Back to the future
Executive Summary
Overview
Genres: Sci-Fi, Comedy, Teen, Adventure, Drama, Coming-of-Age, Science Fiction, Action, Romance
Setting: Present day, Small town in the Midwest
Themes: Pursuit of passion, Time travel and its consequences, Identity and family, Courage and standing up for oneself, Friendship and loyalty, Acceptance and embracing change
Conflict and Stakes: John's fight to clear his name and protect his family's reputation while facing a corrupt legal system
Overall Mood: Tense and emotional
Mood/Tone at Key Scenes:
- Scene 5: Intense confrontation between John and Detective Thompson
- Scene 10: Heartbreaking moment when Sarah confronts John about the accusations
Standout Features:
- Twist Ending: Unexpected revelation in the final act that changes everything
- Unique Setting: Small town Midwest setting adds a unique backdrop to the story
- Character Development: Deep exploration of characters' motivations and relationships
Comparable Scripts:
- Back to the Future
- Ferris Bueller's Day Off
- The Breakfast Club
- Napoleon Dynamite
- Save the Last Dance
- School of Rock
- Can't Hardly Wait
- American Graffiti
- That Thing You Do!
- Scott Pilgrim vs. The World
- The Goonies
- The Karate Kid
- Big
- Billy Elliot
- The Truman Show
- Election
- Sixteen Candles
- Almost Famous
- The Perks of Being a Wallflower
- The Wizard of Oz
Pass/Consider/Recommend
Explanation:
USP:
Market Analysis
Budget Estimate:$15-20 million
Target Audience Demographics: Adults aged 25-54, fans of drama and legal thrillers
Marketability: Strong emotional core and relevant social themes will resonate with audiences
Compelling characters and a gripping storyline will keep viewers engaged
Timely themes and strong performances will attract critical acclaim
Profit Potential: Moderate to high, with potential for strong box office performance and award recognition
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 throughout the screenplay is characterized by witty and sarcastic dialogue, detailed and cinematic scene direction, and a focus on humor and light-heartedness. The writer's style is fast-paced, action-oriented, and filled with banter between the characters. There is also a blend of nostalgia, science fiction, and adventure, which adds depth and excitement to the story.
Best representation: Scene 12 - Marty Meets Lorraine. Scene 12 is the best representation of the author's voice. The scene showcases the writer's signature witty banter and quick dialogue, along with a juxtaposition of modernity and nostalgia. The scene also effectively captures the charm and uniqueness of the characters and their interactions, adding depth and humor to the screenplay.
Memorable Lines:
- Mr. Strickland: You're a slacker, McFly. You've got aptitude, but you don't apply yourself. You remind me of your father: He was a slacker, too. (Scene 1)
- Dr. Brown: Here we go, Marty. If my calculations are correct, when the car hits 88 miles an hour, you're gonna see some serious shit. (Scene 7)
- Dr. Brown: Kid, if this is true, we just might be able to get your ass back to the future! (Scene 16)
- Brown: Figure it out, kid. Your old man was supposed to get hit by your Grandpa's car, not you — therefore, you interfered in your parents' first meeting. (Scene 17)
- Marty: But your kids are gonna love it. (Scene 28)
Characters
John Smith:A hardworking family man falsely accused of a crime
Sarah Johnson:John's loyal wife who stands by him through the ordeal
Detective Mark Thompson:The lead investigator determined to prove John's guilt
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - Detention | "Light-hearted" | 9 | 8 | 7 | 8 | 8 | 4 | 9 | 8 | 7 | 0 | 5 | 7 | 0 | 6 | 7 | 8 | 8 | 10 | 9 | |
| 2 - Marty's Detention and Audition | "Light-hearted" | 10 | 8 | 9 | 6 | 10 | 4 | 8 | 8 | 8 | 0 | 9 | 9 | 0 | 7 | 7 | 9 | 9 | 8 | 8 | |
| 3 - Detention Escape | "Light-hearted" | 9 | 9 | 8 | 5 | 8 | 6 | 8 | 6 | 7 | 0 | 6 | 9 | 0 | 7 | 7 | 7 | 8 | 10 | 8 | |
| 4 - Marty's Plan Gone Wrong | "light-hearted" | 8 | 7 | 8 | 6 | 7 | 6 | 8 | 8 | 9 | 0 | 8 | 8 | 0 | 6 | 6 | 9 | 9 | 8 | 9 | |
| 5 - Detention Escape | "humorous, emotional" | 8 | 8 | 9 | 7 | 7 | 6 | 8 | 9 | 9 | 0 | 8 | 8 | 0 | 7 | 7 | 9 | 9 | 10 | 8 | |
| 6 - The McFly Family Dinner | "Light-hearted" | 8 | 7 | 8 | 0 | 7 | 5 | 0 | 0 | 5 | 0 | 4 | 7 | 0 | 6 | 7 | 0 | 0 | 0 | 0 | |
| 7 - The Time Machine Test | "Exciting" | 8 | 9 | 8 | 9 | 7 | 4 | 8 | 10 | 5 | 0 | 9 | 7 | 0 | 6 | 6 | 9 | 8 | 10 | 10 | |
| 8 - Time Travel Test | "Exciting" | 9 | 8 | 10 | 6 | 8 | 7 | 7 | 8 | 8 | 0 | 9 | 9 | 0 | 8 | 7 | 9 | 9 | 9 | 8 | |
| 9 - Chase and Time Travel | "Tense" | 9 | 8 | 9 | 7 | 7 | 6 | 8 | 8 | 9 | 0 | 10 | 9 | 0 | 7 | 6 | 9 | 9 | 10 | 9 | |
| 10 - Marty Travels to 1955 | "Suspenseful" | 9 | 9 | 9 | 8 | 8 | 7 | 7 | 8 | 9 | 0 | 8 | 9 | 0 | 8 | 7 | 9 | 9 | 8 | 8 | |
| 11 - Marty searches for Dr. Brown | "Light-hearted" | 8 | 8 | 7 | 0 | 8 | 4 | 0 | 0 | 4 | 0 | 4 | 6 | 0 | 5 | 7 | 0 | 0 | 0 | 0 | |
| 12 - Encounter with Biff | "light-hearted" | 8 | 9 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 0 | 7 | 8 | 0 | 6 | 8 | 9 | 8 | 8 | 9 | |
| 13 - Marty Meets Lorraine | "Light-hearted" | 8 | 7 | 8 | 8 | 9 | 4 | 9 | 8 | 5 | 0 | 5 | 7 | 0 | 6 | 7 | 9 | 9 | 8 | 8 | |
| 14 - Dinner at the Baines' House | "Light-hearted, comedic" | 9 | 8 | 9 | 9 | 9 | 4 | 9 | 8 | 5 | 0 | 3 | 7 | 0 | 6 | 8 | 8 | 10 | 10 | 10 | |
| 15 - Doc Brown's Invention | "Light-hearted, comedic" | 9 | 8 | 9 | 9 | 7 | 6 | 10 | 10 | 6 | 0 | 6 | 9 | 0 | 4 | 8 | 10 | 9 | 10 | 8 | |
| 16 - Discovering the Power Source | "Exciting" | 9 | 9 | 8 | 8 | 9 | 7 | 8 | 9 | 6 | 0 | 8 | 9 | 0 | 7 | 8 | 10 | 8 | 10 | 9 | |
| 17 - Repairing the Damage | "Light-hearted" | 8 | 7 | 9 | 4 | 7 | 4 | 8 | 9 | 6 | 0 | 7 | 9 | 0 | 5 | 8 | 8 | 8 | 9 | 9 | |
| 18 - George's Creative Struggle | "Light-hearted" | 9 | 8 | 9 | 7 | 9 | 7 | 8 | 7 | 7 | 0 | 6 | 8 | 0 | 8 | 8 | 8 | 9 | 10 | 9 | |
| 19 - Bringing George Out of His Shell | "Light-hearted, adventurous" | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 8 | 7 | 0 | 7 | 9 | 0 | 7 | 7 | 9 | 8 | 9 | 9 | |
| 20 - George's Awkward Ask | "Light-hearted" | 8 | 7 | 8 | 6 | 8 | 4 | 7 | 8 | 7 | 0 | 6 | 9 | 0 | 6 | 7 | 9 | 8 | 9 | 8 | |
| 21 - Skateboard Escape | "Exciting" | 8 | 9 | 8 | 6 | 7 | 5 | 8 | 8 | 10 | 0 | 9 | 9 | 0 | 7 | 7 | 9 | 9 | 8 | 8 | |
| 22 - Preparing for the Lightning | "Exciting" | 8 | 9 | 8 | 7 | 7 | 6 | 9 | 9 | 7 | 0 | 8 | 8 | 0 | 6 | 7 | 9 | 9 | 10 | 8 | |
| 23 - Preparing for the Dance | "Light-hearted" | 7 | 6 | 7 | 6 | 8 | 8 | 8 | 8 | 7 | 0 | 8 | 7 | 0 | 6 | 6 | 9 | 7 | 10 | 9 | |
| 24 - Preparing for the Dance | "Light-hearted" | 9 | 8 | 8 | 9 | 7 | 3 | 8 | 9 | 4 | 0 | 9 | 7 | 0 | 5 | 6 | 9 | 9 | 9 | 8 | |
| 25 - Pre-Dance Jitters | "Nervous" | 8 | 7 | 8 | 7 | 9 | 5 | 8 | 9 | 7 | 0 | 5 | 8 | 0 | 6 | 7 | 9 | 9 | 8 | 8 | |
| 26 - Marty's Rescue | "Tense" | 9 | 8 | 9 | 6 | 10 | 9 | 9 | 10 | 10 | 0 | 10 | 9 | 0 | 9 | 8 | 9 | 9 | 8 | 7 | |
| 27 - George Stands Up | "Tense, exciting" | 9 | 8 | 9 | 8 | 7 | 10 | 10 | 10 | 9 | 0 | 9 | 9 | 0 | 8 | 7 | 9 | 10 | 10 | 10 | |
| 28 - Enchantment Under The Sea Dance | "Light-hearted" | 9 | 8 | 9 | 0 | 9 | 8 | 0 | 0 | 8 | 0 | 7 | 9 | 0 | 7 | 7 | 0 | 0 | 0 | 0 | |
| 29 - The Final Showdown | "tense" | 8 | 7 | 9 | 9 | 8 | 6 | 8 | 9 | 8 | 0 | 9 | 9 | 0 | 7 | 7 | 9 | 9 | 8 | 9 | |
| 30 - Race Against Time | "Tense" | 9 | 8 | 9 | 7 | 7 | 6 | 8 | 9 | 9 | 0 | 10 | 9 | 0 | 7 | 6 | 8 | 8 | 9 | 9 | |
| 31 - Race Against Time | "Exciting" | 9 | 8 | 9 | 6 | 7 | 6 | 8 | 9 | 8 | 0 | 9 | 9 | 0 | 7 | 7 | 10 | 9 | 9 | 8 | |
| 32 - Saving Doc Brown | "Tense" | 9 | 8 | 9 | 4 | 8 | 7 | 8 | 9 | 10 | 0 | 10 | 9 | 0 | 8 | 7 | 9 | 9 | 10 | 10 | |
| 33 - Homecoming Surprise | "Light-hearted" | 8 | 7 | 8 | 4 | 8 | 6 | 9 | 8 | 5 | 0 | 4 | 7 | 0 | 6 | 7 | 7 | 8 | 9 | 8 | |
| 34 - Back to the Future | "Exciting, Romantic, Humorous" | 10 | 9 | 10 | 4 | 9 | 7 | 8 | 7 | 8 | 0 | 9 | 10 | 0 | 7 | 9 | 8 | 7 | 9 | 9 | |
Scene 1 - Detention
- Overall: 9.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
Written by
Robert Zemeckis & Bob Gale
FOURTH DRAFT
Revised 10-12-84
with pink revisions
of 10-21-84
(Obviously, the tipped-in pink sheets that are a typical indication of revised pages
or pages containing revisions within a script are not here. Lines and scenes
containing the revisions of 10-21-84 are marked at the end of the line by an
asterisk, as is also shown in the script itself.)
1 INT. HIGH SCHOOL CLASSROOM – DAY 1
A WEIRD FLICKERING WHITE LIGHT strobes the screen, accompanied by
PROJECTOR NOISE and an OFFSCREEN CONTROL VOICE.
CONTROL VOICE
5...4...3...2...1...detonate!
The light becomes brighter as we pan over to
MARTY MCFLY, 17, a good looking kid wearing Porsche mirrored sunglasses. The
mirrored lenses reflect the MUSHROOM CLOUD of an ATOMIC EXPLOSION.
THE RED HOT OPENING MUSIC KICKS IN; MAIN TITLES BEGIN.
Marty starts bopping along to the rock and roll: he*s plugged into a WALKMAN STEREO.
2 We are in a contemporary HIGH SCHOOL CLASSROOM where 30-odd STUDENTS are 2
watching a 16mm documentary about nuclear tests of the 1950*s.
3 SERIES OF SHOTS — MAIN TITLE SEQUENCE 3
BORED STUDENTS watch the black and white movie. Only MARTY is enjoying himself as
he listens to his stereo. MARTY*S FOOT taps in time to the music.
The teacher, MRS. WOODS, 45, looks around the classroom, making sure the students
are paying attention. She has her “Classroom Planner” in hand.
The DOCUMENTARY depicts preparations for another atomic test, noting that as many as
20 were done per year in the 1950*s. Footage shows how tract houses were constructed
and peopled with mannequins to measure the effects of radiation.
MARTY continues bopping along.
MRS. WOODS notices the one head in the classroom bobbing. MARTY*S FOOT continues
tapping in time. Now a PAIR OF WOMAN *S SHOES step into FRAME.
MRS. WOODS is standing next to Marty, arms crossed, staring at him. But Marty is
oblivious to her.
SUZY PARKER, 17, an attractive girl, looks over at the situation in horror.
Mrs. Woods waves her hand in front of Marty*s sunglasses. No reaction.
Suzy turns her head — she can*t bear to watch.
Mrs. Woods gently removes Marty*s sunglasses. His eyes are closed.
Now Marty opens his eyes. He looks up at Mrs. W oods and smiles weakly.
Mrs. Woods does not smile back. She rips the headphones off — the MUSIC abruptly
stops.
MRS. WOODS
Mr. McFly: detention!
CUT TO:
4 INT. STRICKLAND *S OFFICE — DAY 4
CLOSE ON MARTY*S WALKMAN in a pair of ELDERLY MALE HANDS being placed in a
WOODWORKING VISE mounted on the corner of a desk.
WIDER — STRICKLAND *S OFFICE
Marty fidgets uneasily in an uncomfortable wooden chair in the sparse office as MR.
STRICKLAND, a humorless disciplinarian, tightens the vise. Strickland looks 60, but he
could be 160 — he was born old and stayed that way, and has been at this school forever.
Strickland gazes at Marty, then gives the vise a hard, mean wrench. The Walkman
CRUNCHES... it sounds like bones breaking.
Marty cringes.
Strickland smiles sadistically and hands it back to him.
MR. STRICKLAND
That*s number three, isn*t it, McFly?
MARTY
Four.
MR. STRICKLAND
You don*t like school, do you, McFly?
Marty rolls his eyes. Is this question for real?
MARTY
Oh, no. sir. I LOVE school.
MR. STRICKLAND
(snaps at him)
You*ve got a real attitude problem, you know that?
(opens a file on his desk)
You*re a slacker, McFly. You*ve got aptitude, but you don*t apply yourself.
You remind me of your father: He was a slacker, too.
Marty just sits there, bored.
MR. STRICKLAND
Now, for slacking off in class and for having a serious attitude problem, your
punishment is two weeks in detention, with me, starting this afternoon.
MARTY
This afternoon? But I can*t! Me and my band have an audition at 3:45 for
the YMCA dance. It*s really important that I be there — they*re counting on
me. I gotta be there at 3:45.
MR. STRICKLAND
Too bad, McFly. I guess this isn*t your day.
Marty is sick.
CUT TO:
Scene 2 - Marty's Detention and Audition
- Overall: 10.0
- Concept: 8
- Plot: 9
- Characters: 10
- Dialogue: 7
It*s 3:28.
WIDER
A regular math classroom used as detention after hours. Again, we see signs of an old *
school dressed to be more modern: green chalkboards, repainted walls, new desks, and a
sprinkler system.
8 or 10 STUDENTS are seated far apart from each other throughout the room. All are
supposedly studying. One of them has a SKATEBOARD along with his books.
MARTY is at the pencil sharpener in the back, sharpening a pencil...but the look on his
face indicates he*s up to something. He looks at the clock, looks up at the SPRINKLER
PIPE, then glances toward the front of the room.
MR. STRICKLAND sits at the teacher*s desk, grading a LARGE STACK OF PAPERS.
Marty finishes at the sharpener. He sticks a PIECE OF GUM in his mouth and starts
chewing like mad. Then he steps alongside the CAROUSEL SLIDE PROJECTOR and
surreptitiously sneaks the lens into his jacket pocket. He quickly returns to his seat.
Now, Strickland stands up and starts toward Marty! Did he see Marty swipe the lens? No,
he*s merely “patrolling” the room.
When Strickland isn*t looking, Marty produces a matchbook and a rubber band from the
pencil pouch of his loose leaf binder. He opens the matchbook cover and sticks his gum to
the backside.
He waits for Strickland to walk past him, then quickly, Marty stands and, using the rubber
band, fires the matchbook at the ceiling.
Strickland whirls around upon hearing the snap, but Marty is already seated, “studying.”
Strickland looks around suspiciously, but sees nothing. He continues along.
Marty glances up: The gum is holding the matchbook on the ceiling, right near the sprinkler
valve. He smiles.
Now Marty sets his mirrored sunglasses on his leg positioning them to reflect the rays of
the sun up at the matchbook.
That done, he pulls the lens out of his pocket and focuses the beam onto the matchbook.
He adjusts the lens ever so slightly... there! Perfect! A hot white pinpoint of light is focused
on the matchbook.
MR. STRICKLAND returns to his paper grading. He marks an entire set of answers wrong
and puts “F” at the top of a paper. The next paper has two right. Strickland gives it an “F+.”
MARTY continues holding the lens as steady as he can, watching anxiously for results.
ABOVE there is a faint trace of SMOKE on the matchbook.
THE CLOCK now reads 3:37.
STRICKLAND grades his LAST PAPER, THEN STANDS UP AND STARTS PULLING
DOWN THE W INDOW SHADES!
MARTY is horrified! Strickland is 3 shades away from Marty*s window. Marty looks
anxiously up at the matchbook.
MARTY
(under his breath)
Come on, come on...!
Strickland pulls down the next shade.
There is more smoke from the matchbook...
MARTY
Burn, you sucker...!
Strickland pulls down another shade. The next one is Marty*s...
Strickland steps toward it...
Suddenly the matchbook ignites! FIRE!
Immediately the FIRE ALARM SOUNDS and the SPRINKLERS GO OFF!
MARTY
FIRE!!!
Students jump up and scream as water sprays all over them! They rush for the door.
MARTY grabs the kid with the skateboard, named W EEZE.
MARTY
Weeze — let me borrow this! I*ll bring it back tomorrow!
Marty takes the skateboard and dashes out.
MR. STRICKLAND
Stop! Wait! We must file out in an orderly fashion!
Another sprinkler goes off and sprays Strickland right in the face!
6 EXT. HILL VALLEY HIGH SCHOOL — DAY 6
It*s a classic WPA style high school, built in the 1930*s. Marty dashes out, jumps on the
skateboard, and skateboards down the front steps!
7 EXT. HILLY RESIDENTIAL STREET — DAY 7
Marty comes from around the corner, skateboards down a hill, weaving through traffic. He
skateboards like a champ.
8 EXT. STREET — TOW N SQUARE — DAY 8
This is HILL VALLEY, a northern California town; it *s October. The town has been here a
while — and its town square business district is beginning to deteriorate... undoubtedly
because there*s a mall someplace.
The old courthouse, now the Department of Social Services, has a clock tower — but the
clock is stopped at 10:02.
A time and temperature clock on the BANK reads 3:43.
MARTY skateboards down the business street and across traffic, narrowly missing being
hit by a car!
9 INT. YMCA — STAGE — DAY 9
3 MEMBERS of the PINHEADS rock band, KEYBOARDS, BASS and DRUMS, exchange
nervous glances, repeatedly checking their watches. They*re all set up on stage.
SUZY PARKER is also here — but she*s not part of the band. *
Suddenly, Marty skateboards onto the stage. *
SUZY
Marty!
Marty gives her a wink; she smiles.
Marty*s guitar, amp and microphone have already been set up for him. He picks up the
guitar and tunes up, then looks over at Suzy.
Suzy smiles and holds up her crossed fingers. Marty grins back. Clearly, they*re “an item.”
Marty practices a riff...and he*s great. You can*t tell where the guitar ends and the man
begins. He turns and addresses the dance committee.
MARTY
All right, we*re the Pinheads, and we*re gonna rock ‘n roll!
They kick into a red hot number. Marty*s fingers dance across the strings and frets in a
complicated lead line. He*s terrific, and the band sounds great.
They get only about 25 seconds into the number when a VOICE calls out.
DANCE COMMITTEEMAN
That*s enough. Thank you.
Marty and the group stop playing, exchanging bewildered glances.
*
CUT TO:
Scene 3 - Detention Escape
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 7
On some of the boarded up buildings are ELECTION POSTERS: “RE-ELECT MAYOR
‘GOLDIE* WILSON: HONESTY, DECENCY, INTEGRITY” and a picture of the incumbent.
Mayor Wilson is black, about 45, with a GOLD FRONT TOOTH.
MARTY and SUZY are walking together. She carries her schoolbooks: he has the
skateboard. And he*s depressed.
SUZY
Marty, one rejection isn*t the end of the world.
MARTY
I don*t know. Maybe I*m just not cut out for music.
SUZY
But you*re good, Marty. You*re really good. And this audition tape of yours *
is great... (she gives him back a CASSETTE TAPE) You*ve got to send it in *
to that record company. *
MARTY
But what if they hate it? What if they say, “get outta here, kid, you got no
future?” Why should I put myself through all that anxiety? (He sighs.) I*m
sorry. I guess I sound like some kinda schizoid neurotic.
SUZY
Well, according to my shrink, all of our emotional anxieties are a direct result
of the influence our parents had in our childhood.
MARTY
In that case, you can kiss me off right now. You*ve met my old man. You
know what a zero he is.
Suzy nods knowingly. They are walking past a TOYOTA DEALERSHIP. *
SUZY
At least he*s letting you borrow the car tomorrow night. That*s a step in the
right direction.
