Girls Pilot Script Pdf
Sep 19, 2018 It’s too adult. The level of sex and violence would never have gone through.” The lesson: always bear in mind the target home of your TV script pilot. Created by Joel Surnow and Robert Cochran. Creating a sense of urgency is paramount in most TV pilot scripts, and this one is required reading for all action/adventure writers.
FINAL DRAFT November 1995 'TOY STORY' FADE IN: INT. ANDY'S BEDROOM A row of moving boxes lie on the floor of the room. They are drawn up in crayon to look like a miniature Western town. Jan 19, 2018 Girls Pilot Script Pdf Lena Dunham - DOWNLOAD (Mirror #1) 4c5316f046 Pilot is the first episode of Season 1 of Girls. It was directed and written by Lena Dunham. Some 'Girls' talk with Lena Dunham as final season begins. By HBO shows Lena Dunham in a scene from 'Girls.' She started writing the pilot script,. The following text fades in over black: This is a true story. The events depicted in this film took place in Minnesota in 1987. At the request of the survivors, the names have been. Two of the flower girls are allergic to tuberoses so they can't be in their baskets or they'll die. LORELAI No tuberoses. I'll take care of it. Now, you need to go up to your room, relax, unpack, and I'll send a masseuse up to take care of you. LANGWORTHY You're a dear.
The characters, plotlines, quotes, etc. included here are owned by ChrisCarter and 1013 Productions, all rights reserved. The following transcriptis in no way a substitute for the show 'The X Files' and is merely meantas a homage. This transcript is not authorized or endorsed by Chris Carter,1013 Productions, or Fox Entertainment. It was painstakingly typed outby Vic Vega and made available for your personal enjoymentby me, DrWeesh from my website,The X Files TranscriptsArchiveSCENE 1
COLLUM NATIONAL FOREST, NORTHWEST OREGON
(A woman runs through the forest, grunting as she trips and stumblesover logs and rocks. She is wearing a nightgown and runs through the foliage.She falls over a tree root and stumbles into a small clearing. A loud roaringstarts and the wind grows stronger. She looks up to see a light growing,shining through the trees. A silhouette steps out of the light, walkingtowards her. The leaves around her begin swirling up in a circle, likethey are in the center of a tornado. The figure stands over her as thelight engulfs them both. Morning. The girl is face-down on the ground,dead. Officials walk around, murmuring to each other. The assistant coronerslean over the body as coroner John Truitt and Detective Miles walk overto the body.)
JOHN TRUITT: I put the time of death between eight and twelve hoursago. No visible cause, no sign of battery or sexual assault. All we haveis this.
(He pulls up the back of her nightgown to reveal two small bumps onher lower back. Miles looks at them.)
MILES: Can we turn her over?
(They do so. Miles stands.)
Karen Swenson.
ASSISTANT CORONER: Is that a positive ID?
DETECTIVE MILES: She went to school with my son.
(He walks away as Truitt stands.)
JOHN TRUITT: Would that be the class of '89, detective? It's happeningagain isn't it?
(Miles keeps walking.)
SCENE 2
FBI HEADQUARTERS; WASHINGTON, D.C.
(Agent Dana Scully walks up the stairs and around to a desk where awoman sits.)
SCULLY: Agent Dana Scully.
(She continues through a group of offices and down a hallway. Reachingthe door to Section Chief Blevins' office, she knocks.)
SCOTT BLEVINS: Come in.
(Scully walks in and sees Blevins sitting at his desk.)
Agent Scully, thank you for coming on such short notice. Please..
(He motions for her to sit down, which she does. A man smoking a cigaretteleans against a file cabinet. He walks around to behind Blevins and leansagainst the wall. Another man sits next to Blevins.)
We see you've been with us just over two years.
SCULLY: Yes, sir.
SCOTT BLEVINS: You went to medical school but you chose not to practice.How'd you come to work for the F.B.I.?
SCULLY: Well, sir, I was recruited out of medical school. Um, my parentsstill think it was an act of rebellion, but, uh.. I saw the F.B.I. asa place where I could distinguish myself.
THIRD MAN: Are you familiar with an agent named Fox Mulder?
SCULLY: Yes, I am.
(Blevins and the man look at each other.)
THIRD MAN: How so?
SCULLY: By reputation. He's an Oxford educated Psychologist, who wrotea monograph on serial killers and the occult, that helped to catch MontyProps in 1988. Generally thought of as the best analyst in the violentcrimes section. He had a nickname at the academy.. Spooky Mulder.
(She smiles at the Cigarette-Smoking Man, who gives no response.)
SCOTT BLEVINS: What I'll also tell you is that Agent Mulder has developeda consuming devotion to an unassigned project outside the bureau mainstream.Are you familiar with the so-called 'X-Files?'
SCULLY: I believe they have to do with unexplained phenomena.
SCOTT BLEVINS: More or less. The reason you're here, Agent Scully, iswe want you to assist Mulder on these X-Files. You will write field reportson your activites, along with your observations on the validity of thework.
(The Cigarette-Smoking Man stubs out his cigarette.)
SCULLY: Am I to understand that you want me to debunk the X-Files project,sir?
SCOTT BLEVINS: Agent Scully, we trust you'll make the proper scientificanalysis. You'll want to contact Agent Mulder shortly. We look forwardto seeing your reports.
(The elevator rings and the door slides open. Scully steps out intothe basement and comes to an office secluded in the back. She knocks onthe door.)
MULDER: Sorry, nobody down here but the FBI's most unwanted.
(She opens the door to see Agent Fox Mulder sitting at his desk, goingover some slides. Walking slowly to him, she sees various pictures of UFO'sand a poster that reads 'I Want to Believe' with a UFO on it. He looksat her.)
SCULLY: Agent Mulder. I'm Dana Scully, I've been assigned to work withyou.
(He shakes her hand.)
MULDER: Oh, isn't it nice to be suddenly so highly regarded? So, whodid you tick off to get stuck with this detail, Scully?
SCULLY: Actually, I'm looking forward to working with you. I've hearda lot about you.
MULDER: Oh, really? I was under the impression.. that you were sentto spy on me.
(He smiles.)
SCULLY: If you have any doubt about my qualifications or credentials,th..
(He stands and takes out a paper from a pile with his telephone as apaperweight.)
MULDER: You're a medical doctor, you teach at the academy. You did yourundergraduate degree in physics.
(He takes off his glasses and looks at the paper.)
'Einstein's Twin Paradox, A New Interpretation. Dana Scully Senior Thesis.'Now that's a credential, rewriting Einstein.
