the pursuit of happyness
Executive Summary
Poster
Note: This is for fun only. There will be many wrong things in the mock poster. It doesn't mean the AI misunderstood your story.
Overview
Genres: Drama, Family, Thriller, Slice of Life, Biography, Comedy, Sports, Finance, Action, drama, family
Setting: 1976-1981, Venice, California and San Francisco
Overview: In the heart of San Francisco, a relentless father, Chris Gardner, faces insurmountable financial struggles alongside his young son, Christopher. Despite facing eviction and homelessness, Chris refuses to surrender his unwavering determination for a better life. Through a twist of fate, he lands an unpaid internship at Dean Witter, a prestigious brokerage firm. With unwavering persistence, Chris navigates a series of heart-wrenching challenges as he battles against societal biases and relentless setbacks. The pursuit of happiness becomes a transformative journey for both Chris and Christopher, as they discover the true meaning of resilience, family, and the indomitable spirit that resides within us all.
Themes: Poverty and Homelessness, Fatherhood, Determination and Perseverance
Conflict and Stakes: Chris's struggle to find a job, provide for his family, and create a better future for his son amidst financial hardship and personal challenges
Overall Mood: Hopeful and Inspirational
Mood/Tone at Key Scenes:
- Scene 1: Bittersweet, with a sense of determination and uncertainty as Chris faces challenges
Standout Features:
- Emotional Depth: The deep emotional connection between Chris and his son drives the heart of the story.
- Real-Life Inspiration: Based on a true story, adding authenticity and resonance to the narrative.
- Character Development: The growth and transformation of Chris as a character throughout the story.
- Social Commentary: Explores themes of poverty, perseverance, and the American Dream.
- Parent-Child Relationship: The bond between Chris and Christopher is a central and compelling aspect of the screenplay.
Comparable Scripts:
- The Pursuit of Happyness (2006) Movie
- The Fresh Prince of Bel-Air (1990-1996) TV Show
- The Wire (2002-2008) TV Show
- The Wire (2002-2008) TV Show
- The Wire (2002-2008) TV Show
Writing Style:
The screenplay features a mix of realistic dialogue, character-driven storytelling, and an emphasis on everyday struggles and personal relationships. There is a consistent focus on capturing the complexities of human interactions and emotions through naturalistic and introspective scenes.
Style Similarities:
- Richard Linklater
- David Mamet
- Aaron Sorkin
- Charlie Kaufman
Pass/Consider/Recommend
Recommend
Explanation: The Pursuit of Happyness is a compelling and emotionally resonant screenplay with a powerful theme of perseverance and the importance of family. Will Smith's performance and the father-son relationship are the standout strengths. While there are opportunities for further character development and a deeper exploration of societal issues, the screenplay's overall pacing and narrative strength make it a highly recommendable project with strong commercial potential.
USP: **Unique Selling Proposition:** Experience the riveting journey of Chris Gardner, a determined father facing overwhelming challenges, in this unique and inspiring screenplay. Through authentic and emotionally resonant storytelling, immerse yourself in the struggles, triumphs, and sacrifices of a man fighting to provide a better life for his son. Explore themes of resilience, perseverance, and the transformative power of family bonds, as Chris navigates financial hardships, broken promises, and the pursuit of a dream that seems just out of reach. This screenplay is not just a story; it's an unforgettable journey that will touch your heart and inspire you to never give up on your aspirations.
Market Analysis
Budget Estimate:$15-20 million
Target Audience Demographics: Adults aged 25-54, fans of drama and inspirational stories
Marketability: The story of overcoming adversity and the bond between a father and son has broad appeal and emotional resonance
The themes of resilience and hope are universal and relatable, attracting a diverse audience
The strong performances and emotional depth of the characters make it a compelling watch for audiences
Profit Potential: Moderate to high, with potential for critical acclaim and strong word-of-mouth leading to box office success
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
Summary:The writer's voice in this screenplay is characterized by its authenticity, emotional depth, and focus on the characters' internal struggles and external challenges. The dialogue is naturalistic and captures the characters' thoughts and emotions in a raw and relatable way. The narrative style is immersive and draws the reader into the characters' journey, highlighting their resilience and determination in the face of adversity.
Best representation: Scene 4 - The Internship Pursuit and Theft Encounter. Scene 4 is an excellent representative of the writer's voice as it effectively captures the characters' internal struggles and the emotional tension between them. The dialogue is naturalistic and authentic, reflecting the characters' frustrations and anxieties. The narrative style is immersive, drawing the reader into the characters' world and making their struggles relatable and impactful.
Memorable Lines:
- CHRIS: This part of my life... This part is called... happiness. (Scene 40)
- Chris: I never had a dad. That’s not going to happen to him. I’ll always take care of him. (Scene 1)
- Linda: Goodbye. And good riddance. (Scene 5)
- Chris: You really fucked it up. (Scene 10)
- Chris: I have a son. He’s five. We need to stay. (Scene 33)
Characters
Chris Gardner:A determined and hardworking father struggling to provide for his son
Christopher:Chris's young son who faces the challenges of their difficult circumstances
Linda:Chris's girlfriend and mother of Christopher, dealing with the strain of their situation
Jay Twistle:A colleague at Dean Witter who supports Chris in his journey
Walter Ribbon:A professional executive who plays a significant role in Chris's career
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Internal Goal | External Goal | Conflict | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | ||||
| 1 - Chris and Linda's Promise | Melancholic, Hopeful, Reflective | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 2 - The Man with the Time Machine | Melancholic, Reflective, Hopeful | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 8 | 6 | 8 | 8 | 9 | 9 | |
| 3 - Contemplations at the Bus Stop | Melancholic, Reflective, Tense | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | |
| 4 - A Frustrated Start | Tense, Frustrated, Resigned | 8 | 8 | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 5 - The Internship Pursuit and Theft Encounter | Serious, Reflective, Determined | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 7 | 7 | 9 | 9 | 9 | 9 | |
| 6 - Father-Son Walk | Serious, Reflective, Frustrated | 8 | 8 | 7 | 8 | 9 | 7 | 8 | 7.5 | 7 | 8 | 6 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 7 - A Race Against Time and Thieves | Determined, Frustrated, Hopeful | 8 | 8 | 8 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 7 | 6 | 9 | 9 | 9 | 9 | |
| 8 - The Bone Density Scanner Salesman | null | 0 | 0 | 0 | 9 | 0 | 0 | 8 | 7 | 0 | 8 | 0 | 0 | 7 | 0 | 0 | 9 | 8 | 8 | 8 | |
| 9 - A Desperate Search for Hope | Tense, Hopeful, Frustrated | 8 | 7 | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 9 | 7 | 8 | 8 | 9 | 9 | |
| 10 - The Cab Ride | Tense, Determined, Frustrated, Hopeful | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | |
| 11 - Chris's Flight and Loss | Tense, Reflective, Desperate | 8 | 8 | 7 | 9 | 7 | 7 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 6 | 9 | 9 | 8 | 8 | |
| 12 - An Invitation Amidst Chaos | Desperation, Hope, Determination, Anxiety | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 13 - Confrontation Outside Daycare | Tense, Emotional, Confrontational | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 14 - A Spiral of Despair | Frustration, Desperation, Resignation | 8 | 7 | 8 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 15 - Desperation and Determination | Anxious, Tense, Desperate, Resigned | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 9 | 6 | 9 | 8 | 8 | 8 | |
| 16 - Chris Gardner's Impressive Interview | Embarrassed, Serious, Humorous | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 17 - Weighing Options | Tension, Resignation, Hope | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 18 - A Father's Dilemma: A Leap of Faith | Tense, Reflective, Resigned | 8 | 8 | 8 | 8 | 8 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 19 - A Father's Hopes and Dreams | Reflective, Hopeful, Serious | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 20 - Scanner Thief | Tense, Anxious, Suspenseful | 8 | 8 | 8 | 8 | 7 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 6 | 9 | 8 | 8 | 8 | |
| 21 - Hit and Run | Stressful, Frantic, Determined | 8 | 7 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 7 | 6 | 9 | 8 | 8 | 8 | |
| 22 - Chris's Commute and Financial Concerns | Anxious, Reflective, Concerned | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 6 | 9 | 8 | 8 | 8 | |
| 23 - A Race Against Time | Frantic, Determined, Frustrated | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 6 | 7 | 9 | 9 | 8 | 8 | |
| 24 - Chris' Frustrating Search | Frantic, Desperate, Dispirited | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 6 | 6 | 8 | 9 | 9 | 9 | |
| 25 - Financial Woes and Moral Compromise | Anxious, Reflective, Resigned | 8 | 7 | 8 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 26 - Suburban Stroll | Concerned, Reflective, Inquisitive | 8 | 7 | 7 | 9 | 9 | 6 | 8 | 6 | 3 | 5 | 2 | 4 | 6 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 27 - Invitation to the Baseball Game | Apologetic, Optimistic, Friendly | 8 | 7 | 8 | 8 | 8 | 6 | 8 | 7.5 | 5 | 8 | 4 | 7 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 28 - Chris and Walter's Tailgate Misadventures | Reflective, Melancholic, Hopeful | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | |
| 29 - Chris's Financial Struggles and Eviction Threats | Worry, Desperation, Determination, Hope | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 30 - Unsuccessful Sales and a Lost Home | Melancholic, Reflective, Hopeful | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 31 - Train Station Decision | Reflective, Hopeful, Intimate | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 4 | 6 | 3 | 6 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 32 - Stealth and Frustration | Anxious, Tense, Desperate | 8 | 7 | 8 | 9 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 7 | 6 | 9 | 6 | 8 | 8 | 8 | 8 | |
| 33 - Shelter Denied | Sympathetic, Desperate, Resigned | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 7 | 7 | 9 | 6 | 9 | 8 | 8 | 8 | |
| 34 - Altercation Outside Shelter | Tense, Desperate, Violent, Fearful | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 35 - A Father's Struggle | Desperation, Resilience, Sorrow | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 36 - Chris's Frantic Journey | Frantic, Upset, Confrontational, Desperate | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | |
| 37 - Shelter Stoop | Reflective, Resigned, Hopeful | 8 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 6 | 7 | 5 | 6 | 7 | 9 | 7 | 9 | 8 | 9 | 9 | |
| 38 - A Day in the Life of Chris | Desperation, Struggle, Resilience | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 8 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 39 - A Father and Son's Journey | Serious, Reflective, Hopeful | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 5 | 6 | 7 | 6 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 40 - A Day in San Francisco | Reflective, Hopeful, Resigned | 8 | 8 | 7 | 8 | 9 | 7 | 8 | 7 | 3 | 7 | 4 | 5 | 7 | 9 | 6 | 9 | 8 | 8 | 8 | |
| 41 - Chris's New Beginning | Reflective, Hopeful, Emotional | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 42 - Waiting for the Bus | reflective, nostalgic, emotional | 9 | 8 | 7 | 6 | 9 | 7 | 8 | 6 | 3 | 4 | 4 | 5 | 5 | 9 | 6 | 9 | 8 | 8 | 8 | |
Scene 1 - Chris and Linda's Promise
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 7
By
Steve Conrad
4/25/05
Revised 1st Draft
EXT. VENICE, CALIFORNIA - DAY (1976)
CHRIS GARDNER, sits on a park bench with his girlfriend LINDA
near a busy amusement park pier in Venice. Linda is a few
months pregnant. Chris wears a navy Seaman’s uniform. Other
sailors wait near a small bus across the street; one is
waving Chris over. The script Venice, California 1976
appears.
SAILOR
(calling Chris to the bus)
We have to get back to the ship!
Chris ignores the guy. Something heavy’s going on between
Linda and Chris. They both seem blue.
CHRIS
(to Linda, calmly)
I’m almost out. One more year. Then
I’ll get a good job. And I’ll take
care of him. Hey.
Chris has said “hey” to get Linda to face him because she
hasn’t been. She does.
CHRIS (CONT’D)
I never had a dad. That’s not going
to happen to him. I’ll always take
care of him.
LINDA
You didn’t want to be in this kind
of thing.
CHRIS
What kind of thing?
LINDA
Kid. Not married. No jobs. No real
jobs. Neither did I.
She’s sad over the event of her pregnancy. Chris tries to
cheer her in his calm way.
CHRIS
I’ll get some good work after the
navy. It’s going to be fine. It’s
going to be.
Chris makes a brave face for Linda, but something about his
demeanor shows he knows, because of the pregnancy, that he’s
in a hard spot now he never wished to be in.
2.
EXT. SAN FRANCISCO NEIGHBORHOOD - DAY (1981)
In the more urban setting of San Francisco, trash in City of
San Francisco cans is laid out for pick up in the beaten down
tenderloin district.
EXT. SAN FRANCISCO NEIGHBORHOOD - SAME
A row of low income housing and two-story motels make up a
city block in this same neighborhood.
EXT. STREET, SAN FRANCISCO CA. - SAME (1981)
Chris waits to cross a street in San Francisco. He’s with his
son CHRISTOPHER, 5. Chris wears a coat and tie and carries a
pretty large, square machine of some kind. The script San
Francisco, 1981 appears.
CHRISTOPHER
Maybe I should make a list.
CHRIS
For your birthday gifts?
CHRISTOPHER
Yeah.
CHRIS
Well, you know, you’re just going
to get a couple things.
CHRISTOPHER
Just to look at. And study. So I
can choose better.
CHRIS
Can you spell everything you’re
thinking of?
Christopher thinks about it.
CHRISTOPHER
Yeah...
CHRIS
Okay. Make a list. That’s smart.
The light changes. They start to cross.
CHRIS (CONT’D)
Are you doing okay in here?
3.
Chris has nodded up ahead to a city-neighborhood, cut-rate
daycare.
CHRISTOPHER
Yeah... Can we go to the park
today? After?
CHRIS
I’m taking the bus back from
Oakland. I don’t know when I’ll get
home.
EXT. MRS. CHU’S DAYCARE, SAN FRANCISCO - LATER
Chris leaves the daycare building after leaving Christopher
there. But he turns and looks back at the building.
He’s looking at their poorly-maintained mural of kids
playing. The paint’s peeling. There’s graffiti over kid’s
faces. And someone’s written Fuck in spray paint on it.
Then Chris looks at the daycare motto painted above. Mrs.
Chu’s Daycare. Fun, Joy, Happyness. Chris looks at the word
Happyness. Time passes. Then he speaks to a Chinese daycare
maintenance worker who’s sweeping out there.
CHRIS
That’s misspelled.
MAINTENANCE WORKER
Hui hyu tsa.
CHRIS
Happiness? There’s no y. After p.
The guy keeps sweeping. Chris keeps looking at the wall, then
he looks inside the window at his son. Inside there,
Christopher’s playing with blocks by himself - he looks more
lonesome than pleased.
INT. DAYCARE PLAYROOM - SAME
While Christopher plays quietly, Chris stands outside the
window looking in. Christopher doesn’t see him.
CHRIS (V.O.)
I’m Chris Gardner.
EXT. MRS. CHU’S - SAME
Chris remains at the window on the San Francisco sidewalk,
looking in at his son.
4.
He’s watching Christopher play with the blocks alone inside.
There, a dog no one’s paying attention to walks right across
the kid’s play area over to a food bowl; there’s spilled food
laying around his bowl. It’s a cramped, unhappy setting for
kids.
Then Chris looks away from the window.
CHRIS (V.O.)
This is part of my life story.
He looks at his watch. Late for something, Chris starts
running off with his machine.
Scene 2 - The Man with the Time Machine
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 6
Chris sits on a bus bench in the city; the guy beside him’s a
drunk Filipino with a screw loose, 60, in a T-shirt that
reads World’s Greatest Dad. Chris keeps the machine on his
lap. The two sit there waiting for the bus.
CHRIS (V.O.)
This part, in the eighties... this
part’s called Riding the Bus.
All of a sudden, the Filipino guy faces Chris and looks
astonished.
FILIPINO GUY
Holy shit, did you just crystallize
from nowhere?
The guy points at Chris’s machine.
FILIPINO GUY (CONT’D)
That’s a time machine. Holy shit.
The bus arrives.
FILIPINO GUY (CONT’D)
(laughing)
Holy shit, man.
Chris’s expression shows the guy’s disturbing his peace. He
stands up to catch the bus.
INT. CITY BUS, MOVING - LATER
Chris rides through east San Francisco; he’s staring out the
window like he’s got something heavy on his mind. He keeps
the machine on his lap.
5.
CHRIS (V.O.)
That’s a bone density scanner.
FILIPINO GUY
This guy has a time machine! This
one fucker!
The Filipino’s seated in the row behind Chris, looking
through the crack between the seats; he’s addressing everyone
on the bus.
FILLIPINO GUY (CONT’D)
He crystallized beside me!
EXT. BUS BENCH, SAN FRANCISCO - LATER
Chris waits for a transfer bus on a bench alone; he’s staring
at the machine on his lap.
CHRIS (V.O.)
Where would I go if it was one? If
it was a time machine I wondered.
EXT. STREET, SAN FRANCISCO - LATER
Chris carries his scanner as he walks through the city.
CHRIS (V.O.)
Two years back, probably, before I
took this job.
EXT. ST. FRANCIS HOSPITAL, SAN FRANCISCO - LATER
A DOCTOR and Chris part company before the entranceway to St.
Francis Hospital. Chris still has his scanner.
CHRIS (V.O.)
This thing was unnecessary and
expensive. It gave a slightly
denser picture than an x-ray, for a
ton more money.
DOCTOR
We just don’t need it, Chris. It’s
unnecessary. And expensive.
EXT. STREET CORNER, SAN FRANCISCO - LATER
A still image of Chris standing among a crowd of San
Franciscans waiting for a walk light; he’s staring at the
scanner like he has personal hard feelings toward it.
6.
CHRIS (V.O.)
This was the business I bought
into, when we moved to San
Francisco.
*What follows is a montage of still images of Chris with his
scanner in assorted places around San Francisco, waiting at
corners, waiting for the bus.
EXT. STREET/SIDEWALK, SAN FRANCISCO - LATER
Chris walks up a sidewalk. A guy leaves a parked Mercedes a
short distance ahead of him. Chris has been watching him.
CHRIS
(making eye contact)
Hey...
MERCEDES OWNER
Hi...
Chris looks at the car. Then he looks at the guy again.
CHRIS
How are you doing?
MERCEDES OWNER
Good.
CHRIS
(smiling)
Did you have to go to college to do
your job?
MERCEDES OWNER
(smiling back)
Yeah. I’m a structural engineer.
Yeah.
Chris nods. The light changes. Chris starts to cross the
street. Then he checks his watch and starts to run.
EXT. OAKLAND CA. - LATER
Chris runs along the sidewalk beyond a busy Oakland street;
he’s carrying his scanner.
CHRIS (V.O.)
That’s my car.
In the foreground, among the cars parked on the streetside,
is a hazel Riviera with a yellow Denver boot locked down on
the front wheel. A policeman writes a ticket beside the car.
7.
EXT. OAKLAND MEMORIAL HOSPITAL - LATER
Chris jogs with the scanner up the walkway to the main
entrance of Oakland Memorial Hospital.
CHRIS (V.O.)
There’s limited parking near
hospitals.
INT. ELEVATOR, HOSPITAL - LATER
Chris rides up the elevator, holding his scanner box.
CHRIS (V.O.)
I made four hundred and eighteen
dollars on each sale.
INT. CORRIDOR, HOSPITAL OFFICES - LATER
Chris carries his scanner down a long hallway.
CHRIS (V.O.)
A thirty dollar ticket every three
days was a business expense. I
thought I’d take it out of the
commission on my scanners. As I
sold them.
EXT. OAKLAND MEMORIAL HOSPITAL - LATER
Chris walks out the same doors he entered on his way in; HE
STILL HAS THE SCANNER, THOUGH.
CHRIS (V.O.)
I just wasn’t selling any.
INT. CHRIS’S HAZEL RIVIERA - LATER
This is a shot through the windshield of Chris’s parked car.
Bright orange tickets cover the lower half of the windshield.
Chris is visible through the clear space of the glass,
walking across the street up ahead, carrying his scanner.
CHRIS (V.O.)
And I needed at least one
commission a week to cover rent and
daycare.
Scene 3 - Contemplations at the Bus Stop
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
Later, Chris sits on a bus bench beside an unaccompanied
Chinese kid trying to play a trumpet; it’s nearly evening.
8.
CHRIS
(facing the kid)
Would you stop that?
The kid stops and faces Chris.
KID
(to Chris)
Hu xia tu hi ma.
The kids sits quietly for a moment, then he resumes playing
the trumpet.
CHRIS (V.O.)
So... the bus...
The bus pulls up.
INT. BUS, MOVING - LATER
Chris rides beside the window, with his bone scanner, looking
out at the landscape.
CHRIS (V.O.)
All I’m saying... riding the bus
somedays is a drag.
The kid’s playing the trumpet somewhere behind him. Chris
sits there for a while. He’s sharing the row with a real
heavy guy and he’s sort of over against the wall with his
machine.
CHRIS (V.O.)
I remember... I think it was this
day... I remember I actually tried
it.
Chris looks down at his scanner.
CHRIS (V.O.)
Just in case that crazy fucker was
somehow right.
Chris keeps staring at the machine.
CHRIS (V.O.)
I had this stupid thought, or wish,
that maybe he was right and
everyone else was crazy, and maybe
I was a time traveler and didn’t
know it and could really go
somewhere else if I pushed the
button.
9.
CLOSE ON CHRIS as he considers this. He puts his finger on
the black button.
CHRIS (V.O.)
And I actually pushed the button...
like an idiot...
Chris pushes the button on his medical machine.
CHRIS (V.O.)
...and went nowhere.
Chris sits there for a moment. He’s gone nowhere of course.
Soon, he turns and looks out the window. The city’s going by
beyond him.
EXT. SIDEWALK, SAN FRACISCO - LATER
Chris walks down the sidewalk with the scanner. He comes upon
a young man paying a meter for a parked Ferrari; Chris has
looked at the guy and the car.
CHRIS
(to the guy, saying hi)
Hey.
FERRARI OWNER
Hey.
CHRIS
Can I ask you something?
FERRARI OWNER
What?
CHRIS
(to the guy)
What do you do?
FERRARI OWNER
(looking over)
What? For a job?
CHRIS
Yeah.
FERRARI OWNER
I’m a stockbroker.
Time passes.
CHRIS
Do you have to go to college?
10.
FERRARI OWNER
Have to?
CHRIS
Yeah.
More time goes by.
FERRARI OWNER
You don’t have to.
Chris nods. The guy’s said it to mean you don’t have to but
you sure should. Then Chris starts to cross the street.
INT. CHRIS’S APARTMENT - LATER (NIGHT)
Chris and Linda eat dinner at the kitchen table without
speaking. Linda wears a grocery worker’s uniform. The
apartment’s small and unadorned with anything. Some time
passes during which there’s the heavy silence between a
couple not getting along.