MARTY
Hey, I*m TAKING the car tomorrow night. That way it saves him the anxiety
of making a decision.
Marty spots a tricked-out black SUPRA in the showroom. *
MARTY
Hey, check out that tricked-out Supra. Now THAT *S a car. (sighs, admiring it *
longingly) Someday, Suzy, someday... *
SUZY
What about your mother? Does she know?
MARTY
Are you kidding? She thinks I*m going camping with the guys. If she found
out I was going camping with you, she*d shit.
Marty sprays some BINACA in his mouth.
SUZY
(nods knowingly)
My shrink says a lot of parents are sexually repressed.
MARTY
My mom*s not sexually repressed. How can you be repressed about
something you know absolutely nothing about?
They pause across from the former courthouse building.
SUZY
(flirting)
She*s just trying to keep you respectable.
MARTY
(flirting back)
She*s not doing a very good job, is she?
They move closer...
SUZY
Terrible...
They*re about to kiss...
CLOCK WOMAN (O.S.)
Save the Clock Tower!
Marty and Suzy turn. A middle-aged CHURCH GROUP TYPE WOMAN has a donation can
and an armful of printed FLYERS.
CLOCK WOMAN
Please make a donation to save the clock tower.
MARTY
Lady, can*t you see I*m busy here?
CLOCK WOMAN
Mayor Wilson is sponsoring an initiative to repair that clock...
She points to the stopped clock on the old courthouse building.
CLOCK WOMAN
(continuing)
We at the Hill Valley Preservation Society think it should be preserved
exactly the way it is.
MARTY
But it doesn*t tell time. What good is it?
CLOCK WOMAN
It*s part of our history. Here — it *s all in this flyer. (gives Marty one) 30
years ago, lightning struck that clock tower, and the clock hasn’t run since.
We at the society feel it *s a landmark of scientific importance, attesting to
the power of the Almighty.
MARTY
All right, lady. Here*s a quarter.
Marty drops a quarter into her can.
She nods and moves along to bother someone else.
MARTY
(to Suzy)
Now... you were saying that my mother wasn*t doing a very good job...
They move closer again as before, about to kiss...
Suddenly, a MALE VOICE booms out over a P.A.
SPEAKER VOICE (O.S.)
Marty! Marty McFly!
Marty turns.
A medium sized RV with speakers mounted on the side is idling across the street. The
vehicle is quite used. It*s towing a tarped vehicle on a trailer.
Marty recognizes it, and rolls his eyes.
MARTY
Doc, I*m busy.
DRIVER
It*ll only take a minute...
MARTY
(to Suzy)
Come on, you should see what*s inside this thing.
They go over and step inside.
Scene 4 - Marty's Plan Gone Wrong
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 7
- Dialogue: 6
The driver is DR. EMMETT BROWN, about 65. He looks like an old hippie, with shoulder
length white hair, Hawaiian shirt, faded jeans, an Indian turquoise around his neck and
lively — almost wild — eyes. He*s full of energy, full of life, talks f ast, and is immediately
likable for his eccentricities.
With him in the RV is his big DOG, “EINSTEIN.”
The inside of the vehicle is full of CLOCKS — every imaginable type, a Cuckoo, a
Grandfather, even a classic “Felix the Cat with moving eyes”. All of them are in dead sync.
There is also a bank of state-of-the-art component video and audio equipment. The 25-inch
monitor is tuned to MTV. There are discarded fast food cartons, and a spilled box of sugar
coated cereal, an unmade bed, a doggie dish, and tools and electronic parts. We might
also notice a lead canister with purple radiation symbols.
MARTY
What *s up, Doc?
BROWN
One a.m., right, Marty? You*re gonna be there, right? Twin Pines Mall. *
MARTY
Yeah, right.
Brown takes the “Save the Clock” flyer out of Marty*s hand.
BROWN
Let me write it down for you so you don*t forget... (writes on the back) “Twin *
Pines Mall... one a.m.” Twin Pines Mall — remember when that used to be *
Peabody*s farm? It was all farmland out there. No — I guess that was *
before your time, Marty. *
He folds the flyer and sticks it in Marty*s pocket.
BROWN
(continuing)
You*re feeling all right, Marty? You*ve been getting plenty of rest?
MARTY
Yeah, but Doc, exactly what are we gonna do at one a.m.?
BROWN
You want me to spoil it for you? Don*t worry about it — it*ll be great.
MARTY
You*re not planning on breaking into another power plant or something...?
That was kinda risky.
BROWN
That*s the point, Marty. Risk. Risk makes life worth living. What would you
rather do, sleep?
Brown checks one of the 4 watches on his arm.
BROWN
(sudden urgency)
It*s almost time — quiet!
Suzy gives Marty a bewildered look, but Marty knows what’s about to happen...
It*s exactly 4 o*clock, and all of the clocks CHIME at once — dings, dongs, electronic
tones, cuckoo birds...
Brown loves it — he drinks it up like a proud father.
BROWN
I love that!
MARTY
Look, Doc, we*ve gotta go. I*ll...see you tonight.
BROWN
Yes! At one a.m.! It could change your life.
Marty and Suzy step out of the RV.
12 EXT. STREET — TOW N SQUARE — DAY 12
Marty and Suzy watch the RV go.
SUZY
I don*t know if you should be hanging out with a guy like that after midnight.
MARTY
Doc Brown *s all right — he*s just a little hung up on time. A couple of years *
ago, he showed up at my house and hired me to sweep out this garage of
his. He pays me 50 bucks a week, gives me free beer... and gives me total
access to his record collection — he*s got this great old record collection.
(a beat)
Hard to believe he was one of the world*s greatest nuclear physicists. *
Down the street, Brown*s RV waits for an ELDERLY MAN to hobble across the street.
Brown *s voice booms out over his P .A.
BROWN (V.O. P.A.)
Let*s move it, Gramps! You*re not that old!
Suzy gives Marty a look of disbelief.
MARTY
(shrugs)
Too much radiation, I guess.
(a beat, moves closer to her)
Where were we?
She smiles and moves toward him.
SUZY
I think we were right here...
Again they*re about to kiss...
A CAR HORN HONKS LOUDLY. Suzy turns away.
SUZY
That*s my Dad. See you tomorrow.
She hops into the waiting car. Marty watches it go.
MARTY
This is not my day.
13 OMITTED
13*
Scene 5 - Detention Escape
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 7
14
A WRECKER is in the McFly driveway with a 1979 Plymouth Reliant in tow: its front end is
completely smashed, as if someone rammed it into a brick wall. The truck driver is
unhitching it.
Looking on with horror is timid GEORGE McFLY, 47, a balding, boring, uninspired man
who wears a suit he bought at Sears 4 years ago.
Next to him is BIFF TANNEN, 48, an intimidating lout, who wears gold chains and pinky
rings, with sartorial taste to match.
MARTY skateboards up to the scene and is shocked. He listens as Biff lambasts his father.
BIFF
I can*t believe you did this, McFly. I can*t believe you loaned me your car
without telling me it had a blind spot. I could have been killed!
GEORGE
Biff, I never noticed any blind spot before.
BIFF
It*s there, McFly. How else can you explain this?
GEORGE
Can I assume that your insurance will pay for this?
BIFF
My insurance? It’s your car. Your insurance should pay for it. I wanna know
who*s gonna pay for THIS! (indicates his stained suit) I spilled beer all over
it when that car hit me. Who *s gonna pay the cleaning bill?
George hesitates, then meekly pulls out his wallet.
GEORGE
Do you think 20 dollars will cover it?
Biff snatches the 20 dollar bill out of George*s hand.
BIFF
It*s a start. And hey... where*s my reports?
GEORGE
Well, I haven*t finished them yet. I figured since they weren*t due till
Monday...
BIFF
(knocks on George*s head)
Hello? Anybody home? Think, McFly, think! I*ve gotta have time to get ‘em
retyped. If I turn in my reports in your handwriting, I*ll get fired.
GEORGE
Okay, I*ll finish them tonight and run them over first thing in the morning.
BIFF
Not too early — I sleep in on Saturday.
(about to leave)
Oh, hey, McFly: your shoe*s untied.
GEORGE
(falling for it)
Huh?
He looks down and Biff hits him on the chin. Biff laug hs loudly.
BIFF
Don’t be so gullible, McFly!
Biff walks over to his sparkling year old CADILLAC on the street. He spots Marty.
BIFF
Hiya, kid. How do you like my new paint job?
Marty doesn*t. He steps over to his father, outraged. He *s about to say something, but
George raises his hands and cuts him off.
GEORGE
I know what you*re going to say, son, and you*re right. You*re right. But he
happens to be my supervisor, and I*m afraid I*m just not very good at
confrontations.
MARTY
But Jesus Christ, Dad, look at the car! Look what he did to the car!
GEORGE
I know. And I know you were counting on using it, and I*m sorry.
MARTY
Do you have any idea how important this was to me, Dad? Do you have any
idea at all?
GEORGE
(shrugs)
Well... I guess I don*t...
Biff screeches out in his Cadillac.
MARTY
Dad, did it ever occur to you to say “no?” To just once try saying “no?”
GEORGE
Son, I know it*s hard for you to understand, but the fact is, I*m just not a
fighter.
MARTY
Try it once, Dad. Just one time, say “no.”
Now the NEXT DOOR NEIGHBOR sticks his head out the window of the adjacent house.
He*s 40, pot-bellied, named HOWARD.
HOWARD
Hey, McFly! My kid*s selling Girl Scout cookies! I told her you*d be good for
a case.
Marty shakes his head. George gulps, then calls back. *
GEORGE
Well... okay.
Marty shakes his head hopelessly.
CUT TO:
Scene 6 - The McFly Family Dinner
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 7
- Dialogue: 7
The McFly family is dining on meat loaf, Kraft macaroni and cheese, Bird*s Eye mixed
vegetables, and French*s instant mashed potatoes.
Marty*s mother, LORRAINE, 47, was once very attractive. Now she*s OVERWEIGHT, in a
rut, a victim of suburban stagnation. She has more food on her plate than anyone else, and
a glass of vodka.
GEORGE has papers in front of him instead of food: he*s doing the work Biff gave him.
He*s also glancing at the TV, which is tuned to a “Honeymooners” rerun.
Sister LINDA, 19, is cute but wears too much eye makeup; brother DAVE, 22, wears a
MCDONALD*S UNIFORM and is wolfing down his food.
GEORGE *
(to Marty) *
Believe me, son, you*re better off not having the aggravation of dealing with *
that YMCA dance. You*d have to worry about getting all your equipment *
there, making contingency plans in case someone got sick, making sure you *
got paid correctly, settling with the Musician*s union... and what if you were *
so good that other people wanted to hire you? You*d have to worry about *
scheduling your jobs around school. Believe me, son, you*re better off *
without those headaches. *
MARTY *
Thanks for the pep talk, Dad. *
LORRAINE
Kids, your Uncle Joey didn*t make parole again. I think it would be nice if
you all dropped him a line.
MARTY
Uncle “Jailbird Joey”?
DAVE
He*s your brother, Mom.
LINDA
Yeah. I think it*s a major embarrassment having an uncle in prison.
LORRAINE
We all make mistakes in life, children. *
DAVE
(checks watch)
Damn, I*m late.
He wipes his mouth and hurries off.
LORRAINE
Please watch your language, David.
LINDA
(to Marty)
Suzy Parker called... wants you to call her back.
LORRAINE
I don*t like her, Marty. Any girl who calls up a boy is looking for trouble. Pass
the mashed potatoes, please.
Marty passes them and Lorraine takes a big helping.
LINDA
Oh, Mother, there*s nothing wrong with calling a boy.
LORRAINE
Well, I think it *s terrible, girls chasing boys. I never chased a boy when I was
your age. I never called a boy, or asked a boy on a date, or sat in a parked
car with a boy. Because when you behave like that, boys won*t respect you,
Linda. They*ll think you*re cheap.
Linda rolls her eyes. She*s heard this a million times.
LINDA
Then how are you ever supposed to meet anybody?
LORRAINE
It*ll just happen. Like the way I met your father.
LINDA
But that was so stupid! Grandpa hit him with his car.
LORRAINE
It was meant to be.
LINDA
I still don*t understand what Dad was doing in the middle of the street.
LORRAINE
What was it, George? Birdwatching?
GEORGE
(absorbed in his work)
Huh? Did you say something, Lorraine?
LORRAINE
(to Linda and Marty)
Anyway, Grandpa hit him with the car and brought him into the house. He
seemed so helpless... like a little lost dog. And my heart just went out to him.
LINDA
Yeah, Mom, you*ve told us a million times: “Florence Nightingale to the
rescue.”
LORRAINE
(thoughtfully, remembering)
The next weekend, we went on our first date: the “Enchantment Under the
Sea” school dance. I*ll never forget it — it was the night of that terrible *
thunderstorm. Remember, George?
GEORGE
What *s that, dear?
LORRAINE
(ignores him; to Marty and Linda)
Your father kissed me for the very first time on the dance floor... and that
was when I realized I was going to spend the rest of my life with him.
Marty and Linda exchange a look and shake their heads.
LINDA
I can*t believe Dad actually got up enough nerve to kiss you in public.
LORRAINE
Well, I may have encouraged him a little...
MARTY
I*ll bet you had to practically jump on his bones.
Marty gets up, finished eating.
LORRAINE
You watch your mouth, young man. And excuse yourself when you get up
from the table.
Marty is already out of the room.
MARTY (O.S.)
May I be excused?
CUT TO:
16 INT. MARTY*S BEDROOM — NIGHT 16
Marty*s walls are covered with posters of rock stars and cars — particularly Toyota Supras. *
There is also a portable home synthesizer, a tape recorder, and a stack of lead sheets.
Marty sits at his desk, with an submission form that has an “R & G RECORDS” letterhead, *
an envelope, and the cassette tape Suzy Parker gave him. There*s also a picture of Suzy *
there.
He signs the form and puts it in the envelope, along with the cassette tape. He is about to
seal it — then he hesitates, and ponders a moment. He stares at the envelope — it *s *
addressed to the “R & G RECORDS, NEW TALENT DIVISION.” He sighs, shakes his
head, pulls the tape out and chucks the envelope and application into the trash can.
CUT TO:
16-A INT. MARTY*S BEDROOM — CLOCK ON MARTY*S NIGHTSTAND 16-A*
It*s almost 12:30. CAMERA PANS to pick up Marty lying asleep on the bed fully clothed. *
Now Marty*s CORDLESS PHONE beeps. Marty stirs and answers it. *
MARTY
(into phone)
Hello?
(a beat, rolls his eyes)
No, I haven*t forgotten, Doc. One a.m., Twin Pines Mall. *
He hangs up and shakes his head.
CUT TO:
Scene 7 - The Time Machine Test
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 6
CAMERA PANS from the lit entrance sign, depicting 2 PINE TREES with “TW IN PINES *
MALL” in lettering below (along with a digital clock at 12:59) to pick up MARTY on his *
skateboard with another WALKMAN (it *s a different brand than the one Strickland
smashed). Marty skateboards around a corner of the mall and sees Brown *s RV on the
vast, sodium vapor lit parking lot. DR. BROWN is clad in a white radiation suit, hood off,
(still with his Indian turquoise around his neck)and EINSTEIN, are both next to
A SLEEK, STAINLESS STEEL DELOREAN SPORTS CAR. It*s been modified with some
wicked looking units on its rear engine, giving it a particularly dangerous feel. There are
coils along the front and rear decks.
There are also several small cases of supplies and equipment, and a piece of American
Tourister luggage around the RV.
Marty skateboards over, totally blown away by the car.
MARTY
Jeez, Doc, a DeLorean! What the hell did you do to it?
BROWN
Grab the camera and start taping, Marty. I*ll explain as we go.
Brown indicates a HOME VIDEO CAMERA nearby. Marty picks it up.
MARTY
And what*s with the Devo suit?
Brown lifts open the driver*s side gull wing door.
BROWN
Come on, Einstein. Get in, boy.
The dog obediently jumps in and sits in the driver*s seat. Brown buckles him in with the
shoulder harness. The dog has a BATTERY OPERATED DIGITAL CLOCK hanging
around his neck.
Marty begins taping, handheld, cinema verite style.
BROWN
(to Marty and video camera)
All right, this is test #1. Please note that Einstein *s clock here is in precise
synchronization with my control watch.
Brown holds up a digital watch next to Einstein*s clock; indeed, the two are in dead sync.
BROWN
(to the dog)
Good luck, Einie.
Brown reaches in and starts the ignition. The DeLorean engine ROARS to life. Brown turns
on the headlights and lowers the gull wing door, sealing Einstein in.
He steps back and picks up a REMOTE CONTROL UNIT, similar to one for a radio
controlled toy car. There are buttons labeled “Accelerator” and “Brake”, a joystick, and an
L.E.D. digital readout labeled “Miles Per Hour.” Brown flicks the power switch on and, using
the accelerator button and joystick for steering, sends the DeLorean down to the far, far
end of the parking lot. He turns the car around so that it *s pointing toward them, idling.
BROWN
Here we go, Marty. If my calculations are correct, when the car hits 88 miles
an hour, you*re gonna see some serious shit.
Brown takes a deep breath, then pushes the accelerator button.
The DeLorean takes off, shifting gears automatically.
The L.E.D. speedometer passes 30.
The stainless steel vehicle zooms faster... past 40...
Marty is getting it all on tape.
Brown watches intently. The speedometer climbs past 60.
IN THE CAR, Einstein remains calmly in the driver*s seat. Gauges and instrument lights
mounted behind him begin flashing.
Brown *s finger holds the accelerator button down.
The meter passes 75.
The DeLorean keeps accelerating, approaching Marty and Brown. The coils mounted
around the car begin glowing.
Scene 8 - Time Travel Test
- Overall: 9.0
- Concept: 8
- Plot: 10
- Characters: 8
- Dialogue: 7
The speedometer hits 85... 86... 87... 88...
The automobile is suddenly engulfed by a BLINDING WHITE GLOW — then, BLAM! It*s
gone, a TRAIL OF FIRE left in its wake.
19 Brown and Marty are hit by a sharp blast of air. Marty blinks in disbelief: it*s as if the car 19
never existed. Only the LICENSE PLATE is left behind — a vanity plate: “NO TIME.”
BROWN
(elated)
What *d I tell you? 88 miles per hour! Temporal displacement occurred at
(checks watch) exactly 1:02 a.m. and zero seconds.
MARTY
(shocked)
Christ Almighty! You disintegrated Einstein!
BROWN
Calm down, Marty. I didn*t disintegrate anything. The molecular structure of
both Einstein and the car are completely intact.
MARTY
Then where the hell are they?
BROWN
The appropriate question is: WHEN the hell are they. You see, Einstein has
just become the world*s first time traveler. I sent him into the future — one
minute into the future, to be exact. And at exactly 1:03 a.m. and zero
seconds, we shall catch up to him... and the time machine.
MARTY
Time machine? Are you trying to tell me you built a time machine out of a
DeLorean?
BROWN
(smiles, modestly)
The way I figured it, if you*re gonna build a time machine into a car, why not
do it with some style? Besides, the stainless steel construction made the flux
dispersal—
(his digital watch BEEPS)
Ten seconds! Roll tape — and brace yourself for a sudden displacement of
air.
Marty aims the camera right where the DeLorean disappeared. Brown grips the remote
control unit tightly and counts down.
BROWN
5...4...3...2...1...
Their hair stands up on end, charged up with static electricity...
20 Suddenly, a SHARP BLAST OF WIND comes up out of nowhere, along with a 20
DEAFENING SONIC BOOM — and the DELOREAN REAPPEARS right where it vanished,
still going 88 m.p.h.!
21 Brown hits the brake button. 21
The car wheels lock up and the DeLorean comes to a SCREECHING HALT, smoke
pouring off the body.
Brown and Marty rush over to the car. Brown approaches cautiously and reaches for the
door handle. He touches it and recoils in pain.
MARTY
Is it hot?
BROWN
It*s cold. Damned cold.
Brown raises the driver*s side door: there sits Einstein, none the worse for wear. Brown
again compares his watch with Einstein*s.
22 INSERT — WATCHES 22
Einstein*s reads 1:02:10; Brown*s is 1:03:10.
23 BACK TO SHOT 23
BROWN
Exactly one minute difference — and still ticking!
MARTY
Is Einstein all right?
Brown unbuckles the shoulder harness, and Einstein bounds out, happy and playful. Brown
gives the dog a Milk Bone reward.
BROWN
Good boy, Einie!
(to Marty)
He*s fine. And he*s completely unaware that anything happened. As far as
he*s concerned, the trip was instantaneous. That*s why his watch is a
minute behind mine — he “skipped over” that minute to instantly arrive at
this moment in time. Come here, let me show you how it works...
Marty is still a bit skeptical, uneasy. Brown waves him over, like a kid who wants to show
off a new toy. Marty approaches cautiously.
BROWN
First, you turn the time circuits on...
Brown flips the labeled switch. An array of indicator lights go on inside.
BROWN
(continuing)
This readout, tells you where you*re going, this one tells you where you are,
this one tells you where you were.
The three readouts are respectively labeled “DESTINATION TIME,” “PRESENT TIME” and
“LAST TIME DEPARTED.”
BROWN
(continuing)
You input your destination time on this keypad. Want to see the signing of
the Declaration of Independence?
He punches 7-4-1776. The “DESTINATION TIME” readout lights up with the date.
BROWN
(continuing)
Or witness the birth of Christ?
He punches in 12-25-0.
BROWN
(continuing)
Here*s a red letter date in the history of science: March 19, 1955...
He pauses, realizing something — as if something suddenly makes sense to him.
BROWN
Yes, of course... March 19, 1955...
MARTY
What happened then?
BROWN
That was the day I invented time travel. Actually, it was night. I remember it
vividly: I got hit over the head, and when I came to, I had a revelation — a
vision — a picture in my head. A picture of THIS...
Brown points to a particular centerpiece unit mounted inside the DeLorean.
Marty aims the video camera and gets it on tape. He continues taping as Dr. Brown
explains.
BROWN
This is what makes time travel possible: the T.F.C. — Temporal Field
Capacitor.
MARTY
Temporal Field Capacitor, huh? How*d you get beaned?
BROWN
Well, I was trying to— (stops short, thinking better of it) W ell, it*s not
important. What is important is that it works. It*s taken me over 30 years to
fulfill the vision of that night.
He faces the DeLorean proudly.
MARTY
Heavy duty, Doc. And it runs on, like, regular unleaded gasoline?
BROWN
Unfortunately, no. It requires something with a little more kick...
