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.