INT. KITCHEN - LATER (NIGHT)
Linda cleans up after dinner. Chris walks past and sees a
RUBIK’S CUBE resting on a kitchen counter.
CHRIS
What’s this?
LINDA
A gift for Christopher.
CHRIS
From who?
LINDA
Cynthia. From work. It’s for
adults. It’s an adult thing. Chris
can’t use it. She didn’t know.
CHRIS
What is it?
LINDA
You’re supposed to make every side
a solid color.
Chris picks the thing up.
LINDA (CONT’D)
Did you pay the taxes?
11.
CHRIS
I filed an extension...
LINDA
You already filed an extension.
CHRIS
I had to file another one. The bill
was six hundred and fifty. I’ll
have it in September.
LINDA
That means interest. Right?
CHRIS
Yeah. Some.
Money seems to be a source of conflict for them. Rather than
deal with it further, Linda leaves the room. Chris remains
there.
Scene 4 - A Frustrated Start
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
Chris has come out on the patio idly with the cube; it’s not
a patio in the sense that one would derive enjoyment from
sitting there. It’s cement space outside the kitchen. Each
small apartment in the complex has one, so Chris is sitting
five feet from his neighbor’s patios on either side. He’s
started messing with the cube. Time passes like this while
Chris, over a minute or so in real time, SOLVES THREE SIDES
OF THE RUBIK’S CUBE COMPLETELY. His thoughts are somewhere
else, though, so he doesn’t care to finish. He just puts the
thing down and goes back inside.
INT. BATHROOM - DAY (MORNING)
Chris and Linda share the real small space of their bathroom;
Chris brushes his teeth. Linda’s finishing dressing for work;
they’re in the middle of an argument.
CHRIS
(upset about it)
Does he have to be in daycare from
6:30 in the morning?
LINDA
(pissed too)
Can you watch him?
CHRIS
I need to be in the financial
district. Before work.
12.
LINDA
I have to open. It’s the
nineteenth. We have to pay rent
next week. I need both shifts.
Linda tries to leave and bumps Chris’s shoulder.
LINDA (CONT’D)
Fuck...
Linda walks out. Chris is left alone. He stands there for a
while. Then he resumes brushing his teeth. A few moments go
by. Chris rises up and looks in the mirror for a while; he’s
sizing himself up. Time passes while Chris looks at himself.
INT. BEDROOM - CONTINUOUS
Chris has followed Linda into their bedroom.
CHRIS
I just want to go by Dean Witter.
Before work.
LINDA
For what?
CHRIS
I want to see about a job.
LINDA
What job?
CHRIS
I want some information about a job
there.
LINDA
What job?
CHRIS
Stockbroker.
Linda looks at Chris like he’s aiming off the mark for what’s
likely or best for them.
CHRIS (CONT’D)
I could go through a math book in a
week when I was a kid. I want to
see about it.
LINDA
I have to open. So you have
Christopher.
13.
CHRIS
I’ll go by during the day.
LINDA
You should probably do your sales
calls. Sell what’s in your contract
and get us out of that business,
Chris. Fuck, Chris. Okay?
Linda has finished dressing and leaves the room. Chris
watches her go.
INT. CHRISTOPHER’S BEDROOM - LATER
Christopher’s sleeping. The clock beside his bed reads 5:30.
Chris sits on the bed, waking him up.
CHRIS
Christopher...
INT. BREAKFAST TABLE - LATER
Chris and his son have breakfast. The table’s in the kitchen.
The kitchen’s real small. It’s pretty early. Christopher’s
holding a cereal spoon. But his eyes are closed and he’s
motionless. Chris looks over at him.
CHRIS
(trying to wake him up)
Pssst.
Christopher’s eyes open. Chris looks at him. There’s a small,
black and white TV on the counter that plays local news;
there, a field reporter’s holding a Rubik’s Cube up for the
camera.
REPORTER
...is shaping up to the be the gift
sensation of 1981. Don’t expect to
solve it easily, although we
encountered a math professor at USF
who took just thirty minutes on
his.
Chris notices the TV. He’s getting the idea the cube’s a
challenge he could pass easily. He looks back at Christopher.
Christopher’s eyes are closed again. Chris looks at him with
bad feelings he’s got his son up so early.
EXT. BUS STOP, SAN FRANCISCO - LATER
Chris is freshly dressed for work and is holding a scanner as
he sits waiting for the San Francisco city bus.
14.
The kid with the trumpet sits beside him, playing it. Chris
stares straight ahead like he’s determined about something.
EXT. DEAN WITTER OFFICE, SAN FRANCISCO - LATER
Businessmen and women walk around the financial district.
Soon, Chris becomes visible, turning a corner onto the same
sidewalk, joining the group of traders and brokers. He stops
and looks across the street at a Dean Witter branch office;
he’s holding the scanner. Then he turns back the way he came.
EXT. SIDEWALK, SAN FRANCISCO - LATER
Down the street, Chris speaks with a GIRL JUNKIE who sits a
couple steps up apartment stairs off the sidewalk. The
scanner rests at Chris’s feet; Chris holds some dollar bills.
CHRIS
Can I give you a couple dollars?
You can watch this for me? I’m
going in for a meeting. I don’t
want to bring this in and look
small time.
GIRL JUNKIE
Yeah.
Chris hands the girl the money. Something occurs to him.
CHRIS
(doesn’t want her to steal
it)
It can’t be sold anywhere. It’s
medical equipment. It can’t be sold
anywhere. I can’t even sell them,
and it’s my job. I’ll give you some
more money when I get back.
GIRL JUNKIE
Yeah.
Scene 5 - The Internship Pursuit and Theft Encounter
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
Chris sits alone in the reception area. Then TIM BROPHY
enters the room.
TIM BROPHY
Chris?
CHRIS
(standing quickly)
Hi.
15.
TIM BROPHY
(offering his hand)
Tim Brophy. Resources. I was going
out to grab a coffee. Do you want
to come?
EXT. PUBLIC SQUARE, SAN FRANCISCO - LATER
Chris and Tim Brophy have come outside to a nearby public
park square. They’re mid-conversation, sitting together on
the low, perimeter wall of the park fountain.
TIM BROPHY
Here’s an ap. For our internship.
That’s all we can do for you here.
Brophy hands the application to Chris.
CHRIS
Thanks...
TIM BROPHY (CONT’D)
We have a resume sheet, too. We’ve
had a lot of applications, though.
We’re out.
CHRIS HAS NOTICED SOMETHING ACROSS THE PARK, THOUGH; THE GIRL
JUNKIE’S CARRYING HIS SCANNER OFF. She’s walked away with it
into the city.
TIM BROPHY (CONT’D)
You can pick one up at your school.
We send them out.
CHRIS
Mr. Brophy, I have to go.
TIM BROPHY
Okay.
CHRIS
I have to. Thanks.
Then Chris rises and runs off.
EXT. SIDEWALK, SAN FRANCISCO - LATER
Chris sprints through a large group of young market traders
on break.
16.
EXT. STREET/TRAIN STATION, SAN FRANCISCO - LATER
The girl junkie with the scanner takes the stairs up to the
train. It’s a long shot that shows city sidewalk a good
distance behind her; Chris is visible down there running
toward her. But the train comes and blocks the view. The
train sits there, obscuring anything that’s happening behind
it. After a while, it moves along, and when it’s totally out
of frame it reveals Chris standing on the station platform
all alone without his scanner, having reached it too late.
CHRIS (V.O.)
I rode up and down looking for her.
That day.
INT. CITY TRAIN, MOVING - LATER
Chris stands near the window of the moving train, watching
the city landscape pass outside.
INT. CITY TRAIN, MOVING - LATER
This train’s moving the other way. Chris is seated now. He
looks at the papers Brophy gave him.
CHRIS (V.O.)
There were three blank lines after
“High School” to list more
education. The program took just
twenty people every six months. One
got a job. The internship paid
nothing.
EXT. CITY TRAIN PLATFORM, SAN FRANCISCO - LATER (NIGHT)
Chris leaves a train later with some others. He walks across
the platform toward the stairs, then he puts the application
in the trash can by the steps and keeps walking.
EXT. NEIGHBORHOOD STREET, SAN FRANCISCO - MORNING
It’s just sunrise so there’s little traffic. Chris and
Christopher leave Linda at a bus stop bench for her ride to
work and start walking off on their own somewhere; Chris
carries a scanner, Christopher a backpack.
LINDA
(to Chris, about the
scanner, kidding sort of)
Come back without that, please.
17.
CHRIS
(trying to be light-
hearted about it)
I’m going to. Say goodbye to it.
Because I’m coming back without it.
LINDA
(to the scanner, just
slightly amused)
Goodbye. And good riddance.
CHRIS
(trying to kid)
You didn’t have to add “good
riddance.”
LINDA
(to Chris and Christopher)
Goodbye.
Scene 6 - Father-Son Walk
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Chris and Christopher have walked farther into east San
Francisco, past a park where one guy’s shooting baskets.
Christopher’s watching him.
CHRIS
That’s not how you spell it.
CHRISTOPHER
How?
CHRIS
P-p-y. It’s an “i.” Happiness.
CHRISTOPHER
That’s an adjective?
CHRIS
Yeah. It’s just not spelled right.
CHRISTOPHER
Is “fuck” right?
Chris doesn’t say anything for a while.
CHRIS
Yeah. But that’s not part of the
motto. So... you’re not supposed to
learn that. It’s a grown up word.
To show anger, and other things.
Drop it, okay?
18.
CHRISTOPHER
All right.
CHRIS
What’s it say on your bag? That
tape?
CHRISTOPHER
My nickname. We picked nicknames.
CHRIS
What’s it say?
CHRISTOPHER
Hot Rod. Did you have a nickname?
Chris thinks for a while.
CHRIS
Yeah.
CHRISTOPHER
What?
CHRIS
Ten Gallon Head...
CHRISTOPHER
What’s that?
CHRIS
I lived in Louisiana, near Texas.
Before I joined the navy. People
wore cowboy hats. A ten gallon’s a
big hat. I was good at school. I
was smart when I was a kid, so they
called me Ten Gallon Head.
CHRISTOPHER
Hoss wears that hat.
CHRIS
Hoss?
CHRISTOPHER
Hoss Cartwright. On Bonanza.
CHRIS
How do you know Bonanza?
CHRISTOPHER
I watch Bonanza at Mrs. Chu’s.
19.
CHRIS
You watch Bonanza at daycare?
Christopher’s gotten distracted by a Chinese pushcart
passing.
CHRIS (CONT’D)
Hey. You watch Bonanza at daycare?
Christopher nods.
CHRIS (CONT’D)
When?
CHRISTOPHER
What?
CHRIS
When do you watch it? After snack?
After your nap?...
CHRISTOPHER
After Love Boat.
Chris looks down at his son, getting pissed.
CHRIS
(quietly)
Fuck...
CHRISTOPHER
I made my list. For my birthday.
CHRIS
(distracted, thinking
about the TV issue)
What did you pick?
CHRISTOPHER
A basketball. Or an ant farm.
CHRIS
Okay...
EXT. MS. CHU’S DAYCARE - LATER
Out front of the daycare doorway, in the San Francisco
neighborhood, Chris holds a conversation with elderly,
Chinese MRS. CHU.
CHRIS
He says he’s watching TV.
20.
She shows Chris an inch distance between her thumb and
forefinger.
MRS. CHU
Little TV. For history.
CHRIS
Love Boat?
MRS. CHU
For history. Navy.
CHRIS
That’s not the navy.
MRS. CHU
Little TV.
CHRIS
He could watch TV at home. We pay
three hundred dollars a month. I’m
going to take him out if you’re
watching TV.
MRS. CHU
Navy history. Little history.
Little TV. Go pay more at other
daycare if you don’t like history
TV.
Chris’s expression means he doesn’t have that money.
MRS. CHU (CONT’D)
You late pay anyway. You complain,
I complain. You late pay.
In the middle of this, Chris looks at his watch; he’s late.
Scene 7 - A Race Against Time and Thieves
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 6
Chris stands on a platform, with his scanner, waiting for a
train.
Chris looks across the tracks.
CHRIS’S POV
THE TRASH CAN CHRIS PUT HIS APPLICATION IN rests on the
opposite platform from his.
Chris stands across the tracks looking at it.
21.
STATION SPEAKER
Blue line...
Chris looks down the line for the train. IT’S COMING. Chris
looks across the tracks at the trash can.
CHRIS (V.O.)
This part of my life’s called...
running.
Like a bolt, Chris takes off running. He sprints with his
scanner toward the platform steps down.
INT. STATION PASS THROUGH - CONTINUOUS
To reach the other side, Chris must run with his scanner
through the station underground pass-through.
EXT. OPPOSITE PLATFORM - CONTINUOUS
Chris has grabbed his application out of the can and taken
off for the stairs as the train pulls in across the tracks.
INT. STATION PASS THROUGH - CONTINUOUS
Chris runs back through the underground pass.
EXT. PLATFORM - CONTINUOUS
Chris reaches the other platform and sprints toward the
closing doors of the metro train. He jumps in as the doors
close and the train rolls off.
EXT. DEAN WITTER BUILDING, FINANCIAL DISTRICT - LATER
Chris stands outside the skyscraper lobby with his scanner
and application.
CHRIS (V.O.)
I was waiting for Witter resource
head Jay Twistle, whose name
sounded so delightful, like he’d
give you a job and a hug.
A tall, thin businessman MR. TWISTLE walks up toward the
entranceway from a cab.
CHRIS
Hi, are you Mr. Twistle?
MR. TWISTLE
Yes.
22.
CHRIS
I’m Chris Gardner.
Chris shows him the application.
CHRIS (CONT’D)
I wanted to drop this off
personally and make your
acquaintance. They described you in
the office. I thought I might catch
you on your way in.
MR. TWISTLE
Okay.
CHRIS
I’d appreciate the opportunity to
discuss what may seem like
weaknesses in my application.
TWISTLE
(gesturing to Chris with
the application)
We’ll start with this, Chris. We’ll
call you if we want to sit down.
Chris nods; he’s been rebuffed. He starts to walk away.
EXT. STREET CORNER, SAN FRANCISCO - LATER
Chris speaks on a pay phone. The scanner rests at his feet.
CHRIS
Chris Gardner for Dr. Delsey.
(listening)
I’m running late for a sales call.
Acro. It’s with Dr. Delsey and Dr.
Cross.
(listening)
Can we still do it? In a half-hour?
Then CHRIS CATCHES SIGHT OF SOMETHING.
CHRIS’S POV
Across the street, in a slice of space between skyscrapers,
Chris has seen the girl junkie and A BOYFRIEND walking by.
THE GUY’S GOT CHRIS’S MEDICAL EQUIPMENT.
Chris stares at them from across the street. He wants to get
off the phone and chase the pair, but the receptionist is
still speaking.
23.
CHRIS
Okay.
(listening)
I’ll see you then. Okay. Thank you.
Chris hangs the phone up and takes off running.
EXT. STREET, SAN FRANCISCO - SAME
The girl and her boyfriend have taken Chris’s stuff to a bus
stop. They’re in a line of folks boarding the city bus. Chris
comes running up the street behind them. The bus pulls away.
Chris is right behind it, though, and never lets up running;
he’s pretty strong and fast and can keep up with the bus from
the sidewalk.
CHRIS (V.O.)
That was my stolen machine...
unless she was with a guy who sold
them, too..
THE FRAME FREEZES on Chris in mid sprint.
CUT TO:
A QUICK FLASHBACK OF CHRIS SIGNING A CONTRACT IN A MEDICAL
SUPPLY COMPANY OFFICE
CHRIS (V.O.)
...which was unlikely because I had
the whole Bay area in my
contract...
EXT. MEDICAL SUPPLY COMPANY WAREHOUSE - DAY (FLASHBACK)
With the help of a warehouse worker, Chris loads scanners
into the back of a rented van. Linda waits beside it, looking
on.
CHRIS (V.O.)
...which meant I more or less owned
these things. Which seemed like a
good idea at the time...
EXT. APARTMENT STAIRWELL - DAY (FLASHBACK)
Chris, Linda and the warehouse guy carry scanners up the
stairwell steps to Chris and Linda’s apartment.
CHRIS (V.O.)
..because I didn’t know yet that
doctors and hospitals would regard
them as unnecessary luxuries.
24.
CHRIS(cont'd)
I even asked the warehouse man to
take a picture.
INT. CHRIS’S APARTMENT, LIVING ROOM - DAY (FLASHBACK)
Because of a lack of space, Chris has had to stack the
scanners along the living room wall. There are thirty of them
stacked up there. Chris stands in front of the stack with
Linda. They’re posing for the picture. Chris smiles from the
enthusiasm of a new endeavor. IN FACT, HE OFFERS A THUMBS UP
TO THE CAMERA. HE NUDGES LINDA, WHO SEEMS A LITTLE LESS
ENTHUSIASTIC, TO GIVE A THUMBS UP, TOO; SHE SMILES AND,
BECAUSE SHE’S THROWING IN WITH CHRIS’S DREAM, GIVE THE THUMBS
UP, though it’s not quite as heartfelt as Chris’s. The camera
flashes.
Scene 8 - The Bone Density Scanner Salesman
- Overall: 0.0
- Concept: 0
- Plot: 0
- Characters: 0
- Dialogue: 0
In the present again, the girl and her boyfriend sit toward
the back of the bus. It moves through the San Francisco
neighborhood. Chris is visible out the window, running
alongside the bus.
CHRIS (V.O.)
....so if I lost one, it was like
losing groceries. For a month.
EXT. SIDEWALK - SAME
Chris runs hard to keep up with the bus; he’s still got his
scanner. The bus is pulling up to a corner stop; he’s going
to catch it.
Chris has reached the bus and goes right in in front of
commuters who were waiting.
INT. CITY BUS - CONTINUOUS
Chris walks past the driver without paying fare.
DRIVER
Hey, man...
Chris head down the aisle with his scanner until he reaches
the junkies’ seat.
CHRIS
Hey...
The guy looks up.
25.
EXT. BUS STOP - LATER
The bus doors have opened to let commuters off at a corner.
Soon, Chris leaves the bus with two bone density scanners. He
places them on the sidewalk to rest. He checks his watch.
He’s late for his sales call. He picks the scanners up and
starts running with them again.
EXT. STREET, SAN FRANCISCO - LATER
Chris runs through San Francisco with both scanners.
CHRIS (V.O.)
I carried them because I got paid
at installation.
EXT. DOCTOR’S OFFICE, SAN FRANCISCO HOSPITAL - LATER
Chris sits at a board table across from a pair of doctors.
Both scanners rest on the table top.
CHRIS
I could even install today.
FIRST DOCTOR
We don’t need two.
The second doctor looks at the equipment.
SECOND DOCTOR
We don’t need one.
Chris looks back at the doctors.
EXT. INTERSECTION, SAN FRANCISCO - LATER
Chris carries both scanners across a city intersection.
EXT. CITY TRAIN PLATFORM, SAN FRANCISCO - LATER
Chris has retrieved Christopher and holds both scanners as
they wait for the train. Christopher’s looking at him.
CHRISTOPHER
Did you forget?
CHRIS
Forget what?
CHRISTOPHER
(nodding at the scanners)
You’re not supposed to have any of
those.
26.
CHRIS
I know.
CHRISTOPHER
You have two now.
CHRIS
Yeah, I know.
INT. KITCHEN, CHRIS’S APARTMENT - LATER
Linda sets dinner out. Chris enters the kitchen with his son.
LINDA LOOKS AT THE SCANNERS HE CARRIES, taking notice Chris
didn’t sell them.
CHRIS
Hey...
LINDA
Hey...
She stares at Chris with his double scanners. They don’t say
anything, but she’s thinking of this morning and Chris’s
promise he was going to make something happen with his sales
job.
INT. KITCHEN - LATER
Later, after dinner at the kitchen table, Christopher has
opened a birthday gift. Chris hands him a second one - a gift-
wrapped basketball.
CHRISTOPHER
(taking it, smiling)
Thanks for the basketball.
CHRIS
(smiling)
How do you know it’s a basketball?
The child’s pretty smart and gets the humor in the fact the
gift was obvious.
CHRIS (CONT’D)
Maybe it’s an ant farm.
CHRISTOPHER
(amused)
No way.
Christopher unwraps the ball.
27.
CHRIS
We’ll go play soon. Okay?
CHRISTOPHER
Yeah...
INT. LIVING ROOM - LATER (NIGHT)
Chris passes through the living room. A wide shot shows
TWENTY SCANNERS STACKED along the wall there.
Scene 9 - A Desperate Search for Hope
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 7
Linda’s out on the small setting of the third floor patio
balcony. THERE’S AN OLD NEIGHBOR BEATING A SMALL RUG on the
balcony right beside her, and another one smoking on a lawn
chair just to her left. Chris comes out and finds her there;
they don’t say anything for a while.
CHRIS
(having to whisper because
the neighbors are close)
It was a fucked up day. I went by
Dean Witter. I ended up having to
run somebody down. Someone tried to
run off--
LINDA
Whatever...
CHRIS
Whatever? What are you talking
about?
THE GUY KEEPS BEATING THE RUG beside them. Chris looks over
at him; it’s getting to Chris.
LINDA
(having to whisper)
Whatever.
CHRIS
What do you mean whatever?
LINDA
I don’t care. Whatever. Every day’s
got some story so...
CHRIS
(having to whisper,
meaning believe in him)
Hang on.
28.
LINDA
(didn’t hear him)
What?
CHRIS
Can you hang on?
The guy keeps beating the rug.
CHRIS (CONT’D)
Can you just hang on.
The guy beats the rug. It sets Chris off.
CHRIS (CONT’D)
(yelling)
Roy. Hey. Beat your little rug when
no one else is out here. Can you?
ROY
I’m trying to keep a clean house,
Chris.
CHRIS
We’re talking.
The man lays the rug on the balcony rail. Chris seems to
regret he laid into such an old guy. But he faces Linda
again.
CHRIS
(still whispering)
I’m saying... just hang on. We’ll
come out of it. It’s going to be
fine.
LINDA
You said that before. You said that
before Christopher, it’ll be fine.
CHRIS
What? You don’t trust me?
LINDA
Whatever...
After a moment, Linda goes back into the house. Chris remains
on the balcony. He stands there for a while. Then the old
neighbor begins beating his rug again.
29.
EXT. SAN FRANCISCO NEIGHBORHOOD - EARLY MORNING
It’s not yet light. Chris and his son walk to work and
daycare again
EXT. NEIGHBORHOOD, SAN FRANCISCO - LATER(SUNRISE)
They wait at a corner to cross. Beyond them, the sun’s just
coming up. A car’s passing; Christopher starts to cross
without looking.