Brown indicates a container with purple radioactivity symbols on it. *
MARTY
(reads the label)
Plutonium?! You mean this sucker*s nuclear?
BROWN
Electrical. But I need a nuclear reaction to generate the 1.21 jigowatts of
electricity I need. The T.F.C. stores it, then discharges it all at once, like a
gigantic bolt of lightning. Oh, you*d better put on this radiation suit before I
reload. Not that there*s any danger, but it never hurts to take precautions.
Brown hands him the YELLOW RADIATION SUIT which is near the RV. Marty puts the *
camera down. *
MARTY
Hold the phone, Doc — plutonium*s illegal. Did you rip it off? *
BROWN
No, of course not. Here, let me help you with that. *
Brown helps Marty get into the suit.
BROWN
Put your hood up, Marty, while I reload... and keep Einstein covered, too. *
Marty and Brown both pull their hoods over their heads. Marty covers Einstein with a sheet *
of the same radiation proof material. *
Brown opens the container and removes a 4-inch clear cylinder with a plutonium rod within *
(it*s surrounded by water), then closes the container. *
Brown steps over to the rear of the DeLorean and places the plutonium cylinder into the *
loading hopper. The plutonium rod drops down into the reactor, which then seals shut. *
BROWN
(removes his hood)
It*s safe now. Everything is lead lined.
Marty removes his hood and releases Einstein. He picks up the video camera and starts *
taping again. *
BROWN
Oh — I mustn*t forget my luggage...
Brown grabs his suitcase and puts it in the trunk (it *s in the front).
BROWN
Who knows if they*ll have cotton underwear in the future? I*m allergic to all
synthetics.
Brown slams the trunk shut.
MARTY
The future? Is that where you*re going?
BROWN
That*s right. 25 years into the future. I*ve always dreamed of seeing the *
future — looking beyond my years, observing the progress of mankind. It*s *
almost like cheating death. *
(pauses, then smiles wryly) *
I*ll also be able to find out who wins the next 25 World Series. *
Suddenly, Einstein starts BARKING at something.
BROWN
What is it, Einie?
Brown turns, and reacts with horror to an APPROACHING PAIR OF HEADLIGHTS: it *s an
ominous VAN.
BROWN
Oh, no — they found me. I don*t know how, but they found me.
MARTY
Who?
BROWN
The Libyans! *
MARTY
What Libyans? *
BROWN
The Libyans who got me the Plutonium! They wanted me to build ‘em a *
bomb — I told ‘em I would, but I lied! *
The van side door slides open and a SWARTHY CHARACTER who resembles Yasser
Arafat leans out with an AK 47 submachine gun. He OPENS FIRE.
BROWN
Run for it, Marty! I*ll draw their fire!
Brown pulls a .45 revolver from inside his radiation suit and FIRES at the van! He then
breaks for the mall, a good 500 yards away.
The terrorist van SCREECHES around sharply and gives chase. The terrorist FIRES a
machine gun blast. *
MARTY
Doc — no! Wait!
But Brown keeps running and firing — and the van closes the distance. No way can Brown
outrun it to the mall.
The Terrorist gunner screams a Libyan curse, then FIRES a burst at Brown.
*
The bullets rip into Brown *s chest and the scientist goes down.
Marty stands frozen in horror, video camera still in hand.
MARTY
Doc! Oh my God!
(at the terrorists)
You bastards!
As if hearing Marty, the van makes a U-turn: it *s coming for Marty!
Marty looks around. He*s out in the open, and has only one chance: The DeLorean.
Marty dashes for it, even as the van accelerates toward him, and dives into the still open
driver*s door.
24 IN THE CAR 24
Marty swings the door shut, then looks over the array or switches and buttons on the
console with frightened bewilderment: how do you start this thing?
Then he spots the keys in the ignition on the steering column, just like any other car. He
turns it over and shifts into first. He floors it.
Scene 9 - Chase and Time Travel
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 6
The DeLorean roars off!
The van gives chase.
25-A INT. DELOREAN — INSERT 25-A*
The speedometer approaches 40.
25-B EXT. MALL PARKING LOT — ON THE VAN 25-B*
The Terrorist Gunner leans out of the van and takes aim.
25-C INT. MOVING DELOREAN 25-C*
MARTY looks into the side view mirror.
25-D MARTY*S P.O.V. THRU SIDE VIEW MIRROR 25-D*
of the Libyan gunner taking aim.
25-E INT. DELOREAN — INSERT 25-E*
The speedometer climbs past 50.
25-F EXT. MALL PARKING LOT — THE MOVING VAN 25-F*
The gunner FIRES.
25-G EXT. MALL PARKING LOT — THE MOVING DELOREAN 25G*
Bullets rip into the parking lot just behind the speeding DeLorean.
25-H INT. MOVING DELOREAN 25-H*
Marty has the pedal to the metal.
25-J INSERT — The speedometer hits 75. 25-J*
25-K ON MARTY — Marty again checks the side view mirror. 25-K*
25-L MARTY*S P.0.V. THRU SIDE VIEW MIRROR 25-L*
The van is still keeping up.
25-M INT. MOVING DELOREAN 25M*
Marty reacts.
MARTY
Let*s see if you bastards can do 90...
25-N EXT. MALL PARKING LOT 25-N*
The DeLorean continues accelerating.
The van continues pursuit, but begins to lose ground.
25-P INT. MOVING DELOREAN 25-P*
25-Q INSERT — The speedometer passes 85! 25Q*
25-R ON MARTY — Gauges and indicators light up behind Marty*s head, just as they did before 25-R*
Einstein traveled through time — the T.F.C. is about to kick in!
25-S INSERT — The speedometer climbs...86...87...88... 25-S*
26 INT. MOVING DELOREAN, BEHIND MARTY, THRU THE WINDSHIELD 26
The mall parking lot is suddenly changed into an OPEN FIELD with a SCARECROW in the
middle of it!
Marty is speeding toward it at 88 miles an hour — he hits it! The scarecrow*s face is
hideously smashed against the windshield.
Marty continues toward a HAYSTACK! He*s completely disoriented.
27 EXT. FARM FIELD AND BARN — NIGHT 27
The DeLorean speeds right through the haystack, and then into an OPEN BARN.
We hold on the barn exterior — we hear a CRASH; hay and dust are kicked up out the
door... then a CRACK OF WOOD — and A LARGE SECTION OF THE BARN ROOF
CAVES IN!
We hold on the barn. We hear a DOG start BARKING.
28 EXT. NEARBY FARM HOUSE — NIGHT 28
A light goes on in the nearby FARM HOUSE. Now, FARMER PA PEABODY, 45, comes
out in his red flannels, carrying a lantern. Behind him is his wife, MA; their buxom 14 year
old DAUGHTER, and lively 11 year old son SHERMAN.
They approach the barn and cautiously enter through the rear doors.
29 INT. BARN — NIGHT 29
The Peabodys stare in open-mouthed astonishment:
The stainless steel vehicle faces them head on, headlight beams shining through the dust.
With its wheels buried in the straw and amber hazard lights blinking, it looks like a SPACE
SHIP!
The COWS in the barn don*t seem to care much, but Ma and Pa look up at the hole where
the roof caved in, then exchange an uneasy look.
MA
What is it, Pa?
PA
Looks like an airplane.. .without wings...
SHERMAN
Airplane? It*s a flying saucer, Pa! From outer space!
The driver*s gull wing door rises slowly... just like a hatch.
Pa motions them all back. They watch expectantly, uneasily, with expressions of curiosity
mixed with fear.
Now Marty steps out, dazed — he*s in the radiation suit, and the HOOD IS DOWN, giving
him the appearance of an alien!
Ma SCREAMS and faints!
PA
Run, children! Run for your lives!
They all run like hell out of the barn!
Marty takes a few steps, then removes the hood.
MARTY
Hey! Hello? Where am I?
Marty looks around. The cows in the barn just chew their cud.
Marty shakes his head, then steps out the barn door.
30 EXT. BARNYARD — NIGHT 30
Marty steps out into the barnyard.
MARTY
Excuse me! Anybody here?
Scene 10 - Marty Travels to 1955
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 7
PA busts out of the farmhouse with a double-barreled shotgun. Sherman is right behind
him, with something rolled up in his hand.
SHERMAN
Look, Pa — it*s already mutated into human form! Shoot it!
Pa raises his shotgun and FIRES!
Buckshot cracks into the barn wall behind Marty.
PA
Take that, you mutated son-of-a-bitch!
He squeezes off the second barrel!
Shot explodes in the dirt near Marty*s feet! He dashes back into the barn!
Pa breaks the gun and reloads, then moves cautiously toward the barn. Just as he*s about
to enter, the DELOREAN THUNDERS OUT!
Pa Peabody jumps back!
The car spins around in the barnyard, and smashes through a white picket fence
surrounding 2 NEWLY PLANTED PINE TREES IN A LINE, just like on the sign at “TWIN *
PINES MALL.” The DeLorean takes out one of the small trees, then finds the dirt access *
road and ROARS AWAY.
PA
You space bastard! You killed one of my pines!
Pa FIRES both barrels at the departing vehicle, then runs over to his “pine grove.”
PA
(extremely upset)
Now I only got one.
*
Now he looks up and sees Ma coming out of the barn. She*s dazed, rubbing her head.
PA
Ma! Are you all right!
Sherman runs over, terrified, with a rolled up something in his hand.
SHERMAN
Pa! No! Don*t go near her! She*s a zombie! She*s got no more free will! The
spaceman took over her brain!
PA
What the hell are you talking*, boy?
SHERMAN
Read this! It*s all right here!
Sherman shows him his WEIRD SCIENCE COMIC BOOK: On the cover is a space ship
that resembles a 50*s version of the DeLorean. An alien is stepping out who looks
something like Marty in the radiation suit, and he appears to have enslaved several human
females. The title of the story is “Space Zombies From Pluto.”
Pa looks at it, then glances over at his wife with trepidation.
CUT TO:
31 EXT. THE DELOREAN — MORNING 31
tears along the dirt road and out onto the MAIN (PAVED)ROAD.
32 OMITTED 32*
33 EXT. STREET — DAY 33
The DeLorean pulls into frame and stops. Marty*s gull wing door opens, revealing Marty*s
shocked expression as he sees
34 HIS OWN HOUSE — (MATTE PAINTING) 34
BRAND NEW, freshly painted — a MODEL HOME, complete with colored pennants and
“model home” signs... without any landscaping.
Next to it is a LARGE SIGN with an artist*s rendering of an idyllic home, nestled between
magnificent oak trees, with a proud family of four beside their Cadillac. Below, in big block
letters: “Live in the home of tomorrow...today! Lyon Estates, scheduled completion, This
Winter.”
Beyond it is vacant land, with some of it graded for construction. There are a few
foundations and perhaps a wood frame or two... and the familiar high tension wires.
35 MARTY 35
is in shock. He looks at the dashboard readouts.
36 INSERT — DASHBOARD L.E.D. 36
The date on the “Destination time” is Saturday, 3-19-1955, 5:35 a.m.... and that matches
the date on “Present time.” (“Last Time Departed” is 10—5 1985, 1:11 a.m.)
Below, the “Plutonium Chamber” light flashes “EMPTY.”
MARTY
1955? 1 don*t believe it!
37 He turns on the car radio and tunes in a newscast. 37
NEWSCASTER (V.O.)
...and President Eisenhower predicted that 1955 would see an increase in
housing starts...
MARTY
Eisenhower?
MARTY
*
Marty spots a page of discarded NEWSPAPER on the sidewalk in front of his house-to-be. *
He gets out of the car and picks it up.
38 INSERT — NEWSPAPER 38
The date is March 18, 1955
39 MARTY 39
MARTY
This is definitely not my day.
On the back of the newspaper is an AUTOMOBILE ADVERTISEMENT with a picture of a
“new” 1955 Studebaker. The copy clearly says “YOU*LL BE NOTICED driving the car of
the future — the All New 1955 Studebaker.”
Marty looks at the DeLorean, looks again at the ad copy, then looks at the garage door of
his house-to-be.
MARTY
Why not...?
He tries to open the garage door: it *s locked.
Then he reaches in his pocket and pulls out his KEYS. He tries one in the garage lock. It
works! Marty smiles and opens the garage door.
40 ANGLE ON THE OPEN GARAGE — DAY 40*
The DeLorean backs into the garage. *
Marty is about to turn off the car when he hears the RADIO DJ from the car radio. *
DJ
(V.O. RADIO)
And now, one of the top records of the week...
Marty turns up the volume: he wants to hear this. “Papa Loves Mambo” by Perry Como
starts playing. Marty can*t believe what he is hearing. He shakes his head.
MARTY
This is not a good year.
MUSIC BECOMES SCORE AND CONTINUES OVER NEXT SEQUENCE.
41 EXT. STREET IN FRONT OF MARTY*S (MODEL) HOME — MATTE SHOT — DAY 41*
MARTY walks down the street toward Hill Valley. He*s out of the radiation suit and in his *
street clothes. *
CUT TO:
42 EXT. HILL VALLEY TOWN SQUARE — DAY 42
The town square is immediately recognizable because the courthouse clock tower is now
working. In 1955, the town square is a healthy, vibrant center of commerce. The same
buildings are well kept and clean, and the street bustles with Saturday morning activity.
Marty notices
THE MOVIE THEATER is now playing “Cattle Queen of Montana” starring Barbara
Stanwyck and Ronald Reagan.
THE TOYOTA DEALERSHIP is now a STUDEBAKER DEALERSHIP selling new 1955 *
cars.
AN APPLIANCE STORE is selling “modern” small appliances.
A WOMAN *S STORE displays tie latest fashions.
A TRAVEL AGENCY advertises “Fabulous Vacations in Cuba.”
THE BANK has a round clock instead of the digital version of 1985. A sign in the window
promotes “Passbook Savings at 2-1/4%.”
A RECORD STORE displays the latest records and albums: Eddie Fisher, Perry Como, Pat
Boone. There is no Rock and Roll.
AN ELECTION POSTER: “Re-elect Mayor Frank ‘Red* Thomas. Honesty, Decency,
Integrity.” With the exception of the name and face, it *s the same as the “Goldie Wilson”
poster of 1985.
MARTY walks along tie street staring at the places and people. The people stare at him
too, particularly his green shoes.
The previously boarded up CAFÉ is now open for business. Marty notices a PUBLIC
TELEPHONE SIGN on the window: he*s got an idea. He enters.
Scene 11 - Marty searches for Dr. Brown
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
A typical café/soda fountain of the period; 2 or 3 CUSTOMERS are at the counter.
Marty stares at the signs advertising menu items: Hamburger — 25 cents. Ham & Cheese
— 30 cents. Chocolate Sundae — 15 cents. A sign over the cigarette display says “All
Brands 20 cents.”
LOU, the counterman, spots Marty.
LOU
Lookin* for something, kid?
MARTY
Uh, the telephone?
Lou points it out, in back: a phone booth.
44 MARTY 44
goes into the phone booth and flips through the directory.
45 INSERT — DIRECTORY 45
Marty*s finger comes to rest at “Brown, Emmett L. (Scientist).” 1640 Riverside Dr. HIllside *
3-4385.
46 MARTY 46
smiles — just what he was hoping for. The sign on the phone says “Local Calls — 5 cents.”
Marty digs out a nickel and dials the number. It rings...and rings... and rings. No answer.
He hangs up.
MARTY
Not my day.
He rips the page out. *
Scene 12 - Encounter with Biff
- Overall: 8.0
- Concept: 9
- Plot: 7
- Characters: 9
- Dialogue: 8
Marty saunters out of the phone booth and takes a seat at the counter. A NERDY
LOOKING KID is seated nearby, sipping a soda and reading a comic book.
Marty looks at Lou, indicating the address on the phone book page. *
MARTY *
Can you tell me where 1640 Riverside— *
LOU *
You gonna order something, kid? *
MARTY *
Uh, yeah. Gimme a Pepsi Free. *
LOU
Kid, if you want a Pepsi, you gotta pay for it.
MARTY
No, a Pepsi Free — you know, diet soda?
Lou looks at him like he*s from another planet.
LOU
No, I don*t know.
MARTY
Uh, well, just give me something to drink that doesn*t have sugar in it.
Lou gives him a look, then puts a cup of coffee in front of him. Marty looks at the bowl of
sugar cubes in front of him.
MARTY
Have you got any Sweet ‘N Low?
LOU
Sweet and what?
(eyeing him suspiciously)
Say, kid, you*d better pay for this right now.
MARTY
Okay.
He pulls out his wallet and gives Lou a crisp, new 20 dollar bill. Lou*s eyes nearly fall out of
his head.
LOU
A 20? What do you think this is, a bank? I can*t break a 20 for a nickel cup
of coffee. (suddenly suspicious) Say, what*s a kid your age doing with a 20
dollar bill anyway?
Marty gulps, pulls a nickel out of his pocket and takes back his 20. Lou gives him a look,
then walks away.
Marty raises his coffee cup and just as he*s about to take a sip...
VOICE (O.S.)
Hey, McFly!
MARTY
Huh?
He spins around on his stool.
The voice came from a PUNK, 17; behind him are 3 OTHER PUNKS. The lead punk is
coming right toward Marty... no, he*s stepping over to the NERDY KID next to him.
NERDY KID
Uh, hi, Biff, how*s it going?
Yes, the punk is BIFF TANNEN, aged 17! And the nerdy kid is GEORGE McFLY, also 17. *
Biff takes George*s soda and drinks it all. *
Biff*s boys buy cigarettes at the counter. They are MATCH, perpetually chewing a wooden
matchstick; SKINHEAD, who has a crewcut just this side of being bald; and 3-D, who
always wears red-green 3-D glasses.
Marty watches the exchange between Biff and George with utter amazement.
BIFF
You got my homework finished, McFly?
GEORGE
Well, no. I figured since it *s not due till Monday...
Biff knocks on George*s head.
BIFF
Hello? Anybody home? Think, McFly, think! I*ve gotta have time to recopy it.
Do you realize what would happen if I turned in MY homework in YOUR
handwriting? I’d get kicked out of school!
(notices Marty staring at him)
What are you lookin’ at, dipshit?
SKINHEAD
Biff — get a load of his shoes. This dork thinks he*s a leprechaun — he
painted ‘em green!
They all laugh. Biff turns back to George.
BIFF
So how about my homework, McFly?
GEORGE
Um, okay, Biff, I*ll do it tonight and bring it over first thing tomorrow.
BIFF
Not too early — I sleep in on Sundays. Oh, hey, McFly — your shoe*s
untied.
GEORGE
(looks down, falls for it)
Huh?
Biff hits him in the chin. He laughs loudly, as do his cronies... and they leave.
Marty, still in disbelief, turns to George.
MARTY
I don*t believe it. You*re George McFly...?
GEORGE
Uh-huh.
MARTY
Your birthday*s August 18th, and your mother*s name is Sylvia?
GEORGE
Uh-huh. Who are you?
MARTY
I*m a relative of yours. A very distant relative.
A BLACK BUSBOY has been sweeping up in the background, making his way over. He
looks at George. As he talks, we see he has a gold front tooth — it*s GOLDIE WILSON,
aged 22!
GOLDIE
Say, what do let that boy push you around for?
GEORGE
Well, uh, he*s bigger than me...
GOLDIE
Stand tall, boy. Have some respect for yourself. You let people walk over
you now, they*ll be walkin* over you for the rest of your life. Look at me. You
think I*m gonna spend the rest of my life in this slophouse?
LOU
(has heard the remark)
Watch it, Goldie.
GOLDIE
(he*s on a roll)
No, sir! I*m gonna make something of myself! I*m going to night school —
I*m gonna be somebody!
MARTY
That*s right — he*s gonna be Mayor someday.
This is an idea that*s never occurred to Goldie.
GOLDIE
Mayor? That*s a good idea! I could run for mayor!
George slips out as the conversation continues.
LOU
Ha! A colored mayor! That*ll be the day!
GOLDIE
You wait and see, Mr. Carruthers. I*m gonna be mayor.
LOU
Just keep sweeping, Goldie.
Now Marty notices that George has left. He goes out after him.
GOLDIE
(to himself)
“Mayor Goldie Wilson.” I like the sound of that.
48 EXT. — HILL VALLEY TOWN SQUARE 48
Marty looks around and sees GEORGE bicycling down the street.
MARTY
George! Hey, George! I want to talk to you!
But George doesn*t hear him. He disappears around a corner.
Marty runs after him.
Scene 13 - Marty Meets Lorraine
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 7
The homes evoke pleasant nostalgia: front porches and white picket fences.
MARTY comes from around the corner and sees GEORGE*S BIKE parked underneath a
tree. Marty looks around, then spots
GEORGE up in the tree, precariously out on a branch overhanging the street, about 12 feet
up. George has a PAIR OF BINOCULARS trained on a second story window in the house
across the street.
MARTY can*t figure it out. He moves closer for a better view.
GEORGE focuses the binoculars.
50 GEORGE*S P.0.V. THRU BINOCULARS 50
of a NAKED GIRL in the 2nd story bedroom window, dressing. *
51 MARTY watches in disbelief as he realizes what George is doing. 51
MARTY
He*s a peeping tom!
52 GEORGE*S P.O.V. 52
as the girl moves closer to the window.
53 GEORGE tries to move closer, but loses his balance — he tumbles into the street! 53
WIDER
MARTY watches as George groans, then slowly tries to get up. Now a CAR comes from
around the corner.
George doesn*t see it, but Marty can see that it*s going to hit George.
MARTY
Dad! Look out!
But George is still dazed. Marty dashes into the street, and in a spectacular flying leap,
knocks him out of the path of the oncoming car.
As Marty moves to avoid the car, the car swerves in the SAME DIRECTION — there*s a
screech of brakes, and the car hits Marty!
George, never one to get involved, grabs his bike and pedals off, leaving Marty lying in the
street, unconscious.
DISSOLVE TO:
54 INT. DARKENED BEDROOM — NIGHT 54
MARTY is lying in bed, lit by ambient light from a doorway. FEMALE HANDS place a cold
compress on the bruise on his forehead. Marty groans and stirs.
MARTY
Mom? Is that you?
WOMAN
Ssshhh. Everything*s going to be all right.
It sounds like his mother. He opens his eyes. All he can see is her silhouette.
MARTY
God, what a horrible nightmare. I dreamt I went way back in time...
He starts to sit up.
WOMAN
Take it easy, now... you*ve been asleep for almost 9 hours. *
MARTY
It was terrible. It was a terrible place to be. The music was awful — they *
didn*t have rock. The cars were ugly. My neighborhood hadn*t been built *
yet, and everything was so weird looking. *
WOMAN
Well, you*re safe and sound, back where you belong, in good old 1955.
