves as a romantic partner or potential romantic partner for the protagonist. They often play a significant role in the plot and serve as a source of motivation or conflict for the protagonist. An example of a love interest in another show is Rachel Green in Friends. |
| Superhero Team-Up | Deadpool seeks the help of the X-Men to take down Ajax and Angel Dust, leading to a superhero team-up sequence. | Superhero team-ups refer to stories in which two or more superheroes work together to achieve a common goal. They often involve characters from different franchises or universes. An example of a superhero team-up in another show is the Marvel Cinematic Universe, which features characters from several Marvel franchises. |
| Post-Credits Scene | The screenplay features a post-credits scene that sets up the possibility of a sequel. | Post-credits scenes are short scenes that appear after the credits of a movie or television show. They often hint at future storylines or provide additional information for audiences who stay until the end of the credits. An example of a post-credits scene in another show is the shawarma scene in The Avengers. |
| Theme | Theme Details | Themee Explanation |
|---|---|---|
| Love and Relationships | Throughout the screenplay, love and relationships are a major theme. Wade and Vanessa's relationship is central to the story, and their unconventional romance is often shown through their banter and sense of humor. Even when Wade becomes Deadpool, his love for Vanessa remains a driving force in his actions. The theme of love is also explored through Wade's conversation with Dopinder about love and his carefree personality. | The theme of love and relationships highlights the importance of human connection and how it can motivate and drive characters in their actions. |
| Identity | The theme of identity is seen in the development of Wade's character from a carefree mercenary to the mutant superhero Deadpool. Throughout the film, Wade struggles with his sense of self as he grapples with the effects of his cancer and his transformation into a mutant. This theme is particularly evident in the scenes where he is tortured and undergoes painful procedures to activate his mutant genes. | The theme of identity highlights the struggle that characters face as they attempt to define themselves in a world that often tries to put them in predefined boxes. |
| Trauma and Recovery | The theme of trauma and recovery is explored through Vanessa's traumatic past and Wade's diagnosis with late-stage cancer. Both characters struggle with the aftermath of their experiences and must find ways to cope with their pain and trauma. The theme is also evident in Wade's search for a cure, which highlights the desperation that comes with facing a life-threatening illness. | The theme of trauma and recovery highlights the importance of resilience and the journey that characters take to heal from their wounds. |
| Superheroism and Responsibility | The theme of superheroism and responsibility is explored through Deadpool's transformation into a superhero and his eventual rescue of Vanessa. Throughout the film, Wade must grapple with the weight of his new powers and the responsibility that comes with them. This theme is particularly evident in the scenes where he seeks help from the X-Men and in his final battle with Ajax. | The theme of superheroism and responsibility highlights the responsibility that comes with great power and how characters must navigate the implications of their actions. |
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 |
|---|---|
| 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 |
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 2 | Deadpool: Oh, hello, Deadpool here. You may be wondering whose balls I had to fondle to get my own movie. Rhymes with ‘Polverine.’ Couple’a smooth criminals. |
| 1 | Deadpool: So hold onto love tight. Go at Bandhu hard. Get Gita back. Or else... the whole world will taste like Mama June after hot yoga. |
| 17 | Deadpool: Some kind of anger can’t be managed. Like the kind where your year-long plan ends with the wrong guy getting dismembered! |
| 18 | Ajax: The one thing that never survives this place is a sense of humor. |
| 25 | Ajax: Say it. 'Francis.' |