SCULLY: Did you bother to read it?
MULDER: I did. I liked it.
(He takes a slide canister and puts it into the slide projector.)
It's just that in most of my work, the laws of physics rarely seemsto apply.
(He walks past her and turns off the lights. She glares at him slightly.)
Maybe I can get your medical opinion on this, though.
(He presses a button on the control and a slide comes up on the viewscreenof Karen Swenson, face-up.)
Oregon female, age twenty-one, no explainable cause of death. Autopsyshows nothing. Zip.
(He changes the slide to that of the two bumps on her back.)
There are, however, these two distinct marks on her lower back. DoctorScully, can you ID these marks?
SCULLY: Needle punctures, maybe. An animal bite. Electrocution of somekind.
(She walks up to the viewscreen. He changes the slide to that of a moleculardiagram.)
MULDER: How's your chemistry? This is the substance found in the surroundingtissue.
SCULLY: It's organic. I don't know, is it some kind of synthetic protein?
MULDER: Beats me, I've never seen it before either.
(The next slide is of a boy face-down on railroad tracks, his shirtlifted in the back.)
But here it is again in Sturgis, South Dakota.
(The final slide if of a close-up of another set of bumps.)
And again in Shamrock, Texas.
SCULLY: Do you have a theory?
MULDER: I have plenty of theories.
(He walks over to her.)
Maybe what you can explain to me is why it's bureau policy to labelthese cases as 'unexplained phenomenon' and ignore them. Do you believein the existence of extraterrestrials?
(He whispers the last few words eerily and she smiles.)
SCULLY: Logically, I would have to say 'no.'
(He nods, having expected that answer.)
Given the distances needed to travel from the far reaches of space,the energy requirements would exceed a spacecraft's capabilties th..
MULDER: Coventional wisdom. You know this Oregon female? She's the fourthperson in her graduating class to die under mysterious circumstances. Now,when convention and science offer us no answers, might we not finally turnto the fantastic as a plausibility?
SCULLY: The girl obviously died of something. If it was natural causes,it's plausible that there was something missed in the post-mortem. If shewas murdered, it's plausible there was a sloppy investigation. What I findfantastic is any notion that there are answers beyond the realm of science.The answers are there. You just have to know where to look.
MULDER: That's why they put the 'I' in 'F.B.I.' See you tomorrow morning,Scully, bright and early.
(He walks back over to his desk and sits down.)
We leave for the very plausible state of Oregon at eight A.M.
(She smiles and walks out.)
SCENE 3
AIRPLANE TO OREGON
(The drink cart passes Mulder, who is lying down across a row of seats,sleeping, headphones in his ears. Scully is sitting nearby, wearing glassesand flipping through newspaper clippings of the dead teenagers. Peopleare murmuring in the back, but the sounds of their voices are covered bythe jet engines. Scully focuses on the name 'Dr. Nemman.' The overheadloudspeakers rings.)
PILOT: I would like to ask all passengers to fasten their seatbelts,as we're about to make our descent..
(Scully starts putting her things away when the plane starts shakingviolently. People scream and things are tosses about as Scully grabs onto her seat. She looks at Mulder, who is awake now but still lying downin the seats passively. The plane finally is brought under control andshe sighs in relief. He turns over and looks at her.)
MULDER: This must be the place.
SCENE 4
BELLEFLEUR, OREGON
(Driving down a long road, they pass a sign that reads 'Welcome to Bellefleur,Oregon.' Scully is reading the files and Mulder is eating sunflower seedswhile driving.)
SCULLY: You didn't mention yesterday, this case has already been investigated.
MULDER: Yeah, the FBI got involved after the first three deaths whenlocal authorities failed to turn up any evidence. Our boys came out here,spent a week, enjoyed the local salmon which, with a little lemon twist,is just to die for, if you'll pardon the expression. Without explanation,they were called back in. The case was reclassified and buried in the X-Files,till I dug it up last week.
SCULLY: And you found something they didn't.
MULDER: Mmm. (as if to say 'yes.')
SCULLY: The autopsy reports of the first three victims, show no unidentifiedmarks or tissue samples. But those reports were signed by a different medicalexaminer than the latest victim.
MULDER: That's pretty good, Scully.
SCULLY: Better than you expected or better that you hoped?
MULDER: Well.. I'll let you know when we get past the easy part.
(She laughs.)
SCULLY: Is the medical examiner a suspect?
MULDER: We won't know that until we do a little gravedigging. I've arrangedto exhume one of the other victims' bodies to see if we can get a tissuesample to match the girl's. You're not squeamish about that kind of thing,are ya?
SCULLY: I don't know. I've never had the pleasure.
(The radio starts flipping through channels rapidly, various soundsblaring. As Mulder tries to adjust it, the clock starts changing as well.The radio becomes a high-pitched screeching and Scully covers her ears.Mulder looks up to the sky.)
What's going on?
(Mulder pulls the car over to the side of the road and turns it off.He and Scully both get out. Mulder goes to the trunk, moves a briefcase,pulls out a can of pink spray paint, and walks over to where the occurancebegan. As Scully watches in wonder, he marks a giant 'X' on the ground,then tosses the spray paint can back into his trunk. He moves the briefcaseback on top of the can and closes the trunk.
What the hell was that about?
MULDER: Oh, you know.. probably nothing.
(He gets back in the car.)
SCENE 5
COASTAL NORTHWEST OREGON; MARCH 7, 1992
(After driving through town, the agents arrive at the cemetery. Gettingout, they see a number of men standing around, along with a crane. JohnTruitt and his assistant walk over to Mulder and Scully.)
JOHN TRUITT: Mister Mulder, John Truitt, County Coroner's Office.
MULDER:Songs free download hindi. Yeah, hi.
(They shake hands.)
This is Agent Scully.
SCULLY: Hi.
(She and Truitt shake hands.)
MULDER: How soon can we get started?
(Scully and the assistant shake hands as well.)
SCULLY: Hello.
JOHN TRUITT: We're ready to go.
MULDER: Oh great.
JOHN TRUITT: Okay, Vinnie!
(The crane starts up as the four walk up the hill.)
MULDER: Were you able to arrange for a, uh.. an examination facility?
JOHN TRUITT: I think we got something for you..
(A man and his teenage daughter pull up to the site.)
JAY NEMMAN: Excuse me!
MULDER: Ah..
(They turn around and look at the man.)
JAY NEMMAN: Excuse me!
(He starts towards them angrily but turns around and moves his daughterback to the passenger's side.)