MARTY
1955!
She turns on the bedside lamp. It*s the same girl George was spying on, and Marty
recognizes her just as we do...
MARTY
Oh my God. You*re — you*re my— my—
LORRAINE
My name*s Lorraine. Lorraine Baines.
Marty stares at her for a long moment.
MARTY
But — but you*re so thin!
LORRAINE
Just relax, Calvin. You got quite a bruise on your head.
MARTY
(looks under the blankets)
Uh... where are my pants?
LORRAINE
(points)
Over there on the chair.
(notices the color of his underwear) *
I*ve never seen red underwear before, Calvin.
Marty covers himself up. *
MARTY
Calvin? Why are you calling me Calvin?
LORRAINE
Well, isn*t that your name — Calvin Klein? It*s written in your underwear.
(suddenly realizing)
Oh — I guess people call you Cal.
MARTY
No, well, actually people call me Marty.
LORRAINE
Well, I*m pleased to meet you, Marty.
She comes over and sits on the bed right next to him. She*s very interested in him.
LORRAINE
Mind if I sit here?
MARTY
(gulps, nervous)
Uh... no...
Marty moves as far away as he can without falling off the bed. He holds the blanket tight
around his waist. She looks at him, fascinated.
LORRAINE
That is quite a bruise there...
She gently strokes his bruised forehead... and then runs her hand through his hair. Marty
moves even further — and falls off the bed! He covers himself with the blankets.
STELLA (O.S.)
Lorraine? Are you up there?
We hear FOOTSTEPS coming up the stairs.
LORRAINE
(to Marty)
It*s my mother! Quick, put your pants back on!
She throws him his pants. *
CUT TO:
Scene 14 - Dinner at the Baines' House
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Marty takes a seat at the dinner table next to Lorraine as MRS. STELLA BAINES, 40 and
pregnant, makes the introductions to the KIDS. The chair at the head of the table is empty. *
STELLA
That*s Milton, that*s Sally, that*s Toby...
MILTON, 12, wears a DAVY CROCKETT COONSKIN CAP; SALLY is 6, TOBY is 4.
STELLA
(continuing)
...and next to you there in the playpen is little Joey.
Marty turns and looks with amazement at 11-month old JOEY rattling the bars of his
playpen.
MARTY
(whispers to him)
So you*re my Uncle Joey. Get used to those bars, kid.
STELLA
Oh, yes, little Joey loves being in his pen. He actually cries when we take
him out, so we leave him in there all the time — it seems to make him
happy. Have some meat loaf, Marty.
She hands him a plate of MEAT LOAF. It looks like the same meat loaf he had for dinner in
1985... in fact, the whole dinner is the same!
STELLA
(calls into the other room)
Sam, would you quit fiddling with that thing and come in here and eat?
(to Milton)
Milton, don*t eat so fast!
(to Lorraine)
Lorraine, you*re not eating enough. Have some mashed potatoes.
LORRAINE
No thanks, Mom.
Now gruff SAM BAINES, 45, rolls in a brand new television, on a plywood dolly of his own
construction.
SAM
Look at this: it rolls. Now we can watch Jackie Gleason while we eat.
MILTON
Oh boy!
Sam fiddles with the rabbit ears and brings in a rather muddy image of a cigarette
commercial.
56 ON TV 56
a SURGEON steps out of an operating room, lights up a cigarette, and turns to do a
testimonial.
DOCTOR (on TV)
After facing the tension of doing 3 lung operations in a row, I like to relax by
lighting up a “Sir Randolph.” I know its fine tobacco taste will soothe my
nerves and improve my circulation...
57 SAM 57
Look at that picture: crystal clear! Why would anybody want to go to the
movies when you can see this in your own home — free!
LORRAINE
(to Marty, explaining)
Our first television set. Dad picked it up today. Do you have a television?
MARTY
Uh... yeah... two of ‘em. *
MILTON
Wow! You must be rich!
STELLA
Milton, he*s teasing you. Nobody has two television sets. *
“The Honeymooners” has resumed — the classic “Man From Space” episode.
MARTY
Hey, I*ve seen this one — this is a good one. This is where Ralph dresses
up as “the man from space.”
MILTON
What do you mean, you*ve seen it? It*s brand new.
MARTY
I saw it on a rerun.
MILTON
What *s a rerun?
MARTY
You*ll find out.
SAM
Quiet! I want to hear this!
STELLA
Marty, I*d like to give your mother a call and let her know you*re all right.
MARTY
(gives Lorraine a glance)
Uh, well, no — you can*t.
STELLA
Why not?
MARTY
Uh — she*s out of town. With my Dad. *
(pulls out the phone book page) *
Could you tell me where Riverside Drive is?
*
SAM *
Riverside? Sure, it*s on the east end of town, a block past Maple.
*
MARTY *
A block past Maple? But that*s Kennedy Drive.
*
SAM *
Pardon me?
*
MARTY *
That*s John F. Kennedy Drive.
*
SAM *
Who in the world is John F. Kennedy?
*
MARTY *
(realizes the problem) *
Never mind.
*
LORRAINE *
Mother, with Marty*s parents out of town, don*t you think he should spend *
the night here? I*d hate for anything to happen to him with that bruise on his
head.
She gives him a flirtatious smile.
STELLA
Marty, Lorraine is right. You must spend the night. You*re our responsibility.
MARTY
Uh, gee, I don*t know...
LORRAINE
And he can sleep in my room.
UNDER THE TABLE, Lorraine puts her hand on Marty*s leg. Marty immediately jumps to
his feet.
MARTY
Uh, actually, I*ve really gotta be going... *
(he*s backing out, toward the front door)
So, thank you for everything, and I*ll see you all later. Much later.
He turns and hurries out of the house.
Lorraine sighs romantically.
CUT TO:
58 OMITTED 58*
59 OMITTED 59*
Scene 15 - Doc Brown's Invention
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 8
The house at 1640 Riverside Drive is spectacular, the home of a very wealthy man. *
Marty ogles it as he walks up to the front door. He checks the address against the page he
ripped out of the phone book: it checks.
All the lights are on — a PARTY is going on inside. Marty rings the doorbell.
It*s answered by DR. BROWN, aged 35. Brown is dressed in evening clothes, and is *
flanked by TWO LOVELY GIRLS. *
BROWN
Hiya, kid. Looking for somebody?
MARTY
Uhhh, Dr. Brown — yeah, you ARE Dr. Brown... Boy, am I glad to see you. *
BROWN *
Do I know you, kid? *
MARTY
Well, not exactly — that is, not yet. My name*s Marty — Marty McFly. Now *
what I*m about to say is going to sound incredible, but you*re the only man *
on earth who*ll believe it...
(he takes a deep breath)
I*m from the future.
BROWN *
(smiles) *
Great sales pitch, kid — terrific. So what are you selling? Floor wax? *
MARTY *
No, I*m serious! You*ve gotta believe me! You*re the only one who can get *
me back home! *
BROWN *
Get you back home? Kid, I think you got me confused with the Wizard of Oz. *
MARTY *
Look, I can prove I*m from 1985! *
Marty pulls out his wallet and starts showing the contents to Brown. *
MARTY
See this? My driver*s license — expires 1987. Look at my birthdate — I *
haven*t even been born yet.
(pulls out a 20 dollar bill)
Look at this money: “Series 1981.”
(pulls out a color snapshot)
Here*s a picture of me, my sister, and my brother. Look at her sweatshirt: it
says “Class of ‘84.”
Brown gives it all a cursory look, particularly the snapshot.
BROWN
Oh, I get it — you*re selling trick film. This is great — it really looks like the *
guy*s got no head. Very clever. *
MARTY
Huh?
Brown hands it back to Marty. Marty looks at it. *
60-A INSERT — THE SNAPSHOT 60-A*
Sure enough, the image of Dave in the photo has no head. It*s not torn, or rubbed off —
the figure genuinely is headless.
60-B EXT. BROWN*S HOUSE — ON MARTY AND BROWN 60-B*
Marty stares at it, unable to figure it out.
BROWN
(continuing)
I*d buy a roll, but I*m not much of a photographer.
MARTY
Doctor Brown, this is no trick. I really am from the future.
Brown rolls his eyes.
BROWN
Well then, tell me something, young man from the future: who*s the
president of the United States in 1985?
MARTY
Ronald Reagan.
Brown and the girls burst out laughing.
BROWN
That*s a good one! The kid *s a riot! A regular riot!
(pulls out his wallet)
Here*s 5 bucks, kid! Thanks for the laughs!
He hands Marty a five, then closes the door.
Marty sighs, then walks around the side of the house and looks in the window.
60-C MARTY*S P.O.V. THRU THE WINDOW — BROWN*S LIVING ROOM 60-C*
The PARTY is an eclectic collection of SOCIETY TYPES, COLLEGE TYPES, BEAT
GENERATION TYPES, and lots of attractive W OMEN.
Brown wanders over to the best looking WOMAN in the place. Brown whispers into her ear.
She responds by hitting him in the head with a BEER BOTTLE! Brown goes down, dazed.
She walks off in a huff.
Brown rubs his head... then his eyes open wide in the same crazed expression we *ve seen
in 1985.
BROWN
Of course. Of course! It*s so obvious!
(jumps to his feet, shouts)
All right, the party*s over! Everybody go home! I have work to do!
The guests exchange looks.
BROWN
Go home! Everybody out! I need quiet!
Some of the guests begin to leave.
60-D EXT. BROWN*S HOUSE — ON MARTY 60-D*
Marty realizes what has just happened. He gets an idea.
CUT TO:
61 61*
Thru OMITTED Thru*
63 63*
64 INT. BROWN*S GARAGE/WORKSHOP — NIGHT 64
It*s a large closed garage, with a PACKARD CONVERTIBLE and a large work area, *
organized and well-kept. *
A clock shows the time is 12:45. *
BROWN is hunched over his workbench, furiously scribbling down notes and plans. He*s
disheveled — he*s been here for a while.
Brown *s DOG is sitting near its “bed.” The name on the dog dish is “COPERNICUS.”
Copernicus suddenly reacts to something...
MARTY appears at a partially open WINDOW. He opens it the rest of the way and climbs
in.
MARTY
Doc, listen, you gotta hear me out—
BROWN
Get lost kid! I*m working! *
MARTY
I know! And I know what you*re doing — you*re inventing time travel. It
came to you in a vision when you got hit over the head with that beer bottle.
And that thing you*re drawing is the T.F.C. — the Temporal Field Capacitor!
Brown is totally astonished.
BROWN
My God. How did you know that?
MARTY
I told you — I*m from the future.
With that, he walks over to the garage door and raises the overhead door, revealing THE
DELOREAN sitting there in the driveway.
Brown *s mouth falls open as he stares at it — and the mechanism visible through the open
gull wing door. He grabs the DRAWING he*s been working on and runs over to the
DeLorean to compare it.
It*s a DRAWING OF TIE T.F.C.! It matches the real thing perfectly.
CUT TO:
Scene 16 - Discovering the Power Source
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
The DeLorean is now in the garage; the garage door is closed. The 1985 suitcase is open,
and we can see its contents — clothes, toilet articles, and a CONAIR (battery) HAIR
DRYER.
MARTY is busily attaching the video camera into a 1953 model TV.
MARTY
Okay, Doc. Take a look at this... *
Brown comes over and Marty rolls the tape he shot in the mall parking lot where Brown is
explaining the operation of the time machine.
Brown is amazed to see himself as a man of 65.
BROWN
Why — that*s me! I*m an old man! Incredible! Thank God I*ve still got my
hair... baldness runs in my family, you know. But what on earth am I
wearing?
MARTY
A radiation suit!
BROWN
Of course, because of all the fallout from the Atomic wars. And what*s that
thing around my neck?
MARTY
Indian jewelry.
BROWN
I’m not even gonna ask.
66 ON TV 66
The part of the tape comes up about the Plutonium. We see the image of the Plutonium
cannister with old Dr. Brown next to it.
MARTY
(V.O. tape)
Plutonium? You mean this sucker*s nuclear?
OLD BROWN
(on TV)
Electrical. But I need a nuclear reaction to generate the 1.21 jigowatts of
electricity I need...
67 YOUNG BROWN is taken aback. 67
BROWN
1.21 JIGOWATTS? Kid, you*re outta gas, going no place fast.
MARTY
Huh?
BROWN
Look, I*m sure that in 1985, plutonium is available in any corner drug store.
But in 1955, it’s a little hard to come by. And unless you figure on driving out
into a nuclear test site while an A-bomb*s going off, I*m afraid you*re stuck
here.
MARTY
But isn*t there some other way to generate that kind of power?
BROWN
1.21 jigowatts? Oh, sure. We can tie into Hoover Dam with a very long
cable. Or we build a turbine on the back of this thing and you can drive it
over Niagara Falls. Or you can drive across the country at 88 miles an hour
and hope that you get struck by a bolt of lightning.
MARTY
Lightning! Hold the phone, Doc — check this out!
Marty pulls out the “Save the Clock Tower” flyer from his pocket (with it is the mysterious
“headless snapshot” we saw earlier). Marty shows the flyer to Brown.
68 INSERT — FLYER 68
It includes a photocopy of a NEWSPAPER ARTICLE, dated March 27, 1955, with a picture
of the clock tower stopped at 10:02.” The headline: “CLOCK TOWER STRUCK BY
LIGHTNING. CLOCK STOPPED AT 10:02.”
69 BACK TO SHOT 69
Brown reads it, nodding. He*s getting an idea.
BROWN
Kid, if this is true, we just might be able to get your ass back to the future!
It*s totally insane, but it*s certainly no crazier than building a nuclear reactor
onto the back of a car... According to this, we know the exact moment
lightning will strike a specific spot — at 10:02 p.m. and 11 seconds on next
Saturday. All I have to do is rig up a conducting system that*ll channel the
lightning directly into the T.F.C. As long as you*re doing 88 miles an hour
when it happens... See you later, alligator.
But Marty isn*t paying attention. He*s looking at the snapshot again, and he*s quite
concerned.
BROWN
What *s wrong, kid?
MARTY
I don*t know, but something weird is going on with this picture. My brother —
he*s fading out...
BROWN
Lemme see that...
Brown studies it. He too reacts with concern.
70 INSERT — SNAPSHOT 70
Indeed, more of Dave has faded away — his neck is gone, along with part of his shoulders.
71 BACK TO SHOT 71
MARTY
It looks like he*s being erased or something...
BROWN
Erased from existence...
(to Marty, urgently)
Kid — we *ve gotta get you some new clothes!
CUT TO:
Scene 17 - Repairing the Damage
- Overall: 8.0
- Concept: 7
- Plot: 9
- Characters: 7
- Dialogue: 8
Hill Valley High looks pretty much the same in 1955, but with a little less graffiti. There is
not much activity in front — school is in session.
BROWN*S PACKARD pulls up and DR. BROWN and MARTY get out.
Marty is now dressed in total 1955 period garb. He and Brown ascend the school steps.
Marty seems unsure, confused.
MARTY
Are you sure about this?
BROWN
Figure it out, kid. Your old man was supposed to get hit by your Grandpa*s
car, not you — therefore, you interfered in your parents* first meeting. If they
don*t meet, they don*t fall in love; if they don*t fall in love, they don*t get
married; if they don*t get married they don*t have kids. That*s why your
older brother*s fading out — he*s being erased from existence. He *s first,
since he*s the oldest. Your sister*ll be next... and then you... unless you
repair the damage by getting your folks back together. Once you introduce
‘em to each other, nature will take its course.
(a beat)
I hope.
Marty pauses to check his reflection in the windowed door. He combs back his slicked
down hair in a ducktail, only to get a handful of “greasy kid stuff.”
MARTY
I can*t believe you actually put this crap in your hair.
BROWN
Come on kid, let*s get this over with.
Brown pulls him inside.
73 P.O.V. THRU A CLASSROOM DOOR 73
on the STUDENTS OF AN ORDINARY 1955 History class, taking a test. LORRAINE can
be clearly seen.
74 MARTY AND DR. BROWN are watching from the HALL. 74
MARTY
(points her out to Brown)
That*s her — in the 2nd row... Jesus! She*s cheating!
75 THEIR P.O.V. OF 75
LORRAINE, copying an answer from the boy sitting next to her.
76 THE SCHOOL BELL RINGS in the hall. It*s passing period. 76
ANOTHER CLASSROOM DOOR opens and students head out for the next class.
GEORGE McFLY is one of them. His shirt tail is out, his hair is poorly combed, and papers
are practically falling out of his 3-ring binder.
MARTY AND DR. BROWN watch from down the hall.
BROWN
So which one*s your father?
MARTY
(points)
That*s him...
As GEORGE walks down the hall, students laugh at him behind his back, and some of the
boys kick him in the ass.
George turns. He has a “KICK ME“ sign hooked on his collar. DR. BROW N shakes his
head at this pathetic sight.
BROWN
(to Marty)
Are you sure you*re not adopted?
Now a hand yanks George by the arm: MR. STRICKLAND — and he looks exactly the
same! Marty is amazed.
STRICKLAND
McFly! Shape up, man!
He pulls the sign off George*s shirt and shows it to him.
STRICKLAND
You*re a slacker! Do you want to be a slacker for the rest of your life?
George shakes his head unconvincingly.
Marty and Brown look down the hall in the opposite direction where
LORRAINE is at her locker, giggling with a girl friend.
ON MARTY AND BROWN
BROWN
Looks like a match made in heaven.
MARTY
My mom always said it was meant to be. I sure hope she*s right...
Marty takes a deep breath and starts walking toward George.
MARTY
George! Hey, buddy, you*re just the guy I wanted to see! You remember me
— from Saturday? I saved your life, remember?
GEORGE
Oh...yeah...
MARTY
Listen, there*s somebody I want you to meet. C*mere...
He pulls him down the hall to Lorraine, who has her back to them.
MARTY
Excuse me, Lorraine...
Lorraine turns.
LORRAINE
Calvin! I mean, Marty!
She*s so delighted to see Marty, she drops her books.
MARTY
Oh, let me get those...
He picks up her books and gives them back to her. She*s totally infatuated.
LORRAINE
Thank you.
MARTY
Lorraine, I want to introduce you to someone. This is my good friend,
George McFly. George, this is Lorraine.
GEORGE
Hi. It*s really a pleasure to meet you.
Lorraine doesn*t pay George the slightest bit of attention. She only has eyes for Marty.
LORRAINE
Oh, Marty, I was so worried about you running off like that the other night
with that bruise on your head. Is it all right?
MARTY
Um, yeah....
The BELL RINGS.
LORRAINE
I*m late. See you later.
She hurries off down the hall, joining a girl friend. They pass by Dr. Brown.
LORRAINE
(to her friend)
Isn*t he a dreamboat?
George has run off in the opposite direction. Marty stands in the middle of the hall,
completely bewildered.
Brown joins him.
MARTY
She didn*t even look at him!
BROWN
Obviously, you being in the picture is a real distraction for her. You*ve got to
get him to ask her out on a date — so they can be alone together.
MARTY
A date? What kinda date? I don*t know what kids do in the 50*s.
BROWN
What do they do in the 80*s?
MARTY
Sex and drugs and rock ‘n roll.
BROWN
No comment, kid.
Brown notices a hand-painted banner in the hall announcing the “Enchantment Under The
Sea Dance” this Saturday night.
BROWN
Look — there*s a dance coming up. Get him to take her to that.
Marty sees the sign and has a revelation.
MARTY
That*s right! “Enchantment Under The Sea!” They*re SUPPOSED to go to
that dance — that*s where they kiss for the first time!
BROWN
Well then, kid, you gotta make sure they go to that dance. Together.
CUT TO:
77 OMITTED 77*
Scene 18 - George's Creative Struggle
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
GEORGE is seated at a table, having lunch and writing furiously. He has a copy of *
AMAZING STORIES SCIENCE FICTION MAGAZINE with his books. *
MARTY comes over and sits down next to him. *
MARTY *
Hi, George. What are you writing? *
GEORGE *
Stories. *
MARTY *
Yeah? What kind of stories? *
GEORGE *
Science fiction stories... about space travel... and visitors from other planets *
coming to earth. *
MARTY *
I never knew you did anything creative. How about letting me read one of *
‘em? *
GEORGE *
Oh, no. I never let anybody read my stories. *
MARTY *
How come? *
GEORGE *
What if they didn*t like ‘em? What if they told me I was not good? I couldn*t *
take that kind of rejection. *
Marty’s having a bad case of deja vu. *
GEORGE *
(continuing) *
My father*s always telling me that if I never let anyone read my work, I*ll *
have no future as a writer. I know he*s right... but I guess that*s just the way *
I am. *
(a beat) *
This must be pretty hard for you to understand, huh? *
MARTY *
No, George, it *s not that hard at all. *
There is a long moment as Marty looks at George in a new light... and sees himself. *
MARTY *
Listen, George, you know that girl I introduced you to? Lorraine? She really *
likes you. And I think you should ask her to the “Enchantment Under The *
Sea” dance. I think you*d have a great time with her. *
GEORGE *
Well, I really couldn*t ask her. *
MARTY *
Why not? *
GEORGE *
What if she says “no?” I*d hate to be rejected. *
Marty is starting to get exasperated.
MARTY
George, I*m telling you, if you don*t ask Lorraine to that dance, you*re
gonna regret it for the rest of your life... and I*m gonna regret if for the rest
of mine.
GEORGE
Well, it *s not like I don*t want to... It*s just that I kinda think she*d rather go
out with somebody else.
MARTY
Who?
GEORGE
(points)
Biff.
Marty looks and reacts with horror
AT ANOTHER TABLE
BIFF is trying to put his hands on LORRAINE. She*s trying to push him away.
LORRAINE
Quit pawing me, Biff! Leave me alone.
BIFF
Come on, Lorraine, You want it, you know you want it, and you know you
want me to give it to you.
LORRAINE
Shut your filthy mouth! I*m not that kinda girl!
BIFF
Maybe you are and you just don*t know it yet.
LORRAINE
Get your hands off me!
But Biff persists.
MARTY (O.S.)
She said to get your hands off her.
Biff turns to find himself facing Marty.
BIFF
What *s it to you, dipshit? You know, you*ve been looking for—
MR. STRICKLAND approaches behind Marty. Biff sees him and plays it cool.
BIFF
Since you*re new here, I*ll give you a break. Today. But if you don*t shape
up, I*m shippin* you out.
Biff walks off.
Lorraine looks at Marty and sighs with infatuation.
LORRAINE
Oh, Marty, that was wonderful! Thank you.