CHRIS
(stopping him)
Christopher, look. I know it’s
early. But wake up.
EXT. DEAN WITTER BUILDING - LATER
Chris is dressed for work and stands outside Dean Witter,
holding a scanner and waiting for Twistle as he approaches
from the street.
CHRIS
Mr. Twistle.
The two shake hands.
CHRIS (CONT’D)
Chris Gardner. We met a couple
weeks ago. I gave you an
application--
MR. TWISTLE
Chris, I’m busy right now.
CHRIS
I’m sorry.
Twistle continues on his way. Chris watches him go.
INT. MOVIE THEATER, SAN FRANCISCO - DAY
The Disney picture The Fox and The Hound plays on the theater
screen.
Chris sits in the audience with his son. Chris watches the
picture for a time. Soon, he turns to check on Christopher
and finds him asleep. He looks at his son for a while,
getting the idea clearly that the way he lives is wearing his
son out.
30.
EXT. FINANCIAL DISTRICT - DAY
On another day, Chris, with a scanner, runs along a sidewalk
in the financial district, past the Transamerica building.
EXT. DEAN WITTER BUILDING - LATER
Chris waits in his now familiar spot before the Dean Witter
skyscraper. Jay Twistle leaves the building. As he approaches
a cab, Chris approaches him.
CHRIS
Mr. Twistle?
TWISTLE
Hi.
CHRIS
Chris Gar--
TWISTLE
Yeah. Listen. What can I do for
you?
CHRIS
I submitted an application for the
intern program. I hoped I could sit
down with you for a moment.
TWISTLE
I’m on my way to Russian Hill,
Chris.
Twistle has pointed to the cab. Chris looks at the cab; he
decides to lie.
CHRIS
Me, too. Can we share a ride maybe?
Twistle looks back at Chris.
Scene 10 - The Cab Ride
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
Chris sits in the back of a cab that drives through San
Francisco.
CHRIS
... a lot of my family members were
in the navy. I just decided to join
after high-school...
Chris is looking across the cab back seat; he’s disappointed
by what he sees.
31.
What Chris sees is Twistle sitting across from him, playing
with a Rubik’s Cube and half-listening to Chris.
CHRIS (CONT’D)
... I planned on going to college,
but I started a family before I was
discharged and began working...
Twistle’s still messing with the cube while Chris is talking.
CHRIS (CONT’D)
Mr. Twistle, I’m trying to...
TWISTLE
I’m sorry. This fucking thing’s
impossible.
Chris looks over at Twistle. Time passes.
CHRIS
I can do it.
TWISTLE
No one can.
CHRIS
I can.
TWISTLE
No one can. It’s bullshit.
CHRIS
Give it to me.
Twistle looks at Chris. After a moment, he hands him the
Rubik’s Cube. Chris looks at it as he begins to make some
corrections on it.
CHRIS
(good-natured)
You really fucked it up.
TWISTLE
(lighthearted)
Sorry.
CHRIS
It’s all...
(looking out at the
street)
How far away are we?
32.
TWISTLE
I don’t care. We can drive around
all day. Because you can’t do it.
It’s bullshit.
CHRIS
Yes, I can.
TWISTLE
No, you can’t.
CHRIS
Yeah, I can.
Twistle’s smiling now. Chris sits in the back of the cab,
twisting the thing backwards and forwards. Twistle watches.
The cab driver looks on in the rear view mirror. He’s got a
Rubik’s Cube on the seat beside him.
Chris continues moving the thing around.
Twistle continues watching.
The cab driver keeps watching as well.
Chris has two sides solid already.
Twistle looks on.
The cabbie pulls up to where Twistle was headed. No one
leaves the cab. Chris keeps working on the cube. He stops for
a while, though. Some part of it’s got him hung up. He stares
at it. Everyone’s gone quiet in anticipation of Chris
succeeding or not. Chris figures something out, turns the
thing three times. Then he shows the finished cube to
Twistle.
Twistle looks back at Chris.
CAB DRIVER
(about the fare)
Seventeen ten.
TWISTLE
(to Chris)
You were going on, right? Somewhere
else in Russian Hill?
CHRIS
Yes.
Twistle has stepped out of the cab.
33.
TWISTLE
(about the cube, to Chris)
Good job.
He waves goodbye to Chris; he hasn’t offered any money or
anything further about Chris’s interest in his program.
CAB DRIVER
(to Chris)
Where are you going?
Chris is still watching Twistle.
CAB DRIVER (CONT’D)
Where are you going?
CHRIS
Go over to Pacific...
The cab pulls out. Chris rides in the back. He sees something
that troubles him.
CHRIS’S POV
Chris is looking at the cab fare meter. It reads $17.30.
Chris’s expression imparts he doesn’t have the fare. As the
cab drives along, Chris grows more concerned.
EXT. TRAFFIC, RUSSIAN HILL, SAN FRANCISCO - LATER
An exterior shot of the cab in traffic. Chris’s door opens
violently and he bolts out.
CAB DRIVER
Hey!
Chris sprints up Pacific Avenue away from the cab. The
driver’s jumped out to chase him.
EXT. HYDE STREET - SAME
Chris has run onto Hyde Street. He’s faster than the driver
and pulls away.
EXT. POLK STREET - LATER
Chris has turned into an alley off Polk. He stays there for a
while. The cab driver walks by out on Polk. He’s looking for
Chris. He’s lost him. The driver heads back for his cab.
Chris should feel like he’s in the free and clear. He does
for a while, then he takes notice that he’s standing there
empty-handed and realizes he left his scanner in the cab.
34.
CHRIS
Fuck...
EXT. PACIFIC AVE, - CONTINUOUS
As the cab driver returns to where his cab waits in traffic,
CHRIS RUNS RIGHT BACK PAST HIM, and the driver starts chasing
him again.
THE CAB
Chris grabs the scanner out from the back of the cab. The
driver’s closing in on him. Chris gets the gear out and gets
going again with little distance between him and the driver
now.
Scene 11 - Chris's Flight and Loss
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 7
- Dialogue: 6
Chris tries to sprint while carrying the scanner.
EXT. PUBLIC SQUARE - LATER
Chris runs through a public square park. He’s starting to
drag. He comes to a rest bench. He must rest and puts his
scanner on the bench. As Chris catches his breath, he sees
the driver come into view running toward him from not too far
off.
Chris looks at the scanner; he has to leave it to get away;
it represents money he needs though, and leaving it’s
difficult. Chris looks back at the driver then he leaves
running.
Soon, the driver reaches the bench where the scanner rests.
He knows he can’t catch Chris now that Chris isn’t hauling
something. So he just gives up. He stops. He watches Chris
run off at the far side of the square.
EXT. STREET, WEST SIDE OF THE PUBLIC SQUARE - LATER
Later, the driver sits across the street from the square.
He’s doing surveillance on the abandoned scanner that still
remains in the middle of the square; he’s waiting to chase
Chris when he reclaims it.
Chris is on a pay phone across the street from the opposite
side of the square. He sees the driver; the driver doesn’t
see Chris; Chris watches the driver and scanner.
CHRIS
(to the phone)
I’m going to be home late.
35.
LINDA (O.S.)
Chris, I’m leaving.
CHRIS
Leaving where?
LINDA (O.S.)
I have my things together.
CHRIS
Leaving our place?
LINDA (O.S.)
Chris, I’m going. I’ll talk to you
later.
CHRIS
Wait...
Linda hangs up. Chris has been surprised. He’s thrown and
real unsettled. He looks over at the scanner. Then he takes
change from his pocket. He’s taken a quarter and nickel out.
He looks at them.
CLOSE ON the heads side of the nickel: the profile of THOMAS
JEFFERSON.
Chris looks at it. Then he looks up across the street.
CHRIS (V.O.)
The train was coming every four
minutes.
There’s a city train platform in the distance behind the
street the driver waits at.
CHRIS (V.O.)
I could get my scanner, get past
him somehow, and if I timed it
right, jump right on and roll off.
Chris looks forty yards across the square at his scanner.
Then Chris just jumps out and goes for it.
Across the street, the driver’s distracted and doesn’t see
Chris across the square on a straight line for his equipment.
Chris has reached the scanner and grabbed it. He’s got to run
by the driver to get the train. He sees that it’s coming
around the bend to the west.
Meanwhile, the driver’s seen Chris and stands up to stop him
from running by.
36.
Chris reaches him, jukes him, then takes off after the train.
CHRIS (V.O.)
I was thinking... I don’t know...
EXT. STREET - CONTINUOUS
Chris runs for the train; the driver chases him. The train’s
at the platform stop Chris runs toward.
CHRIS (V.O.)
I was thinking about Thomas
Jefferson.
INT. STATION - LATER
Chris has reached the station and puts his change in the
turnstile machine.
CHRIS (V.O.)
...And the Declaration of
Independence.
INT. STATION STAIRS - LATER
Chris runs up the station steps to the platform.
CHRIS (V.O.)
And the passage about our right to
life, liberty and the pursuit of
happiness. For real.
EXT. TRAIN PLATFORM - LATER
Chris has come up to the platform and found the train there;
he runs toward the open doors of the closest car.
CHRIS (V.O.)
And I remember thinking... how did
he know to put the pursuit part in
there. That happiness...
The doors are closing.
CHRIS (V.O.)
...maybe it’s just something you’ll
never have. No matter. How did he
know that? He was a smart person I
always admired.
Chris tries to jam in past the doors coming together. They’ve
clipped the scanner and caused Chris to drop it. It lands on
the platform broken up.
37.
Now Chris is on the other side of the train door with no way
to open it. Chris looks through the glass at the scanner. The
train starts to roll away; Chris keeps looking at the scanner
as the train takes him away from the platform.
EXT. CHRIS’S NEIGHBORHOOD, SAN FRANCISCO - LATER (EVENING)
Later, when it’s become dark, Chris walks home through his
city neighborhood.
INT. CHRIS’S APARTMENT - LATER
Chris looks across his living room at the stacks of Acro Bone
Density Scanners he can’t sell; THE ODD FEATURE OF THIS
MOMENT IS THAT THE PLACE IS PRETTY EMPTY NOW EXCEPT FOR
CHRIS’S PRODUCT. Linda has left with some of their
belongings.
Chris turns back for the open front door. His landlord’s
standing in the doorway.
LANDLORD
Chris.
Chris heads past him.
LANDLORD (CONT’D)
I got to get the rent from you.
Chris goes by him out the apartment.
LANDLORD (CONT’D)
Hey, man...
EXT. APARTMENT BUILDING - CONTINUOUS
Chris has come out front. He’s looking over the lot across
the street to see if there’s some trace of Linda and
Christopher going. He doesn’t see them. He remains there for
a while; he’s facing the idea Christopher’s gone. A phone
rings from his open apartment. Chris looks that way. Then he
jogs toward his place.
Scene 12 - An Invitation Amidst Chaos
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
As the phone rings, Chris runs in past the landlord hanging
around the doorway.
LANDLORD
I got to get the rent from you,
man.
Chris closes the door on him. The phone rings. Chris gets
over to it.
38.
CHRIS
Hello.
MAN’S VOICE
Chris?
CHRIS
Yeah.
MAN’S VOICE
Jay Twistle.
Chris is surprised. It takes him a moment to respond.
CHRIS
Hi...
MAN’S VOICE
Dean Witter.
CHRIS
Hi...
MAN’S VOICE
Do you still want to come by and
visit?
After a moment, Chris tries to make his voice come over
casually, but it’s an opportunity he’s been long chasing and
he’s shaken by it.
CHRIS
Yes.
MAN’S VOICE
Come on by. Let’s sit down with a
couple colleagues of mine. Do you
have a pen and paper?
Chris looks around in the drawers, the tabletops; he grabs a
stray piece of paper from the counter. He doesn’t have a pen.
He just stands there.
CHRIS
Yes.
MAN’S VOICE
Good. Because this is going to get
a little complicated.
39.
CHRIS
(afraid of that, very
quietly)
Fuck...
MAN’S VOICE
17901 West Devaney.
Chris concentrates hard to remember.
CHRIS
Okay.
MAN’S VOICE
Tower two. Suite eleven--
CUT TO:
EXT. STREET, SAN FRANCISCO - LATER
Chris runs full speed through the sidewalk foot traffic.
CHRIS
(repeating to remember)
17901 West Devaney--
EXT. STREET, SAN FRANCISCO - LATER
Chris waits at an intersection corner for the crosswalk. An
ACQUAINTANCE OF CHRIS’S, hanging out nearby, comes over.
CHRIS
(to himself)
Suite eleven sixty three--
ACQUAINTANCE
Chris.
CHRIS
(rushed)
Hey.
ACQUAINTANCE
What’s up, man? Did you see that
Nuggets game?
CHRIS
No.
ACQUAINTANCE
Last night. You didn’t see that?
40.
CHRIS
No.
ACQUAINTANCE
A hundred and eighteen...
(correcting himself)
A hundred and nineteen to a hundred
twenty. Two overtimes. Moons made a
three pointer with seventeen
seconds left.
The numbers are fucking Chris up.
CHRIS
I’m running somewhere. And I can’t
talk to you about numbers and shit
right now.
The light changes. Chris takes off.
ACQUAINTANCE
(to himself)
What’s your problem with numbers?
CHRIS
(stopping in the street)
Wayne.
ACQUAINTANCE
What?
CHRIS
You owe me fourteen bucks.
ACQUAINTANCE
Yeah...
CHRIS
Do you have that?
ACQUAINTANCE
I’ll get that to you.
Chris takes off again.
ACQUAINTANCE (CONT’D)
(to himself again)
Fourteen’s a number.
INT. REGISTERS, GROCERY STORE - LATER
Chris HOLDS A SINGLE PEN and waits for his turn to pay.
41.
EXT. GROCERY STORE - LATER
Chris sits on a bench outside the grocery with his new pen;
he’s writing the address down on the paper he has. He
finishes. He looks at it. FOR THE FIRST TIME, CHRIS
DEMONSTRATES A SENSE OF SLIGHT RELIEF AND SATISFACTION. He
remains on the bench, resting for a while. Then he notices
the paper is the list Christopher’s made earlier. Chris looks
at it.
The paper bears handwriting that reads basketball...
microscope... two records...
Chris looks at the paper for a while; he’s thinking about his
son.
Scene 13 - Confrontation Outside Daycare
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
Chris is amped up and has caught up with Linda in front of
daycare. Christopher’s gone in; left alone, they take the
occasion to scream at one another.
CHRIS
You didn’t leave me a pen.
LINDA
Chris--
CHRIS
Did you know he watches nonsense in
here? He watches TV in here?
LINDA
What are you saying?
CHRIS
You set this up. I wouldn’t have
set this up. I would have looked in
this fucking place. Take off. But I
want Christopher. Give me
Christopher if you want to take
off.
A DAYCARE WORKER has come out to quiet them.
DAYCARE WORKER
There’s children in here.
She goes back in. The couple look at one another. Then they
finish with each other by whispering fiercely.
CHRIS
You set this up.
42.
LINDA
We didn’t have a choice. It’s all
we could pay for.
CHRIS
Where are you staying?
LINDA
At Cynthia’s.
CHRIS
There’s no room for Christopher
there. I’m taking him if you’re
staying there. Why are you staying
there?
LINDA
Until I can figure out where I’m
going. All right? Until I figure
out what I want to do. I want to do
something different. Just-- That’s
where I’m staying.
Linda walks off. Chris watches her go.
EXT. BUS BENCH, SAN FRANCISCO - LATER
Chris sits on a bus bench across the street from the daycare
building.
He’s looking across the street, into the center where the
class is being collected to leave for the day.
Chris stands up to go retrieve Christopher.
EXT. MS. CHU’S DAYCARE - CONTINUOUS
Christopher’s come out front with some others. Chris is
there, waiting.
CHRIS
Hey.
CHRISTOPHER
Hi..
CHRIS
Ready?
CHRISTOPHER
Yeah. Where’s mom?
Chris doesn’t answer right away. They start walking off.
43.
CHRIS
She went to stay with a friend for
a little while.
CHRISTOPHER
Cynthia?
CHRIS
Yeah.
CHRISTOPHER
Why?
CHRIS
She wants to be alone for a while
to do some thinking.
CHRISTOPHER
Thinking about what?
CHRIS
Just... About how to be happy. All
right? I’m with you. You’re going
to be fine.
Christopher looks a little mixed up. They’ve come to a corner
and stopped. Chris looks down at his son.
CHRIS (CONT’D)
She just wants to do some thinking.
You’re going to be fine.
He smiles as a means to reassure Christopher. Christopher
nods.
EXT. APARTMENT MANAGEMENT OFFICE - DAY
Chris has met his apartment landlord in front of the office.
Chris holds his lease; they’re discussing it.
CHRIS
The apartment’s in good shape. You
have to keep this fifty dollar
cleanup?
LANDLORD
That’s a touchup fee. Repainting.
CHRIS
I’ll paint it.
44.
LANDLORD
That’s all right. Why are you
moving?
Chris looks at the guy for a while.
CHRIS
Linda’s moved out. We need a
smaller space.
Scene 14 - A Spiral of Despair
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 7
Chris paints the walls white; he’s dressed in old clothes he
doesn’t care about. It’s an unhappy scene with the scanner
stack visible in the frame. He’s got to edge past a scanner
to paint.
CHRIS
(to the scanner for some
reason)
Watch out.
He knocks the scanner aside with his foot. It didn’t go as
far as he needed.
CHRIS (CONT’D)
(starting to lose it)
Watch out, asshole.
He knocks it harder, then he looks at the scanner with the
loose bearings of a guy who just called some equipment
“asshole.”
CHRIS (CONT’D)
Fuckin’... Shit. Asshole.
Then he kicks the equipment. Then he pushes his ladder down
on the scanner.
CHRIS (CONT’D)
Fucker.
Then Chris really kicks its midsection hard. He’s a little
winded and stops. He looks at the damage he’s caused.
CHRIS (CONT’D)
(realizing he busted it)
Shit...
After a while, he sits down beside the scanner. Chris takes a
piece that flew off and tries to put it back on.
45.
CHRIS (CONT’D)
(more calmly)
Fit. Come on.
It’s not going back on.
CHRIS (CONT’D)
(quietly)
Come on. I’m sorry.
Chris keeps trying to fix the equipment.
EXT. PATIO - LATER
Chris sits on the small cement patio. He’s got his face
pressed against the green mesh chain link of the rail.
CLOSE ON Chris’s face meshed in; it’s an uncomfortable-
looking position but one he’s apparently taking some comfort
from temporarily.
APARTMENT - LATER
Chris paints with a roller when THERE’S A KNOCK AT THE DOOR.
He goes to answer it and walks past part of the wall where
he’s painted in broad white paint
Chris,
You suck,
Chris
DOOR - CONTINUOUS
Chris opens the door. TWO SAN FRANCISCO POLICEMAN stand
outside.
POLICEMAN
Chris Gardner?
Chris looks back at the police.
INT. JAIL CELL - LATER
Three inmates sit around a station jail cell - Chris and two
others. Chris remains in his painting clothes.
INMATE
(to Chris)
What’d you do?
Chris doesn’t answer.
46.
INMATE (CONT’D)
(to Chris)
What’d you do?
The other guy starts laughing.
SECOND INMATE
(laughing)
Parking tickets.
After a moment, the first guy begins to laugh.
INMATE
(laughing, to Chris)
You got to pay that shit.
INT. CASHIER’S OFFICE, POLICE STATION - LATER
Chris writes a check for the clerk.
CHRIS
Four hundred?
CLERK
Four eighty.
It’s a heavy amount for Chris.
CLERK (CONT’D)
That’s a county tax.
(taking the check)
You have to stay until this clears.
We verify at nine-thirty A.M.
CHRIS
(worried for Christopher)
My son’s at school. I have to get
him.
CLERK
It’s nine-thirty A.M.
CHRIS
I have a job interview at 10:15. At
Dean Witter. And my son’s at--
CLERK
We verify at nine-thirty.
Though he’s concerned, Chris has to accept this.
47.
Scene 15 - Desperation and Determination
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 6
Chris is on the pay phone down the end of the long jail
corridor; though he’s talking calmly, his expression shows
he’s feeling great unrest.
LINDA (O.S.)
(meaning what do you want)
What?
CHRIS
I have to... I can’t get
Christopher today.
LINDA (O.S.)
What?
CHRIS
I need you to get Christopher. Take
him with you. For the night. One
night.
LINDA (O.S.)
What are you doing?
CHRIS
(quietly)
I got stuck. In this... situation.
I’ll get him at school tomorrow.
I’ll go right there.
LINDA (O.S.)
Maybe I should take him.
CHRIS
You should take him for the night.
Like I’m asking. To help us.
LINDA (O.S.)
I want to see him...
Chris doesn’t say anything.
LINDA (O.S.)
I want to see him.
CHRIS
See him tomorrow. Then bring him
back.
There’s no response.
48.
CHRIS (CONT’D)
See him then bring him home.
LINDA
I want to take him to Golden Gate.
To the park. I’ll bring him back at
six.
Chris doesn’t say yes or no.
LINDA (O.S.)
Six. Okay?
CHRIS
Linda...
Chris weighs what Linda has in mind.
CHRIS
(meaning it better be six
and no later)
Six.
Chris is leaned way in with his head pressed into the corner
of the phone box; there’s pain on his face like someone’s
hitting his head with a hammer.
INT. CELL - NIGHT
In the middle of the night, while the few other inmates
sleep, Chris lays in his space awake.
CHRIS (V.O.)
I was wondering how I was going to
get over to Dean Witter in time.
Without a dime.
EXT. POLICE STATION, SAN FRANCISCO - DAY (MORNING)
No one’s out on the front steps of the station the next
morning. The setting looks like a still picture. Then the
doors fly open, and Chris comes running out.
EXT. STREET, SAN FRANCISCO - LATER
Chris tears down the sidewalk, running past business people.
EXT. SIDEWALK/STREET, FINANCIAL DISTRICT - LATER
Chris sprints down the sidewalk toward the Dean Witter
building. He’s wearing a gray Member’s Only jacket, no shirt
under and white jeans covered in old paint.
49.
EXT. DEAN WITTER BUILDING - LATER
Chris stands in front of the skyscraper lobby entrance
fighting with the busted front zipper of his jacket.
CHRIS
(struggling with the
zipper)
Fuck...
Then Chris gives up on it. He stands there for a moment,
having to accept the fact that he has to conduct an interview
this way.
INT. BUILDING ELEVATOR, MOVING - LATER
Surrounded by business people, Chris rides the elevator up in
his painter pants and his open Members Only.
INT. RECEPTION ROOM, DEAN WIITTER HEADUARTERS - LATER
Young Dean Witter applicants in suits wait together in a row
of reception room seats. Chris sits directly in the middle of
them. A RECEPTIONIST enters from the inter-office to call
Chris for his interview.