No. Please stay in the car.. let me handle this. I just want to talkto them.
(The girl gets into the car. The man walks over to the four officials.)
I just don't know who you people think you are. You just think you cancome up here, and do whatever you damn well please, don't you?
MULDER: I'm sorry, you are..
JAY NEMMAN: I'm Doctor Jay Nemman. I'm county medical examiner.
MULDER: Surely, you must have been informed of our intentions to comeup here.
JAY NEMMAN: No, uh, no. We've been away.
MULDER: Oh, oh. Well, that answers the question that we had. Why youhadn't done the recent autopsy on Karen Swenson. You're aware of the tissuesample that was taken from the girl's body.
JAY NEMMAN: Wha.. wha.. what is the insinuation here? Are you sayingthat I missed something in those other kids' exams?
SCULLY: We're not insinuating anything, sir.
JAY NEMMAN: Wait a minute.
(The group turns back, but Nemman grabs Mulder's arm and spins him around.)
Wait a minute, see, well I think you are. And if you're making an accusation,then you'd better have something to back it up.
(His daughter gets out of the car.)
THERESA NEMMAN: Daddy, please, let's just go home.
(Jay motions for Theresa to wait.)
Let's go home, please.
(Nemman glares at Mulder, then gets back in the car and drives off.)
MULDER: Guy obviously needed a longer vacation.
(They start back up the hill. They reach the gravesite and the cranestarts scooping out the dirt above the coffin. Scully is reading from thefile loudly because the crane's whirring is very loud.)
SCULLY: Ray Soames was the third victim. After graduating high school,he spent time in a state mental hospital treated for post-adolescent schizophrenia.
MULDER: Soames actually confessed to the first two murders. He pleadedto be locked up but he couldn't produce any evidence that he committedthe crimes. Did you happen to read the cause of death?
SCULLY: Exposure. His body was found in the woods after escaping thehospital.
MULDER: Missing for only seven hours in July. How does a twenty-year-oldboy die of exposure on a warm summers night in Oregon, Doctor Scully?
WORKER: I got it.
(Two men help pull out the coffin as it is being lifted out by a harness.Suddenly, one of the straps breaks and the coffin starts rolling down thehill.)
Look out!
(As it hits the ground, the people jump, startled. They run down tothe coffin as it crashes up against a tombstone, stopping it. The coffinhas been broken open. Mulder goes to open it but Truitt grabs his arm.)
JOHN TRUITT: This isn't official procedure.
MULDER: Really?
(Mulder opens it anyway and sees a desecated, mummified grayish bodylying in the coffin. While it is unclear exactly what this was, it is definitelynot human. The arms are very long and the body is thin as well. The agentsand workers gasp and cover their mouths, nauseous. Mulder stands and looksat Scully, who is kneeling.)
It's probably a safe bet Ray Soames never made the varsity basketballteam.
(He turns to Truitt.)
Seal this up, right now! Nobody sees or touches this. Nobody!
(Truitt slams the lid shut.)
SCENE 6
10:56 P.M.
(Scully is dressed in her doctor's garb as Soames is laid out on thetable. Mulder is taking pictures with a flashbulb.)
MULDER: This is amazing, Scully. You know what this could mean? It'salmost too big to even comprehend.
SCULLY: Subject is a hundred and fifty-six centimeters in length, weighingfifty-two pounds in extremis. Corpse is in advance stages of decay anddesiccation. Distinguishing features include large ocular cavities, oblatecranium.. indicates subject is not human. Could you point that flash awayfrom me, please?
(Mulder puts the camera away.)
MULDER: If it's not human, what is it?
SCULLY: It's mammalian. My guess is it's a chimpanzee or something fromthe ape family, possibly an orangutan.
MULDER: Buried in the city cemetery in Ray Soames' grave? Try tellingthat to the good townsfolk or to Ray Soames' family. I want tissue samplesand x-rays. I'd like blood type and toxicology and a full genetic work-up.
SCULLY: You're serious?
MULDER: What we can't do here, we'll order to go.
SCULLY: You don't honestly believe this is some kind of an extraterrestrial?This is somebody's sick joke.
MULDER: We can do those x-rays here, can't we? Is there any reason wecan't do them right now? I'm not crazy, Scully. I have the same doubtsyou do.
SCENE 7
SCULLY'S HOTEL ROOM
(The time is 4:37. Scully is typing on her laptop while listening toa recording she made earlier. There is an x-ray of Soames' head with thenasal cavity circled taped to the lamp.)
SCULLY ON TAPE RECORDER: Official laboratory inspection of the bodyand x-ray analysis confirms homologous but possibly mutated mammalian physiology.However, does not account for small unidentified object found in subject'snasal cavity. A grey metallic implant form..
(She stops the tape and picks up a small tube containing a gray metallicobject. There is a knock on the door.)
SCULLY: Who is it?
MULDER: Steven Spielberg.
(She smiles and opens the door. Mulder leans up against the doorwayin jogging clothes and wearing a baseball cap backwards.)
I'm way too wired. I'm going for a run, you want to come?
SCULLY: Pass.
MULDER: You figure out what that little thing up Ray Soames' nose isyet?
SCULLY: No..
(She yawns.)
And I'm not losing any sleep over it. Good night.
(She closes the door and looks at the x-ray.)
SCENE 8
RAYMON COUNTY; STATE PSYCHIATRIC HOSPITAL
(Mulder, Scully and Doctor Glass are walking outside the building.)
GLASS: Ray Soames was a patient of mine, yes. I oversaw his treatmentfor just over a year for clinical schizophrenia. Ray had an inability tograsp reality. He seemed to suffer from some kind of post-traumatic stress.
MULDER: Is that something you've seen before?
GLASS: I've treated similar cases.
SCULLY: Were any of those Ray Soames' classmates?
GLASS: Yes.
MULDER: We're trying to find a connection in these deaths. Did you treatany of these kids with hypnosis?
GLASS: No, I did not.
SCULLY: Are you treating any of these kids now?
GLASS: Currently? Yes, I'm treating Billy Miles and Peggy O'Dell. Bothhave been long term live-in patients.
(They stop walking.)
SCULLY: They're here at this hospital?
GLASS: That's right, going on four years now.
SCULLY: Would it be possible for us to talk to them?
GLASS: Well, you might find it difficult. Certainly, in Billy Miles'case.
(Billy Miles lays on his hospital bed very still. His eyes are openbut there is no sign of life except for the pulse read-out on the monitor.The three walk in. Peggy O'Dell sits in her wheelchair next to Billy. Anurse is changing the sheets on the adjacent bed.)