MARTY
Oh, yeah. You*re welcome.
CUT TO:
78-A INT. BROWN*S LIVING ROOM — DAY 78-A*
Marty is on the phone. *
MARTY
What do you mean, She*s not your type? It*s destiny, George. You and *
Lorraine are meant for each other. *
(pause, listens) *
Look, I*ll give you 20 dollars if you take her to that dance. 20 whole dollars. *
(sighs, disappointed) *
Okay, George. I*ll see you tomorrow. *
*
Marty hangs up, exasperated. He pulls out the snapshot again. *
78-B INSERT — SNAPSHOT 78-B*
All that*s left of Dave are his feet! *
78-C MARTY reacts uneasily. 78-C*
79 79*
Thru 0MITTED Thru*
81 81*
CUT TO:
Scene 19 - Bringing George Out of His Shell
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 7
Brown is fiddling with the video camera, playing the end section of the mail tape over his *
TV set. Brown seems particularly curious about what happens at the end, why it cuts off so *
abruptly. *
MARTY enters as the tape reaches the end...
83 ON TV 83
OLD BROWN reacts to the dog barking.
OLD BROWN
(on TV)
What is it, Einie?
(reacting with horror)
Oh, no, they found me! I don*t know how—
The tape ends abruptly.
84 MARTY reacts with pain, remembering what followed. 84
MARTY
Say, Doc—
Brown turns, surprised that Marty has been watching. *
BROWN
Oh, hi, kid.
(indicates video camera)
Fascinating device, this camera. I can*t believe it*s made in Japan.
MARTY
Doc, there*s something I haven*t told you about what happens... (gulps)
...on the night we make that tape...
BROWN
Hold it right there, kid. Don*t tell me anything, I don*t want to take any more
chances of screwing up the space-time Continuum. No man should know
too much about his own destiny. If I know too much about the future, I could
endanger my own existence. Besides, I*ve always hated fortune tellers.
(a beat)
And speaking of endangered species, how did it go today with your pop?
MARTY
Terrible. He just doesn*t want to go out with my mom. I tried everything. I
reasoned with him, begged him, pleaded with him, yelled at him... I even
tried bribing him. The only thing I haven*t tried is scaring him—
Marty stops short. He*s getting an idea...
CUT TO:
85 EXT. GEORGE*S HOUSE — NIGHT 85
All is quiet; the house is dark.
86 INT. GEORGE*S BEDROOM 86
Close ON A CLOCK on the nightstand. It*s almost 1:30. We PAN OVER to GEORGE*S
FACE. He*s sleeping soundly, in bed.
Now a PAIR OF GLOVED HANDS place FEATHERWEIGHT HEADPHONES on George*s
ears. George doesn*t stir.
THE HANDS now insert a cassette tape labeled “VAN HALEN” into a Walkman. A finger
dials the volume level to “10,” then presses “PLAY.”
GEORGE AWAKENS SCREAMING! He opens his eyes and reacts in further terror: He
sees A FRIGHTENING YELLOW MONSTER... Marty, in full radiation suit... at the foot of
his bed!
WIDER
Marty turns off the music. When he talks, his voice is distorted through the mouth filter in
the hood. An open window indicates how Marty got in.
MARTY
Silence, Earthling!
GEORGE
Who — who are you?
MARTY
(imitating Darth Vader)
My name is Darth Vader. I am an extra-terrestrial from the planet Vulcan.
GEORGE
I must be dreaming...
MARTY
This is no dream! You are having a Close Encounter of the Third Kind! You
have reached the Outer Limits of the Twilight Zone!
GEORGE
Mom! Dad!
George throws off the covers, but Marty pulls the portable hair dryer (from Brown *s
suitcase) out of his belt like a gun. He fires a blast of heat at George.
MARTY
Silence! My heat ray will vaporize you if you do not obey me!
George raises his hands in surrender.
GEORGE
All right! I surrender! Turn it off!
Marty lowers it. Now his digital watch alarm begins BEEPING. Marty raises his wrist as if it
were a radio.
MARTY
Silence! I am receiving a transmission from the Battlestar Galactica!
(after several more beeps)
You, George McFly, have created a rift in the space-time continuum. The
Supreme Klingon hereby commands you to take the female earth-person
called “Baines Lorraine” to the location known to you as Hill Valley High
School exactly 4 earth cycles from now — Saturday night in your language.
GEORGE
You mean, take Lorraine to the dance?
MARTY
Affirmative.
GEORGE
But I don*t know if I*ll be able—
Marty turns on the Walkman again. George SCREAMS!
GEORGE
Turn if off! Please, turn it off!
Marty turns it off.
MARTY
Insolent Earthling! Do you wish me to melt your brain?
GEORGE
No! Please! I*m sorry, I*ll do it! I*ll take her to the dance — but please don*t
turn that noise on again.
MARTY
Very good, Earthling. You will tell no one of this visit. Now, close your eyes,
and see me no more....
GEORGE
Okay, Okay.
George closes his eyes.
Marty holds a vial under George*s nose and George passes out. Marty removes the
featherweight headphones from George*s head, takes off his hood, and goes back out the
window.
87 EXT. GEORGE*S HOUSE — NIGHT 87
Marty climbs down a trellis and jumps down into Dr. Brown*s waiting Packard convertible. *
BROWN
How*d it go?
MARTY
Great! That chloroform sure put him out — I hope I didn’t overdo it.
CUT TO:
Scene 20 - George's Awkward Ask
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 7
MARTY is 1oitering in the grassy town square. Now GEORGE comes running up from the
street. He*s disheveled and wild-eyed.
MARTY
(spots him)
George! You weren*t at school. Where*ve you been all day?
GEORGE
I just woke up — I overslept. Look, you*ve gotta help me! I want to ask
Lorraine out, but I don*t know how to do it.
MARTY
All right, keep your pants on. She*s over there in the café, having a soda.
Come on...
They head across the street toward the CAFÉ — it *s the local teen after school hangout.
TWO KIDS on homemade scooters (roller skates nailed to a 2 x 4 with an orange crate on
top) cruise down the sidewalk past them.
Marty points through the café window.
MARTY
Look, there she is.
89 THEIR P.O.V. THRU THE WINDOW OF 89
LORRAINE, seated with 2 GIRLFRIENDS (BETTY and BABS) in a booth, sipping ice
cream sodas and talking.
90 BACK TO SHOT 90
MARTY
It*s simple, George. You just go in there and invite her.
GEORGE
All right. but what do I say?
MARTY
Say whatever feels natural — whatever comes to your mind.
George thinks about this a moment, then shrugs.
GEORGE
Nothing*s coming to my mind.
MARTY
Christ, it*s a miracle I was even born.
GEORGE
Huh?
MARTY
Nothing. Just tell her destiny has brought you to her and you think she*s the
most beautiful girl you*ve ever seen. Girls like to hear that — what are you
doing, George?
George has taken out pencil and paper and is writing.
GEORGE
I*m writing it down. This is good stuff.
91 INT. CAFÉ — DAY 91
The place is really jumping — it*s full of kids. A JUKEBOX is playing.
Marty enters with George.
MARTY
There she is. Just go and ask her.
Marty points George in the right direction, and takes a stool at the counter, out of
Lorraine*s immediate view.
George looks at his “script” and mouths the words to himself. He gets up his nerve and *
approaches Lorraine. Despite his awkwardness and fear, there*s something endearing *
about him, like a lost dog. *
GEORGE
Uh, Lorraine...
(reads)
“My density has brought me to you.”
LORRAINE
I beg your pardon?
GEORGE
Oh — what I mean to say is...
LORRAINE
(looks at him curiously)
Haven*t I seen you somewhere?
GEORGE
(big smile)
Yes! I*m George. George McFly. I*m your density — I mean, destiny.
Lorraine giggles with her girl friends.
We hear the sound of the door being thrown open and a familiar VOICE calls to George.
BIFF (O.S.)
McFly, I thought I told you never to come in here!
George turns and sees Biff and his gang standing there. He shudders.
Marty drops his head in his hands and sighs.
BIFF
Well, it *s gonna cost you, McFly. How much money you got on you?
GEORGE
(quickly pulls out his wallet)
How much do you want, Biff?
As Biff starts to walk toward George, Marty sticks out his leg and TRIPS HIM! Everyone in
the malt shop laughs, but Biff doesn*t think it*s very funny. Now Biff sees who tripped him.
BIFF
You!
(getting up)
All right, wise ass, it*s fat lip time...
Marty jumps off his stool, ready for action. Biff throws a punch which Marty easily avoids;
then Marty delivers a left jab to Biff*s gut, and slams a right into his face, sending Biff *
reeling backward into a table.
Match, 3-D and Skinhead rush Marty.
Marty doesn*t like the odds. He bolts out.
The 3 guys pull Biff to his feet and they all run out after Marty.
LORRAINE
(to her girlfriends)
That*s Calvin Klein! Oh, God, he*s a dream!
92 EXT. CAFÉ AND STREET 92
Marty dashes down the street, followed by Biff and the boys. Most of the kids in the café
hurry outside to watch, including LORRAINE and her friends.
Marty looks behind him — Biff and company are gaining. Then one of the kids on the
scooters comes by. Thinking quickly, Marty yanks the scooter out from under him, kicks off
the orange crate and creates a homemade SKATEBOARD! Marty hops on it and sails off
down the sidewalk!
Biff and the boys have never seen anything like it — nor has the kid whose scooter it was!
Everyone stares as Marty whizzes down the sidewalk.
KID
Wow! Look at him go!
ANOTHER KID
What is that thing?
BIFF
(to his boys)
In the car!
Biff and the gang jump into Biff*s convertible park ed nearby. Biff peels out after Marty.
93 FURTHER DOWN THE STREET 93
Marty looks over his shoulder and sees the convertible closing in. He cuts a sharp turn into
the street, crossing right in front of Biff*s car, and heads back in the opposite direction.
93-A INT. BIFF*S MOVING CONVERTIBLE 93-A
Biff and the boys are stunned! *
94 EXT. STREET 94
Another car comes up from behind Marty. As it passes, Marty grabs onto the back and
hooks a ride!
Biff cuts a U-Turn and continues the pursuit.
Scene 21 - Skateboard Escape
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
Marty, towed by the car, zooms past the café. The spectators are truly amazed. Lorraine
stares in open-mouthed awe.
LORRAINE
He*s an absolute dream...!
Now Biff*s convertible comes racing after Marty.
95-A MARTY 95-A
again looks over his shoulder and sees that Biff is closing in, fast. Things don*t look good.
Up ahead is an intersecting street: Hill Street. Marty lets go of the car and cuts a sharp left
onto Hill Street.
BIFF
95-B is coming too fast to make the turn. He overshoots the intersection and has to make 95-B
another U.
His boys are watching Marty with amazement. *
MATCH *
What is that thing he*s on? *
SKINHEAD *
It*s a board with a roller skate nailed under it. *
3 -D *
Hey — we could build those things and sell ‘em — we could call ‘em “Roller *
Boards!” *
96 EXT. HILL STREET 96
It*s an incredibly steep hill, and at the bottom is a
railroad crossing. Marty accelerates and he coasts down. Now Biff*s convertible shoots
onto Hill Street, actually lifting off the ground as it comes over the hill!
Biff drives like hell after Marty and he*s closing fast. Then Marty drops into a crouch, cuts
his wind resistance and speeds away!
97 AT THE RAILROAD CROSSING, 97
the warning bells start ringing and the gate begins to lower.
Marty reacts with fear.
A Diesel Freight is approaching.
The gate drops all the way down.
Biff speeds up to stay on Marty*s tail.
98 Marty has no choice — he vaults over the crossing gate and lands back on his 98
“skateboard,” crossing the track s just inches in front of the barreling Diesel!
99 Biff slams on his brakes. His wheels lock up and rubber SCREECHES across the 99
pavement... but nevertheless, he CRASHES through the crossing gate, coming to a stop
right at the edge of the tracks... and the Diesel engine runs over his front bumper!
99-A MARTY 99-A
continues on with a euphoric yell as the train roars on behind him, completely cutting off
Biff*s pursuit.
99-B ON THE OTHER SIDE OF THE TRACKS, 99-B
BIFF is pissed.
BIFF
I*m gonna get that son of a bitch.
CUT TO:
100 EXT. TOWN SQUARE — LATER 100
Time has passed; things are quiet at the café.
Marty comes gliding down the street on his “skateboard,” looking around for somebody. He
hops off and sticks his head in the café.
MARTY
George?
VOICE (O.S.)
Hi, Calvin — I mean, Marty.
Marty turns: LORRAINE is standing on the sidewalk behind him.
MARTY
Oh, hi.
LORRAINE
You know, you*re the first person who*s ever given Biff a taste of his own
medicine.
Marty shrugs if off as no big deal.
She moves toward him. He backs away.
LORRAINE
Marty, this may seem a little forward, but I was hoping you might take me to
the “Enchantment Under the Sea” Dance on Saturday.
MARTY
Uh, well, funny you should bring that up, because you know who really
wants to take you, and I really think you*d hit it off with him, is George
McFly.
LORRAINE
Yeah, he asked me, but I turned him down.
MARTY
You did WHAT?
LORRAINE
George just isn*t my type. He*s sort of cute and all, but he*s such a... well,
you know, a chicken.
(moving closer to him)
I think a man should be strong...so he can protect the woman he loves.
Don*t you?
She moves closer. Marty gulps. This is REALLY getting out of hand!
LORRAINE
So what do you say about Saturday?
MARTY
Uh...well...yeah, sure. Okay. It*ll be...great. You and me... on a...
(coughs, nearly chokes)
...date.
CUT TO:
Scene 22 - Preparing for the Lightning
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
Brown is shocked to hear what Marty has just told him.
BROWN
What do you mean you said “yes”?
MARTY
I had to. At least that way I*ll know she*ll be there. Now all I*ve gotta do is
figure out some way to make her end up with George.
BROWN
You*re not gonna have much time, kid. You*ve gotta make everything
happen by 9:30 — 9:45 at the latest — because you*ve gotta beat it back to
the courthouse square in time for the fireworks.
Come here, I*ll show you the set-up.
Brown takes him over to a CRUDE PLYWOOD TABLETOP MODEL of Hill Valley town
square which he*s constructed himself.
A “lightning rod” (a nail) has been attached to the top of the “clock tower” (a piece of wood
with a watch strapped around it). A wire runs down from the “lightning rod,” across “town
square” and between two “lamp posts” (candles in candlesticks) across the “street.”
Brown explains the layout to Marty.
BROWN
We put a lightning rod on the clock tower and we run some industrial
strength electrical cable from the lightning rod, across the street. *
Meanwhile, we *ve outfitted your car with a big hook directly connected into *
the T.F.C....
Brown brings out a wind-up toy car with a wire sticking straight up from the back. There*s a
hook on the top of it. (There is a similar rig on the real DeLorean, visible in the
background.) Brown winds up the toy car.
BROWN
(continuing)
On a signal, you*ll take off down the street toward the cable, accelerating to *
88...
Brown releases the toy car from one end of the model, toward the strung wire...
He picks up a STRIPPED WIRE, plugged into the AC outlet and brings it toward the
“lightning rod.”
BROWN
(continuing)
Lightning strikes, electrifying the cable, just in time to...
He touches the live wire to the nail. The toy car*s antenna snags the cable. SPARKS FLY,
and the toy car catches FIRE! It flies off the table top, into some drapes, and they catch fire
as well!
Brown grabs a FIRE EXTINGUISHER and puts everything out. Marty shakes his head.
MARTY
You*re instilling me with a lot of confidence here, Doc.
BROWN
Don*t worry. I*ll take care of the lightning. You just take care of your old
man.
Marty has another look at the fateful snapshot.
102 INSERT — SNAPSHOT 102
Dave is entirely gone, and now Linda*s head is beginning to go.
103 MARTY 103
gulps.
MARTY
Yeah...
CUT TO:
Scene 23 - Preparing for the Dance
- Overall: 7.0
- Concept: 6
- Plot: 7
- Characters: 8
- Dialogue: 6
GEORGE seems very bewildered about what MARTY has been trying to explain to him.
GEORGE
I still don*t understand. How can I go to the dance with her if she*s going
with YOU?
MARTY
She wants to go with YOU George — she just doesn*t know it yet. That*s
why we*ve gotta convince her that you*re not a chicken — so she*ll realize
that.
Now come on, hit me in the stomach. Right here, go ahead.
Marty makes himself a target, but George seems quite unwilling. In the background, a
homemade body bag (a duffel bag filled with clothes) is hanging from a clothesline pole.
GEORGE
I don*t want to hit you in the stomach.
MARTY
You*re not gonna hurt me. Just give me a punch.
GEORGE
Look, I*m not a fighter.
MARTY
How many times do I have to explain it to you? We know you*re not a
fighter. You know it, I know it...but she doesn*t know it. That*s why we*ve
gotta make you look like a fighter, somebody who*ll stand up for her,
somebody who*ll protect her. And you*re not gonna look like a fighter if you
can*t hit me in the stomach.
GEORGE
But I*ve never picked a fight in my life!
MARTY
You*re not picking a fight, you*re coming to her rescue. Maybe we *d better
go over the plan again.
Where are you gonna be at 8:55?
GEORGE
At the dance.
MARTY
And where am I gonna be?
GEORGE
In the parking lot, with her.
MARTY
Okay. So right around 9:00, she*s gonna get very angry with me—
GEORGE
Why?
MARTY
Why what?
GEORGE
Why is she gonna get angry with you?
MARTY
(it*s hard for him to say)
Well...because...well, nice girls get angry at guys who... who try to take
advantage of ‘em.
GEORGE
You mean you*re gonna—
MARTY
George, don*t worry about it. Just remember that at 9 o*clock, you*ll be
strolling through the parking lot and you*ll see us...
(gulps)
...struggling in the car, you*ll run over, open the door, and say...?
George doesn*t say anything.
MARTY
Your line, George.
GEORGE
Oh. Uh... “Hey, you! Get your damn hands off her.” You really think I
should swear?
MARTY
Yes, definitely, George, swear. Then you hit me in the stomach, I go down
for the count, and you and Lorraine live happily ever after.
GEORGE
You make it sound so easy. I wish I wasn*t so scared.
MARTY
There*s nothing to be scared of. Now come on and hit me in the stomach.
George takes a deep breath and throws a flimsy punch into Marty*s gut.
MARTY
No, George, put a little emotion into it. A little hostility, a little anger.
George tries to get himself angry. He makes some faces and throws another punch. It*s
not much better.
MARTY
Anger, George, anger.
GEORGE
Maybe if I used my left...
MARTY
No, George. Just concentrate on the anger. Anger.
George throws another punch. This one is slightly better than the last one.
MARTY
(sighs)
Well... I think you*re starting to get the hang of it. Just keep practicing. I*ll
see you later. Remember, anger, George. Anger.
Marty walks off, leaving George with the body bag. He stares at it, trying to make himself
mad.
GEORGE
...anger...
He hits it. He hits it again, harder... again... harder... again — he hits the tree! George
howls in pain!
GEORGE
Yeeeowww!! Goddammit!!
He*s really angry now, and he socks the bag with his left — and KNOCKS IT CLEAR OFF
THE TREE!
105 George is astonished! 105
EXT. TOWN SQUARE CLOCK TOWER — NIGHT
It*s a few minutes before 8 o*clock.
We hear a RADIO WEATHER FORECAST as the CAMERA takes us from the lightning rod
atop the clock tower, along the cable strung down across the square, to the STREET
where Brown *s Packard is parked nearby — the weather report emanates from the car
radio.
BROWN is on a ladder; he*s connecting the paddle plug end of the clock tower cable to the
socket on an extension cable tied around a lamp post.
The DeLorean is nearby covered with a tarp. MARTY arrives, dressed up for the dance.
FORECASTER
(V.O. radio)
Area weather on this Saturday night: An electrical storm in the vicinity will
bypass Hill Valley, but we can expect continued cloudiness and some light
rain...
Brown reacts to the weather report.
BROWN
Kid, are you sure about this storm?
MARTY
Doc, since when can a weatherman predict the weather — let alone the
future?
Brown smiles. He plugs in the cables, then descends the ladder.
BROWN
Right.
(a beat)
You know, kid, I... well, I*m gonna be sad to see you go. You*ve really made
a difference in my life — you*ve given me something to shoot for. Just
knowing that I*m gonna live to see 1985... that I*ll succeed in this... that I*ll
get a chance to travel through time... well, it’s just gonna be hard for me to
wait 30 years before we can talk about everything that*s happened in the
past few days. I’m gonna really miss you.
Marty is particularly uncomfortable, knowing the fate of Dr. Brown.
MARTY
Yeah... uh, Doc, about the future...
BROWN
No, kid. We*ve already agreed that having knowledge of the future can be
extremely dangerous. Even if your intentions are good, it could backfire
drastically. Whatever it is you want to tell me, I*ll find out through the natural
course of time.
This is not what Marty wanted to hear, but he can see there*s no arguing with Brown.
MARTY
(sighs)
Yeah... Listen, I*m gonna get a candy bar or something. You want anything?
BROWN
No thanks.
CUT TO:
Scene 24 - Preparing for the Dance
- Overall: 9.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 6
as a HAND with a pen writes.
107 INT. CAFÉ — WIDE ANGLE — NIGHT 107
MARTY is sitting at a booth writing. He reads it over.
MARTY
“Dr. Brown, on October 5, 1985, at about 1:30 a.m., you will be shot by
terrorists. Please take whatever precautions are necessary to prevent this
terrible disaster. Your friend, Marty. March 26, 1955.”
Satisfied, Marty folds the letter, puts it in an envelope, and writes something on it.
108 INSERT — ENVELOPE 108
“Dr. Brown: do not open until October 1, 1985.”
CUT TO:
109 EXT. ON STREET — NIGHT 109
Brown is on the ladder stringing electrical cable across the street, between the two lamp
posts. MARTY returns with a candy bar. Brown*s trenchcoat is laying on the tarped
DeLorean. Making sure that Brown isn*t watching, Marty surreptitiously places the
ENVELOPE into a pocket.
Now a COP meanders over and watches.
COP
Evening, Dr. Brown. What*s with the wire?
BROWN
Oh, I*m just doing a little weather experiment.
COP
(notices the tarped DeLorean)
And what*s under here?
BROWN
Some new specialized weather sensing equipment.
Brown comes down from the ladder.
COP
You got a permit for this?
BROWN
(smiles)
Of course I do... right here.
He takes out his wallet and gives the cop a 50 dollar bill.
COP
(hesitant)
You*re... not going to set anything on fire this time, are you, Dr. Brown?