RECEPTIONIST
Mr. Gardner?
Chris rises.
CHRIS
Thank you.
Chris walks past her.
Scene 16 - Chris Gardner's Impressive Interview
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 8
A group of DEAN WITTER PARTNERS waits for Chris in the board
room. Chris and the receptionist enter.
RECEPTIONIST
(introducing him)
Chris Gardner.
The men look at Chris. Jay Twistle is part of the group.
Chris looks back at them.
CHRIS
Hi.
More or less embarrassed, the group has gone quiet.
50.
CHRIS (CONT’D)
... I’ve been sitting out there for
a half hour thinking of a story
about some series of events that
would have led me to be here like
this. Dressed like this. And also
would have demonstrated qualities
you probably value here like
diligence and earnestness and maybe
team-playing or something...
The partners look at Chris.
CHRIS (CONT’D)
I couldn’t think of anything. I was
arrested for failure to pay parking
tickets. I ran here from the Polk
station. From the police station.
The partners keep looking at Chris.
FIRST PARTNER
I have a question.
Chris looks back. The guy checks out his clothes.
FIRST PARTNER (CONT’D)
What were you doing before you were
arrested?
The others laugh. Chris has smiled. There’s some good cheer
in the room now.
CHRIS
I was painting my apartment.
FIRST PARTNER
Sit down.
Chris begins to sit.
FIRST PARTNER (CONT’D)
(gesturing for Chris to
stop)
Is it dry?
CHRIS
Yes...
Chris sits down.
51.
FIRST PARTNER
(to Chris)
Jay says you’re pretty determined.
TWISTLE
He’s been waiting out front with
some forty pound gizmo for a month.
FIRST PARTNER
He said you’re smart.
Chris looks over at Twistle. The look is meant to thank Jay.
Jay returns Chris’s look to say he’s in Chris’s corner.
FIRST PARTNER (CONT’D)
Do you think you can learn
regulations and operations of the
market so as to capitalize?
CHRIS
Yes.
FIRST PARTNER
Have you already starting learning?
On your own?
CHRIS
Yes.
FIRST PARTNER
Because that’s all we do.
The partner looks Chris over.
FIRST PARTNER (CONT’D)
We generally hire M.B.A.s from good
schools. We like to be prepared in
case a client asks where an
employee went to school.
Chris listens like that’s bad news.
FIRST PARTNER (CONT’D)
But it’s been my experience that
they don’t. They ask whether
they’re profiting through our
service.
(turning to Jay)
Jay, how many times have you seen
Chris?
TWISTLE
Ten.
52.
FIRST PARTNER
Has he ever been dressed like this?
Chris awaits the answer.
TWISTLE
No. Jacket and tie.
FIRST PARTNER
(looking at his resume)
You were first in your class? In
high school?
CHRIS
Yes.
FIRST PARTNER
Out of how many?
CHRIS
Twelve.
No one reacts like it’s much of an accomplishment.
CHRIS (CONT’D)
Small town.
FIRST PARTNER
I’ll say.
TWISTLE
First is first, though.
FIRST PARTNER
Yes, first is first, Jay.
CHRIS
I was first in radar class in the
navy also. Twenty guys.
TWISTLE
If Chris finishes first here, he’s
made us a lot of money.
The first partner looks at Chris for a while.
FIRST PARTNER
What would you say if I told you a
guy showed up for a interview
without a shirt. And I hired him.
What would you say to that?
Chris thinks about it.
53.
CHRIS
He must have had a pretty nice pair
of pants.
The whole room laughs. Chris has accomplished sharing some
character strengths with this group.
Scene 17 - Weighing Options
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
Twistle has walked Chris out; they finish a conversation out
front of the skyscraper.
CHRIS
Thank you, Mr. Twistle.
TWISTLE
You can call me Jay.
CHRIS
(nodding)
I’ll let you know, Jay.
TWISTLE
(totally surprised by
that)
What?
CHRIS
(not following)
What?
TWISTLE
You’ll let me know, Jay?
CHRIS
Yes.
TWISTLE
You hounded-- You stood here--
CHRIS
There’s no salary. My circumstances
changed some. I need to figure out
if I can make it.
TWISTLE
A couple hours. No shit. I’ll fill
your spot. I promise. You know what
I’ll look like... if you back out,
you know what I’ll look like to the
partners?
54.
CHRIS
Yes.
TWISTLE
What?
CHRIS
An ass--
(thinking better of it)
--a-hole.
TWISTLE
Yes. An ass a-hole. All the way.
Amused, Twistle has smiled. Chris has smiled too from the
simple enjoyment of his company; all in all it’s a moment of
relief for Chris amid all his long stretches of unhappiness.
EXT. STREET, SAN FRANCISCO - LATER
Chris runs back home from the building.
CHRIS (V.O.)
There was no salary. And not even a
reasonable promise of a job. One
intern was hired at the end of the
program. From a pool of twenty.
EXT. STREET, SAN FRANCISCO - LATER
Chris keeps running.
CHRIS (V.O.)
If you weren’t that guy, you
couldn’t apply the six months
training to another broker. I’d
have to quit formally working for
Acro as well. I’d have to give up
benefits.
EXT. GUN & PAWN, STORE, SAN FRANCISCO - LATER
Chris removes his watch, slowing from his run and approaching
the pawn shop.
CHRIS (V.O.)
The only resource I would have for
six months would be my scanners,
which I owned on lease and could
still sell. I had fifteen left. If
I sold them all, I might get by.
55.
EXT. TRAIN PLATFORM, CITY - LATER
Chris waits among other at the central San Francisco train
platform.
CHRIS (V.O.)
I had two hours to decide.
INT. CITY TRAIN, MOVING - LATER
Chris rides by the window. He’s looking out at the landscape
of the city. It’s fall. The afternoon light’s fading out.
Chris has gone quiet like he was at the film’s beginning,
riding the train and considering the matters of his life.
CHRIS (V.O.)
I remember wondering... Am I a good
bet? Or not. Because all this was
was a bet I could shine.
INT. CHRIS’S APARTMENT - LATER
Chris is alone in the apartment, standing under his broad You
Suck message. With a brush, he begins to cover it with paint.
Once it’s painted over, Chris shows a degree of relief. Then
he checks his kitchen clock.
The clock reads five minutes to six.
EXT. STAIRWELL, MOTEL - LATER
Chris sits alone outside on the stairwell steps waiting for
Christopher.
INT. CHRIS’S APARTMENT - LATER
It’s almost dark. Chris looks out the window of his room to
the stairwell where Linda should come up. She’s not there.
Chris checks his watch. He’s worried. Soon, Linda comes up
the stairs. She’s carrying Christopher because he’s asleep.
Chris lets some apprehension go.
Scene 18 - A Father's Dilemma: A Leap of Faith
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 8
- Dialogue: 7
Linda has put Christopher down on the couch under the message
Chris painted over; he’s still asleep. They face one another
from five feet away.
LINDA
(meaning where’s he been)
What were you doing?
56.
CHRIS
I had to, I had to manage all this
stuff. I had an interview at Dean
Witter. I had to get there. For an
intern program. A competitive
program. I got it.
Linda has been listening.
LINDA
I’m going back to Los Angeles.
CHRIS
All right...
They keep facing one another.
CHRIS (CONT’D)
I want Christopher. Here.
Linda looks at Chris for a while; sizing him up.
LINDA
Salesman to intern’s backwards.
You’re fucking around.
CHRIS
(with some anger, trying
to stay quiet.)
I’m not.
LINDA
What are you going to do for money?
CHRIS
I’m going to sell those things I
leased. And I’m going to stand out.
In my program.
LINDA
You’re doing that?
Chris doesn’t answer her. Linda stands there for a while. The
vibe of Linda is she’s lost, disappointed with her lot and
uncertain over the important concerns of her life; she’s
considering all of what Chris said to her. Chris waits for
the answer.
LINDA (CONT’D)
I know you’ll take care of him.
Then Chris watches Linda walk past him until she reaches the
partly opened door and goes out.
57.
Chris remains alone. After a while, he turns and looks at
Christopher.
The boy’s sleeping on the sofa under the message Chris
covered up.
Chris looks at his son. IT’S A MOMENT DURING WHICH CHRIS
TAKES THE MEASURE OF THE RISKS THE PROGRAM RUNS FOR THEM
AGAINST HOW HIS AND CHRISTOPHER’S LIVES CAN BE IMPROVED BY
IT. Chris watches his son sleep. Then Chris steps over to the
kitchen phone. In time there, he’s placed a call and keeps
his voice pretty low so he doesn’t wake his son.
TWISTLE (O.S.)
Hello?
CHRIS
Hello. It’s Chris Gardner.
TWISTLE (O.S.)
Hi, Chris.
CHRIS
I called to thank you again for
inviting me in.
TWISTLE
I responded to your determination,
Chris.
CHRIS
I appreciate it. Jay?
TWISTLE
Yeah.
Time passes.
CHRIS (CONT’D)
I’d be real pleased to be in the
program.
TWISTLE
That’s good, Chris.
CLOSE ON CHRIS on the phone; he’s expression shows some
uncertainty over what their future holds.
EXT. APARTMENT PARKING LOT - DAY
On another day, Chris and his acquaintance Wayne load Chris’s
scanners from Chris’s old apartment into Wayne’s car.
58.
CHRIS
(urging Wayne to slow
down)
Careful.
WAYNE
What?
CHRIS
Be careful.
Chris loads one in. Then he and Wayne enter the car.
Christopher’s in the back seat. The car pulls out, then heads
directly across the street to a motel lot.
INT. MOTEL ROOM - DAY
Christopher eats cereal at the small kitchen dining table.
They’re in a residence motel room now with fewer furnishings.
Chris enters the room.
CHRIS
(with a great deal of
fatherly enthusiasm)
Hey, it’s Saturday!
CHRISTOPHER
Yeah!
CHRIS
(same enthusiasm)
Let’s go play some basketball!
CHRISTOPHER
Yeah.
CHRIS
Then go sell a bone density
scanner!
Chris leaves. Christopher remains at the table, puzzling over
the last part.
Scene 19 - A Father's Hopes and Dreams
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Chris has taken Christopher to a park basketball court in the
middle of the city. Christopher takes a shot, misses and hits
a scanner that rests near the court.
CHRIS
(quietly)
Shit...
59.
Chris gets the ball.
CHRIS (CONT’D)
Try not to hit that. Okay?
CHRISTOPHER
Okay.
Chris dribbles the ball, smiling.
CHRISTOPHER (CONT’D)
I’m going pro.
CHRIS
(watching Christopher for
a stretch)
Yeah, I don’t know.
Chris isn’t smiling now.
CHRIS (CONT’D)
(kindly)
Come here. Listen.
Christopher walks over. Chris looks at him.
CHRIS (CONT’D)
(kindly))
You’ll probably be about as good as
I was. That’s the way it works. And
I was below average, so you’ll
probably ultimately rank somewhere
around there. Around average.
Christopher listens; his eyes are a little wider now with the
new set of facts.
CHRIS (CONT’D)
You’ll excel at a number of things.
Not this, though. So I don’t want
you out here day and night,
bouncing this ball. Okay?
CHRISTOPHER
Okay.
A couple moments pass.
CHRISTOPHER (CONT’D)
Why did we move to a motel?
CHRIS
Because I’m getting a better job.
60.
Christopher makes a curious expression; he’s a smart child
and doesn’t add that up. Chris looks down at him.
CHRIS (CONT’D)
You have to trust me.
CHRISTOPHER
I trust you.
CHRIS
(looking at his watch)
It’s time to go.
They head off the court. Christopher’s trailing.
CHRIS (CONT’D)
Come on. Keep up.
CHRISTOPHER
When’s Mom coming back?
CHRIS
I don’t know...
INT. CITY TRAIN, MOVING, SAN FRANCISCO - LATER
Early Saturday, Chris and his son are the only ones in the
train car. They ride through the city with the scanner
between them.
EXT. OAKLAND - LATER
Chris and his son walk through an Oakland business district.
The streets are pretty quiet still; Chris carries his
scanner.
EXT. CHECK CASH STORE, OAKLAND - LATER
Chris has sold the scanner. He cashes a check at the counter
while Christopher waits beside him. Christopher’s checking
out some Clark candy bars for sale on the counter. He doesn’t
say anything though. Chris sees him.
CHRIS
(to Christopher)
Do you want one?
Christopher nods. Chris faces the clerk again and points to
the candy bars.
CHRIS (CONT’D)
One of these, please.
61.
EXT. MRS. CHUS DAYCARE - DAY
Morning, Chris wears a new suit and parts company with
Christopher outside daycare right under the word Happyness.
CHRIS
I’ll see you after school.
CHRISTOPHER
You’re going to get me?
CHRIS
Yeah. I’m going to get you.
Christopher heads inside. Chris stands under the word
Happyness, looking at him go.
INT. CITY BUS, MOVING - LATER (MORNING)
Chris is dressed in the new suit; he rides the bus along the
bay as the sun rises.
EXT. DEAN WITTER BUILDING/STREET FINANCIAL DISTRICT - LATER
Office Manager ALAN FRAKESH, 38, leads the entire group of
twenty Dean Witter interns, including Chris, from the Dean
Witter building toward some destination across the street;
each is clean-cut and fresh-looking. The group reaches a busy
corner where three streets intersect. Frakesh gestures to a
number of skyscrapers visible around them.
FRAKESH
Mehvney Industrial and Sanco Oil
have the twelve hundred building.
Lee-Ray shipping is across the
street.
Chris listens; he’s glancing at the size of the skyscrapers.
FRAKESH (CONT’D)
In a couple weeks you’ll get cold
call sheets with the phone numbers
of employees from the Fortunes 500s
in the financial district. If you
canvas the district you can pool
from sixty Fortune companies.
Coffees and working lunches can be
fun occasions to familiarize
possible clients with our packages.
We need you to bring them in. Match
their needs and goals to a package.
And sign them up.
62.
INT. CONFERENCE ROOM, DEAN WITTER - LATER
Chris and the other interns sit around a conference table.
Frakesh distributes pretty thick textbooks.
FRAKESH
The board examination isn't just a
simple pass fail. It’s an
evaluatory tool we use to separate
applicants.
Frakesh checks his watch.
FRAKESH (CONT’D)
Okay. Five minute break. Back at
two.
Scene 20 - Scanner Thief
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 6
Chris is on break, waiting to cross the broad intersection
out front of the skyscraper. The FIRST PARTNER from Chris’s
early interview has come out as well and stands beside Chris,
hailing a cab.
FIRST PARTNER
Hi...
CHRIS
Hi.
The guy can’t recall Chris’s name.
CHRIS (CONT’D)
Chris.
FIRST PARTNER
How are you doing?
CHRIS
I’m good. Thanks.
FIRST PARTNER
How’s first day?
CHRIS
Good. Exciting.
FIRST PARTNER
(kidding, looking around
and meaning why’s Chris
outside)
You’re not quitting are you?
63.
CHRIS
No. Five minute break.
(nodding across the
street)
I’m grabbing a candy bar. We’re
doing board prep.
FIRST PARTNER
(like board prep’s hard)
Man. I remember mine...
While the first partner reminisces, Chris sees something.
CHRIS’S POV
The Filipino sits across the street on a bus bench; he’s got
Chris’s scanner on his lap.
From across the street, Chris looks at him.
FIRST PARTNER (CONT’D)
... it was an hour exam. Not three
like yours...
CHRIS (V.O.)
If I sold every scanner I had, I
might still come up short by the
end of the program.
FIRST PARTNER
...and we had no world markets on
it...
CHRIS (V.O.)
So I was watching a guy with my
rent on his lap waiting for a bus
to somewhere else.
Chris is focused on the Filipino. He sees the bus coming for
him a block south.
FIRST PARTNER
We didn’t cover taxes either. It
was still a pain in the ass...
CHRIS (V.O.)
I couldn’t run right off while he
was talking, because I’d look like
a freak.
Chris sees the bus pulling up.
64.
CHRIS (V.O.)
But the bus was coming.
CHRIS
(to the first partner)
Well, I’m down to two minutes. On
my break.
FIRST PARTNER
Yeah, Frakesh is a prick about it,
too, I bet.
CHRIS
It’s my first day, so...
FIRST PARTNER
Okay, get going.
Chris begins to cross the street. He’s got to walk, although
the bus has arrived. After a moment, it clears; the bus bench
is empty. The guy has gotten on.
Chris has to walk until he turns a corner where the bus has
gone. He finally does; he’s out of sight of the first partner
and starts to run.
INT. CITY BUS, MOVING - SAME
The Filipino sits near the window. He has the scanner. At
that moment, Chris catches up to the bus and comes into view,
running up alongside the guy’s window. IT’S AT THIS POINT
THAT CHRIS GETS HIT BY A CAR.
FILIPINO GUY
Whoa....
Scene 21 - Hit and Run
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 7
- Dialogue: 6
Chris lays on the pavement in the middle of the city street.
His eyes are open, but he seems stunned. Cars come right at
him.
SPANISH GUY
Hey, asshole.
A SPANISH GUY hauls Chris up to a knee then quickly over the
few feet to the sidewalk as a car swerves by.
SPANISH GUY (CONT’D)
Are you all right, man? Fuck.
65.
CHRIS
(standing now, coming
around further)
Yeah...
SPANISH GUY
What are you doing? I could have
killed you.
The guy’s car is pulled over behind them; he’s the driver who
struck Chris.
SPANISH GUY (CONT’D)
Are you okay?
CHRIS
Yeah.
SPANISH GUY
What are you doing?
CHRIS
I was trying to catch the bus.
SPANISH GUY
You’re all right?
CHRIS
Yeah.
They stand around there for a while.
SPANISH GUY
Gross, man. Your thumb. Man, gross.
CHRIS
(not following the guy)
What?
SPANISH GUY
You got a fucked up thumb.
Chris’s thumb stiffly points opposite the way it ought to.
SPANISH GUY (CONT’D)
Man, your thumb’s fucked up.
CHRIS
(noticing it)
Yeah...
After a moment, Chris starts to walk away.
66.
SPANISH GUY
Hey.
CHRIS
What?
SPANISH GUY
Where are you going?
CHRIS
Work.
SPANISH GUY
We should wait for the cops.
CHRIS
I’m on a five minute break. I have
like a minute left.
SPANISH GUY
You got hit by a car. Go to the
hospital.
CHRIS
I can’t. I’m in a competitive
internship at Dean Witter.
Chris waves then begins to run back the way he came.
INT. CONFERENCE ROOM, DEAN WITTER - LATER
Chris hustles back into the conference room. The other
interns are all seated and working from their textbooks.
Chris takes his seat; he picks up his pencil to write, even
though that thumb’s pointing in a different direction than
everyone else’s.
CHRIS (V.O.)
This part of my life is called...
CHRIS
(privately, flexing his
hand)
Ow... fuck...
CHRIS (V.O.)
...intern. Show up early.
INT. MAIN OFFICE, DEAN WITTER - MORNING
Early, The wide office space of open desks is empty except
for Chris and his twenty intern competitors, reading early
market charts on computers.
67.
CHRIS (V.O.)
Run with coffee...
EXT. WESTERN AVE, FINANCIAL DISTRICT - DAY
On another day, Chris is dressed for work and runs awkwardly
up a financial district sidewalk with a carry carton full of
coffees; he spills on his wrist.
CHRIS
Fuck...
CHRIS (V.O.)
Favors for Frakesh. Our office
manager. All day.
INT. CUBICLE ROW, DEAN WITTER - DAY
Chris sits at the end of a cubicle row of interns making cold
calls from a employee sheet marked Pacific Transportation.
He’s got Marshall Slauson: Billing circled in red.
CHRIS
(with a pretty fast
rhythm)
Our office is a block from Pacific.
I’d be glad to come over and share
our information with you. Even the
eight hundred dollars from your
profit sharing, if that’s all you
moved into the market yearly--
(listening)
Sure...
(listening)
You have my number.
(listening)
Call me with any questions, Mr.
Slauson. Anytime.
Alan Frakesh walks up to Chris’s desk.
ALAN
Who wants to get me a doughnut?
He’s looking at Chris. So Chris has to get up.
EXT. WESTERN AVENUE, FINANCIAL DISTRICT - LATER
Chris runs up the same coffee-spilling sidewalk, holding a
doughnut.
CHRIS (V.O.)
Stay late.
68.
INT. CUBICLE ROW, DEAN WITTER - LATER
Chris is on the cold call phone again. There’s all kind of
cold call chatter from the interns around him.
CHRIS
Even the four hundred dollars from
your pension can accrue to three
times--
(listening)
Accrue means adds up. Quickly. Into
more money.
Scene 22 - Chris's Commute and Financial Concerns
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 6
At day’s end, the intersection before the skyscraper is
mostly quiet; CHRIS, THOUGH, HAS LEFT THE SKYSCRAPER AND
SPRINTS ACROSS IT.
CHRIS (V.O.)
Then catch an A train by six.
INT. CITY TRAIN, MOVING - LATER
Chris rides the train.
CHRIS (V.O.)
Then the crosstown.
INT. CITY BUS, MOVING - LATER
Chris rides east through San Francisco.
CHRIS (V.O.)
To the blue line.
INT. CITY TRAIN - MOVING
Chris is on another el.
CHRIS (V.O.
The twenty-two
INT. CITY BUS, MOVING
Chris rides another bus.
CHRIS (V.O.)
To the place they can’t spell
Happiness.
69.
EXT. MRS. CHU’S DAYCARE - LATER
Christopher waits outside the facility with Mrs. Chu under
their mural. He’s the last kid. Chris runs up for him.
INT. MOTEL ROOM. KITCHENETTE - LATER (NIGHT)
Chris studies his textbook in their small kitchenette.
Christopher’s down for the night on a cot in the living room
beside him. Chris is writing. His thumb’s still hurting.
CHRIS
(from pain in his hand)
Ah...
CHRISTOPHER
(meaning what’s wrong)
What?
CHRIS
My thumb.
CHRISTOPHER
What happened?
CHRIS
I got hit by a car.
CHRISTOPHER
Where?
CHRIS
On Pacific?
CHRISTOPHER
Where on your body?
CHRIS
The back of my legs. I don’t
remember really.
CHRISTOPHER
How’d you hurt your thumb then?
CHRIS
I landed on it.
(kindly)
Go to sleep.
CHRISTOPHER
Were you on the street?
70.
CHRIS
I was running on the street. Yeah.
CHRISTOPHER
Don’t do that. You can get hurt.
CHRIS
(smiling)
Okay... Go to sleep.
Chris finishes a page of his textbook. Then he closes it.
Then he opens his checkbook to pay bills he’s got there. He
looks at the amount he’s got: $138.00. Chris stares at the
number for a while. He’s concerned of course.
CHRIS (V.O.)
Then eight hours later... reverse.