GLASS: Billy's experiencing what we call a waking coma. Functionally,his brainwaves are flat and he's persistent vegetative.
SCULLY: How did it happen?
GLASS: Both he and Peggy were involved in an automobile accident outon State road.
(He looks over to Peggy.)
Peggy?
PEGGY O'DELL: '..aerial..'
(She stops reading.)
Peggy, we have some visitors, would you like to talk with them for amoment?
PEGGY O'DELL: Billy wants me to read now. 'It's not sand, it's dark..'
(Mulder kneels down in front of her.)
MULDER: Does he like it when you read to him?
PEGGY O'DELL: Yes. Billy needs me close.
(Mulder walks back over to the doctor.)
MULDER: Doctor. I'm wondering if we can do a cursory medical exam onPeggy.
(She throws the book down, tips over the food tray, and starts wheelingaround.)
NURSE: Peggy? Oh, Peggy, what are you doing?
GLASS: Get an orderly.
(Nurses and Doctor Glass go to her. She grabs her nose and starts screaming.)
MULDER: No one is going to hurt you!
(She moves her hand away from her nose and it is covered with blood,as well as her face. She falls forward off the chair and onto the floor.)
GLASS: This is an emergency. Get an orderly, get an orderly. Nobodyis going to hurt you. The nurse is here.
(Mulder takes the opportunity to lift up the back of Peggy's shirt.She has the bumps. Mulder looks at Scully, who looks back in shock.)
NURSE: I'm ringing for the orderlies now.
PEGGY O'DELL: Stop it! Stop!
DR. GLASS: All right, Peggy. All right. It's all right.
NURSE: Peggy, honey, you're going to be fine. You've had these nosebleedings before, now calm down. Don't worry..
(Scully walks out angrily. Mulder walks down the stairs quickly afterher.)
MULDER: What's his name, er.. Billy said he was sorry he didn't getto say goodbye.
SCULLY: How did you know that girl was going to have the marks?
MULDER: I don't know, lucky guess?
SCULLY: Damn it, Mulder, cut the crap. What is going on here? What doyou know about those marks? What are they?
MULDER: Why? So you can put it down in your little report? I don't thinkyou're ready for what I think.
(They stop walking.)
SCULLY: I'm here to solve this case, Mulder, I want the truth.
MULDER: The truth? I think those kids have been abducted.
SCULLY: By who?
MULDER: By what.
SCULLY: You don't really believe that?
MULDER: Do you have a better explanation?
SCULLY: I'll buy that girl is suffering some kind of pronounced psychosis.Whether it's organic or the result of those marks, I can't say. But tosay that they've been riding around in flying saucers, it's crazy, Mulder,there is nothing to support that.
MULDER: Nothing scientific, you mean.
SCULLY: There has got to be an explaination. You've got four victims.All of them died in or near the woods. They found Karen Swenson's bodyin the forest in her pajamas, ten miles from her house. How did she getthere? What were those kids doing out there in the forest?
SCENE 9
COLLUM NATIONAL FOREST, NORTHWEST OREGON
(Scully and Mulder walk through the forest, carrying flashlights. Theyboth are no longer in suits, now wearing jackets and pants. Mulder signalsto Scully and they split up. Mulder looks at his compass, which is spinningwildly. Scully, in the clearing, bends down and picks up some strange dirton the ground. A large rumbling begins.)
SCULLY: Mulder?
(The rumbling grows louder. She stands and takes out her gun. Walkingback, she sees a light shining through the trees.)
Mulder, is that you? Mulder?
(A silhouette from out of the light comes towards her. The man liftsup his shotgun and Scully points her weapon at the man.)
Special Agent Dana Scully, FBI, drop your weapon.
(Detective Miles steps into the light.)
MILES: I'm with the County Sheriff's Department. You're trespassingon private property here.
SCULLY: We are conducting an investigation.
(Mulder walks up and points his gun as well.)
MILES: Get in your car and leave, both of you, or I'll have to arrestyou. I don't care who you are.
MULDER: Hold on! This is a crime scene.
MILES: Did you hear what I said? You are on private property withoutlegal permission. Now, I'm only going to say it one more time, get in yourcar and leave.
(Mulder and Scully lower their flashlights and weapons. They walk outpast the yellow tape and pass a truck with huge searchlights on them thatcreated the light. They get into their car and drive off.)
MULDER: What's he doing out here all by himself?
SCULLY: Maybe it has something to do with this.
(She holds out a handful of dirt. He turns on the carlight.)
What do you think it is?
MULDER: I don't know. Is it a campfire?
SCULLY: It was all over the ground. I think something is going on outhere, some kind of a sacrifice, maybe. What if these kids are involvedin some kind of occult and that man knows something about it?
(Mulder takes out his compass and looks at it. It is acting very strangely.)
I wanna come back here.
(Mulder looks at his watch, which reads 9:03. He looks down at the compassagain.)
You okay, Mulder?
MULDER: Yeah, I'm just, er..
(He starts looking up through the windshield.)
SCULLY: What are you looking for?
(There is a loud roar and a light engulfs them. Time seems to stop justfor a second. When the light fades, the car slowly comes to a stop, havingno power. Mulder tries to restart the car, but it will not go.)
What happened?
MULDER: We lost power, brakes, steering, everything.
(He looks at his watch.)
We lost nine minutes.
(He gets out of the car and screams into the sky. Scully gets out. Theyscream over the rain to each other as they talk.)
SCULLY: We lost what?
MULDER: Nine minutes. I looked at my watch just before the flash andit was nine-o-three. It just turned nine-thirteen.
(He starts running down the road.)
Look! Look!
(They stop at the pink 'X' that Mulder marked in the road, only a fewfeet from the car.)
Oh-ho, yes! Abductees.. people who have made UFO sightings, they'vereported unexplained time loss.
SCULLY: Come on.
MULDER: Gone! Just like that.
SCULLY: No, what a minute. You're saying that, that time disappeared.Time can't just disappear, it's, it's, it's a universal invariant!
(The car starts up and the headlights shine on them. Mulder smiles.)
MULDER: Not in this zipcode.
(He runs back over to the car. Scully looks down at the 'X' and follows.)
SCENE 10
Hbo Girls Pilot Script
SCULLY'S HOTEL ROOM(Scully is typing on her laptop. We hear her voice over the scene. Asshe types, it reads:
'Agent Mulder's insistence of time loss due to unknown forces cannotbe validated or substantiated by this witness'
She continues typing. A thunderclap rings out and the power goes out.)
SCULLY: Great.