Brown looks to Marty for guidance. Marty shakes his head.
BROWN
(to cop)
Naw.
COP
In that case, good luck.
He continues down the street.
BROWN
Thank you, officer.
(to Marty)
Say, kid, you*d better pick up your mom and get going.
Marty is about to get into the Packard. He hesitates and pulls the snapshot out of his *
pocket. *
110 INSERT — SNAPSHOT 110
Marty is the only one in the picture now, it*s as if his siblings never existed.
111 BACK TO SHOT 111
Marty stares at it, then puts it back in his pocket. He is uneasy and scared. *
BROWN *
You look a little pale. Are you okay? *
MARTY *
Oh sure, I feel great. Why shouldn*t I? I*m going on a hot date with my *
mother. *
CUT TO:
112 INT. SCHOOL GYMNASIUM — DANCE — NIGHT 112
“Enchantment Under The Sea” is well underway.
On stage is the band: Marvin Berry and the Midnighters. They*re all black. Marvin plays
lead guitar and sings; there is also a drummer, piano player, sax and bass. They*re playing
“3 Coins In The Fountain.”
The gym has been decorated in an undersea motif: seaweed, fish on the walls, a paper
mache sunken ship, a “treasure chest,” and a single school locker labeled “Davey Jones.”
There is also a BUBBLE MACHINE, ala Lawrence Welk.
As usual at school dances, there are teachers acting as chaperones (including Mr.
Strickland), a busy refreshment table (including a cake in the shape of a fish), and
wallflowers on the sidelines.
GEORGE is on the sidelines, bopping out of time to the music. He *s quite nervous.
113 EXT. SCHOOL PARKING LOT 113
Brown *s Packard pulls into the lot and parks.
Scene 25 - Pre-Dance Jitters
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 7
Marty, at the wheel, is very uneasy; Lorraine next to him looks beautiful in her best party
dress. Marty glances at the clock on the dashboard. It*s 8 minutes before 9.
MARTY
Uh, you don*t mind if we, uh, park for a few minutes...?
LORRAINE
Why do you think I*d mind?
MARTY
Well, I don*t know, some girls just don*t like to...
LORRAINE
Marty, I*m almost 18 years old. It*s not like I*ve never parked before.
She scoots over, very close to him. Marty fidgets. Boy, is he nervous!
LORRAINE
You seem nervous, Marty. Is anything wrong?
MARTY
Uh, no...
LORRAINE
Have some of this — it*ll help you relax.
She pulls a pint bottle of gin out of her purse. Marty is shocked.
MARTY
What are you doing with that?
LORRAINE
I swiped it from the old man*s liquor cabinet.
She takes a nip.
MARTY
Lorraine, you shouldn*t drink!
LORRAINE
Why not?
MARTY
Well, it *s just not healthy.
LORRAINE
Don*t be so square, Marty. Everybody who*s anybody does it.
She hands it to him.
MARTY
Maybe I could use a hit....
Just as he takes a swig, she pulls out a pack of cigarettes and lights up. Marty spits out the
gin in surprise.
MARTY
Jesus — you smoke, too?
LORRAINE
Now, Marty, you*re not going to tell me that smoking is unhealthy. Everyone
knows that it calms your nerves and it*s good for the circulation.
MARTY
It*ll give you cancer!
LORRAINE
You know, you sound just like my mother. When I have kids. I*m gonna let
them do anything they want. Anything.
MARTY
I*d sure like to have that in writing.
The comment goes right past Lorraine.
LORRAINE
So what are your parents like? Are they as square as mine?
MARTY
Lorraine, lately I*ve come to the conclusion that I don*t know anything about ‘em.
115 INT. SCHOOL GYMNASIUM — THE DANCE 115
Marvin Berry and the Midnighters finish up a number. Everyone applauds. Marvin steps up
to the microphone.
MARVIN
We*re gonna take a break now, but we*ll be back in just a little while, so
don*t go away.
The band members leave their instruments on the stage and head out a side door.
GEORGE now glances at the clock in the gym. It says “8:59.” Alarmed, he checks his own
watch.
116 INSERT — GEORGE*S WATCH which reads “8:55.” 116
117 GEORGE 117
is even more alarmed. He runs over to a nearby STUDENT.
GEORGE
What time do you have?
STUDENT
Five after nine.
George is panic stricken! He runs like hell out of the gym!
118 INT. PACKARD — MARTY, LORRAINE — NIGHT 118
Marty fidgets and looks at the clock again.
LORRAINE
Marty, why are you so nervous?
Marty takes a deep breath.
MARTY
Well, have you ever been in a situation where, well, you know you have to
act a certain way, but when you get there, you don*t know if you can go
through with it?
LORRAINE
You mean like how you*re supposed to act with someone on a first date?
MARTY
Well, sort of...
LORRAINE
I think I know exactly what you mean.
MARTY
You do?
LORRAINE
(nods)
And you know what I do in those situations?
Marty looks at her.
LORRAINE
I don*t worry about it!
And with that, she throws herself on him, kissing him passionately. Marty is absolutely
shocked!
119 INT. SCHOOL HALL — NIGHT 119
George is in a PHONE BOOTH, dialing a number. It rings and a WOMAN answers.
WOMAN
(V.O. phone)
At the tone, the time will be nine o*clock, exactly....
A KID named DIXON (class prankster type) sticks a broom through the phone booth door *
handle. George tries to get out, but he*s trapped. *
Dixon LAUGHS loudly.
George jerks the door frantically, and Dixon just laughs louder.
Scene 26 - Marty's Rescue
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 10
- Dialogue: 8
Lorraine continues her passionate assault of Marty — then abruptly stops and pushes him
away. She*s very confused.
LORRAINE
This isn*t right.
(sighs)
I don*t know what it is, but... when I kiss you, something*s wrong. I almost
feel like... like I was kissing my brother... or my father. I don*t understand it,
but I just know it*s wrong. I guess that doesn*t make any sense, does it?
MARTY
Believe me, it makes perfect sense.
We hear the sounds of APPROACHING FOOTSTEPS on gravel.
LORRAINE
Sounds like somebody*s coming.
Marty hears it too. He looks at the dashboard clock: 9:00. He sighs with defeat.
MARTY
Yeah... I know...
Suddenly the driver*s door is opened, an arm reaches in, yanks Marty out, and Marty finds
himself face to face with
BIFF!
Match, 3-D and Skinhead are with him.
BIFF
You caused $300 damage to my car, dipshit. And I*m gonna take it outta *
your ass... Hold him, guys.
Biff shoves him roughly into the arms of Skinhead. Marty struggles, but Skinhead and
Match grab him and restrain him
LORRAINE
Let go of him! Leave him alone, Biff! You*re drunk.
Biff takes a look at Lorraine in the car.
BIFF
Well, lookee what we have here. Maybe I*ll take it out of your ass...
She lunges at her door to escape, but Biff grabs her and climbs into the car.
BIFF
Oh, no, you*re stayin* right here with me.
Biff pulls her toward him.
MARTY
Get you hands off her, you son-of-a-bitch.
Biff leers at Marty.
BIFF
I*ll take care of you after I take care of her. (to his boys) Take him around
back. I*ll be there in a minute.
(a beat)
Go on! This ain*t no peepshow!
They drag Marty away. Biff shuts the car door and tries to kiss her. She struggles, and in a
moment, all we can see through the windshield are tussling arms and legs, accompanied
by Lorraine*s muffled screams.
121 EXT. SIDE OF SCHOOL 121
Skinhead, Match and 3-D drag Marty around the corner to the side of the school where a
CADILLAC is parked with its trunk open.
SKINHEAD
Hey — let*s lock him in that trunk!
They throw Marty into the car trunk and slam the lid shut. Then, the Cadillac*s driver*s door
is thrown open and the DRUMMER from the band steps out. He*s smoking a reefer.
DRUMMER
Say, what you messin* with my car for?
3-D
Beat it, spook, this don*t concern you!
The other 3 car doors open, and MARVIN BERRY and the OTHER BAND MEMBERS get
out. They look real “bad” with their processed hair.
MARVIN
Who you callin * “spook,” peckerwood?
Biff*s boys exchange worried looks as the band members advance on them.
SKINHEAD
Hey, I don*t want to mess with no reefer addicts!
Biff*s boys take off (in the opposite direction from the Packard), but Marvin and the band
manage to kick ‘em all in the ass as they run away.
Now we hear beating on the trunk from the inside, and Marty*s muffled voice.
MARTY*S VOICE
Lemme out! Lemme out!
MARVIN
Hey, Reginald, where*s your keys?
The drummer checks his pockets, and inside the car. He can*t find them.
MARTY*S VOICE
They*re in here! The keys are in here!
MARVIN
Dammit, boy, you left them suckers in the trunk!
122 INT. — PACKARD 122
Lorraine is trying to fight off Biff. It*s a real struggle for her.
123 EXT. PARKING LOT — ON THE PACKARD 123
Through the windshield we see arms and legs flailing about in a struggle. We hear
SCREAMING.
Now GEORGE arrives. He spots the car and goes into his act. He adjusts his pants, strides
to the car like John Wayne, and opens the driver*s door.
GEORGE
Hey, you! Get your damn hands — uh, oh!
George realizes he*s facing Biff. Now he*s really scared.
BIFF
I think you got the wrong car, McFly.
LORRAINE
George! Help me!
George doesn*t know what to do. He stares in dumbfounded amazement.
BIFF
Just close the door, McFly and walk away.
GEORGE
Uh, okay, Biff...
He turns and takes a few steps.
LORRAINE
George! Please! Help me!
George can*t stand it. He stops and goes back. He takes a deep breath.
GEORGE
All right, Biff. You let her alone.
BIFF
Who *s gonna make me?
GEORGE
(gulps)
I am.
Biff steps out of the car and laughs loudly.
BIFF
Yeah? You and what army, McFly?
George balls his right hand into a fist and takes a swing at Biff — but Biff grabs his arm
and starts twisting it.
George grimaces.
124 EXT. AT THE CADILLAC 124
Meanwhile, Marvin is trying to pop the trunk lock with a screwdriver. He*s not having much
luck.
Scene 27 - George Stands Up
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 7
Biff twists George*s arm harder.
LORRAINE
Stop it, Biff! You*ll break his arm!
She tries to pull him away. He slaps her backhand, knocking her down.
Biff laughs.
George*s expression immediately goes from pain to rage — intense rage... and George
lets go with a TREMENDOUS LEFT HOOK, SMACK INTO BIFF*S FACE!
Biff hits the ground, out cold!
George can*t believe he did it! He looks at his fist, looks down at Biff, and grins widely.
LORRAINE
Oh, George, you were wonderful!
She looks at him with adoring eyes.
126 AT THE CADILLAC 126
Marvin has his screwdriver in the lock. He gives it a hard jerk: the trunk pops open, but he
puts a big gash in his hand.
MARVIN
Damnit — I sliced my hand!
Marty jumps out of the trunk.
MARTY
Thanks a lot!
He dashes back toward the Packard.
127 MARTY 127
rushes onto the parking lot and is astonished to see GEORGE AND LORRAINE
EMBRACING... and BIFF out cold on the ground. He keeps his distance, allowing them to
have their moment.
Nearby, a few KID BYSTANDERS come over to them.
BYSTANDER #1
George, we never knew you had it in you!
BYSTANDER #2
Yeah! Ever think about going out for the team?
BYSTANDER #3
How about running for class president?
GEORGE
Well, I’ll have to think about it.
Marty can*t believe what he*s hearing.
Now George and Lorraine head for the school.
128 EXT. FRONT OF SCHOOL 128
George and Lorraine go up the front stairs. Marty watches from a safe distance away. Just
as they*re about to go in, Lorraine turns and sees Marty. She smiles. He smiles back.
Now Marty pulls out the snapshot and takes a look.
129 INSERT — SNAPSHOT 129
Marty*s own image is beginning to fade.
In the background, we hear distant THUNDER.
130 MARTY 130
is shocked. He considers the situation a moment, then realizes the answer. He runs back
toward the Cadillac.
131 AT THE CADILLAC 131
Marvin is wrapping a handkerchief around his cut hand while the band looks on.
Marty runs over to them.
MARTY
Hey, you guys, you*ve gotta get back in there and finish the dance!
MARVIN
Sorry, my friend, but we *re through for tonight.
MARTY
What do you mean, you*re through?
DRUMMER
Look at Marvin*s hand! He can*t play with it like that. And we can*t play
without Marvin.
MARTY
But you*ve gotta play! That*s where they kiss for the first time — on the
dance floor! If there*s no music, they won*t dance, they won*t kiss, they
won*t fall in love.., and I*m a goner!
DRUMMER
Hey, man, the dance is over... unless you know somebody who can play
guitar.
Marty looks at Marvin and smiles.
CUT TO:
Scene 28 - Enchantment Under The Sea Dance
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 7
Marty is playing the guitar with the Midnighters, in a version of “Earth Angel.”
George and Lorraine are on the floor, dancing.
Marty looks at them, then looks at the back of his guitar where, attached with chewing gum.
is the snapshot. Nothing has changed. Marty watches his parents. He *s getting nervous.
GEORGE AND LORRAINE are looking at each other as they dance. George seems a little
unsure of himself.
LORRAINE
Aren*t you going to kiss me, George?
GEORGE
(uncertain)
Well... I don*t know...
Now DIXON butts in.
DIXON
Beat it, McFly, I*m cuttin* in.
He pushes George out of the way. ON STAGE, Marty reacts with horror. He looks at the
snapshot.
133 INSERT — SNAPSHOT 133
Marty*s image is definitely fading!
134 MARTY 134
blinks his eyes and start hitting wrong notes. He doesn*t seem to be able to play the guitar
anymore.
The DRUMMER notices this.
DRUMMER
Hey, man...what*s wrong?
MARTY
I can*t play! I don*t know how to play the guitar!
ON THE DANCE FLOOR, Dixon has his hands all over Lorraine. Lorraine doesn*t like it.
She looks to George with pleading eyes.
MARTY is turning pale. He can barely stand up.
MARTY
I don*t feel so good...
The band keeps on playing.
GEORGE sees Dixon with Lorraine. His anger rises and he strides over the them.
GEORGE
(to Dixon)
Get lost, jerk!
He yanks Dixon away from Lorraine and shoves him hard, sending him sprawling into the
refreshment table — right into the punch bowl!
George takes Lorraine in his arms and kisses her!
ON STAGE, Marty immediately recovers! He jumps up, full of life, wired with energy. The
color returns to his face, and he looks at the snapshot.
135 INSERT — SNAPSHOT 135
Marty*s image is now sharp and clear, and his sister and brother are fading back in!
136 ON THE DANCE FLOOR 136
George and Lorraine are dancing very close. From the looks on their faces, there can be
no doubt: they*re in love.
GEORGE
You know, I*m gonna write all this up in a story and send it in for publication.
LORRAINE
I thought you only wrote science fiction.
GEORGE
It IS science fiction.
137 INSERT — SNAPSHOT 137
The photo is now as it was originally, with Marty, Linda and Dave all “back in existence.”
138 ON STAGE 138
Marty is euphoric. He remembers how to play, and jumps into the opening riff of “Johnny B.
Goode!”
MARTY
(to the band)
Follow me, fellas! Let*s rock ‘n roll!
The band joins in.
SERIES OF SHOTS — DANCE NUMBER
ON THE DANCE FLOOR, heads turn. There are reactions of astonishment from everyone
— and the kids start dancing.
Marty euphorically begins cavorting around like Little Richard!
The band is really getting into it.
And the kids all go nuts, jumping and screaming.
Mr. Strickland, however, just shakes his head with disgust.
Marty whips off his sport coat and throws it into the crowd!
139 INT. BACK STAGE — PUBLIC TELEPHONE 139
MARVIN BERRY is on the phone.
MARVIN
(into phone)
Chuck? This is Marvin!
(pauses)
Marvin Berry! Your cousin! Now, listen — I think this is the sound you*ve
been looking for...
He holds the phone toward the music.
140 INT. SCHOOL GYM 140
The pandemonium continues.
Now Marty tears open his shirt and does some Elvis pelvis moves.
Girls scream!
Marty*s movements become Mick Jaggeresque, then take on a Michael Jackson style...
Finally he drifts into pure HEAVY METAL, puts his guitar next to the amp, making
FEEDBACK.
This goes a little too far for 1955 musical tastes — the band stops playing, and the kids
stop dancing. They all watch Marty, not sure what to think.
Marty suddenly realizes he*s gone too far. He smiles sheepishly and steps up to the
microphone.
MARTY
Uh, sorry, you guys aren*t ready for that yet. But your kids are gonna love it.
He picks up the song again with the band. They do one more chorus.
Marty wraps up the song with a final riff, and the students all go berserk with applause!
CUT TO:
Scene 29 - The Final Showdown
- Overall: 8.0
- Concept: 7
- Plot: 9
- Characters: 8
- Dialogue: 7
It*s 4 minutes before 10:00.
142 ON THE STREET 142
BROWN, wearing the trenchcoat, paces back and forth anxiously. The wind is picking up,
and we hear DISTANT THUNDER. The entire “lightning rod setup” is complete, with the
cable strung across the street between the two lampposts. Brown checks his wristwatch:
9:56.
BROWN
Damn! Where is that kid?
Brown pulls out a pocket watch and checks it: 9:56.
BROWN
Damn!
Brown checks a wristwatch on his other wrist. It*s 9:56.
BROWN
Damn!
At last, the PACKARD pulls up across the street from the tarped DeLorean. Marty jumps
out, dressed in his 1985 clothes.
BROWN
You*re late! Do you have no concept of time?
Brown pulls the tarp off the DeLorean and raises the “trolley hook” on back to its full height.
MARTY
Take it easy, Doc! I had to change my clothes. Everything*s cool — they*re
back together...and here*s the proof.
Marty shows him the fully restored snapshot.
MARTY
Yeah, old George really came through. Laid out Biff with one punch — cold
cocked him... and I had to miss it. I never knew he had it in him. Hell, my old
man*s never stood up to Biff in his life.
Brown opens the DeLorean door.
BROWN
All right, let*s set your destination time. This is the exact time you left...
143 INSERT — L.E.D. READOUT 143
On a readout labeled “Last Time of Departure” is “OCTOBER 5, 1985, 1:11 A.M.”
144 BROWN 144
punches the appropriate keypad.
BROWN
(continuing)
Let*s send you home 10 minutes later...
144 INSERT 144
The readout labeled “Destination Time” lights up to read “OCTOBER 5, 1985, 1:21 A.M.”
We can see that the two readouts differ by 10 minutes.
145 EXT. ON BROWN AND MARTY 145
BROWN
(continuing)
Ten minutes isn*t long enough for you to be missed. Now, I*ve painted a
white line on the street up there — that*s where you start from.
(continuing)
I*ve calculated the precise distance, taking into account the acceleration
speed and wind resistance retroactive from the moment the lightning will
strike...
He picks up a WIND-UP ALARM CLOCK.
BROWN
(continuing)
When this alarm goes off, you hit the gas.
Brown gives it a wind, then sets it on the DeLorean dashboard.
Brown looks around, then sighs.
BROWN
Well, I guess that*s everything.
Marty extends his hand.
MARTY
Doc, thanks for everything.
They shake hands.
BROWN
Thank YOU. I*ll see you in about 30 years.
Marty sighs, again thinking of Brown *s destiny and the letter.
MARTY
I... I hope so.
BROWN
Don*t worry. As long as you hit that wire with this hook, everything*ll be fine.
MARTY
Right...
Brown puts his hands in his pockets and withdraws the letter Marty put there. He looks at it
curiously. Marty turns away.
BROWN
What *s the meaning of this?
MARTY
You*ll find out in 30 years.
BROWN
It*s about the future, isn*t it? Information about the future?
MARTY
You*ll find out in 30 years.
BROWN
I warned you about this, kid. The consequences could be disastrous.
MARTY
You*ve gotta take that risk, Doc. Your life depends on it.
BROWN
(shakes his head)
No. I*m not going to accept the responsibility.
Brown tears up the envelope and shoves the pieces into the Packard ashtray.
MARTY
All right, Doc, in that case, I*ll just have to tell you straight out—
But before Marty can get the words out, a TREMENDOUS GUST OF WIND comes up
accompanied by a loud CRACK! They turn: A TREE LIMB in the square has blown down
right on top of the cable between the clock tower and the first lamp post!
The paddle-plug attached to the lightning rod on the clock tower is yanked out, and the
cable drops down from the clock tower!
BROWN
Great Scott! Kid — find the end of that cable — I*ll throw the rope down to
you!
Brown grabs a big coil of rope and dashes into the courthouse.
Marty gulps. He takes a look at the fallen tree branch on the cable, then goes hunting for
the end of it.
The wind is picking up, and the sound of THUNDER approaches.
146 INT. CLOCK TOWER STAIRS — NIGHT 146
Brown charges up the several flights of stairs like a madman!
147 EXT. COURTHOUSE SQUARE 147
Marty pulls in the cable, hunting for the end of it. At last he finds it. He looks up at the clock
tower.
148 EXT. ON THE CLOCK TOW ER 148
A DOOR opens up, giving access to the ledge below the clock. BROW N steps out. His hair
blows wildly in the wind, and lightning flashes in the distance. He looks up.
149 BROWN*S P.O.V. OF 149
the CONNECTING SOCKET, dangling on its cable between the “1” and “2” on the huge
clock face. Its other end is attached to the lightning rod on the tower above.
150 BROWN 150
looks down.
151 BROWN*S P.O.V. OF 151
MARTY, 5 stories below, waving with the paddle plug in hand.
152 BROWN 152
tosses one end of the rope down. The coil unravels.
Scene 30 - Race Against Time
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 6
The rope drops to the ground.
Marty runs over, grabs it, and ties it to the paddle plug. He waves back to Brown.
154 BROWN 154
nods and starts pulling the rope with the cable back up.
155 MARTY 155
watches anxiously as the cable goes back up. He yells up at Brown.
MARTY
Doc! I gotta tell you about the future!
156 INTERCUT WITH BROWN 156
who can barely hear him.
BROWN
What??
MARTY
157 The future! On the night I travel back in time, the terrorists show up and you 157
get—
158 BONG! It*s exactly 10:00 — and the CLOCK BELLS STRIKE TEN! Marty can*t be heard 158
over the sound!
Brown almost loses his balance with the huge bells tolling so close! He regains his footing,
then pulls the rope up the rest of the way. He*s got the paddle plug in hand.
Brown yells at Marty, but he can*t be heard over the bells. Brown gestures that he*s got the
cable and that Marty should go.
159 MARTY 159
hesitates, but Brown gestures adamantly. At last Marty nods and runs to the DeLorean.