*The film speeds up and takes Chris and Christopher on a
quick-motion glimpse through their many transfers through the
city back to daycare and work.
EXT. DEAN WITTER SKYSCRAPER - LATER
Chris runs up to the skyscraper for work again.
Scene 23 - A Race Against Time
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
The camera tracks along the cubicle row where each intern
sits making calls.
CHRIS (V.O.)
Whoever brought in the most money
after five months was usually
hired.
They work frantically.
CHRIS (V.O.)
They were all working their way up
call sheets to sign clients.
An intern scratches a name he called from the bottom of a
sheet titled State Farm.
Chris sits in the last cubicle.
CHRIS (V.O.)
They’d stay till eight, but I had
Chris. I didn’t have the same time
to work my way up a sheet.
Chris looks at his sheet.
71.
CHRIS’S POV
The sheet is titled Bell Western. THE CAMERA PANS UP THE
SHEET FROM LOW LEVEL ADMINISTRATOR TITLES AND NAMES UP TO THE
TOP:
Walter Ribbon: Pension Fund Manager.
Chris looks at the name Ribbon and decides to dial it. He
awaits an answer.
SECRETARY (O.S.)
Walter Ribbon’s office.
CHRIS
Chris Gardner for Walter Ribbon.
SECRETARY (O.S.)
Concerning?
CHRIS
I’m calling from Dean Witter.
SECRETARY (O.S.)
Just a moment.
Chris, surprised he’s getting through, waits by the phone.
WALTER RIBBON (O.S.)
Hello.
CHRIS
Hello, Mr. Ribbon. This is Chris
Gardner. I’m calling from Dean
Witter.
WALTER RIBBON (O.S.)
Yeah, Chris.
CHRIS
Mr. Ribbon. I wondered if you’d
give me a few moments to discuss
our products and how I might--
WALTER RIBBON (O.S.)
Can you be here in a half-hour?
CHRIS
Yes.
72.
WALTER RIBBON
I just had someone cancel. Come
now. I can give you a few minutes
before the Giants game.
Chris is already taking off.
INT. LOBBY, DEAN WITTER BUILDING - LATER
CHRIS SPRINTS THROUGH THE BUSY LOBBY.
EXT. DEAN WITTER BUILDING - CONTINUOUS
Office manager Alan Frakesh is on his way in with a cup of
coffee. He encounters Chris as Chris hustles out.
ALAN
What’s up?
CHRIS
Hey, Alan.
ALAN
Hey, man. Do you have five minutes?
CHRIS
Man, I guess. I’m meeting Walter
Ribbon at Bell Western at three.
ALAN
Because I have no minutes. I’m
supposed to present commodities to
Bromer. Could you move my car? That
would really help me out.
CHRIS
Where is it?
ALAN
Lowery.
(pointing)
Half block. Lemon Tercel.
CHRIS
Where am I moving it?
ALAN
(like it’s real easy)
Other side of Lowery. They’re
streetsweeping. There’s spaces.
73.
CHRIS
(reluctantly)
All right...
Alan has handed Chris keys.
ALAN
Hold on to these. I have backups in
my desk.
Chris begins to go.
ALAN (CONT’D)
And you have to jimmy that.
CHRIS
Jimmy what?
ALAN
You have to jimmy the key. And the
other doors don’t unlock.
Alan makes a “jimmying” gesture to indicate what Chris needs
to do.
ALAN (CONT’D)
You have to jimmy it. Lemon Tercel.
Privately, Chris is a little more pissed.
EXT. LOWERY AVENUE, FINANCIAL DISTRICT - LATER
Chris has approached a parked lemon Tercel. He puts the key
in the driver’s door. He begins to “jimmy” it. It doesn’t
open.
Chris messes around with it a little more. It still won’t
open. He looks at his watch.
INT. WALTER RIBBON’S OFFICE, BELL WESTERN BUILDING - SAME
Fund manager WALTER RIBBON sits behind his desk, meeting with
a couple younger associates; THERE’S A PROMINENT OFFICE CLOCK
behind him reading 2:42.
EXT. LOWERY AVENUE - SAME
Back on Lowery, Chris continues to jimmy the key in the lock.
CHRIS
(frustrated, to himself)
I’m jimmying it. Come on. This is
jimmying it.
74.
INT. WALTER RIBBON’S OFFICE - SAME
The associates have cleared out of Ribbon’s office. Walter
does paper work at his desk. THE CLOCK BEHIND HIM READS 2:48.
Scene 24 - Chris' Frustrating Search
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 7
- Dialogue: 6
Chris has finally gained entry and drives around north San
Francisco, trying to find parking.
INT. WALTER RIBBON’S OFFICE - LATER
Walter Ribbon sits at his desk. The large wall clock that
looms behind him reads 2:55. RIBBON WEARS A SAN FRANCISCO
GIANTS BASEBALL CAP now.
EXT. SIERRA BOULEVARD - LATER
Chris has pulled the Tercel into a metered parking space.
He’s left the driver’s side. But after he’s shut the door, he
realizes he’s left his work materials inside. He puts the key
in. The door won’t unlock, so Chris begins to “jimmy” it
again.
CHRIS
Shit...
INT. WALTER RIBBON’S OFFICE - SAME
The prominent clocks reads 3:01. Ribbon wears the ball cap
but also takes a mitt from his drawer.
EXT. STREET, FINANCIAL DISTRICT - SAME
Chris stands at the meter beside the parked Tercel. He’s got
his work case with him and has been looking through his
pockets for change. He doesn’t have any quarters. Chris looks
at his watch. Then he looks back at the meter. Then he just
takes off.
EXT. SIERRA BOULEVARD, FINANCIAL DISTRICT - LATER
Chris runs with his workbag up the Sierra Boulevard sidewalk.
EXT. SIERRA BOULEVARD - LATER
Chris stands on the sidewalk, looking around for an address
he can’t find. A BUSINESSMAN WALKS BY.
CHRIS
Where’s 223 east, man? It should be
right here.
75.
BUSINESSMAN
This is 200 west. You have to cross
Cortez.
CHRIS
(quietly)
Fuck...
BUSINESSMAN
You have to go east four blocks.
EXT. CORTEZ STREET, FINANCIAL DISTRICT - LATER
Once again, Chris is running through San Francisco.
INT. LOBBY, WALTER RIBBON’S OFFICE BUILDING - LATER
Chris has jogged into the skyscraper lobby. He caught an
elevator just as the doors close; the elevator is ABSOLUTELY
PACKED THOUGH, so much so that it’s absurd for Chris to try
to enter, which out of desperation he does anyway. A
maintenance worker up front pushes him out.
MAINTENANCE WORKER
Get the fuck out of here, man.
Chris steps back and lets the elevator go up without him. He
hits the button. Soon, another elevator opens. Chris jumps
in.
INT. ELEVATOR - LATER
Chris is alone in the elevator going up; there’s easy
listening coming through the elevator speaker that cuts
across Chris’s frantic mood, so it’s a peculiar few moments.
INT. WALTER RIBBONS OFFICE - SAME
Walter Ribbon is no longer there. There is just an empty,
high-backed chair behind his desk with the large clock
reading 3:17 hanging on the wall behind it.
INT. RECEPTION DESK, LOBBY, WALTER RIBBON’S OFFICE - LATER
As the receptionist finishes a call, Chris approaches her. He
arrives at the desk. They look at each other. Chris smiles
and tries to come across bright-eyed.
CHRIS
Hi, I’m Chris Gardner.
76.
INT. ELEVATOR, WALTER RIBBON’S OFFICE BUILDING - LATER
Chris stands among a crowd of office-workers in an elevator
that’s going down. His expression is the opposite of the one
he was just making; it’s clear he didn’t see Walter Ribbon.
EXT. SIERRA BOULEVARD - LATER
Dispirited, Chris returns to the parked Tercel and FINDS A
PARKING TICKET ON THE WINDSHIELD.
Scene 25 - Financial Woes and Moral Compromise
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 7
Later, Chris rides the metro train. Pretty soon, he sees
OFFICE MANAGER ALAN FRAKESH, having just boarded, walking
down the aisle. They make eye contact.
CHRIS
Hey...
ALAN
Hey.
CHRIS
Why are you on the train?
ALAN
I’m just cruising up to Morgan
Stanley. For a presentation.
Parking in the financial district’s
a pain in the ass.
CHRIS
Yeah.
Alan takes an empty space beside Chris.
ALAN
Thanks for moving my car.
CHRIS
That’s all right. It’s on Sierra.
ALAN
(like Sierra’s pretty far)
Sierra?
CHRIS
Yeah.
Chris reaches into his work bag.
77.
CHRIS (CONT’D)
There weren’t any spaces around
Lowery. Where you said.
Chris TAKES THE PARKING TICKET OUT.
CHRIS (CONT’D)
I missed an appointment at Bell
Western. With Walter Ribbon. Walter
Ribbon left.
ALAN
Man...
CHRIS
I was twenty-three minutes late.
Now Chris is A LITTLE MORE THAN VAGUELY HOLDING THE TICKET
OUT TOWARD ALAN TO ALLOW ALAN TO ASSUME IT AND THE
RESPONSIBILITY OF PAYING FOR IT. Alan has seen the ticket but
isn’t taking it.
ALAN
Tell him some Dean Witter business
came up.
CHRIS
(pissed)
Okay...
ALAN
Something for a current client.
That’ll seem industrious.
CHRIS
Yeah...
Chris HAS CONTINUED TO HOLD THE PARKING TICKET OUT. FRAKESH
CONTINUES TO IGNORE IT. So Chris just reaches over and puts
the ticket on Alan’s body. Alan, though, will not take
possession of the parking ticket. He merely allows it to
slide slowly down his sportcoat sleeve and come to rest on
the train seat between him and Chris. HE DOESN’T EVEN
ACKNOWLEDGE THAT THAT JUST HAPPENED either; he’s just kept
looking straight ahead.
Chris looks at Alan. Alan won’t make eye contact.
MONTAGE
What follows is a series of dissolves featuring the train
interior with Alan and Chris sitting with the ticket equally
between them.
78.
Through dissolves, the passage of time is indicated by the
changing crowd of passengers around Chris and Alan Frakesh.
New riders appear and disappear. Throughout the sequence,
though, the ticket remains exactly between the two men. Soon,
the train comes to a stop. Alan rises.
ALAN
Thanks again for moving my car.
Alan walks down the aisle to leave the train. He leaves the
ticket behind. Chris remains beside it. Alan has disembarked.
The train begins moving again, taking Chris and his parking
ticket somewhere else. Then Chris puts it in his workbag.
INT. DINER, SAN FRANCISCO - LATER (NIGHT)
Chris and Christopher sit across from one another at a booth.
Chris pays the parking ticket with his checkbook.
CHRIS
We should get home pretty soon.
CHRISTOPHER
Okay.
CHRIS
(kindly)
Finish up.
CHRISTOPHER
Okay.
(looking at the checkbook)
What are you doing?
CHRIS
Paying bills. A parking ticket.
CHRISTOPHER
You don’t have a car anymore.
CHRIS
I know.
Chris looks down at his checkbook.
CHRIS’S POV
The amount he’s just written as his balance is $64.08
Chris looks at that for a while. He’s worried.
79.
CHRIS
I need to take you with me to a
couple doctors’ offices tomorrow.
Okay? For a sales call.
CHRISTOPHER
Okay.
CHRIS
Then... possibly... we’ll go to a
baseball game. Possibly. Okay?
CHRISTOPHER
(pleased)
Yeah...
CUT TO:
INT. BUS, SUBURBS - LATER
It’s a jarring cut because for the first time, the setting is
not the city. Chris and Christopher ride in the bus together.
THEY’RE WEARING BRAND NEW SAN FRANCISCO GIANTS BASEBALL CAPS
SO FRESH THEIR BRIMS AREN’T BENT. Chris has a scanner with
him. Out the window pass spread out suburban homes and trees.
Scene 26 - Suburban Stroll
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 9
- Dialogue: 8
Later, Chris and Christopher, in their fresh caps, walk past
suburban houses.
CHRISTOPHER
I don’t understand.
CHRIS
You don’t understand what?
CHRISTOPHER
Are we going to the game?
CHRIS
We’re possibly going to the game.
Do you know what possibly means?
CHRISTOPHER
Like probably.
CHRIS
No... Possibly means we might, we
might not. Probably means there’s a
good chance we’re going.
80.
CHRISTOPHER
Okay.
CHRIS
(testing him)
What does probably mean?
CHRISTOPHER
It means there’s a good chance.
CHRIS
What does possibly mean?
CHRISTOPHER
I know what it means.
CHRIS
What?
CHRISTOPHER
It means we’re not going to the
game.
Chris laughs. He looks at his son for a while.
CHRIS
How’d you get so smart?
CHRISTOPHER
Because you’re smart.
Chris smiles. They fall silent and keep walking. After a
while, Chris’s expression shifts to doubt and concern whether
his son’s really right about that.
Scene 27 - Invitation to the Baseball Game
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 7
Chris has knocked on the door of a large private home.
Christopher waits beside him. Soon, Walter Ribbon answers the
door.
CHRIS
Mr. Ribbon?
WALTER RIBBON
Yes.
CHRIS
I’m Chris Gardner.
Ribbon’s wearing a Giants cap as well.
81.
CHRIS (CONT’D)
Dean Witter.
WALTER RIBBON
Hi... what are you doing up--
CHRIS
I came to apologize for missing our
appointment.
WALTER RIBBON
You didn’t need to come up.
CHRIS
I wanted to thank you for your
time. You probably waited for me.
WALTER RIBBON
A little bit.
CHRIS
I didn’t want you to think I took
that for granted.
WALTER RIBBON
(nodding at the scanner)
What’s that?
CHRIS
An Acro density scanner. I sold
them before I began at Dean Witter.
I have a few remaining on a sales
lease. I have an appointment. After
the game.
WALTER RIBBON
You guys are going to the game?
CHRIS
Yeah. This is my son Chris.
WALTER RIBBON
We’re going too. I’m taking my son
Tim. My sixteen-year-old. We were
just leaving.
(calling back into the
house)
Tim.
Chris waits in the doorway. He begins to go.
82.
CHRIS
Well, we’ll leave you alone. I’m
sorry about yesterday. It just
wasn’t enough time to finish my
work and get across the district. I
was eager, and probably too
optimistic about getting over
there.
WALTER RIBBON
I appreciate that.
Chris waves goodbye. He begins to leave with Chris. Some time
passes as they walk farther away from Ribbon.
Walter Ribbon watches Chris and his son walk off and approach
a car on the streetside that isn’t Chris’s.
WALTER RIBBON
Hey.
Chris seems relieved. He turns.
WALTER RIBBON (CONT’D)
You guys want to come with us?
Chris looks at Ribbon; A BALLGAME TRIP WITH RIBBON IS WHAT HE
WAS TRYING TO PULL OFF BY COMING OUT.
CHRIS
To Candlestick?
WALTER RIBBON
Yeah. We’re going now. Come with
us. Where are your seats?
CHRIS
Upper deck.
WALTER RIBBON
We have a box. Come on.
(to Christopher)
Do you want to sit in a box?
Christopher thinks about it for a while.
CHRISTOPHER
(plainly)
No.
CHRIS
(to his son)
It’s not an actual box.
83.
CHRIS(cont'd)
It’s a closed off area. It’s more
comfortable.
CHRISTOPHER
Okay.
Chris looks at Ribbon and smiles.
CHRIS
Yeah, that would be great.
WALTER RIBBON
(calling back to the
house)
Tim!
Chris has come over to Walter’s car. He’s starting to enter
with his scanner.
WALTER RIBBON (CONT’D)
Why don’t you just put that in your
car?
Chris looks over at the strange car he was just pretending to
enter; He looks at Ribbon for a while, trying to come up with
something. Then HE DOES SOMETHING PRETTY WEIRD.
CHRIS
Ah!
WALTER RIBBON
(meaning what happened)
What?
CHRIS
I just got stung by a bee.
Ribbon looks at Chris. He didn’t see any bee anywhere. It
functioned as enough of a subject change though that Ribbon
opens his driver’s door without bringing up the scanner
again. So Chris is able to get in the car without dealing
with the issue.
Scene 28 - Chris and Walter's Tailgate Misadventures
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
Chris rides in the passenger seat. Ribbon’s driving them
toward San Francisco.
WALTER RIBBON
Are you okay?
CHRIS
Yeah.
84.
WALTER RIBBON
You’re not allergic or anything?
CHRIS
No...
WALTER RIBBON
Where did it get you?
CHRIS
Like... back of my head.
No one speaks for a little while.
CHRIS (V.O.)
Thomas Jefferson mentions happiness
a couple times in the Declaration
of Independence.
CUT TO:
THE DECLARATION OF INDEPENDENCE
CLOSE ON the phrase effect their safety and happiness.
CLOSE ON the phrase road to happiness.
CHRIS (V.O.)
It may seem like a strange word to
be in that document. But he was
sort of... he was an artist.
EXT. STADIUM PARKING LOT - LATER
Chris and his son are in the midst of a Bell Western tailgate
party. Christopher plays with some of the younger kids in the
party. Chris sits on a lowered tailgate of an SUV, drinking
soda.
CHRIS (V.O.)
He called the English, “the
disturbers of our harmony.” And I
remember sitting there that day
thinking about the disturbers of
mine.
CLOSE ON CHRIS as he considers.
CHRIS (V.O.)
Mrs. Chu. Running. Christopher
maybe going with Linda to Los
Angeles. That idea.
85.
Christopher runs around in the grass lot. Chris watches him.
CHRIS (V.O.)
My bent thumb.
When Chris lifts his soda, WE SEE HIS WAYWARD THUMB.
CHRIS (V.O.)
I sat on the tailgate of someone’s
truck for forty minutes because of
the lack of an actual bee sting on
the back of my head. I couldn’t get
up and get a hot dog. And I was
pretty hungry. And I thought about
all this.
Chris looks at something significant.
CHRIS (V.O.)
But Walter Ribbon and his Bell
Western pension money, which was
millions, was a way to leave it
behind.
CHRIS’S POV
Walter Ribbon speaks with a group of colleagues nearby.
They’re laughing it up with pregame good cheer.
Chris looks over at Walter.
INT. CORPORATE BOX, CANDLESTICK PARK, SAN FRANCISCO - LATER
Walter Ribbon holds a conversation with other work friends in
the crowded Bell Western corporate box. When he has a quiet
moment, Chris comes up to him. Ribbon turns to see Chris as
he arrives.
CHRIS
Thank you again for having us.
WALTER RIBBON
That’s my pleasure, Chris.
CHRIS
Mr. Ribbon, I’d love the chance to
introduce you to what Dean Witter
could do for your company. I’d be
pleased to come meet you whenever
you have the chance. We can beat
your arrangement with Morgan
Stanley.
86.
WALTER RIBBON
Chris, I didn’t have a notion you
were a first year over there. I
like you. But there’s not a chance
I’d let you direct our fund. That’s
not going to happen, buddy. Come
on. Relax. Enjoy the game.
Walter has patted Chris on the shoulder kindly and walked
off. Chris remains behind.
EXT. PARKING LOT, CANDELSTICK PARK - LATER
The Ribbons and Gardners part company with other Bell Western
corporate employees in a parking lot of Candlestick. A couple
of the younger ones exchange cards with Chris.
YOUNG EXECUTIVE
(to Chris)
Give me a call.
CHRIS
Okay.
SECOND YOUNG EXECUTIVE
(handing Chris his card)
Nice to meet you, Chris.
Chris heads off with the Ribbons. THE VIBE HERE IS PRETTY
BLUE BECAUSE CHRIS DIDN’T SCORE WITH RIBBON THE WAY HE HOPED.
EXT. WALTER RIBBON’S HOUSE, SUBURBAN NEIGHBORHOOD - LATER
Ribbon has pulled his car up to his home. The group is
splitting up - the Ribbon’s going inside and Chris and his
son walking off toward the street.
CHRIS
Thank you again.
WALTER RIBBON
My pleasure.
The Ribbons head in. Chris and Christopher walk out to the
street. Chris waits there for a moment, making sure the
Ribbons have gone into their house for sure. They have. So
Chris and Christopher start walking off down the street, back
to whatever bus stop brought them there.
INT. MOTEL ROOM - LATER (NIGHT)
A wide shot of the Gardner’s motel room gets across for the
first time what threadbare conditions they’re living in.
87.
Christopher sleeps on the side of the room on a cot. Chris
reads a financial textbook in the kitchenette. The scanner
stack of four is visible in the frame. THE IMAGE BECOMES
STILL, LIKE THE STILL IMAGES USED IN THE BEGINNING OF THE
PICTURE.
What follows is a series of these still photographs of the
same setting. In each of them, Christopher sleeps and Chris
sits in different positions around the kitchen table,
studying. BUT IN EACH PASSING PICTURE THERE IS ONE FEWER
SCANNER UNTIL NONE REMAINS.
Scene 29 - Chris's Financial Struggles and Eviction Threats
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
On another day, after work, Chris has taken his mail from his
slot. He’s checking out something that’s got him worried.
He’s opened the letter. Christopher hangs around in the
distance.
CHRIS’S POV
The header reads IRS. The section beneath it
reads...immediate payment of full balance of $645.14. The IRS
will effect garnishment of wages from your employer....
Chris stares at the letter like it bears an unexpected,
critical difficulty.
INT. MOTEL ROOM - LATER (NIGHT)
Chris is back in the setting of the still photos. He’s
writing this check at the kitchen table. Christopher sleeps.
THE SCANNERS ARE ALL GONE. Chris looks up after finishing the
check. He’s grown deeply concerned.
EXT. STREET CORNER, SAN FRANCISCO - DAY
On a day off, Chris has caught up with his acquaintance Wayne
outside a city grocery.
CHRIS
Do you have the fourteen dollars,
man?
WAYNE
I thought I didn’t owe you that
now.
CHRIS
Why?
WAYNE
Why what?
88.
CHRIS
Why did you think that?
WAYNE
I helped you move.
CHRIS
You drove me across Kelsey Street.
That’s five yards. Wayne. Fuck.
It’s been four months. Come on,
man.
Christopher has come out of the market and joined them. He
starts walking off with his dad.
CHRISTOPHER
Are we going to school?
CHRIS
It’s Saturday.
CHRISTOPHER
Are we selling machines?
CHRIS
There’s none left. We have to meet
someone.
INT. DINER, SAN FRANCISCO - LATER
Chris and Christopher have met one of the YOUNG EXECUTIVES
FROM BELL WESTERN and his young daughter for lunch. Chris is
showing the young man an investment graph.
CHRIS
How much are you putting in your
pension?
YOUNG EXECUTIVE
All of it.
CHRIS
Well, here’s what it could look
like if you put a quarter in an
index.
Chris hands the guy the graph.