(She goes into her bathroom, carrying a candle and wearing a bathrobe.She starts running a bath and takes off her robe, revealing only a braand underwear. She goes to slip off her underwear when she feels something.Two bumps on her lower back.)
SCENE 11
MULDER'S HOTEL ROOM
(Mulder, carrying a candle, opens the door to see Scully standing inher bathrobe, shaken.)
MULDER: Hi.
SCULLY: I want you to look at something.
MULDER: Come on in.
(Scully walks in, turns around and slips off her robe. She is stillwearing only a bra and underwear. She looks back at him, then down to herlower back. Mulder sees a few bumps.)
SCULLY: What are they?
(Mulder starts to smile.)
Mulder, what are they?
MULDER: Mosquito bites.
SCULLY: Are you sure?
MULDER: Yeah. I got eaten up a lot myself out there.
(She gasps in relief, slips her robe on and hugs Mulder for a long time.)
You okay?
SCULLY: Yes.
(She pulls away from the hug.)
MULDER: You're shaking.
SCULLY: I need to sit down.
(She sits down. He sits down in a seat across from her.)
MULDER: Take your time.
(Later, Scully is laying on the bed and Mulder sits in front of it onthe floor.)
I was twelve when it happened. My sister was eight. She just disappearedout of her bed one night. Just gone, vanished. No note, no phone calls,no evidence of anything.
SCULLY: You never found her.
MULDER: Tore the family apart. No one would talk about it. There wereno facts to confirm, nothing to offer any hope.
SCULLY: What did you do?
MULDER: Eventually, I went off to school in England, I came back, gotrecruited by the bureau. Seems I had a natural aptitude for applying behaviouralmodels to criminal cases.
(Outside, a man in a raincoat shuffles through the bushes.)
My success allowed me a certain freedom to pursue my own interests.And that's when I came across the X-Files.
(He turns to face her.)
SCULLY: By accident?
MULDER: At first, it looked like a garbage dump for UFO sightings, alienabduction reports, the kind of stuff that most people laugh at as beingridiculous. But I was fascinated. I read all the cases I could get my handson, hundreds of them. I read everything I could about paranormal phenomenon,about the occult and..
(He sighs and drifts off into thought.)
SCULLY: What?
MULDER: There's classified government information I've being tryingto access, but someone has been blocking my attempts to get at it.
SCULLY: Who? I don't understand.
(She sits up a little.)
MULDER: Someone at a higher level of power. The only reason I've beenallowed to continue with my work is because I've made connections in congress.
SCULLY: And they're afraid of what? That, that you'll leak this information?
MULDER: You're a part of that agenda, you know that.
SCULLY: I'm not a part of any agenda. You've got to trust me. I'm herejust like you, to solve this.
(He moves closer, kneeling.)
MULDER: I'm telling you this, Scully, because you need to know, becauseof what you've seen. In my research, I've worked very closely with a mannamed Dr. Heitz Werber and he's taken me through deep regression hypnosis.I've been able to go into my own repressed memories to the night my sisterdisappeared. I can recall a bright light outside and a presence in theroom. I was paralyzed, unable to respond to my sister's calls for help.
(He moves even closer, talking louder.)
Listen to me, Scully, this thing exists.
SCULLY: But how do you know..
MULDER: The government knows about it, and I got to know what they'reprotecting. Nothing else matters to me, and this is as close as I've evergotten to it.
(The phone rings, startling Scully. Mulder picks up.)
Hello? What? Who is this? Who is thi..
(He hangs up.)
That was some woman.. she just said Peggy O'Dell was dead.
SCULLY: The girl in the wheelchair?
SCENE 12
RURAL HIGHWAY 133
BELLEFLEUR, OREGON
(A mack truck sits in the road, ambulances and police cars surroundingit. People stand outside talking.)
MAN #1: Yeah, I'll bring it over in a minute.
(A sheriff lights a flare and puts it down in the road to ward off traffic.Mulder and Scully pull up.)
MAN #2: We're going to need a couple of more hours, Bob.
(Mulder walks over to a deputy and the driver.)
MULDER: What happened?
TRUCK DRIVER: She ran right out in front of me.
DEPUTY: Who are you?
MULDER: She was running? On foot?
(The county coroner pulls up and Scully uncovers Peggy's face. Her neckis in a brace, and she is very bloody. There are tubes in her nose. Scullylooks at Peggy's watch, which has stopped and reads 9:03. Scully walksover to Mulder and the deputy. Mulder is very ornery.)
Well, that's just..
SCULLY: We need to ask you a few quest..
MULDER: Let's go, let's go.
(She looks at him and he leads her to the car.)
Someone trashed the autopsy bay in the lab and they stole the body,we're going back to the motel.
SCULLY: What? They stole the corpse?
SCENE 13
HOTEL
(Scully and Mulder pull up and run out of the car. Police and firemenare all around. Mulder runs over to a deputy and shows him his badge.)
MULDER: F.B.I.
(They stop and look at the hotel, which is ablaze.)
SCULLY: There goes my computer.
MULDER: Damn it! The x-rays and pictures!
(Firemen run around, one climbing a ladder.)
FIREMAN: We need a couple of men out here!
(Mulder closes his eyes, frustrated and angry. Theresa Nemman stepsout of the crowd and over to the agents.)
THERESA NEMMAN: My name is Theresa Nemman. You've got to protect me.
MULDER: Come with us.
SCENE 14
DINER
(Scully sits next to Theresa in a booth. Mulder sits across from them.)
THERESA NEMMAN: This is the way it happens, I don't know how I get outthere. I'll just find myself out in the woods.
MULDER: How long has it been happening?
THERESA NEMMAN: Ever since the summer we graduated. It's happened tomy friends too. That's why I need you to protect me. I'm scared I might..die like the others, like.. Peggy did tonight.
MULDER: Your father's the medical examiner. You were the one on thephone, you told me Peggy O'Dell had been killed.
(Theresa nods.)
SCULLY: Theresa, your father knows about this, doesn't he? About whathappened.
THERESA NEMMAN: Yes. But he said never to tell anyone about any of it.
MULDER: Why?
THERESA NEMMAN: He wants to protect me. He thinks he can protect me,but I don't think he can.
MULDER: Do you have the marks, Theresa?
THERESA NEMMAN: Yes. I'm going to die, aren't I? I'm gonna be next?
SCULLY: No, you're not going to die.
(Blood pours out of Theresa's left nostril.)
Oh, God!
(Scully runs over to the adjacent table and gets some napkins. Beforeshe can give them to Theresa, she notices Nemman and Miles walk in.)