160 BROWN 160
unties the rope from the end of the paddle plug and looks up at its socket mate dangling on
the clock face. He reaches up for it, but he can*t quite get it. He *ll have to move across the
ledge to get closer to it.
161 MARTY 161
climbs into the DeLorean and closes the gull wing door.
162 INT. DELOREAN 162
Marty turns the key in the ignition and revs it up. He puts the car in gear.
163 EXT. STREET — TOW N SQUARE 163
The DeLorean takes off.
164 EXT. CLOCK TOWER 164
Brown looks down and sees the DeLorean heading down the street. Brown moves along
the ledge. He reaches up but he*s still not close enough to grab the dangling socket.
Lightning and thunder move ever closer.
165 EXT. STREET 165
The DeLorean passes a hand-painted white line on the street — Brown has also painted
the words “START HERE” for Marty*s benefit. Marty makes a U-turn and pulls up to it, like
a starting line.
166 INT. IDLING DELOREAN 166
Marty has an anxious expression on his face.
MARTY
Dammit, Doc, why*d you have to tear up that letter? If only there was a little
more time—
Marty glances down at the 2 readouts, “Destination Time,” and “Last Time Departed.”
167 INSERT — THE TWO READOUTS 167
The “Destination Time” is set for “1:21 A.M.,” 10 minutes later than the “Last Time
Departed,” which is at “1:11 A.M.”
168 MARTY 168
has an idea.
MARTY
More time! I*ll give myself some more time!
He pushes the appropriate buttons on the keypad.
169 INSERT — THE TWO READOUTS 169
The “minutes” indicator on the “Destination Time” begins counting backwards:
1:21...1:20...1:19...
170 EXT. CLOCK TOWER 170
Brown, with the cable in his left hand, moves a little further along the ledge.
Suddenly, the ledge CRACKS and CRUMBLES beneath his feet! Brown drops the cable
and grabs onto the CLOCK HANDS to save himself! The cable drops onto his left foot!
Brown hangs precariously from the clock face like Harold Lloyd, wind blowing his hair, and
lightning, cracking in the sk y!
Brown carefully moves his right foot toward the intact section of ledge while trying to keep
the cable balanced on his left foot.
His right foot moves closer... at last it finds safe footing. Brown takes a deep breath, then
hops over onto the ledge.
He kicks the cable up with his left foot and catches it in his hand.
He sighs relief. Everything is all right. He reaches up with his right hand and is able to grab
the dangling socket.
171 INT. DELOREAN 171
Marty is still fiddling with destination time.
172 INSERT — READOUTS 172
The destination time drops back to 1:12... 1:11... 1:10... 1:09... 1:08... 1:07—
Suddenly the engine dies!
173 MARTY 173
tries to restart it but it won*t turn over.
MARTY
Come on, come on...!
174 EXT. CLOCK TOWER 174
Brown has the plug in his left hand, the socket in his right. He brings them toward each
other to plug them in — but they won*t reach! Both ends are taut, but he*s about a foot
short!
Brown looks down.
175 HIS P.O.V. OF 175
the tree limb caught on the cable — which is the reason there*s no slack!
176 BROWN 176
jerks the end of the cable, trying to free it from the limb.
177 INTERCUT WITH THE CABLE 177
caught on the limb as Brown tries to disengage it.
178 Brown can*t free it. His face takes on intense determination, exaggerated by the wind and 178
lightning. He gives the cable a tremendous yank.
179 The cable jerks free from the tree — but THE PLUG AT THE OTHER END IS 179
WRENCHED OUT OF THE CONNECTING SOCKET ON THE LAMP POST!
180 BROWN reacts with horror. He now has a useless plug in his hand. Lightning cracks even 180
closer!
181 INT. DELOREAN 181
Marty is still trying to get the car restarted.
Now the ALARM CLOCK rings!
MARTY
Shit!
At last the engine roars to life!
Marty switches THE TIME CIRCUITS ON!
The various indicators LIGHT UP!
Marty puts the car in gear.
Marty*s FOOT hits the gas pedal.
182 EXT. STREET 182
The DeLorean peels out!
183 EXT. THE CLOCK TOW ER 183
Brown looks at the two cables in his hand, and the loose end below: how can he get
everything connected? Suddenly he realizes what he must do. He ties the two of them
tightly together, then plugs them in.
184 EXT. THE STREET 184
The DeLorean accelerates...
185 INSERT — SPEEDOMETER 185
It passes 40 mph.
186 EXT. CLOCK TOWER 186
Brown tests the tied connected cable ends to make sure they won*t come apart: they*re
secure. He takes a deep breath, then grips the line tightly. HE JUMPS!
BROWN SLIDES DOW N THE CABLE!
187 EXT. COURTHOUSE SQUARE 187
Brown drops down to the ground! He runs with the cable toward the lamp post!
Scene 31 - Race Against Time
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 7
The DELOREAN approaches the square!
189 INT. MOVING DELOREAN 189
Marty drives with determination.
190 THE SPEEDOMETER passes 65. 190
191 MARTY*S P.O.V. OF 191
the approaching wire strung across the street.
192 EXT. STREET 192
BROWN gets to the plug end of the cable! It*s dislodged from the tree limb, so he has
enough slack. He races to the lamp post and the dangling socket.
193 THE DELOREAN continues accelerating! 193
194 INT. MOVING DELOREAN 194
THE SPEEDOMETER passes 85!
The INDICATOR LIGHTS behind MARTY begin registering.
195 EXT. STREET 195
BROWN grabs the socket cable and PLUGS HIS CABLE IN!
196 INT. DELOREAN 196
THE SPEEDOMETER HITS 88!
197 EXT. CLOCK TOWER 197
THE MOST SPECTACULAR BOLT OF LIGHTNING IN THE HISTORY OF CINEMA
STRIKES THE LIGHTNING ROD!
198 SERIES OF CUTS 198
The connecting cable becomes electrified!
The DeLorean passes under the cable between the lamp posts.
The trolley hook on the DeLorean MAKES CONTACT with the electrified cable!
The T.F.C. GLOW S and DISCHARGES!
199 EXT. STREET 199
The DeLorean*s time coils light up and the vehicle is sent BACK TO THE FUTURE!
200 DR. BROWN 200
lets out a whoop of delight and relief as he*s drenched by the deluge.
201 THE CABLE ACROSS THE STREET 201
has wrenched the trolley pole out of the rear of the DeLorean. It*s left there, swinging from
the cable.
202 BROWN 202
looks up at the clock tower.
203 THE CLOCK 203
is stopped at 10:02
Lightning crack s behind it and we
DISSOLVE TO:
204 THE CLOCK — OCTOBER 5, 1985 — NIGHT 204
The storm dissolves away into an ordinary night sky. The clock tower shows 30 years of
additional age...
CAMERA CRANES DOWN TO REVEAL
HILL VALLEY TOWN SQUARE, as we saw it in the beginning. All is quiet — it *s late.
205 A RAGGEDY BUM 205
is asleep on a bench. Suddenly his hair begins to stand on end...
He*s lit by an OFFSCREEN FLASH OF LIGHT, accompanied by a SONIC BOOM and a
SHARP BLAST OF WIND.
We hold on him as we hear a SCREECH OF TIRES and an OFFSCREEN CRASH.
The BUM awakens and looks up to see...
206 EXT. THE BOARDED UP MOVIE THEATER — BUM*S P.O.V. 206
There is a big hole in the front of what used to be the theater.
Suddenly, THE DELOREAN backs out and onto the street!
207 THE BUM 207
shakes his head.
BUM
Crazy drunk driver.
He goes back to sleep.
208 INT. DELOREAN 208
MARTY looks at the readouts.
209 INSERT — READOUTS 209
“Present Time” now matches “Destination Time” at OCTOBER 5, 1985, 1:07 A.M. “Last
Time Departed” is now MARCH 26, 1955; 10:02 P.M.”
210 MARTY 210
is delighted.
MARTY
All right!
He turns on the car radio. A contemporary ROCK TUNE comes on.
MARTY
All right!
He puts the car into forward gear. THE ENGINE DIES!
MARTY
Aw, shit!
He tries to start it again, but he can*t get it to turn over.
MARTY
Come on, come on—
He looks up and sees out the windshield...
211 MARTY*S P.O.V. THROUGH THE WINDSHIELD — NIGHT 211
THE TERRORIST VAN, cruising down the street and around a corner.
212 MARTY 212
is horrified.
MARTY
The terrorists!
(tries starting the car again)
Damn, it*s frozen! *
213 EXT. STREET IN FRONT OF THEATER, DELOREAN — NIGHT 213
Marty gets out of the DeLorean and runs like hell down the street after the terrorist van.
CUT TO:
Scene 32 - Saving Doc Brown
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
as MARTY arrives at the Mall. He keeps on running, past the entrance sign that reads
“LONE PINE MALL” (with an image of a single pine tree), into the parking lot, just in time to *
see, a good 150 yards away... *
215 MARTY*S P.O.V. OF 215
the Terrorist van chasing down Dr. Brown — with Marty*s younger self watching frozen in
horror.
216 MARTY 216
is both horrified and amazed — horrified at being too late; amazed at seeing himself, and
to be seeing something he*s already experienced from a third person point of view.
MARTY
Oh, God, no, I*m too late!
217 HIS P.O.V. 217
The Terrorist leans out of the van with the machine gun.
TERRORIST
Dr. Brown, you American dog, you have betrayed our cause! For that you
die!
He BLASTS Dr. Brown in the chest. Brown goes down. Everything is as it already
happened.
218 MARTY 218
MARTY
Oh, no!
219 HIS P.O.V. 219
The Terrorist van turns and goes after the younger Marty. Just as before, Marty dives into
the DeLorean and roars off.
220 MARTY 220
watches himself chased by the terrorists.
221 HIS P.O.V. 221
The DeLorean accelerates, even as it *s being shot at, going faster and faster until it*s
enveloped in the BLINDING WHITE GLOW and vanishes!
But the terrorist van drives into the white glow; we hear cursing as the blinded driver loses
control of the van. It swerves and goes out of control, hitting a parking median and flipping
over on its side.
222 MARTY 222
now runs toward the fallen Dr. Brown, lying face down in the parking lot.
He reaches him, along with EINSTEIN the faithful dog.
Marty turns Brown over, tears in his eyes.
MARTY
Doc, no...
Suddenly, BROWN OPENS HIS EYES and SMILES!
MARTY
You*re alive!
Brown stands.
BROWN
Of course, I*m alive.
MARTY
But you were shot — I saw it! I saw it twice!
Brown rips open his radiation suit revealing a BULLET PROOF VEST.
BROWN
It*s the latest fashion in personal protection. It*ll stop a slug from an
elephant rifle at 30 yards.
MARTY
But how did you know?
Brown smiles, reaches into his pocket and pulls out the LETTER THAT MARTY WROTE
— SCOTCH TAPED TOGETHER! It*s yellow and brittle: 30 years old!
MARTY
(smiles, shaking his head)
After all that lecturing about screwing up future events and the space-time
continuum...
BROWN
(shrugs)
Yeah, well, I figured, what the hell.
We hear APPROACHING POLICE SIRENS. *
CUT TO:
223 EXT. MARTY*S HOUSE — NIGHT 223
The DeLorean pulls up to the darkened house.
The gull wing passenger door opens and Marty gets out. Brown is driving and Einstein
takes Marty*s seat. Marty turns to talk to Brown.
INTERCUT WITH BROWN IN THE DELOREAN
MARTY
So how far ahead are you going?
BROWN
I figure I*ll take it slow at first.. .go about 30 years, just to get my feet wet;
then maybe see what*s shaking in the 22nd or 23rd century.
MARTY
Well... good luck. And if you get a chance, look me up. I*ll be... 47 years old.
BROWN
I will. Funny... I had to wait 30 years to catch up to you. Now you*ve gotta *
wait 30 years to catch up to me. Ain*t life weird. *
Brown gives him a wink. Marty closes the door.
224 EXT. MARTY*S HOUSE — NIGHT 224
Marty waves Brown off and heads toward his front door.
In the background, the DeLorean zooms off, and we see light from the offscreen TIME
TRAVEL GLOW. Marty is hit by the sharp blast of wind.
CUT TO:
225 INT. MARTY*S BEDROOM — DAY 225
MARTY is on top of the bed, asleep in his clothes. Morning light streams in through the *
bedroom window; he stirs and opens his eyes. He blinks several times, as if getting his
bearings, then sits up and looks around.
Yes, it*s his room all right, and everything seems the same, from the Z-28 posters to his
audio equipment.
Marty looks at the clock: 8:30. He looks at the wall calendar: the first four days of October
are X*ed off — today is the 5th. Could it have all been a dream?
He gets out of bed and looks at himself in the mirror, then pinches himself to make sure *
he*s real. He is. On the nightstand is a framed 5 x 7 version of the snapshot with he and
his siblings. it looks the same.
He reaches into his waste can and pulls out the SUBMISSION FORM TO THE RECORD *
COMPANY. He looks at it, then decisively pulls the CASSETTE TAPE out of his drawer, *
and puts it in the envelope with the form. *
226 INT. BEDROOM CORRIDOR — DAY 226
MARTY comes out of his room with the envelope. He goes down the hall and stops short *
as he enters *
Scene 33 - Homecoming Surprise
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 7
LINDA and DAVE are seated at the dining room table which has been beautifully set for
breakfast. The 5 table settings are elegant; Dave is eating a half of grapefruit; Linda has *
eggs benedict. Dave is wearing an expensive tailored suit and reads the business section
of the morning paper.
MARTY
Say, are we having company or something?
LINDA
Not that I know of.
MARTY
Dave, aren*t you working today?
DAVE
Sure, I always work on Saturday.
MARTY
Then what*s with the fancy suit?
DAVE
(confused, doesn*t understand)
Marty, are you all right?
MARTY
Yeah. Are YOU guys all right?
DAVE
Sure, never better. Here, let me take that — I*ll mail it from the office.
Dave takes Marty*s envelope. *
Marty nods uneasily and takes his place at the table. A bowl of fresh strawberries is waiting
for him.
Now GEORGE and LORRAINE enter from outside. They*re tanned and healthy in TENNIS
OUTFITS with tennis rackets. George carries himself with an air of confidence, and
Lorraine looks terrific — thin and svelte, radiantly healthy and positive. This is a happy
marriage.
Marty can*t believe how good his mother looks.
MARTY
Mom! You look — great!!
LORRAINE
Why, thank you, Marty. Say, tonight*s the big night, right? Your big date with
Suzy Parker? Such a nice girl, I sure like her. *
MARTY
(can*t believe it’s his mother talking)
Pardon me, Ma?
LORRAINE
You*re going up to the lake tonight, aren*t you? Haven*t you been planning
it for 2 weeks?
MARTY
Mom, we went through this last night. How can I go if Dad*s car is wrecked?
GEORGE
Wrecked? There*s nothing wrong with my car. In fact, Biff is out there
waxing it right now.
228 INT./EXT. MCFLY KITCHEN — P.O.V — DAY 228
George opens the curtains, revealing BIFF waxing a new LINCOLN CONTINENTAL in the
driveway. Biff is working diligently; his rough edges and arrogance are all gone.
George opens the window.
GEORGE
Hey, Biff, don*t forget to wax the inside of the wheel covers. You forgot that
last time.
BIFF
(friendly, eager to please)
Yes, sir, you*re the boss, sir!
229 Marty is absolutely astonished. 229
GEORGE
(sitting back down)
Some employees will get away with murder if you don*t stay on ‘em. I*ve
had to keep him in line ever since high school. Although if it wasn*t for him,
your mother and I would have never met.
LINDA
Yeah, Dad, you*ve told us a million times: you beat him up when he was
bothering Mom and that*s how the two of you fell in love.
LORRAINE
It was more than that. Your father literally came to my rescue. (sighs) It was
so romantic!
LINDA
(rolls her eyes)
Cornball city.
Marty nods with complete understanding.
GEORGE
(calls into the kitchen)
Bertha, how about bringing Marty his French Toast?
A uniformed MAID ENTERS with a tray and sets a lovely plate of French Toast in front of
Marty. Marty is too dumbfounded to speak.
GEORGE
Well, Bertha, you won*t have to put up with that tiny kitchen much longer.
BERTHA
When will the new house be ready, sir?
GEORGE
Just as soon as they finish painting the tennis court and re-tiling the
swimming pool. It*ll be sad to leave this place, though. So many memories...
of you kids, and of my days as a struggling writer.
BIFF ENTERS and hands George a HARDBACK BOOK.
BIFF
Oh, Mr. McFly, this just came in: It*s the British edition of your current best
seller. How many has it sold so far? A million?
230 INSERT — BOOK 230
It*s called “A MATCH MADE IN SPACE,” and the cover shows a bedroom with a space
alien talking to a couple in bed — very reminiscent of Marty*s “Darth Vader” visitation to
George. The style indicates it *s a science-fiction romance novel. The author*s name,
GEORGE McFLY, is in big letters.
231 BACK TO SHOT 231
GEORGE
Two million, hard cover.
BIFF
Oh, Marty — here*s your keys. Your car is all waxed and ready for tonight.
Biff tosses him a set of keys.
MARTY
My car?
CUT TO:
Scene 34 - Back to the Future
- Overall: 10.0
- Concept: 9
- Plot: 10
- Characters: 9
- Dialogue: 9
Marty comes out of the house and opens the garage door, revealing
A TRICKED OUT BLACK SUPRA, just like he saw in the showroom. *
MARTY can*t believe it. The personalized license plate says “MARTY I.” *
Marty approaches his new car.
VOICE (O.S.)
How about a ride, mister?
Marty turns — it*s SUZY PARKER. She looks just the same: great.
MARTY
Suzy! Are you ever a sight for sore eyes! Let me look at you!
Marty looks at her, as if trying to make sure she*s real. Suzy is hard-pressed to understand
why Marty is making such a big deal about this.
SUZY
Marty, are you okay? You*re acting like you haven*t seen me in a week.
MARTY
I haven*t.
He pulls her toward him... they*re about to kiss... closer, closer...
And just as they kiss, their HAIR STANDS UP ON END. Marty*s eyes widen with the
inevitable expectation...
MARTY
Oh, no... not again...
233 We hear a SONIC BOOM, and Marty turns — the DELOREAN STREAKS UP in front of the 233
house.
234 DR. BROWN 234
jumps out, more wild-eyed and frantic than we *ve ever seen him. His clothes are
particularly bizarre — a weird mixture of past and future: a cowboy hat, a strange variation
on a Roman tunic, a cape, and striped plastic pants.
BROWN
Marty — you*ve gotta come with me — back to the future!
MARTY
Doc, I*ve got Suzy here. I was just gonna try out my new wheels.
BROWN
Well, bring her along — this concerns her, too. *
Brown opens the passenger gull wing door for him. Marty and Suzy approach cautiously. *
MARTY
What do you mean? What happens? *
(sudden alarm)
Does something happen to us? Do we turn into assholes or something? *
BROWN
No, you and Suzy both turn out fine. But your kids, Marty — something*s
gotta be done about your kids!
Brown gets back in the DeLorean.
235 INT. DELOREAN 235
Marty gets in, and Suzy sits on his lap. She closes the door. *
BROWN
Okay, here we go...
MARTY
You*d better back this thing up, Doc. We haven*t got enough road to get up
to 88.
BROWN
Where we*re going, we don*t use roads.
Brown hits a new switch on the dashboard: “WESTINGHOUSE FUSION ENERGIZER.”
236 EXT. STREET 236
The DeLorean speeds down the street, then BLASTS OFF INTO THE SKY LIKE A *
STREAK!
Once again, the coils glow and the DeLorean is enveloped in the familiar white glow and
disappears into the future...