YOUNG EXECUTIVE
(checking his watch)
Chris, I have to run. Do you want
to finish up later this week?
89.
CHRIS
Yeah. Ben wanted to meet, too. Your
colleague?
YOUNG EXECUTIVE
Yeah. Ben March. You want to all
just get together?
CHRIS
That would be great. If there’s
anybody else at Bell Western that
would like to sit down, let me
know.
INT. REGISTER, DINER - LATER
Chris, with his son, pays at the register.
CHRIS (V.O.)
There was a month left in the
program. I was broke.
EXT. STREET, SAN FRANCISCO - LATER
Chris has come outside with Christopher. They’re about to
cross the street to their residence motel. But Chris sees
something that makes him keep from going.
CHRIS’S POV
Chris can see in the open door of his motel room. The motel
manager’s in there, putting Chris’s clothes into Chris’s
suitcase.
Chris stares at him.
CHRIS
(to Christopher)
Let’s go for a walk.
After a moment, they head off another direction.
EXT. CITY PARK - LATER
Chris sits off to the side of a sand box area where
Christopher plays with some other kids. Chris seems pretty
distressed. A while goes by. Then CHRIS CATCHES SIGHT OF
SOMETHING.
He’s seen, vaguely, a couple blocks up ahead, the Filipino
walk across an intersection with his scanner.
90.
Chris looks in that direction, though the guy’s slipped from
sight.
Then Chris looks over at Christopher who he doesn’t want to
leave.
Then looks back the two blocks away where the guy’s gone off
to.
Then Chris picks Christopher up.
EXT. STREET, SAN FRANCISCO - LATER
Chris runs with Christopher.
Scene 30 - Unsuccessful Sales and a Lost Home
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
The guy’s sitting on a bench at the end of the wharf. Soon,
Chris comes up to it; he sees that he can walk now because
there’s nowhere else for the guy to go.
CLOSE ON the guy, he’s got his eyes closed.
CHRIS
Hi...
Chris has walked up beside him. The guy looks at Chris for a
while.
FILIPINO GUY
(calmly)
Hey, Time Man.
CHRIS
Hey...
Chris stands there for a while with his son.
CHRIS
Where did you find it?
FILLIPINO GUY
Train platform.
CHRIS (CONT’D)
(nodding at the scanner)
That’s broken, right?
FILIPINO GUY
Yeah.
CHRIS
Do you have all the pieces?
91.
FILIPINO GUY
Yeah.
As Chris looks on, the guy takes a couple stray pieces from
his coat pocket. He hands them to Chris.
CHRIS
I have to go away to fix it. Okay?
FILIPINO GUY
Okay.
He looks at Chris.
FILIPINO GUY (CONT’D)
You’ll come back?
CHRIS
Yeah...
Chris starts to go.
FILIPINO GUY
Because I want to go back to the
fifties, man. When I was thirty
three, man. That’s what I want to
do.
CHRIS
Okay.
FILIPINO GUY
When I had all my days ahead, man.
CHRIS
Okay.
FILIPINO GUY
I want to see Jimi Hendrix do that
guitar on fire.
They look at one another.
FILIPINO GUY (CONT’D)
Bring my time machine back.
Chris waves, then turns and starts to leave with his machine.
INT. CITY TRAIN, MOVING - LATER
Chris and his son ride on the train with the scanner.
92.
INT. DOCTOR’S OFFICE - LATER
Chris sits in a doctor’s office waiting area, waiting for the
chance to sell the machine. Christopher sits beside him,
reading. Then the receptionist comes in from the inner-
office.
RECEPTIONIST
Chris, Dr. Telm’s not going to be
able to get back from the hospital.
Chris tries not to come off disheartened.
CHRIS
Okay...
INT. CITY TRAIN, MOVING - LATER
Chris and Christopher take the train elsewhere.
CHRISTOPHER
Where are we going?
CHRIS
To Dr. Strauk’s.
CHRISTOPHER
I’m tired.
CHRIS
I know...
Chris looks worried he can’t sell his machine. The train
comes to a stop. Chris picks the scanner up.
INT. DR. STRAUK’S OFFICE - LATER
Chris speaks with a doctor in his meeting room. Chris has
just tried to fire up the machine, but it’s not working.
CHRIS
It’s not...
(to himself)
Fuck...
(aloud again)
...functioning right now. There was
an issue with the light that I
tried to--
DR. STRAUK
Just see me next quarter, Chris.
I’m going to put some money into
the office.
93.
Chris nods.
INT. CITY TRAIN, MOVING - LATER
The train comes back the other way. Chris and his son ride in
it. He still has the equipment with him. Christopher’s fallen
asleep.
EXT. RESIDENCE MOTEL - LATER (EVENING)
It’s night now. Chris and Christopher walk up to their motel
door. There’s a large piece of luggage left outside. Chris
looks at it. Then Chris tries his key in the lock. It doesn’t
work. Chris stands there for a while. More time passes. Then
he lifts the luggage.
CHRIS
Come on.
CHRISTOPHER
(growing upset)
Where are we going now?
CHRIS
Christopher.
CHRISTOPHER
I don’t want to go.
Christopher’s worn out. He slumps down to stay right there.
CHRIS
Come on, hon.
CHRISTOPHER
I don’t want to.
Chris lifts him up.
Scene 31 - Train Station Decision
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 7
It’s later now. Chris knocks on the door. No one answers.
CHRIS
(knocking again)
Wayne!
Chris keeps knocking. He waits for an answer. None comes.
94.
INT. CITY TRAIN STATION, SAN FRANCISCO - LATER (NIGHT)
Chris and his son stand with Chris’s things in front of the
station signs that give commuters a choice for trains north
or south. Chris is looking at the signs.
CHRISTOPHER
Where are we going?
Chris stares up at the signs a while longer.
CHRIS
I don’t know.
Then Chris walks over and sits on a rest bench in the station
lobby. There’s no one else there. It’s dark outside. Soon,
Christopher comes over and sits beside Chris. A pretty long
time goes by.
CHRISTOPHER
That’s not a time machine.
Chris isn’t listening.
CHRISTOPHER (CONT’D)
That’s not a time machine.
CHRIS
What?
CHRISTOPHER
Like that guy said.
CHRIS
What guy?
CHRISTOPHER
That guy said it’s a time machine.
Chris looks at his son.
CHRIS
Yeah, it is.
CHRISTOPHER
(smiling)
No, it’s not.
CHRIS
You push that black button. Then
you use your imagination.
95.
CHRISTOPHER
Okay.
CHRIS
Are you going to do it?
CHRISTOPHER
Yeah.
CHRIS
Where are we going to go?
CHRISTOPHER
I don’t know.
CHRIS
Let’s just push the button and see.
CHRISTOPHER
Okay.
Christopher pushes the black button.
CHRIS
Close your eyes.
Christopher does.
CHRIS (CONT’D)
Open them.
He does.
CHRIS (CONT’D)
Whoa...
CHRISTOPHER
What?
CHRIS
Dinosaurs.
CHRISTOPHER
(looking around)
Yeah...
Christopher begins to stand up.
CHRIS
(stopping him)
Watch out.
96.
CHRISTOPHER
What?
CHRIS
Don’t step in the fire. When you’re
a caveman, you need that fire.
There’s no electricity. It’s cold
out here.
Chris puts his hands up like he’s warming them in their fire.
Christopher does it too. Then Chris rises.
CHRIS (CONT’D)
Okay. It’s late. Let’s go in our
cave.
The idea’s excited Christopher. Chris has nodded over at the
station bathroom. He begins to take their stuff over there.
Soon, he arrives at the bathroom door. Christopher’s behind
him.
CHRISTOPHER
Can we stay here all night? For
real?
Chris looks at the room.
CHRIS
Yeah...
The two of them walk into the bathroom. The door locks.
Scene 32 - Stealth and Frustration
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 7
- Dialogue: 6
Christopher’s asleep, laying on Chris. Chris is wide awake.
He’s laying with his back against the wall. SOMEONE STARTS
MAKING NOISE OUTSIDE, locking gates. Christopher starts
stirring.
CHRIS
(whispering)
Hey.
CHRISTOPHER
What?
CHRIS
Go to sleep.
97.
CHRISTOPHER
(squirming, trying to get
comfortable)
What?
CHRIS
You got to shush. Shush.
CHRISTOPHER
I don’t want to play anymore.
CHRIS
Honey, you have to be quiet. Come
on.
CHRISTOPHER
(thrashing around)
I don’t want to play, Papa.
CHRIS
Christopher, sleep.
Chris holds Christopher tighter as a means to quiet him.
Christopher becomes quiet. His eyes stay closed. Chris
remains awake; he’s laying against the wall, looking at the
door.
CHRIS (CONT’D)
Come on. Sleep.
Christopher’s stopped stirring. Chris keeps looking at the
door.
INT. ELEVATOR, DEAN WITTER BUILDING - DAY
In the morning, Chris rides up the work elevator. He’s
holding his things. The doors open. JAY TWISTLE ENTERS. They
see one another.
TWISTLE
(glad to see him)
Hey.
CHRIS
(smiling back)
Hi, Jay.
Chris holds his suitcase; he’s been made uncomfortable by
Jay’s presence.
TWISTLE
How are you getting along?
98.
CHRIS
Great.
TWISTLE
You’re doing good?
CHRIS
Yes. How are you doing?
TWISTLE
I’m doing great.
Some moments pass. Then Chris gestures with his bag.
CHRIS
I’m going to Sacramento. I’m trying
to move some guys from Bell Western
over to us. We’re golfing.
TWISTLE
Awesome.
INT. CONFERENCE ROOM, DEAN WITTER - LATER
Chris is alone in the wide conference room; he’s been working
on the scanner.
CHRIS (V.O.)
I could sell this soon. If I could
fix it. I could take the day off
and sell this.
Chris presses the black activation button. Nothing happens.
Chris looks down at the machine.
CHRIS
Fuck...
He just stands there for a while.
INT. SAN FRANCISCO CITY SHELTER - LATER
Two female city shelter workers hold a conversation in the
lobby of a city shelter. Then an assistant enters the lobby
from outside.
ASSISTANT
(to the older shelter
worker)
Someone’s asking for you. He’s
outside.
99.
Scene 33 - Shelter Denied
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 6
Chris, in his professional clothing, waits outside the
shelter doors on the city sidewalk. The older CITY SHELTER
WORKER comes out to meet him.
SHELTER WORKER
Hi.
CHRIS
Hi. Can I speak to you for a
moment?
SHELTER WORKER
Sure.
They stand there for while, because Chris has difficulty
getting to it.
SHELTER WORKER (CONT’D)
Do you want to make a donation?
CHRIS
I actually want to...
Chris doesn’t finish right off. He waits there a long time.
CHRIS (CONT’D)
I want a room.
He’s holding the scanner.
CHRIS (CONT’D)
Until I can fix and sell this.
There’s some glass work that--
SHELTER WORKER
Yeah, listen. Yeah. We don’t need
reasons.
CHRIS
(feeling like he must
explain)
It got caught in the train.
SHELTER WORKER
Yeah.
CHRIS
I have a son. He’s five. We need to
stay.
She’s become quiet.
100.
SHELTER WORKER
(with sympathy)
Listen. No kids. We don’t have
liability. We can’t take children.
Chris listens.
SHELTER WORKER (CONT’D)
Go to Almont Church. Their building
books up at five. It’s first come.
There’s a line. Polk and Denning.
Chris nods his thanks then takes off running again.
INT. CITY TRAIN, MOVING - LATER
Chris has retrieved Christopher from daycare. They ride the
train.
Scene 34 - Altercation Outside Shelter
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 7
Outside the three-story church shelter building, a rougher-
looking building, street people of different ages, mostly
men, have formed a line onto the sidewalk. Chris waits with
Christopher toward the front of the line. The guy in front of
Chris talks with a A LARGE GUY who’s come up to him. THE
LARGE GUY’S NOT IN LINE; he’s just standing around in the
area in front of Chris. Soon, a PASTOR comes out from the
doorway.
PASTOR
(to the line of men)
Four left. There’s four more.
Chris sees he’s fourth in line. He seems relieved until the
LARGE GUY SIDESTEPS IN FRONT OF HIM LIKE HE WAS NATURALLY
THERE. Chris stares at him for a while. He’s waiting, maybe
for the guy to leave, maybe for the guy to realize his
mistake. But the guy doesn’t leave.
CHRIS
Hey, man.
The guy doesn’t do anything.
CHRIS (CONT’D)
Hey, come on.
LARGE GUY
Come on what?
101.
CHRIS
Come on, man. Just fucking... You
cut.
LARGE GUY
Back up.
This guy elbows Chris back.
CHRIS
You cut.
Then he shoves Chris.
LARGE GUY
Back the fuck up.
Chris has been startled by the violence he’s using.
Christopher looks on; he’s scared. Chris seems scared, too.
But he shoves the guy. Then Chris holds him around the head,
bends him and takes him to the ground. They start fighting
down there while the line scatters then starts cheering them
on.
PASTOR
Out of the line!
THE PASTOR HAS COME OUT FROM THE SHELTER. He yanks Chris off
the larger man.
PASTOR (CONT’D)
Both of you. Out of the line.
They’re on their feet now, but neither of them moves.
PASTOR (CONT’D)
Get out!
HOMELESS MAN
He sliced in front of him.
A guy farther back in line has spoken up.
HOMELESS MAN (CONT’D)
(to the pastor)
He sliced in front of him in line.
PASTOR
Who did?
The homeless guy doesn’t want to say it out loud. He nods at
the larger man.
102.
CHRIS
(to the Pastor)
I got here first.
Chris is catching his breath.
CHRIS (CONT’D)
I was here first.
The Pastor looks at Chris. Then he looks at Christopher.
Chris looks at the Pastor with the clearest communication of
desperation he’s shown yet.
CHRIS (CONT’D)
I came from my job. We got here. We
got in line. This guy just came up.
He shoved in front. I went and got
my son and we got here. We were
here on time. Someone told me we
had to be here on time. We were on
time.
The Pastor stares at him for a while.
PASTOR
All right.
(to the large man)
Get out of line, Rodney.
The large man shuffles off. Chris takes his place in the line
again. Chris tries to calm himself. Christopher’s holding
onto his arm now because he’s freaked out. Then Chris notices
his dress shirt’s ripped.
CHRIS
(quietly)
Fuck...
Scene 35 - A Father's Struggle
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 7
The room is small and real basic. There’s a wood desk and a
bed. It’s dark. Chris lights a candle.
CHRISTOPHER
Why don’t we have lights?
CHRIS
It’s two dollars for electricity.
We need breakfast tomorrow. Come
on. Let’s get washed.
They’ve come into the small bathroom. Christopher’s taken off
his shirt. Chris runs water from the sink over a cloth.
103.
CHRIS (CONT’D)
Can you stand up here?
CHRISTOPHER
Yeah...
Chris picks his son up. He stands him on the low counter
beside the sink. He begins to wash him with the cloth. Time
passes.
CHRIS
What’s your favorite color? I was
wondering about that.
CHRISTOPHER
Green.
CHRIS
What do you like that’s green?
CHRISTOPHER
Trees.
CHRIS
Anything else?
CHRISTOPHER
Holly.
CHRIS
The Christmas stuff?
CHRISTOPHER
Yeah...
CHRIS
That’s good.
Chris washes Christopher with the rag; he’s feeling some pain
in that hand.
CHRIS (CONT’D)
(to himself, quietly)
Damn, man...
CHRISTOPHER
What?
CHRIS
(quietly)
I think I broke my other thumb.
104.
Chris doesn’t say anything else. He keeps washing Christopher
up.
INT. SHELTER ROOM - LATER
Christopher lays in the bed. Chris sits on the edge, putting
him to bed.
CHRIS
I have to go sit in the hall and
fix this, okay?
Chris has nodded at the busted scanner that rests nearby.
CHRIS (CONT’D)
I’ll be right out there. I’ll leave
the door open a little.
CHRISTOPHER
Okay.
Chris rises. He heads for the lighted common hallway. He
turns back because he wants to reassure Christopher.
CHRIS
I’m just going to be right out
here.
CHRISTOPHER
Okay. I trust you.
Chris looks at his son; he smiles, waves, then takes the
scanner out to the hallway.
EXT. HALLWAY, SHELTER - LATER
Chris sits on the hallway floor near the open door of his
room. He’s using the hallway light to help him repair his
scanner. He’s becoming frustrated by a part that won’t
function as a BOARDER IN AN OLD ARMY JACKET walks by.
CHRIS
(to the scanner)
You fucking piece of shit.
GUY
What did you call me?
CHRIS
Not you. This.
Chris has his hands on the scanner. The guy looks at Chris
for a while. Then he walks off.
105.
Chris tries to rig the thing another way. It fails as well.
Then he gets up. He goes into his room. He’s gone for a
moment, then he comes out to the hallway again with one of
his financial textbooks. He’s taken a seat beside the
scanner. He starts to do his work out there. Then the lights
go dead.
MAN’S VOICE (O.S.)
Lights out.
INT. CHRIS’S SHELTER ROOM - LATER
It’s pretty dark in their room. Chris sits near the window,
trying to read his book by the streetlight coming in. He
stops. He stares at the room. Before long, he starts to break
up. He seems to be losing it like he lost it in the apartment-
painting scene, but this time he can’t make any noise. His
feelings this time just take the form of silent, anguished
crying. Then Christopher, who’s apparently awake in bed
across the room, asks him something.
CHRISTOPHER
How are you going to tie your tie?
CHRIS
(didn’t catch all of it)
What?
CHRISTOPHER
How are you going to tie your tie?
With your hands hurt?
CHRIS
I’ll get it done.
CHRISTOPHER
No way.
CHRIS
I’ll get it done. Go to sleep.
CHRISTOPHER
No way. That’s why animals can’t
make tools. Because of no thumbs.
CHRIS
Go to sleep. The sooner you get to
sleep, the shorter the night’ll be.
Christopher doesn’t say anything else. Chris leans against
the wall by the window. He’s exhausted. After a while, he
looks back at his book.
106.
INT. SHELTER ROOM - MORNING
In the morning, Chris sits on the bed, nearly dressed for
work. Christopher’s with him, helping him get his tie tied
properly.
CHRIS
Is it through the middle?
CHRISTOPHER
Yeah...
Scene 36 - Chris's Frantic Journey
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 7
At the register, Chris is showing the clerk a mini light bulb
and transmitter.
CHRIS
One of these.
CLERK
Six weeks.
CHRIS
(upset about that delay)
For a K transmitter? And a bulb?
Christopher’s looking at a video game shelf.
CLERK (CONT’D)
Yeah. Those are English. Six weeks.
CHRIS
(upset at the delay)
Do you have a Thompson wire?
CLERK
That won’t work.
CHRIS
Yeah, it will. We used them in the
Navy to send the same electrical
weight. Let me try it.
The guy enters the number.
CLERK (CONT’D)
Three weeks.
Chris takes the news in.
107.
EXT. STREET, SAN FRANCISCO - LATER
Chris walks with Christopher. He’s dressed for work, but he’s
carrying his suitcase; Christopher has a bookbag.
CHRIS (V.O.)
You weren’t able to leave your
belongings behind.
EXT. DEAN WITTER BUILDING, SAN FRANCISCO - LATER
Chris approaches the lobby of Dean Witter for work; he’s
still got his luggage. He encounters another young Bell
Western executive PAUL going in.
CHRIS
Hi, Paul.
PAUL
(greeting him)
What’s happening, Chris?
Paul takes notice of the stuff Chris holds.
PAUL
(meaning what’s he got
that stuff for)
What’s up?
CHRIS
Work trip.
They enter the building.
INT. CONFERENCE ROOM, DEAN WITTER - LATER
Chris and Paul sit together at the conference table.
CHRIS
Your wife works at Bell Western,
too, right?
PAUL
Yeah.
CHRIS
Well, then you should use the
pension. Because you’re paying
taxes twice.
PAUL
For real?
108.
CHRIS
Yeah... because you’re using your
taxable income...
CHRIS (V.O.)
I was able to finish this stuff
pretty quickly.
Chris has placed income amounts in different sections on his
paperwork.
CHRIS (V.O.)
The math. I had to finish quickly.
To get to the Altmont rooms by
five.
Chris looks up at a wall clock that reads 4:30.
EXT. DEAN WITTER BUILDING - LATER
Chris sprints away from the skyscraper.
INT. CITY TRAIN, MOVING - LATER
Chris rides the train.
INT. CITY BUS, MOVING - LATER
Chris rides the bus.
INT. CITY TRAIN - MOVING
Chris is on another el, tapping the window glass from
adrenaline.
EXT. KING STREET - LATER
Chris and Christopher hustle with their things up San
Francisco’s King Street, toward a bus stop.
EXT. BUS BENCH, SAN FRANCISCO - LATER
They sit on a sidewalk bench waiting for the bus. There’s a
wide public clock behind them. It reads 4:50. Chris taps his
foot like he’s frantic. There’re others waiting. The bus
comes. Chris rises quickly.
CHRIS
Let’s go.
Christopher’s preoccupied by a kid’s book he’s reading.
109.
CHRIS (CONT’D)
Let’s go!
CHRISTOPHER
I want to read this.
CHRIS
On the bus.
CHRISTOPHER
Just this part.
CHRIS
Goddamnit. Get up! Come on!
It’s hurting Chris to talk to his son this way. When
Christopher catches up to him, they find the bus so full
there’s not room for all the commuters waiting on the
sidewalk. Chris is shoulder to shoulder with an older lady.
He jockeys his arm past her to get a front position. A young
guy in a suit’s watching.
GUY
Why don’t you let the lady on?
Chris doesn’t respond.
GUY (CONT’D)
Man, that’s not cool.
Chris tries to ignore the guy.
GUY (CONT’D)
That’s not cool. Let the--
CHRIS
Why don’t you get the fuck away
from me!
The guy’s been startled.
CHRIS (CONT’D)
Get the fuck away from me. Right
now.
Chris gets Christopher up into the bus; he follows him on.
Scene 37 - Shelter Stoop
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 7
Outside of the Almont church shelter building, Chris and
Christopher, in the front of the line, get accepted inside
for an open room.
110.
EXT. CHURCH SHELTER, SAN FRANCISCO - LATER
It’s evening now. Chris and his son sit under a streetlight
on the stoop of the shelter building. Chris reads his
textbook. Up the street, prostitutes stand on the corner.
Chris looks at Christopher for a while. The boy seems real
calm and more or less contented. Chris keeps looking at him.
CHRIS
You’re a good boy.
Christopher looks over at him.
CHRIS (CONT’D)
You’re a wonder. You know?
Christopher smiles.
CHRISTOPHER
Can I look at that fire truck?
CHRIS
Yeah.
Christopher heads off down the sidewalk where some firemen
repair a hydrant. Their truck’s parked there.