JAY NEMMAN: Let's go home, Theresa. Theresa, come on.
(He pushes Mulder out of the way and sits down next to Theresa. He putsa handkercheif to her nose.)
Come on, honey.
MULDER: I don't think she wants to leave.
JAY NEMMAN: Come on..
(Nemman looks at Mulder.)
I don't care what you think! She's a sick girl.
MILES: Your father wants to take you home. He'll get you all cleanedup.
JAY NEMMAN: I'm going to take you where you'll be safe, Theresa. DetectiveMiles and I won't let anything happen to you, I promise.
(Mulder looks at Miles in shock.)
MULDER: You're Billy Miles' father?
DETECTIVE MILES: That's right. And you stay away from that boy.
(Outside, Theresa looks at Mulder and Scully from the back seat of Nemman'svan. The windows roll up and they drive away. Mulder and Scully watch themgo.)
MULDER: Eh, you gotta love this place. Everyday's like Halloween.
SCULLY: They know Mulder. They know who's responsible for the murders.
MULDER: They know something.
(They start walking to the car.)
SCULLY: Dr. Nemman's been hiding medical evidence from the beginning.He lied on the autopsy reports and now we find out about the detective.Who else would have reason to trash the lab and our rooms?
(They stop.)
MULDER: Why would they destroy evidence? What would they want with thatcorpse?
SCULLY: I don't know, I..
MULDER: Makes you wonder what's in those other two graves.
SCENE 15
CEMETARY; 5:07
(As the rain pours down, Mulder and Scully, carrying flashlights, walkinto the cemetary to find that the other two graves have been unearthedand are empty.)
MULDER: They're both empty.
SCULLY: What is going on here?
MULDER: I think I know who did it. I think I know who killed Karen Swenson.
SCULLY: Who? The detective?
MULDER: The detective's son. Billy Miles.
SCULLY: The boy in the hospital? The vegetable?! Billy Miles, a boywho's been in a coma for the last four years, got out here and dug up thesegraves?
MULDER: Peggy O'Dell was bound to a wheelchair but she ran in frontof that truck. Look, I'm not making this up, it all fits the profile ofalien abduction.
SCULLY: This fits a profile?
MULDER: Yes. Peggy O'Dell was killed at around nine-o-clock, that'sright around the time we lost nine minutes on the highway, I think thatsomething happened in that nine minutes. I think that time, as we knowit, stopped. And something took control over it.
(She smiles, almost laughing.)
You think I'm crazy.
(She nods and he walks away a little. Her face becomes grimmer. He looksback at her and notices that something is bothering her.)
What?
SCULLY: Peggy O'Dell's watch stopped a couple of minutes after nine.I made a note of it when I saw the body.
MULDER: That's the reason the kids come to the forest, because the forestcontrols them and summons them there. And, and, and the marks are from,from some kind of test that's being done on them. And, and that may becausing some kind of genetic mutation which would explain the body thatwe dug up.
SCULLY: And the force summoned Theresa Nemman's body into the woodstonight.
MULDER: Yes, but it was Billy Miles who took her there, summoned bysome alien impulse. That's it!
(Scully laughs, finding everything ludicrous but believing it. Muldersmiles.)
Come on, let's get out of here.
SCULLY: Where are we going?
MULDER: We're going to pay a visit to Billy Miles.
(They start walking back.)
SCENE 16
RAYMON COUNTY; STATE PSYCHIATRIC HOSPITAL
(Mulder talks to the nurse while Scully looks at Billy's fingers.)
NURSE: Now, we could stand here until the second coming, waiting forBilly to get out of this bed. It ain't going to happen. He blinks and Iknow about it.
(She starts changing his IV.)
MULDER: I guess you changed his bedpan last night.
NURSE: Hmm, nobody else here's gonna do it.
MULDER: You noticed nothing unusual? Do you remember what you were doinglast night around nine-o-clock?
NURSE: Mmm, probably watching TV, yeah.
MULDER: Do you rememeber what you were watching?
NURSE: Um, let's see.. you know I don't really remember what I watched.
(Scully goes over to Billy's feet and lifts the covers up.)
Miss?
(Scully starts inspecting Miles' feet.)
What is she looking for?
SCULLY: Mulder, take a look at this.
(Mulder looks at it and Scully opens up an evidence vial. She startsscraping off some of the strange dirt into the vial. Mulder looks backat the nurse.)
MULDER: Do you know who was taking care of Peggy O'Dell last night?
NURSE: Not me, it's not my ward. Not my aisle of the produce section.
(She laughs. Mulder humors her by laughing slightly.)
I do have a job of my own to do.. what is she doing now?
(Scully closes up the vial.)
MULDER: Thank you for your time, ma'am.
NURSE: Okay.
MULDER: Good day.
(Mulder leads Scully out. Once outside the room, Scully walks rapidly,excited.)
SCULLY: That kid may have killed Peggy O'Dell, I don't believe this.
MULDER: Scully..
SCULLY: It's crazy! He was in the woods.
MULDER: You're sure?
(She holds up the vial in a baggie.)
SCULLY: This is the same stuff that I took a handful of in the forest.
MULDER: Okay, then maybe we should take it and run a lab test..
SCULLY: We lost the original sample in the fire. What else could itbe?
(They stop.)
MULDER: All right, but I just want you to understand what it is you'resaying.
SCULLY: You said it yourself.
MULDER: Yeah, but you have to write it down in your report.
(Scully calms down.)
SCULLY: You're right. We'll take another sample from the forest.. andrun a comparison before we do anything.
SCENE 17
COLLUM NATIONAL FOREST, NORTHWEST OREGON
(They pull up to the forest and see Miles' van. Mulder shines his flashlightin the front seat. It is empty.)
SCULLY: The detective's here. What do you think?
(A woman's scream rings out. Mulder and Scully start running throughthe forest. They split up, running through foliage, searching for the girl.Out of nowhere, Miles hits Scully on the head with the butt of his gun.She falls and looks up at Miles.)
MILES: You wouldn't listen to me. I told you to stay out of this.
(He runs off as she struggles to get up. Mulder stops and hears anotherscream, then starts running to his left. He nearly trips over a root andsees Miles standing in front of him, cocking his shotgun.)
Hold it, hold it right there! You got no business out here.
MULDER: There were screams..
MILES: Down on the ground. Now!
MULDER: You know it's Billy. You've known it all along.
MILES: I said down on the ground.
(Mulder kneels.)
MULDER: How long are you gonna let it happen?