ROLL END TITLES
FADE OUT
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| Mr. Strickland | Mr. Strickland starts off as a strict and authoritarian teacher, holding a personal grudge against Marty and his family. He strongly believes that Marty is a slacker and lacks dedication. However, as the movie progresses, Mr. Strickland begins to witness Marty's passion for music and his growth as a musician. This challenges his initial perception of Marty, leading him to reconsider his harsh attitude. Eventually, Mr. Strickland recognizes Marty's talent and hard work, and in a surprising turn of events, becomes a supportive mentor figure for Marty and his band. | The character arc is quite effective in showcasing Mr. Strickland's transformation from a strict antagonist to a supportive mentor. However, it could benefit from more internal conflict and exploration of Mr. Strickland's personal reasons for holding a grudge against Marty and his family. | To improve the character arc, consider incorporating flashback scenes or dialogue that reveal Mr. Strickland's past experiences with Marty's family, which shaped his negative attitude. This will provide a deeper understanding of his initial bias and lend more weight to his eventual change of heart. Additionally, adding moments of vulnerability for Mr. Strickland, where he questions his own teaching methods and rigid beliefs, will add complexity to his character and make his transformation more believable. |
| Marty | Marty's character arc revolves around his determination to achieve his goals and the growth he experiences through his time travel adventure. At the beginning of the movie, Marty is a talented musician facing obstacles in pursuing his passion. He is rebellious and determined to make it to his audition, showcasing his determination and resourcefulness. As the plot progresses, Marty becomes involved in time travel and finds himself stuck in the past. This experience challenges him to adapt to new situations and overcome obstacles. Marty's character arc reaches its peak when he takes on the responsibility of fixing his parents' relationship in order to ensure his own existence. This showcases his growth from a self-centered teenager to a selfless individual willing to make sacrifices for the greater good. By the end of the movie, Marty has learned the importance of family and the value of taking risks to pursue his dreams. | The character arc for Marty is well-developed and effectively showcases his growth throughout the story. The portrayal of his determination and resourcefulness is consistent and allows the audience to root for him. However, one minor critique is that Marty's transition from a rebellious teenager to a selfless individual could be further explored and emphasized. The shift feels slightly rushed and could benefit from more scenes that delve into Marty's internal struggle and development. Additionally, while Marty's passion for music is established, his journey as a musician could be further explored to add depth to his character. | To enhance Marty's character arc, it would be beneficial to include a few additional scenes that focus on his internal struggle and growth. This could include moments where Marty reflects on his past behavior and realizes the importance of his relationships and the impact he can make on others. Furthermore, showcasing more of Marty's journey as a musician and the challenges he faces in pursuing his passion would provide a deeper understanding of his character. This can be achieved through scenes that highlight his dedication to practicing, his interactions with fellow musicians, or even his struggles with stage fright. By strengthening these aspects, Marty's character arc will become even more compelling and impactful. |
| Lorraine | Lorraine starts off as a bored and overweight housewife, longing for excitement and adventure. However, after Marty time travels to 1955 and interacts with her, Lorraine begins to fall for him. She becomes curious and flirtatious, finding a new zeal for life and taking risks. As she spends more time with Marty, she realizes that her attraction to him is misguided, as she actually craves a strong male figure in her life. Witnessing George's bravery in standing up to Biff, Lorraine becomes impressed and adoring of him. By the end of the movie, Lorraine transforms from a victim of Biff's harassment to a confident and hopeful young woman who stands up for herself and is excited about her future with George. | The character arc for Lorraine is solid and effectively showcases her transformation throughout the screenplay. However, some aspects of her development could be further explored and expanded upon to enhance her journey. | To improve Lorraine's character arc, consider providing more scenes that delve into her discontentment with suburban life and her longing for something more. This will make her initial attraction towards Marty more believable and relatable. Additionally, explore Lorraine's relationship with her parents and how their influence may shape her romantic ideals. This will add depth to her nostalgic and romantic view of love. Lastly, while her transformation from a victim to a confident young woman is evident, focus on showcasing her personal growth and how she overcomes her insecurities throughout the movie. |
| George | George begins as an insecure and timid character who lacks self-confidence. Throughout the movie, he experiences a transformation and learns to stand up for himself. With Marty's encouragement and guidance, George finds the courage to face his fears and take action. His turning point comes when he stands up to Biff, knocking him out and protecting Lorraine. This act gives George newfound confidence and assertiveness. By the end of the movie, George has become a more self-assured individual, leaving behind his shy demeanor and embracing his own potential as a writer. | The character arc for George is well-developed and shows a clear transformation from timid to confident. However, it would benefit from further exploration of George's internal struggles and fears. While his idolization of his father and desire to live up to expectations is mentioned, it could be more deeply explored to enhance the emotional depth of his character arc. | To improve George's character arc, consider including scenes or moments that delve deeper into his internal conflicts and fears. Show more instances where George's lack of self-confidence hinders his progress or causes him to doubt himself. Additionally, explore his relationship with his father and how it shapes his aspirations and insecurities. This will give George's character arc more complexity and emotional resonance. |
| Dr. Brown | Dr. Brown starts off as a skeptical and eccentric inventor who initially doubts Marty's claims. However, as he gets amazed by Marty's knowledge and the similarities between his invention and Marty's drawing, Dr. Brown becomes intrigued and starts to believe in the possibility of time travel. As the story progresses, he becomes more curious and fascinated by Marty's knowledge of the future, realizing the incredible possibilities it holds. He decides to take risks and change the future in order to protect Marty and ensure a better outcome. By the end of the movie, Dr. Brown learns to embrace his adventurous and curious nature, becoming even more eccentric and willing to take risks for the sake of exploration and discovery. | The character arc of Dr. Brown is well-established and effectively portrays his transformation from a skeptical inventor to an adventurous risk-taker. However, it would benefit from further development and depth. Currently, the arc primarily revolves around Dr. Brown's reaction to Marty's claims and the realization of the possibilities of time travel. Adding more emotional depth to his character, such as exploring his personal motivations or fears, would allow for a more well-rounded and relatable arc. | To improve the character arc, consider delving deeper into Dr. Brown's backstory and personal motivations. What drives his passion for exploration and invention? Is there a specific event or experience that shaped his eccentric nature? Additionally, adding moments of vulnerability or internal conflict can create a more engaging arc. For example, Dr. Brown could struggle with the ethical implications of altering the future or face personal sacrifices for the greater good. By exploring these aspects, the character arc will become more compelling and emotionally resonant. |
| Biff | Biff starts as a bully who takes advantage of George's vulnerability. He repeatedly bullies George and even attempts to start a fight with Marty. Throughout the movie, Biff evolves into a relentless antagonist, becoming fixated on tormenting Marty and making his life miserable. However, towards the end, Biff experiences a transformation. After a confrontation with Marty, he is humiliated and faces the consequences of his actions. This serves as a wake-up call for Biff, and he realizes the error of his ways. In the final act, Biff becomes surprisingly polite and eager to please, no longer the bully he used to be. He starts seeking approval from others and attempts to make amends for his past behavior, showing genuine remorse and regret. | The character arc for Biff could be improved by providing more insight into his background and motivations. Understanding why he turned out to be a bully and what drives his relentless pursuit of Marty would add depth and complexity to his character. Additionally, Biff's transformation towards the end feels somewhat rushed and forced. It would be more effective if his change of heart was gradually built up throughout the movie, offering more believable character development. | To improve the character arc, consider incorporating flashbacks or dialogues that shed light on Biff's upbringing and the influences that molded him into a bully. This will allow the audience to empathize with his struggles and better understand his actions. Furthermore, show Biff's gradual realization of the consequences of his behavior by gradually integrating moments of reflection or small acts of kindness towards the end. Also, consider providing closure for Biff's redemption arc by having him reconcile with the characters he had previously bullied, further emphasizing his growth and transformation. |
| Doc Brown | Throughout the screenplay, Doc Brown goes through a character arc where he starts as an eccentric scientist with a curiosity for time travel. He becomes torn between the potential dangers of altering the future and his insatiable curiosity. Initially, he is unwilling to accept information about the future, but as the story progresses, he realizes the importance of understanding the consequences of time travel. Eventually, he becomes more responsible and cautious, realizing that protecting the space-time continuum is crucial. This leads him to prioritize the safety of Marty and his family, showing a deep care and concern for their well-being. | The character arc for Doc Brown is well-developed. However, it could benefit from more specific examples or scenes that showcase his internal struggle and growth. It would be helpful to see instances where Doc's curiosity clashes with his responsibility, highlighting the tension he experiences. Additionally, providing a clearer explanation of how his relationship with Marty influences his character arc would enhance the overall development. | Consider adding a scene where Doc Brown is faced with a difficult decision that tests his curiosity versus his responsibility. This could be a pivotal moment where he realizes the potential dangers and consequences of his actions. Additionally, explore deeper interactions between Doc and Marty, emphasizing how their bond strengthens and influences Doc's decision-making. This will give the audience a better understanding of the character's growth and transformation. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Correlation between Emotional Impact and Dialogue | There is a strong positive correlation (0.81) between Emotional Impact and Dialogue. This means that scenes with higher emotional impact tend to have more dialogue. |
| Correlation between Overall Grade and Concept | There is a moderate positive correlation (0.54) between Overall Grade and Concept. This suggests that scenes with a stronger concept tend to have higher overall grades. |
| Correlation between High Stakes and Conflict | There is a moderate positive correlation (0.57) between High Stakes and Conflict. This indicates that scenes with higher stakes generally have more conflict. |
| Correlation between Character Changes and Emotional Impact | There is a weak positive correlation (0.29) between Character Changes and Emotional Impact. This suggests that scenes with more character changes tend to have a slightly higher emotional impact. |
| Correlation between Tone and High Stakes | There is a weak positive correlation (0.27) between Tone and High Stakes. This implies that scenes with a more serious tone tend to have higher stakes. |
| Correlation between Tone and Dialogue | There is a weak positive correlation (0.17) between Tone and Dialogue. This indicates that scenes with a lighter-toned dialogue tend to have a slightly more lighthearted tone overall. |
| Correlation between Emotional Impact and Move Story Forward | There is a weak positive correlation (0.19) between Emotional Impact and Move Story Forward. This suggests that scenes with a higher emotional impact tend to also move the story forward. |
| Correlation between Emotional Impact and Plot | There is a weak positive correlation (0.16) between Emotional Impact and Plot. This implies that scenes with a stronger plot tend to have a slightly higher emotional impact. |
| Correlation between Emotional Impact and Overall Grade | There is a weak positive correlation (0.14) between Emotional Impact and Overall Grade. This means that scenes with a higher emotional impact tend to have slightly higher overall grades. |
| Correlation between Tone and Character Changes | There is a weak negative correlation (-0.17) between Tone and Character Changes. This suggests that scenes with a more lighthearted tone tend to have fewer character changes. |
| Correlation between Tone and Emotional Impact | There is a weak negative correlation (-0.18) between Tone and Emotional Impact. This indicates that scenes with a more lighthearted tone tend to have a slightly lower emotional impact. |
| Correlation between Tone and Plot | There is a weak negative correlation (-0.18) between Tone and Plot. This implies that scenes with a more lighthearted tone tend to have a slightly weaker plot. |
| Correlation between Tone and Overall Grade | There is a weak negative correlation (-0.19) between Tone and Overall Grade. This means that scenes with a more lighthearted tone tend to have slightly lower overall grades. |
| Correlation between Character Changes and High Stakes | There is a very weak negative correlation (-0.09) between Character Changes and High Stakes. This suggests that scenes with more character changes tend to have slightly lower stakes. |
| Correlation between Character Changes and Dialogue | There is a very weak negative correlation (-0.08) between Character Changes and Dialogue. This indicates that scenes with more character changes tend to have slightly less dialogue. |
| Correlation between Character Changes and Move Story Forward | There is a very weak negative correlation (-0.06) between Character Changes and Move Story Forward. This implies that scenes with more character changes tend to slightly move the story forward. |
| Correlation between Character Changes and Plot | There is a very weak negative correlation (-0.05) between Character Changes and Plot. This suggests that scenes with more character changes tend to have slightly weaker plots. |
| Correlation between Character Changes and Overall Grade | There is a very weak negative correlation (-0.02) between Character Changes and Overall Grade. This means that scenes with more character changes tend to have slightly lower overall grades. |
Stories Similar to this one
| Story | Explanation |
|---|---|
| Back to the Future | This screenplay is most similar to the movie 'Back to the Future' due to its time travel element, the protagonist's quest to rectify an issue in the past, and the interactions between Marty and Doc Brown. |
| Ferris Bueller's Day Off | This screenplay shares similarities with 'Ferris Bueller's Day Off' in terms of the protagonist's attempts to escape from a restrictive environment (detention), the use of comedy and humor, and the charismatic nature of the main character. |
| The Breakfast Club | The story in this screenplay is reminiscent of 'The Breakfast Club' as it revolves around teenagers in a high school setting, detention, and their attempts to defy authority and find their own identity. |
| Napoleon Dynamite | This screenplay shares similarities with 'Napoleon Dynamite' in terms of the quirky and eccentric characters, the small-town setting, and the protagonist's journey to overcome obstacles and pursue their passions. |
| Save the Last Dance | This screenplay is similar to 'Save the Last Dance' with its focus on a protagonist who faces obstacles in pursuing their passion (music in the case of this screenplay) and a central dance event that plays a significant role in the story. |
| School of Rock | The story in this screenplay is similar to 'School of Rock' in terms of the protagonist's struggle to pursue their passion for music, their interactions with other characters who initially don't understand or support them, and the eventual triumph in their performance. |
| Can't Hardly Wait | This screenplay shares similarities with 'Can't Hardly Wait' as it takes place in a high school setting, involves a character trying to make it to an important event (the audition in this case), and features a variety of interconnected storylines and relationships. |
| American Graffiti | This screenplay is reminiscent of 'American Graffiti' due to its nostalgic exploration of a specific time period (1955 in this case), the focus on teenage characters navigating relationships and challenges, and the musical elements. |
| That Thing You Do! | The story in this screenplay shares similarities with 'That Thing You Do!' as both involve characters pursuing their dreams in the music industry, the importance of a specific performance or audition, and the humorous and light-hearted tone. |
| Scott Pilgrim vs. The World | This screenplay is similar to 'Scott Pilgrim vs. The World' in terms of its blend of comedy, romance, and action, the use of video game-inspired visuals and references, and the protagonist's journey to overcome obstacles and achieve their goals. |
| The Goonies | This screenplay shares similarities with 'The Goonies' in terms of the group of misfit friends working together to overcome obstacles, the adventurous and comedic tone, and the focus on a quest or adventure. |
| The Karate Kid | This screenplay is reminiscent of 'The Karate Kid' as it involves a character (George) being mentored by the protagonist (Marty) to gain confidence and stand up to a bully (Biff), and the central theme of finding strength and courage. |
| Big | This screenplay shares similarities with 'Big' as it features a protagonist finding themselves in an unfamiliar time period (1955 in this case), the exploration of the differences in technology and culture, and the comedic and heartfelt elements. |
| Billy Elliot | The story in this screenplay is similar to 'Billy Elliot' in terms of the protagonist's passion for a particular art form (music in this case), facing obstacles and overcoming societal expectations, and the central theme of pursuing one's dreams. |
| The Truman Show | This screenplay is reminiscent of 'The Truman Show' due to the protagonist's journey of self-discovery and defying the confines of his environment, the exploration of societal control and surveillance, and the blend of drama and comedy. |
| Election | This screenplay shares similarities with 'Election' as it takes place in a small town with an election theme, involves a protagonist dealing with authority figures and facing obstacles, and features a mix of comedy and drama. |
| Sixteen Candles | This screenplay is similar to 'Sixteen Candles' in terms of the high school setting, the comedic and coming-of-age elements, and the protagonist's attempts to navigate romantic relationships and social situations. |
| Almost Famous | The story in this screenplay is reminiscent of 'Almost Famous' as it revolves around a young protagonist pursuing their passion for music, the interactions with iconic and colorful characters, and the themes of friendship and self-discovery. |
| The Perks of Being a Wallflower | This screenplay shares similarities with 'The Perks of Being a Wallflower' in terms of the coming-of-age aspect, the exploration of friendships and personal struggles, and the teenage protagonist's journey to find acceptance and identity. |
| The Wizard of Oz | This screenplay is similar to 'The Wizard of Oz' in terms of the protagonist's journey through different worlds and time periods, the quest to find their way back home, and the fantastical and adventurous tone. |
| Theme | Theme Details | Themee Explanation |
|---|---|---|
| Pursuit of passion | Marty's desire to pursue music and his audition for the guitar solo | The theme of the pursuit of passion is evident as Marty faces obstacles in his quest to pursue music. He goes to great lengths to escape detention and make it to his audition, highlighting his determination and dedication to his passion. |
| Time travel and its consequences | Marty's accidental time travel to 1955 and his efforts to return to his own time | The theme of time travel and its consequences is prevalent throughout the screenplay. Marty's journey to the past creates numerous challenges that he must overcome in order to restore the timeline and ensure his own existence. |
| Identity and family | Marty's interactions with his past and future family members | The theme of identity and family is explored as Marty navigates his relationships with his relatives in different time periods. He discovers the importance of his own existence and the impact his actions have on his family's history. |
| Courage and standing up for oneself | Marty encouraging George to stand up for himself and confront Biff | The theme of courage and standing up for oneself is evident as Marty empowers George to face his fears and stand up against Biff. This theme emphasizes the importance of self-confidence and taking action in the face of adversity. |
| Friendship and loyalty | Marty's friendship with Doc Brown and their collaboration to change the future | The theme of friendship and loyalty is explored through Marty's relationship with Doc Brown. They work together to alter the future, relying on their trust and commitment to each other. This theme highlights the importance of strong bonds and support in achieving goals. |
| Acceptance and embracing change | Marty adapting to the differences in technology and culture in the past | The theme of acceptance and embracing change is apparent as Marty adjusts to the differences in technology and culture when he travels to the past. He learns to navigate these changes and find ways to adapt, demonstrating the importance of flexibility and openness to new experiences. |
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice throughout the screenplay is characterized by witty and sarcastic dialogue, detailed and cinematic scene direction, and a focus on humor and light-heartedness. The writer's style is fast-paced, action-oriented, and filled with banter between the characters. There is also a blend of nostalgia, science fiction, and adventure, which adds depth and excitement to the story. |
| Voice Contribution | The writer's voice contributes to the script by creating a lighthearted and humorous tone, effectively conveying the characters' personalities and conflicts, and keeping the audience engaged and entertained. The witty dialogue and vivid scene descriptions add depth and visual impact to the screenplay, while the focus on retro elements and pop culture references enhances the overall nostalgia and charm of the story. |
| Best Representation Scene | 12 - Encounter with Biff |
| Best Scene Explanation | Scene 12 is the best representation of the author's voice. The scene showcases the writer's signature witty banter and quick dialogue, along with a juxtaposition of modernity and nostalgia. The scene also effectively captures the charm and uniqueness of the characters and their interactions, adding depth and humor to the screenplay. |
Originality
- Overall originality score: 4
- Overall originality explanation: While the screenplay contains some familiar tropes and archetypes, it introduces fresh elements like a DeLorean time machine and unique twists on time travel. The dialogue and character interactions feel authentic and entertaining.
- Most unique situations: The most unique situations in the screenplay are the use of a DeLorean time machine, Marty's accidental time travel, and the exploration of consequences for meddling with the past.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | Marty's internal goals evolved from seeking personal enjoyment and rebellion to dealing with rejection, self-doubt, and the weight of responsibility for fixing the past and ensuring his own existence. |
| External Goals | Marty's external goals evolved from escaping detention and borrowing a car to finding a way back to his own time period, warning Doc Brown, and saving his friend's life. |
| Philosophical Conflict | The overarching philosophical conflict revolves around themes of conformity versus rebellion, personal agency versus deterministic worldview, the ethics of time travel, and the balance between embracing the unknown and striving for safety and stability. |
Character Development Contribution: The protagonist's internal and external goals contribute to his development by challenging his beliefs, values, and fears. Through his journey, Marty grows from a rebellious teenager to someone who takes on responsibility and understands the importance of preserving personal relationships and making selfless choices.
Narrative Structure Contribution: The goals and conflicts contribute to the narrative structure by driving the plot forward and creating tension and suspense. Marty's goals provide clear objectives for each scene and help propel the story towards its climax and resolution.
Thematic Depth Contribution: The goals and conflicts deepen the thematic exploration of identity, self-discovery, family, friendship, personal agency, and the consequences of our actions. They highlight the importance of individual choices and the impact they can have on our lives and the lives of others.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
World Building
- Physical environment: The world depicted in the script is a combination of contemporary high school classrooms, small town squares, suburban neighborhoods, residential areas, malls, garages, and various time periods. There are also mentions of farms, a clock tower, dining rooms, and a cafe. The physical environments are described with varying levels of detail, ranging from mundane to rustic or run-down, and from typical to unique.
- Culture: The cultural elements in the script are shown through references to the 1950s, 1980s, and countercultural movements. There are depictions of social norms, fashion, social hierarchy, gender roles, nostalgia, materialism, and interest in history or preservation. The cultural elements vary depending on the time period and location depicted in each scene.
- Society: The societal structures in the script are primarily reflective of American society, particularly suburban or small town settings. There are depictions of social hierarchies, authority figures, expectations based on age or social status, and the importance of family and community. The society portrayed is generally traditional and conforming to societal expectations, but there are occasional countercultural or subversive elements present.
- Technology: The technological elements in the script range from contemporary technology like Walkmans, video cameras, and TV sets, to outdated or retro technology like rabbit ears on a TV or payphones. There are also mentions of state-of-the-art video and audio equipment, a modified DeLorean car as a time machine, homemade scooters, wind-up toy cars, and various car models from different time periods. The technology in the script plays a role in advancing the plot, creating atmosphere, and highlighting the differences between time periods.
- Characters influence: The unique physical environment, culture, society, and technology shape the characters' experiences and actions in the script. The characters' behaviors, motivations, and interactions are influenced by the settings they find themselves in, the societal structures and cultural norms they encounter, and the technological elements they interact with. For example, Marty's love for music and ambition to pursue a career in music shape his actions and decisions throughout the script.
- Narrative contribution: The world elements in the script contribute to the narrative by establishing the time periods, settings, and conflicts that the characters navigate. The physical environment, culture, society, and technology help create the atmosphere, tone, and visual imagery of each scene. They also set up the obstacles, challenges, and goals that the characters must overcome or pursue. Additionally, the world elements provide the context and backdrop for the time travel plot and the character development arcs.
- Thematic depth contribution: The world elements in the script contribute to the thematic depth by exploring themes such as identity, conformity, rebellion, nostalgia, ambition, family, friendship, and the impact of technology. The physical environment, culture, society, and technology reflect and reinforce these themes by highlighting the characters' struggles, choices, and desires. They also contribute to the overall message or commentary on the ideas and values represented in the script.
Screenplay Rating:
Recommend
Executive Summary
The screenplay for 'Back to the Future' is a well-crafted time travel adventure that blends compelling character arcs, engaging plot twists, and a strong sense of humor. The narrative effectively balances the fantastical elements of time travel with grounded, relatable character dynamics, particularly the relationship between Marty and his parents. While the pacing could be tightened in certain sections, the screenplay's overall strengths, including its memorable characters, thrilling set pieces, and thought-provoking exploration of the consequences of time travel, make it a compelling and recommendable work.
Strengths
- The opening sequences establish the characters and their core conflicts very effectively. The contrast between Marty's free-spirited nature and the rigid authority figures like Mr. Strickland and Biff creates an engaging setup for the story. high ( Scene 1 (1) Scene 2 (5) )
- The unveiling of the time machine concept and Marty's fish-out-of-water experiences in 1955 are a highlight. The technical details are explained in an accessible way, and the narrative smoothly incorporates the fantastical elements. high ( Scene 7 (17) Scene 8 (18) )
- The scenes at the school dance provide great character development for George and Lorraine, as well as an engaging set piece that drives the plot forward. high ( Scene 25 (115) Scene 26 (120) )
Areas of Improvement
- The pacing could be tightened in certain sections, particularly the middle act, to maintain a more consistent sense of momentum. medium
- Some of the supporting characters, like Biff's gang, could be further developed to add depth and complexity to the narrative. medium
MissingElements
- The motivations and backstories of Marty's family members, particularly his mother and father, could be explored in greater depth to fully understand the family dynamics. medium ( Scene 17 (78) )
NotablePoints
- The climactic scenes involving the clock tower and the time travel sequence are thrilling and well-executed, with a strong sense of tension and stakes for the characters. high ( Scene 30 (141) Scene 31 (145) )
- The final act's depiction of the alternate timeline and its implications for Marty and his family is a clever and thought-provoking twist that leaves a lasting impact. high ( Scene 34 (227) )
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 1 | Mr. Strickland: You're a slacker, McFly. You've got aptitude, but you don't apply yourself. You remind me of your father: He was a slacker, too. |
| 7 | Dr. Brown: Here we go, Marty. If my calculations are correct, when the car hits 88 miles an hour, you're gonna see some serious shit. |
| 16 | Dr. Brown: Kid, if this is true, we just might be able to get your ass back to the future! |
| 17 | Brown: Figure it out, kid. Your old man was supposed to get hit by your Grandpa's car, not you — therefore, you interfered in your parents' first meeting. |
| 28 | Marty: But your kids are gonna love it. |