CHRIS (CONT’D)
Just don’t bother them.
Chris watches him go. Then Chris looks back at his book for a
while.
PROSTITUTE
Get your kid some dinner.
Chris turns and sees a PROSTITUTE has come up to him. She’s
holding out a five dollar bill.
CHRIS
(declining)
That’s okay. They have dinner here.
PROSTITUTE
Get him dessert.
CHRIS
That’s fine.
PROSTITUTE
Do you think this is dirty money?
111.
CHRIS
(smiling)
I don’t think there’s any such
thing. I just don’t want him to see
me taking money. He thinks I know
what I’m doing.
She puts the bill away. Chris checks on Christopher.
Christopher looks over at them from down the sidewalk. He
makes eye contact with his dad. Then he waves hello with his
good nature like he was waving from a carousel.
INT. MESS HALL, SHELTER - LATER
The room is full of cafeteria tables. Forty or so men eat in
scattered positions around the room. Chris sits at a table
with his son. They don’t talk for a while.
CHRISTOPHER
Who called you Ten Gallon Head?
CHRIS
What?
CHRISTOPHER
You said they called you that. Who
called you that?
CHRIS
My aunts. Some teachers.
CHRISTOPHER
Because you like to read?
CHRIS
Yeah. And do puzzles. Math.
CHRISTOPHER
What did you read?
CHRIS
I read about people’s lives.
Biographies. You know what those
are?
CHRISTOPHER
Books about people’s lives?
Chris nods.
CHRIS
I liked to read about interesting
lives. Cool lives.
112.
CHRISTOPHER
Like whose lives?
CHRIS
Miles Davis. I don’t know. Thomas
Jefferson. Christopher Columbus.
CHRISTOPHER
Who’s Thomas Jefferson?
CHRIS
President. Architect. Musician. He
wrote the Declaration of
Independence.
CHRISTOPHER
What’s that about?
CHRIS
It’s about... I don’t know. It’s
about people trying to be free, so
they can try to be happy.
CHRISTOPHER
What instrument did he play?
CHRIS
The violin. I think. Or the cello
or something. I don’t really
remember.
Chris looks at Christopher as he returns to his meal.
INT. CONFERENCE ROOM, DEAN WITTER - DAY
The twenty interns sit around the table in the largest Witter
conference room. They’re taking a timed exam. A proctor sits
up front. Soon, a MALE INTERN stands up and heads for the
proctor to turn in his test. Some others look up - they’re
struggling and are pissed the assured male intern has
finished already. But as this male intern walks to the door,
Chris stands up; he’s finished as well. The male intern looks
at Chris.
INT. ELEVATOR, DEAN WITTER BUILDING - LATER
The two ride the elevator down together. Some time passes.
THE FIRST PARTNER FROM CHRIS’S FIRST INTERVIEW RIDES BEHIND
THEM.
113.
INTERN
(to Chris)
Did you finish the whole thing, or
did you have to go somewhere, or..?
CHRIS
I have to go somewhere.
The guy nods. He seems relieved to resume believing he
finished earlier than the others.
CHRIS (CONT’D)
But I finished the whole thing,
too.
INTERN
(a little bummed)
Oh. Good.
CHRIS
Yeah. You?
Scene 38 - A Day in the Life of Chris
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
Yeah.
CHRIS
What did you think of the graphs?
INTERN
Easy.
Chris nods.
CHRIS
What about the essay question?
There is a long pause.
INTERN
Essay question?
CHRIS
On the back. Yeah.
Some more time passes.
INTERN
Shit.
The guy hits the button for the next floor. When the doors
open, he gets off quickly. Chris remains behind; he’s
laughing.
114.
But he’s also conveying the same vibe the guy was just giving
off - satisfaction he found the test easier than his
colleagues. He makes eye contact with the first partner; the
partner’s looking back like he found the episode telling and
funny as well.
EXT. DEAN WITTER BUILDING - LATER
Chris and the First Partner are outside at the curb, Chris
waiting to cross, the partner hailing a cab. A BUSINESSMAN
passing sees Chris.
BUSINESSMAN
Chris.
Chris faces the guy.
CHRIS
(recognizing him)
Jeff, right? The Giants game?
BUSINESSMAN
Yeah. You were going to call.
CHRIS
I never got your number.
BUSINESSMAN
Okay, man. Here.
The guy takes a business card out.
BUSINESSMAN (CONT’D)
Call me.
While the two have been talking the First Partner’s been
searching his pockets for something. Chris has his wallet out
to put the guy’s card away.
FIRST PARTNER
Fuck. Chris, hey, do you have five
bucks?
Chris stands there for a moment.
FIRST PARTNER (CONT’D)
My wallet’s upstairs.
CHRIS
(trying to keep his money)
Do you want me to get it?
115.
FIRST PARTNER
No, I have to get to Cal Bank. At
five.
CHRIS
Yeah... um...
FIRST PARTNER
(kidding)
I’m good for it.
CHRIS
(smiling along)
I know...
Chris takes a five dollar bill from his wallet, leaving a
couple dollars left. He hands it to the First Partner. Then
the First Partner takes off for his cab. Chris stands there,
watching him go off with money Chris needed.
INT. ALMONT CHURCH SHELTER - LATER
Christopher and Chris have been admitted into the shelter
foyer, into a shorter line to sign in and pay. They’re one
guy back from paying. A CHURCH-WORKER CLERK’s explaining the
billing to the guy; Chris stands behind him listening.
CHURCH WORKER
Two dollars to stay. Two to eat.
Two covers electricity.
Chris is holding the two dollars he’s left with. He waits
there for a while, then he looks at Christopher.
CHRIS
Are you hungry?
Christopher nods.
CHRIS (CONT’D)
Did you eat at school?
CHRISTOPHER
Yeah?
CHRIS
The second session?
CHRISTOPHER
(not following him)
What?
116.
CHRIS
In the afternoon?
Christopher shakes his head. Chris looks at him. Time goes
by.
CHRIS (CONT’D)
Okay. Come on.
Chris leads Christopher out of the line. They head out the
shelter doorway for the sidewalk.
INT. PIZZA SHOP, SAN FRANCISCO - LATER
Later, at night, Chris and Christopher sit at the window
counter. Christopher’s eating a piece of pizza. Chris
studies.
EXT. TRAIN STATION, SAN FRANCISCO - LATER
While Christopher waits, Chris pays the city station
attendant with the dollar.
INT. CITY TRAIN, MOVING - LATER
Later at night, Chris and his son are among a few other folks
on the train. Christopher’s coloring. Chris studies his
books.
INT. CITY TRAIN, MOVING - LATER
Later, Chris and his son are the only ones in the car. It’s
moving back the other direction. Christopher’s sleeping.
Chris is awake. He’s looking out the window again, much like
he was in the picture’s early scenes.
EXT. BLOOD CENTERS OF THE PACIFIC, SHOP OFFICE - DAY
The next day, Chris leaves a strip mall shop door over which
a banner reads Blood Center of the Pacific.
Scene 39 - A Father and Son's Journey
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 7
Chris meets with two professional women at a cafe table on
the sidewalk. Christopher sits at the next table, coloring.
CHRIS
(to one of the women)
How long have you been at Bell
Western?
FIRST PROFESSIONAL WOMEN
Eight years.
117.
CHRIS
Good. Then you can start splitting
into an IRA for stocks.
FIRST PROFESSIONAL WOMEN
I can do that already?
CHRIS
You could have done it last year.
FIRST PROFESSIONAL WOMEN
Great...
The second woman folds her paperwork up.
SECOND PROFESSIONAL WOMAN
Are we all set?
CHRIS
Yes.
FIRST PROFESSIONAL WOMEN
Thanks, Chris.
CHRIS
Thank you, Ann.
They’ve all stood to leave one another.
SECOND PROFESSIONAL WOMAN
Have fun on your trip.
Chris has picked up his suitcase he’s had with him. He waves
goodbye to the departing pair of women. Christopher’s with
him now.
CHRISTOPHER
What trip?
Chris stands around there with his suitcase for a moment.
CHRIS
Our trip uptown to Radio Shack.
INT. RADIO SHACK, SAN FRANCISCO - LATER
The clerk faces the camera, holding a small electrical part
and bulb out to it.
CLERK
Here’s your Thompson wire.
Chris is facing the guy. He takes it.
118.
INT. TRAIN CAR, MOVING - LATER
Chris and Christopher ride in the train together, among a lot
of other working people going home. Chris holds the piece
from Radio Shack.
CHRISTOPHER
What’s that?
CHRIS
To repair the light.
CHRISTOPHER
Can I see it?
CHRIS
Yeah.
Chris hands the bulb to Christopher.
CHRIS
(calmly, smiling)
Don’t drop it.
Christopher takes the piece.
CHRIS (CONT’D)
Unless you want to keep living in
the same room with me.
CHRISTOPHER
I don’t mind.
Chris smiles.
CHRIS
You will.
Christopher examines the electrical bulb. Chris looks over at
him. Then Christopher looks at him again.
CHRISTOPHER
Why am I going to want my own room?
CHRIS
What’s that?
CHRISTOPHER
You said I was going to want my own
room.
CHRIS
Yeah.
119.
CHRISTOPHER
Why?
CHRIS
Space. For privacy. Peace.
Some time goes by.
CHRISTOPHER
Where are you going to be?
Chris looks over at Christopher and smiles.
CHRIS
Next door.
CHRISTOPHER
What am I going to do in there?
CHRIS
Whatever you want. Whatever makes
you happy. Nap. Read. Dream.
Christopher looks back at the bulb. Chris keeps looking at
him.
EXT. STREET, SAN FRANCISCO - LATER
They’ve walked to the shelter district.
INT. SHELTER ROOM - LATER (NIGHT)
Christopher’s in the one bed. Chris sits on the edge, saying
goodnight; it’s dark.
CHRIS
I’ll see you in the morning.
CHRISTOPHER
Okay.
CHRIS
You’re warm enough?
CHRISTOPHER
Yeah...
Chris tucks him in.
CHRISTOPHER (CONT’D)
You’re a good papa.
120.
After a while of looking at his son, Chris smiles. Then Chris
finishes squaring Christopher away. Then Chris takes the
object he bought at Radio Shack and walks toward the scanner
left against the wall.
Scene 40 - A Day in San Francisco
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 6
In their dark room, as Christopher sleeps, Chris sits by the
window, trying to fix the scanner by the light from the
window. It’s really dark. We can hear Chris clicking things
into place. He’s done. He looks at the machine. He gets ready
to press the button to test it. A long time goes by.
CHRIS (V.O.)
This part of my life... This part
is called...
Chris pushes the button. The machine makes an activation
sound, then his room get lighted all the way up by the bright
blue light the scanner emits.
CHRIS (V.O.)
...happiness.
EXT. PUBLIC SQUARE, SAN FRANCISCO - DAY
Chris sits on the perimeter wall of a fountain in the public
square. He’s dressed for his Dean Witter work. The Bell
Western building is beside the square. Chris holds an
informal meeting with A YOUNG BELL EXECUTIVE AND A COUPLE OF
HIS COLLEAGUES.
EXT. DEAN WITTER BUILDING - LATER
Chris leaves Dean Witter later. He’s carrying his scanner.
INT. DOCTOR’S OFFICE, MEETING ROOM - LATER
Chris sits across from a DOCTOR. The scanner rests on the
table between them.
DOCTOR
Plug it in.
CHRIS (V.O.)
Four hundred and eighteen dollars.
EXT. CHECK CASH STORE - LATER
Chris and Christopher wait in line for the cash.
121.
CHRIS (V.O.)
That was going to get me through
the program. All the way to the
end, and then some.
EXT. BUS BENCH, SIDEWALK, SAN FRANCISCO - LATER (EVENING)
Later, Chris and Christopher sit on a bus bench in a San
Francisco neighborhood; they have their belongings with them.
Chris is feeling a measure of relief he hasn’t shown before.
CHRISTOPHER
Are we going to the church place?
CHRIS
No...
CHRISTOPHER
Where are we going?
Chris thinks about it.
CHRIS
Let’s go to a hotel.
CHRISTOPHER
Can we go back to the cave?
Chris sits there.
CHRIS
No...
CHRISTOPHER
Ever?
CHRIS
I don’t think so.
CHRISTOPHER
Why?
CHRIS
Because some things are fun the
first time you do them. Then not so
much the next time.
CHRISTOPHER
Like the bus?
CHRIS
Yeah...
122.
They sit there for a while. The bus comes.
INT. CITY BUS, MOVING - LATER (EVENING)
It’s become dark. The bus is crowded, so Chris and his son
are seated close together near a lot of others standing in
the aisle; Chris is looking out the window at the city going
by.
EXT. HOLIDAY INN HOTEL, SAN FRANCISCO - LATER (NIGHT)
Chris and Christopher have gone up a step to the lobby
entrance of the Holiday Inn San Francisco.
INT. HOTEL ROOM, SAN FRANCISCO - LATER (NIGHT)
The room’s an average hotel room. A sofa’s right in the
middle. The bed’s empty in the background. Chris and
Christopher are asleep together on the sofa.
EXT. GOLDEN GATE PARK - DAY
The next day, Chris and Christopher sit all alone together in
a really wide stretch of grass in Golden Gate Park.
CHRISTOPHER
(in the middle of a
conversation)
Can people climb Mount Everest?
CHRIS
Yeah. People have.
CHRISTOPHER
How high is it?
CHRIS
A few miles. Four miles maybe.
CHRIS (V.O.)
The next day, I took work off, and
we just went and sat in a field.
CHRISTOPHER
Where is Mt. Everest?
CHRIS
What country?
CHRISTOPHER
Yeah.
123.
CHRIS
Napal.
CHRIS (V.O.)
Far away from anything. Trumpet
kids. Guitars on fire. Ben
Cartwright. And my own constant,
ten-year-long disappointment in my
Ten Gallon Head... in my self.
Scene 41 - Chris's New Beginning
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
Chris sits in his now familiar spot on the fountain wall out
front of the Bell Western building. He’s finishing signing
some paper work with another young executive.
CHRIS
Thanks, Dean.
OTHER YOUNG EXECUTIVE
Thank you, Chris.
CHRIS
You’ll get these back in a week.
Then you’ll start getting
statements a couple weeks after
that.
OTHER YOUNG EXECUTIVE
Okay. Thanks, Chris. Take care.
CHRIS
Take care.
The guy heads off back to Bell Western.
CHRIS (V.O.)
Because when I was young, and I’d
get an A on a history test or
whatever, I’d get this good feeling
about all these things I could be.
And then I was never any of them.
Chris finishes up his part of the contracts.
CHRIS (V.O.)
I was gambling, during all this,
that I could get back on my way to
being one, which I guessed would
feel like happiness.
Before long, Jay Twistle walks up.
124.
TWISTLE
Hey.
CHRIS
Hi, Jay.
TWISTLE
Rumor has it you’ve signed thirty-
one accounts from Bell Western.
CHRIS
Yeah...
Jay smiles.
CHRIS (CONT’D)
I met some guys at a ball game. I
got some cards. I worked them.
TWISTLE
(impressed)
I guess.
They sit quietly for a moment.
TWISTLE (CONT’D)
Well, there’s a week left before we
hire from the intern group. Are you
getting nervous?
CHRIS
(smiling)
I’m okay.
TWISTLE
Okay...
They become quiet again. Then Twistle offers Chris his hand.
Then Jay Twistle gets up and goes. Chris sits on the fountain
wall by himself.
INT. BOARD ROOM, DEAN WITTER - DAY
The same group of partners that accepted Chris to the intern
program sits around their conference table. After a while,
Chris comes in.
FIRST PARTNER
Hi, Chris.
CHRIS
Hi, Mr. Keane.
125.
Chris nods hello to the others.
FIRST PARTNER
Nice shirt.
CHRIS
(smiling)
Thanks...
FIRST PARTNER
Sit down, please.
Chris sits at the end of the table.
CHRIS
(smiling)
I thought I’d wear a shirt because
it’s the last day.
FIRST PARTNER
That’s good. Thanks. We appreciate
that.
Some time passes.
FIRST PARTNER (CONT’D)
Wear one tomorrow, though. Okay?
Chris looks across the table at the first partner.
FIRST PARTNER (CONT’D)
Because tomorrow’s going to be your
first day. If you’d like to work
here as a broker.
Chris doesn’t say anything.
FIRST PARTNER (CONT’D)
Would you like to work here?
Chris doesn’t speak right off. He’s getting himself together.
CHRIS
Yes.
FIRST PARTNER
Great. We couldn’t have been more
pleased. Welcome, Chris.
The others have stood up to congratulate and shake hands with
Chris. He’s risen as well.
126.
FIRST PARTNER (CONT’D)
Was it as easy as it looked?
Chris takes a little while to answer.
CHRIS
(smiling)
No...
Chris keeps shaking hands around the table.
INT. ELEVATOR, DEAN WITTER BUILDING - LATER
Chris rides down in an elevator crowded full of professional
men and women. Chris is in the way back, out of view of the
others because he’s crying.
EXT. MRS. CHU’S DAYCARE - LATER
Outside the building, Chris stands directly beneath the word
Happyness, waiting for his son. Chris looks real tired like
one might at the end of an ordeal, but he looks peaceful,
too.
Scene 42 - Waiting for the Bus
- Overall: 9.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 6
They’re waiting for the bus together. Christopher’s coloring.
Chris is just sitting there. The bus comes. It blocks them
from view. After a while, it leaves. The two are still
sitting there.
CHRISTOPHER
The bus came.
CHRIS
(looking over at it)
Oh...
CHRISTOPHER
Didn’t you see it?
CHRIS
No... I was thinking of stuff.
CHRISTOPHER
(meaning what was he
thinking of)
What?
CHRIS
Just stuff. Grown up things. Don’t
worry about it.
127.
Christopher looks down the block at the bus.
CHRISTOPHER
Do you want to run up and get it?
CHRIS
No... I don’t want to run anywhere
for a while.
He takes Christopher’s hand. He smiles at his son.
CHRIS (CONT’D)
(kidding)
Are you in a hurry to get
somewhere?
CHRISTOPHER
No, I don’t want to run either.
CHRIS
Okay. Let’s just sit here.
CHRISTOPHER
Okay.
They remain there for a while, holding hands. A period of
time goes by while they sit together. Then a scroll begins to
play over the image; it reads:
Chris Gardner remained in San Francisco with his son. He left
Dean Witter after six years to found the investment firm
Gardner Rich. Their assets in 2005 were 184 million dollars.
After Christopher’s graduation from college, Chris moved his
business to Chicago where he and Christopher live today.
CREDITS BEGIN.