(The woman screams again.)
He's gonna kill her!
(Miles looks towards the screams, then runs off. He sees Billy liftingup Theresa's shoulders. The wind is growing and the leaves are swirlingaround them.)
MILES: Billy, no! Let her go! Leave her alone!
(Billy looks at him, then goes back to lifting her up. Miles pointshis shotgun and Mulder tackles him. A shot rings out. Scully, holding herhead, hears the shot and runs in the direction of it. Mulder and Mileswatch on the ground as Billy takes Theresa in his arms and looks up. Muldernotices the two welts on Billy's back. The wind grows stronger and a lightencompasses them. Mulder and Miles stand, looking at the light. Scullylooks from a distance as the light grows. The light and wind die down andthere is a thunderclap. Billy stands there, Theresa on the ground. Shelooks at him and he looks at his father.)
BILLY MILES: Dad?
MILES: Billy. Oh, god.
(They hug. Mulder sees that the bumps are gone. Mulder realizes thathis partner is missing.)
MULDER: Scully.
(He picks up his flashlight and starts running. They meet halfway.)
Scully!
SCULLY: Mulder, what happened? There was a light.
MULDER: It was incredible.
(They both gasp for air, Mulder smiling slightly.)
SCENE 18
MARCH 22, 1992
FBI HEADQUARTERS; WASHINGTON, D.C.
(Doctor Heitz Werber sits across from Billy.)
HEITZ WERBER: If you can hear me, raise your right hand.
(Billy does so slowly.)
Tell me about the light, Billy. When did you first see the light?
BILLY MILES: In the forest. We were all in the forest having a party.All my friends. We were celebrating.
HEITZ WERBER: What were you celebrating?
BILLY MILES: Graduation. And then the light came. It took me away tothe testing place.
(Mulder is off to the side, watching. His reflection can be seen inthe mirror.)
They would tell me to gather the others so that they could do tests.They put something in my head.. here.
(He puts his hand on his head where his nasal cavity is. On the otherside of the mirror, Scott Blevins, the Cigarette-Smoking Man, the thirdman from before, and Scully are watching.)
I would wait for their orders.
HEITZ WERBER: Billy, who gave the orders?
BILLY MILES: The light. They said it would be okay. No one would know.But the test didn't work. They wanted everything destroyed. They said theywere leaving. I'm afraid. I'm afraid they're coming back.
(Billy starts crying. The Cigarette-Smoking Man whispers in Blevins'ear.)
HEITZ WERBER: Don't be afraid Billy, we're gonna help.
SCOTT BLEVINS: All right, let's go.
(As they all start to file out, Mulder looks at the mirror directlyat Scully. Scully looks at him, knowing that he cannot see her, then leaves.)
SCENE 19
SECTION CHIEF BLEVINS' OFFICE; FBI HEADQUARTERS; WASHINGTON, D.C.
(Blevins is seated at his desk and the third man is seated next to theright of him. Scully is sitting across from Blevins.)
SCOTT BLEVINS: What we've just witnessed, what we've read in your fieldreports.. the scientific basis and credibility just seem wholly unsupportable,you're aware of that?
SCULLY: Yes, sir. My reports are personal and subjective. I don't thinkI've gone so far as to draw any conclusion about what I've seen.
THIRD MAN: Or haven't seen, as seems to be the case. This, uh.. timeloss.. you did or did not experience it?
SCULLY: I can't substantiate it, no.
SCOTT BLEVINS: What exactly can you substantiate, Agent Scully? I seeno evidence that justifies the legitimacy of these investigations.
SCULLY: There were, of course, crimes committed.
SCOTT BLEVINS: Yes, but how do you prosecute a case like this? Withtestimony given under hypnosis from a boy who claims that he was givenorders from some alien force through an implant in his nose? You have nophysical evidence.
(Scully stands and puts down the vial with the nasal cavity implanton Blevins' desk.)
SCULLY: This is the object described by Billy Miles as a communicationdevice. I removed it from the exumed body.
(Blevins looks at it.)
I kept it in my pocket, it was the only piece of evidence not destroyedin the fire. I ran a lab test on it, the material could not be identified.
SCOTT BLEVINS: Agent Mulder, what are his thoughts?
SCULLY: Agent Mulder believes we are not alone.
SCOTT BLEVINS: Thank you, Agent Scully, that will be all.
(Scully leaves the office as she walks down the hallway, she passesthe Cigarette-Smoking Man. She watches him go into Blevins' office, thenstarts walking.)
SCENE 20
SCULLY'S APARTMENT
(Scully lays in bed, eyes wide open, unable to sleep. The time is 11:21.It changes to 11:22. The phone rings and Scully picks up.)
SCULLY: Hello?
MULDER: Scully? It's me, I haven't been able to sleep. I talked to theD.A.'s office in Raymon County, Oregon. There's no case file on Billy Miles.The paperwork we filed is gone. We need to talk, Scully.
SCULLY: Y, yes. Tomorrow.
(She hangs up slowly, then grows a little tenser as she lays down.)
SCENE 21
HIDDEN ROOM
(The Cigarette-Smoking Man walks down a long hallway. On either sideof him are rows upon rows of shelves containing brown boxes. He comes upto one and pulls out a casing holding many of the same kind of vials thatwere in the abductees. He takes out the one from Ray Soames' body and putsit in the casing with the rest of them. Putting the casing back, he walksdown the rest of the hallway, comes to the door and walks out. Closingthe door, he then runs his keycard through it's sensor. The sign on thedoor reads:
'In Case Of Fire Or Emergency
Know Your Exits
PENTAGON
Evacuation Procedure'
There is a map of the Pentagon next to it. The Cigarette-Smoking Manwalks away.)
[THE END]
Return to the Scripts Page
The Wonder Years - Episode 1:
(no title) or 'The Wonder Years'
Transcribed by Shayne Lennox and Kyle Gittins
Edited and corrected by Peter Reynders
OPENING SEQUENCE
Scenes from the 1960's flash past.NARRATOR: 1968, I was twelve years old.A lot happened that year. Dennis McLain won 31 games, The Mod Squad hitthe air, and I graduated from Hillcrest Elementary and entered junior highschool..but we'll get to that. There's no pretty way to put this: I grewup in the suburbs. I guess most people think of the suburb as a place withall the disadvantages of the city, and none of the advantages of the country,and vice versa. But, in a way, those really were the wonder years for usthere in the suburbs. It was kind of a golden age for kids.
EXT. DAY. RESIDENTIAL STREET.