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| chris gardner | In the screenplay, Chris Gardner starts off as a struggling father facing financial hardship and physical challenges. Despite these obstacles, he remains determined to provide a better life for his son. Throughout the story, Chris goes through a series of ups and downs, facing setbacks and making sacrifices along the way. However, his unwavering commitment to his son drives him to overcome these challenges and ultimately achieve success in his career, securing a stable future for his family. | The character arc for Chris Gardner is well-developed, showcasing his resilience and determination in the face of adversity. However, to add more depth to his journey, it would be beneficial to explore his internal struggles and emotional growth throughout the story. Providing more insight into Chris's personal motivations and fears could further enhance the audience's connection to his character. | To improve the character arc, consider incorporating moments of introspection and vulnerability for Chris Gardner. Showcasing his internal conflicts and emotional journey can add layers to his character and make his triumphs more impactful. Additionally, exploring his relationships with other characters, such as his son or colleagues, can provide opportunities for growth and development. Overall, focusing on Chris's emotional depth and personal growth can enhance the audience's investment in his story. |
| christopher | Christopher starts off as a curious and innocent child who is eager to learn and understand the world around him. As the story progresses, he becomes more perceptive, empathetic, and resilient, showing maturity beyond his years. Through his interactions with his father, Christopher learns valuable life lessons and grows emotionally, ultimately becoming a source of hope and optimism in their challenging circumstances. | The character arc for Christopher is well-developed, showcasing his growth and development throughout the screenplay. However, there could be more specific challenges or conflicts that Christopher faces to further enhance his character arc and provide opportunities for deeper emotional exploration. | To improve the character arc for Christopher, consider introducing specific obstacles or conflicts that he must overcome, such as dealing with loss, facing his fears, or navigating complex family dynamics. This will allow for more nuanced character development and create a more engaging and impactful journey for Christopher as he grows and matures throughout the screenplay. |
| filipino guy | The Filipino guy starts off as a comedic and unpredictable character who mistakenly gets involved in Chris's quest to retrieve his stolen scanner. As the story progresses, his nostalgic and wistful side is revealed, adding depth to his character. Through his interactions with Chris, he learns to let go of his regrets and embrace the present moment, ultimately helping Chris in unexpected ways. | The character arc for the Filipino guy is interesting and adds depth to his character. However, it could be further developed to show a clearer progression from his comedic and unpredictable nature to his more reflective and helpful side. Additionally, more backstory or context could be provided to explain his eccentric behavior and motivations. | To improve the character arc, consider adding scenes or dialogue that show the Filipino guy's internal struggles and motivations. This could help the audience better understand his actions and provide a more satisfying resolution to his character arc. Additionally, exploring his relationship with Chris in more depth could enhance the emotional impact of his character development. |
| chris | Chris starts off facing financial struggles and homelessness, but through his determination, resourcefulness, and love for his son, he overcomes these challenges and achieves success in providing a better life for his family. Along the way, he learns valuable lessons about perseverance, resilience, and the importance of family. | The character arc for Chris is well-developed and engaging, showcasing his growth and transformation throughout the screenplay. However, there could be more depth added to his internal struggles and emotional journey to make his character arc even more compelling. | To improve the character arc for Chris, consider incorporating more moments of introspection and vulnerability to show his inner struggles and emotional growth. Explore his fears, hopes, and dreams in greater detail to make his journey more relatable and impactful for the audience. Additionally, consider adding more complexity to his relationships with other characters to further enhance his character development. |
| linda | Linda starts off as a caring and cautious girlfriend, concerned about the family's financial stability. As the financial strain increases, she becomes more practical and assertive, focusing on immediate needs. However, the tension with Chris grows, leading her to become frustrated and resigned. Eventually, she reaches a breaking point where she is emotionally overwhelmed and conflicted about leaving her family. Despite her inner turmoil, she remains guarded and defensive, struggling with her desires and responsibilities. | The character arc for Linda is well-developed, showcasing her evolution from a concerned partner to a conflicted and emotionally overwhelmed mother. However, there could be more clarity in her decision-making process and a stronger resolution to her inner conflict. | To improve the character arc, consider adding more scenes that delve into Linda's internal struggles and decision-making process. Show moments of vulnerability and growth that lead to a clearer resolution for her character. Additionally, explore her relationship with Chris in more depth to highlight the impact of their financial struggles on their dynamic. |
| jay twistle | In the screenplay, Jay Twistle starts off as dismissive and skeptical towards Chris, but as he witnesses Chris's unexpected skills and determination, he begins to respect him and offer encouragement. Throughout the story, Jay becomes a supportive colleague who genuinely wants to help Chris succeed, showing a more friendly and approachable side to his character. | The character arc for Jay Twistle is well-developed, showing a clear progression from skepticism to respect and support. However, it could benefit from more depth and complexity to make Jay's transformation even more impactful. Adding moments of vulnerability or personal growth for Jay could enhance his character arc and make it more engaging for the audience. | To improve the character arc for Jay Twistle, consider incorporating flashbacks or additional scenes that reveal more about his background and motivations. This could help explain his initial skepticism and eventual change of heart towards Chris. Additionally, exploring any personal struggles or conflicts that Jay may be facing outside of work could add depth to his character and make his transformation more compelling. |
| walter ribbon | Walter Ribbon starts off as a skeptical and distant figure, but through his interactions with Chris Gardner, he begins to see the potential for a meaningful connection. As their relationship develops, Walter learns to appreciate Chris's determination and resilience, ultimately forming a strong bond of mutual respect and understanding. | The character arc for Walter Ribbon is well-developed, showing a clear progression from skepticism to camaraderie. However, it could benefit from more depth and complexity to make his transformation even more impactful. Additionally, more insight into Walter's personal motivations and struggles could add layers to his character. | To improve the character arc for Walter Ribbon, consider adding scenes that delve into his backstory and personal life, providing a deeper understanding of his motivations and values. This could help to humanize him and make his transformation more relatable to the audience. Additionally, exploring the challenges he faces in his own career could add complexity to his character and make his growth more compelling. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Emphasis on Emotional Impact | Emotional Impact scores tend to be consistently high throughout the screenplay, indicating a strong focus on evoking emotions in the audience. This is further supported by the high scores in Dialogue and Character Changes, suggesting that the screenplay relies heavily on dialogue and character development to convey emotions effectively. |
| High Stakes and Move Story Forward Scores | High Stakes and Move Story Forward scores are consistently high, indicating that the screenplay maintains a sense of urgency and progression throughout. This is essential for keeping the audience engaged and invested in the story. |
| Tense and Frustrated Tones | Tense and Frustrated tones are prevalent throughout the screenplay, suggesting a consistent atmosphere of tension and conflict. This could indicate a focus on building suspense and keeping the audience on the edge of their seats. |
| Character Changes and Emotional Impact | Character Changes and Emotional Impact scores tend to be high in scenes with high Overall Grades, indicating that significant character development and emotional moments are often central to the most impactful scenes. |
| Dialogue and Character Scores | Dialogue and Character scores are consistently high, suggesting that the screenplay places great importance on well-written dialogue and well-developed characters. This emphasizes the importance of effective communication and character relationships in driving the story and connecting with the audience. |
| Hopeful Tone and Emotional Impact | Scenes with a Hopeful tone tend to have higher Emotional Impact scores, suggesting that moments of hope and optimism can be particularly effective in engaging the audience emotionally. |
| Low Plot Scores in Scenes with High Emotional Impact | In scenes with high Emotional Impact scores, Plot scores tend to be lower. This could indicate a deliberate choice to prioritize emotional moments over complex plot developments, focusing on the impact and resonance of the scene rather than advancing the story in a significant way. |
| Spike in Conflict and Emotional Impact in Scene 13 | Scene 13 has a notable spike in both Conflict and Emotional Impact scores, indicating a particularly intense and impactful moment in the screenplay. This could represent a turning point or a significant emotional climax for the characters. |
| Variations in Reflective Tone | The Reflective tone appears in various contexts throughout the screenplay, sometimes accompanied by high Emotional Impact scores and sometimes with lower scores. This suggests that reflection and introspection play a multifaceted role in the story, contributing to both emotional moments and more contemplative or nuanced scenes. |
| High Stakes in Scenes with Tense Tones | Scenes with Tense tones tend to have higher High Stakes scores, indicating that moments of tension often coincide with high-stakes situations or decisions for the characters. This underlines the interplay between emotional intensity and the consequences or challenges faced by the characters. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong foundation in storytelling, with a focus on creating emotionally resonant characters and narratives. The writer effectively conveys a range of emotions and experiences through authentic dialogue, realistic interactions, and engaging pacing. However, there are a few areas where improvement could enhance the overall impact and depth of the screenplay.
Key Improvement Areas
Character Development
Several scenes showcase the potential for deeper characterization. Enhancing the motivations, conflicts, and backstories of the main characters would add complexity and make their actions and choices more impactful.
Scene Transitions
Some scene transitions could be smoother, considering the flow of the narrative and the emotional impact. Refining the transitions between scenes can enhance the pacing and overall cohesion of the story.
Dialogue
While the dialogue is generally realistic and engaging, there are opportunities to elevate the language and make it more distinctive and memorable. Exploring different writing styles and studying examples of effective dialogue in screenplays and films can help enhance the writer's craft.
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Screenplay | Read 'Save the Cat!' by Blake Snyder | This book offers valuable insights into character development, plot structure, and creating emotionally resonant stories, addressing the areas of character development and scene transitions. |
| Exercise | Practice writing character backstories and motivationsPractice In SceneProv | Delving into the characters' past and motivations will help build their depth and make their actions more understandable. |
| Video | Watch films known for their exceptional dialogue, such as 'Lost in Translation' or 'The Social Network' | Studying well-written dialogue in films can provide inspiration and practical examples for enhancing the writer's own dialogue. |
Additional Notes: The writer displays a strong sense of narrative structure and pacing, creating a compelling story that keeps the reader engaged. With further refinement in character development, dialogue, and scene transitions, the screenplay has the potential to become a truly captivating and memorable piece of writing.
Stories Similar to this one
| Story | Explanation |
|---|---|
| The Pursuit of Happyness (2006) Movie | This movie follows a homeless father and his son who are struggling to survive on the streets of San Francisco. Chris Gardner, the father, is a salesman who is struggling to find a job to support his son. He is constantly faced with rejection and setbacks, but he never gives up. Eventually, he lands an internship at a prestigious stock brokerage firm, and he works hard to prove himself. The movie is a powerful and inspiring story about the importance of perseverance and determination. |
| The Fresh Prince of Bel-Air (1990-1996) TV Show | This TV show follows a street-smart teenager from Philadelphia who is sent to live with his wealthy uncle and aunt in Bel-Air, California. Will Smith, the teenager, must learn to adapt to his new environment while still staying true to himself. The show is a funny and heartwarming story about the importance of family and friendship. |
| The Wire (2002-2008) TV Show | This TV show follows the lives of police officers, drug dealers, and politicians in Baltimore, Maryland. The show is a complex and realistic portrayal of the city's drug trade and the war on drugs. It is also a powerful indictment of the American criminal justice system. |
| The Wire (2002-2008) TV Show | This TV show follows the lives of police officers, drug dealers, and politicians in Baltimore, Maryland. The show is a complex and realistic portrayal of the city's drug trade and the war on drugs. It is also a powerful indictment of the American criminal justice system. |
| The Wire (2002-2008) TV Show | This TV show follows the lives of police officers, drug dealers, and politicians in Baltimore, Maryland. The show is a complex and realistic portrayal of the city's drug trade and the war on drugs. It is also a powerful indictment of the American criminal justice system. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Based on a True Story | The screenplay is based on the real-life experiences of Chris Gardner. | A story that is based on real events or people, such as 'The Social Network' or 'Hidden Figures' |
| Father-Son Bonding | The film follows the relationship between Chris and his son, Christopher, as they face challenges together. | A story that focuses on the relationship between a father and his son, such as 'The Pursuit of Happyness' or 'Father and Son' |
| Urban Struggle | The film depicts the struggles of Chris and Christopher as they live in poverty and face homelessness. | A story that is set in an urban environment and focuses on the struggles of the characters, such as 'The Wire' or 'City of God' |
| Redemption | Chris's character arc shows him overcoming adversity and finding redemption through his determination and hard work. | A story in which a character is able to overcome their past mistakes or failures and find redemption, such as 'The Shawshank Redemption' or 'The Green Mile' |
| Against All Odds | Chris faces numerous obstacles and challenges, but he never gives up on his dream of providing a better life for his son. | A story in which a character overcomes seemingly insurmountable odds to achieve their goals, such as 'Rocky' or 'The Martian' |
| Perseverance | Chris's determination and perseverance are key to his success. | A story that emphasizes the importance of perseverance and hard work, such as 'Unbroken' or 'The Karate Kid' |
| Bildungsroman | The film follows Chris's journey of personal growth and self-discovery. | A story that follows the coming-of-age of a young person, such as 'The Catcher in the Rye' or 'The Great Gatsby' |
| Social Commentary | The film explores themes of poverty, homelessness, and the struggles of the working class. | A story that examines social issues and problems, such as 'Crash' or 'Selma' |
| Fatherhood | The film explores the complexities of fatherhood and the challenges of raising a child as a single parent. | A story that focuses on the relationship between a father and his child, such as 'Kramer vs. Kramer' or 'Fatherhood' |
| Homeless | The film depicts the challenges and struggles of homelessness, as Chris and Christopher are forced to live on the streets. | A story that explores the experiences of homeless people, such as 'The Pursuit of Happyness' or 'Nomadland' |
| Determination | The film highlights Chris's determination and resilience in the face of adversity. | A story that emphasizes the power of determination and perseverance, such as 'Rocky' or 'The Shawshank Redemption' |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Poverty and Homelessness | Chris and his son are homeless and living in shelters. They are often hungry and struggling to make ends meet. Chris tries to sell scanners to make money, but he is unsuccessful. He and his son are forced to live in a shelter, and they often have to go without food and other necessities. | The theme of poverty and homelessness is explored through Chris's experiences. Chris and his son are forced to live in poverty, and they often have to go without food and other necessities. This theme highlights the difficulties that people in poverty face, and it shows how poverty can affect people's lives. | ||||||||||||
Strengthening Poverty and Homelessness:
| ||||||||||||||
| Fatherhood | Chris is a single father who is trying to raise his son, Christopher. He loves his son very much, and he wants to provide him with a good life. However, Chris is struggling to make ends meet, and he often has to make difficult choices in order to provide for his son. Despite the challenges, Chris is determined to be a good father, and he works hard to make sure that Christopher has a happy and healthy life. | The theme of fatherhood is explored through Chris's relationship with his son. Chris is a single father who is trying to raise his son, Christopher. He loves his son very much, and he wants to provide him with a good life. This theme highlights the challenges that single fathers face, but it also shows the love and devotion that fathers can have for their children. | ||||||||||||
| Determination and Perseverance | Chris is a determined and persevering man. He never gives up, even when things are tough. He is constantly trying to find new ways to make money, and he is always looking for opportunities to better his life. Chris's determination and perseverance are an inspiration to others, and they show that anything is possible if you set your mind to it. | The theme of determination and perseverance is explored through Chris's journey. Chris is constantly facing obstacles, but he never gives up. He is always trying to find new ways to make money, and he is always looking for opportunities to better his life. This theme highlights the importance of determination and perseverance, and it shows that anything is possible if you set your mind to it. | ||||||||||||
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 |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice in this screenplay is characterized by its authenticity, emotional depth, and focus on the characters' internal struggles and external challenges. The dialogue is naturalistic and captures the characters' thoughts and emotions in a raw and relatable way. The narrative style is immersive and draws the reader into the characters' journey, highlighting their resilience and determination in the face of adversity. |
| Voice Contribution | The writer's voice contributes to the script by creating a strong emotional connection between the characters and the audience. The realistic dialogue and immersive narrative style allow the characters' struggles and triumphs to resonate deeply with the reader, making for a compelling and impactful story. |
| Best Representation Scene | 4 - A Frustrated Start |
| Best Scene Explanation | Scene 4 is an excellent representative of the writer's voice as it effectively captures the characters' internal struggles and the emotional tension between them. The dialogue is naturalistic and authentic, reflecting the characters' frustrations and anxieties. The narrative style is immersive, drawing the reader into the characters' world and making their struggles relatable and impactful. |
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal and external goals evolved from seeking financial stability and success to balancing his career ambitions with his responsibilities as a father. These goals reflect his deep desire to provide for his family and find fulfillment in his personal and professional life. |
| External Goals | The protagonist's external goals evolved from trying to secure a job and sell scanners to navigating a career in finance and overcoming obstacles to financial stability. These goals reflect his immediate challenges and the decisions he makes to improve his situation. |
| Philosophical Conflict | The overarching philosophical conflict in the screenplay is the protagonist's struggle between societal expectations and personal desires. The protagonist grapples with questions of success, integrity, and sacrifice as he navigates the challenges of his journey. |
Character Development Contribution: The protagonist's evolving goals and the philosophical conflict he faces contribute to his growth as a character. Through these challenges, he learns important lessons about perseverance, integrity, and the importance of family, ultimately leading to his personal and professional development.
Narrative Structure Contribution: The protagonist's goals and the underlying philosophical conflict drive the narrative structure of the screenplay, creating tension, conflict, and resolution. Each goal and conflict propels the story forward, shaping the protagonist's journey and the obstacles he must overcome.
Thematic Depth Contribution: The protagonist's goals and the philosophical conflict he faces add thematic depth to the screenplay, exploring themes of resilience, determination, family, and the pursuit of success. These elements provide a rich tapestry of ideas and emotions that resonate with audiences and contribute to the overall impact of the story.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
World Building
- Physical environment: The screenplay is set in various locations in San Francisco, California, in the 1970s and 1980s, depicting a mix of urban and suburban settings. The physical environment plays a significant role in shaping the characters' experiences and actions and contributes to the overall narrative and thematic depth of the screenplay.
- Culture: The screenplay explores cultural themes such as the struggle for survival, the search for purpose, and the power of human connection in the face of adversity. The characters come from diverse backgrounds, and their interactions reflect the challenges and complexities of living in a multicultural society.
- Society: The screenplay provides a critical examination of societal issues such as poverty, homelessness, and the pursuit of success. The characters grapple with the challenges of finding a job, securing housing, and providing for their families. The screenplay highlights the systemic barriers and inequalities that exist within society and the impact they have on individuals' lives.
- Technology: The screenplay incorporates technological elements such as scanners, computers, and telephones, reflecting the technological advancements and evolving communication methods of the time period. The use of technology conveys themes related to the fast-paced nature of the business world, the pursuit of efficiency, and the challenges of keeping up with the latest technological innovations.
- Characters influence: The world elements in the screenplay shape the characters' experiences and actions in various ways. The physical environment, with its bustling city streets, cramped living spaces, and natural beauty, influences their daily routines, challenges, and opportunities. The cultural elements, such as societal norms and expectations, impact their relationships, decisions, and struggles. The societal structure, with its emphasis on financial success and competition, shapes their career aspirations and life goals.
- Narrative contribution: The world elements contribute to the narrative of the screenplay by providing a rich and detailed backdrop for the characters' journeys. The physical environment, with its distinctive urban landscapes and suburban areas, serves as a setting for the characters' interactions, conflicts, and triumphs. The cultural elements, with their exploration of themes such as poverty and societal inequality, add depth to the characters' struggles and motivations.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by exploring universal themes related to the human experience. The physical environment, with its harsh and unforgiving elements, emphasizes the characters' vulnerability and the challenges they must overcome. The cultural elements, with their focus on societal issues and the search for purpose, highlight the complexities of human nature and the struggles faced by individuals in society.
Story Engine Analysis
central conflict
Chris Gardner's relentless struggle to provide a stable and fulfilling life for himself and his young son, Christopher, amidst adversity and financial hardship.
primary motivations
- Chris's unwavering determination to break free from poverty and create a better future for Christopher.
- His unwavering love and responsibility towards his son, driving him to overcome obstacles despite personal sacrifices.
catalysts
- Chris's discharge from the Navy, leading him and Christopher to face homelessness and financial instability.
- Chris's chance encounter with a wealthy stockbroker, sparking his interest in a career in finance.
- The constant threat of eviction and the struggle to secure stable housing, adding to their vulnerabilities.
barriers
- Chris's lack of formal education and experience in the financial industry.
- The competitive and demanding nature of the stockbroking profession.
- The limited resources and support available to homeless individuals.
themes
- The power of perseverance and resilience in the face of adversity.
- The importance of fatherhood and the sacrifices parents make for their children.
- The exploration of social and economic inequality, highlighting the struggles of the underprivileged.
stakes
Chris's and Christopher's well-being, their ability to secure a stable home and a brighter future, and Chris's redemption and self-worth.
uniqueness factor
The film's raw and authentic portrayal of homelessness and the struggles faced by those living on the fringes of society, offering a unique perspective on poverty and resilience.
audience hook
The emotional journey of a determined father fighting against all odds to provide a better life for his son, captivating viewers with its themes of hope, determination, and the power of the human spirit.
paradoxical engine or bisociation
The film's central conflict arises from the paradoxical situation of Chris's homelessness and lack of resources, juxtaposed with his unwavering determination to provide a stable and fulfilling life for Christopher.
paradoxical engine or bisociation 2
Another paradoxical engine in the story revolves around the idea of a 'time machine,' represented by the medical scanner Chris carries, symbolizing his desire to escape his current circumstances and create a better future.
Engine: Gemini
Screenplay Rating:
Recommend
Executive Summary
The Pursuit of Happyness is a compelling and emotionally resonant screenplay with a powerful theme of perseverance and the importance of family. Will Smith's performance and the father-son relationship are the standout strengths. While there are opportunities for further character development and a deeper exploration of societal issues, the screenplay's overall pacing and narrative strength make it a highly recommendable project with strong commercial potential.
Strengths
- Powerful and relatable theme of perseverance and the pursuit of happiness resonates deeply with the audience. high
- Will Smith delivers a compelling and emotionally nuanced performance as Chris Gardner, carrying the film with his dedication and charisma. high
- The father-son relationship between Chris and Christopher is heartwarming and genuine, providing an emotional core to the story. high ( Scene 1 Scene 13 Scene 18 )
- The screenplay effectively balances moments of humor and lightheartedness with the harsh realities of poverty and homelessness. medium
- The pacing of the screenplay is generally well-maintained, with a good balance of character development, plot progression, and emotional beats. medium ( Scene 20 Scene 24 Scene 34 )
Areas of Improvement
- Linda's character could be further developed to provide more insight into her motivations and struggles. medium
- The ending, while uplifting, feels somewhat abrupt. Exploring the long-term impact of Chris's success and the challenges he and Christopher may face could add depth. medium
- The screenplay could benefit from a more nuanced exploration of the systemic issues that contribute to poverty and homelessness. medium
MissingElements
- Exploring the perspectives and experiences of other homeless individuals or families could provide a broader context to the issue. medium
NotablePoints
- The use of still images and montages effectively conveys the passage of time and the emotional weight of Chris's journey. medium
- The Rubik's Cube serves as a symbolic representation of Chris's intelligence and problem-solving skills, as well as a catalyst for key plot points. medium ( Scene 10 Scene 27 )
Engine: Claude
Screenplay Rating:
Recommend
Executive Summary
The screenplay for 'The Pursuit of Happyness' is a well-crafted and emotionally resonant story that follows the journey of Chris Gardner, a struggling salesman who faces numerous challenges in his pursuit of a career as a stockbroker. The narrative successfully balances the protagonist's personal struggles with his professional aspirations, creating a rich and engaging character arc that is both compelling and relatable. The screenplay effectively portrays Gardner's determination and resilience in the face of adversity, showcasing his character growth and development. While some areas, such as transitions between scenes and occasional heavy-handedness in the dialogue, could benefit from refinement, the overall strengths of the screenplay, including its compelling narrative, strong thematic exploration, and poignant depiction of the protagonist's journey, make it a recommended candidate for further consideration.
Strengths
- Compelling narrative that effectively balances the protagonist's personal struggles with his professional aspirations, creating a rich and engaging character arc. high
- Strong establishment of the protagonist's background, motivations, and the challenges he faces, providing a solid foundation for the story's progression. high ( Scene 1 Scene 2 Scene 3 Scene 4 Scene 5 )
- Excellent portrayal of the protagonist's determination and resilience in the face of adversity, showcasing his character growth and development. high ( Scene 16 Scene 17 Scene 18 Scene 19 Scene 20 )
- Effective pacing and structure, with a seamless blend of dramatic moments, humor, and emotional depth. medium ( Scene 21 Scene 22 Scene 23 Scene 24 Scene 25 )
- Strong thematic exploration of the pursuit of happiness, the American Dream, and the sacrifices required to achieve one's goals. high
Areas of Improvement
MissingElements
- While the protagonist's journey is the central focus, some additional character development and exploration of secondary characters could add depth and complexity to the narrative. medium
NotablePoints
- The scenes depicting the protagonist and his son's struggle to find shelter and make ends meet are particularly poignant and effective in conveying the emotional impact of their circumstances. high ( Scene 28 Scene 29 Scene 30 Scene 31 Scene 32 )
- The incorporation of historical figures and references, such as Thomas Jefferson and the Declaration of Independence, adds a layer of depth and thematic significance to the narrative. medium
Engine: GPT4
Screenplay Rating:
Recommend
Executive Summary
The screenplay 'The Pursuit of Happyness' is a compelling narrative that effectively portrays the emotional and financial struggles of Chris Gardner. It offers a satisfying resolution and realistic character interactions that enhance its authenticity. While it could benefit from streamlined scenes and deeper secondary character development, its universal appeal and strong emotional hook make it a recommendable project.
Strengths
- The screenplay effectively portrays the emotional journey of the protagonist, Chris Gardner, creating a compelling narrative arc that is both inspiring and relatable. high
- The resolution of the screenplay is satisfying, showing tangible success and emotional resolution for Chris, which provides a strong payoff for the audience. high ( Scene 40 Scene 41 )
- The screenplay uses realistic dialogue and interactions that enhance the authenticity of the characters and their struggles, making the story more engaging. medium ( Scene 12 Scene 14 )
- The pacing of the screenplay is well-managed, with a good balance of dramatic tension and resolution that keeps the audience engaged throughout. medium
- The use of real locations and settings adds depth to the narrative, grounding the fantastical elements of the story in a relatable world. medium
Areas of Improvement
- Some scenes could be condensed or merged to streamline the narrative and enhance the pacing, particularly in the middle sections where the plot tends to drag. medium
- The character development for secondary characters could be deepened to provide more layers to the story and enhance the main character's interactions. medium
- The emotional transitions of the protagonist could be more nuanced to avoid sudden changes in mood or motivation, making the character's evolution more believable. low
MissingElements
- The screenplay could benefit from a stronger antagonist or opposing force to heighten the conflict and add more stakes to the protagonist's journey. medium
NotablePoints
- The screenplay's portrayal of struggle and eventual triumph is universally appealing and offers a strong emotional hook for the audience. high