[KEVIN, his brother WAYNE, and other kids play footballon a suburban street. Camera settles on KEVIN as he comes to theline of scrimmage.]NARRATOR: There, that's me. Kevin Arnold,1968, the summer before junior high school. And I don't mind saying I wasa pretty fair little athlete.
[KEVIN drops a pass and the other kids laugh. The ball headstoward WINNIE, who picks it up. KEVIN and WINNIE approacheach other.]
WINNIE [sympathetically]: It was a pretty hardpass.
KEVIN: Well, yeah, I think it had sort of a reverse-spin on it..
[Shot of WAYNE in street.]
WAYNE: Come on Kevin, stop gabbing with your girlfriend.
[KEVIN takes the ball, and walks toward the camera. Camerastays on WINNIE as she watches him trot off.]
KEVIN: She's not my girlfriend!
[WINNIE crosses her arms and looks hurt.]
[KEVIN, with the football, walks back toward the othersto continue play.]
NARRATOR: This was true, Winnie Cooperwas not my girlfriend. When we were very little we used to go down to Harper'sWoods and catch fireflies but we really hadn't hung out at all togethersince we were about nine.
WAYNE: Uh-oh, think girlfriend's mad at you? Maybe you'd bettergo give her a big French kiss.
KEVIN: Shut up, Wayne!
WAYNE: Hey girls, come on over here. Kevin's gonna show you whata French kiss is.
KEVIN: Buttface.
WAYNE: What did you say?
KEVIN: Nothing.
[WAYNE pushes KEVIN over and pounds KEVIN'S shoulderwith his fist.]
NARRATOR: This is the way most of my conversationswith my brother Wayne ended. Apparently he just deeply regretted the factthat I had been born, and he wanted me to feel the same way.
PAUL: Come on Wayne, let him up!
[PAUL tries to pull WAYNE away from KEVIN.]
WAYNE: I'm sorry Paul, this is a family matter. [WAYNEresumes pounding KEVIN.]
NARRATOR: That was my best friend, PaulPfeiffer. Paul was allergic to everything. Wayne used to say hewas even allergic to his own snot. Wayne was a really funny guy.
BRIAN[yelling]: Hey Wayne, knock it off beforeI do the same thing to you.
NARRATOR: Winnie's brother, Brian Cooper.He was nineteen and for us he defined 'cool'. [BRIAN standsnear his car and lights a cigarette. WINNIE moves next to him.]Hehad this really great '59 El Camino, didn't run of course, but he was alwaysout there working on it, sweaty, grease all over his hands..what a guy.That June he got drafted and packed off to Vietnam. But his car was stillout front up on blocks as kind of a reminder of who really ran things onour street.
INT. DAY. ARNOLD HOUSE.
[KEVIN and PAUL enter the kitchen. PAUL is limpingand KEVIN is supporting him. PAUL sits on the counter asKEVINlooks in the refridgerator. NORMA is in another room.]KEVIN [loudly]: Mom, can Paul stay for dinner?
NORMA [V/O]: Sure, if his mom knows.
PAUL: What are you having?
KEVIN: What are we having?
NORMA [V/O]: Meat loaf.
PAUL: I'm allergic to it.
KEVIN: What else?
NORMA [V/O]: Salad.
[PAUL shakes his head.]
INT. EVENING. ARNOLD HOUSE.
[Shot of stack of white bread. Camera shot widens to show KEVIN,PAUL
and WAYNE sitting at the table and having dinner. Scenesfrom the Vietnam War can be seen on the TV. NORMA is fussing aboutin the kitchen.]KEVIN: When's dad coming home?
NORMA: Any minute. And between the traffic and his job he's liableto be very tense so let's not make him crazy.
KEVIN: He's always tense.
NORMA: That's true. He's always tense but he's not crazy yetso let's try to maintain that sense of equilibrium.
[JACK enters through the kitchen door, walking throughinto another room.]
NORMA: Hi hon. How's traffic?
JACK: Traffic's traffic.
NARRATOR: Dad had a Spartan sense of language.
[KAREN enters.]
NORMA: Karen, honey, you said you were gonna come home earlyand help me with dinner.
KAREN: Peace mom, okay? [Gestures.]
NORMA: Peace is fine, but you said you were gonna help me withdinner.
KAREN: You have so much bad karma in your life, you know thatmom? I'd be careful if I were you.
NORMA: Thank you, I'll keep an eye out. In the meantime, whenyour father gets back try not to make him crazy.
[JACK re-enters kitchen, takes drink from Norma and sits down atthe kitchen table. He takes a sip, then turns toward PAUL.]
JACK: Hi, Paul.
[PAUL waves his bread at JACK.]
NARRATOR: Dad always said 'hi' to our friends,but it was like he had this understanding with the family - he worked hardfor us, he provided for us, and he certainly didn't want to have to talkto us on top of that.
[Shots of individuals.]
NARRATOR: My approach was to not make anysudden moves or sounds until he'd finished that first vodka tonic and hopethat nobody else did anything that might upset him too much before then.
(Editor's comment: The following scene in red was deleted in somereruns for obvious reasons and to make time for commercials)
KAREN: I’m gonna get some birth-controlpills. I thought you should know.
[Sound of tea-pot whistle starting. Shot ofJACK.]
[Shot of whole group as JACKbangs the table with his fist.]
JACK: I did'nt hear what I just heard.
[Everybody starts arguing and KEVINstarts laughing.] [Joni Mitchell “Both Sides Now” starts and continues.]
NARRATOR: And that’s pretty much how thatsummer went.
Clips of Arnold family barbeque
NARRATOR: I guess it was may last summer ofpure unadulterated childhood.[“Home movie” clips of street football andbaseball, WAYNE beating KEVIN’s shoulder. Final clip of KEVINand PAUL walking up street, camerasettleson Brian’s car as they walk past.] [End music.]
INT. DAY. KEVIN's BEDROOM.
[Close up of cover of book “Our Bodies, Our Selves”.] [Tommy James & Shondells: 'Crystal Blue Persuasion' plays on radioas Kevin and Paul are looking at the book 'Our Bodies, Our Selves.']NARRATOR: This was it. The last night ofsummer.
[Camera pulls back to show KEVIN andPAULsitting on the bed looking at the book.]
PAUL: Holy cow!
KEVIN: Try not to drool on it. If Karenfinds out we have this, she’ll kill me.
NARRATOR: Paul and I had decided the bestway to prepare for junior highschool girls was to look at them naked.
[NORMA knocks on door and enters. PAULtries to hide the book behind him.]
NORMA: Paul, your mother called. She wantsyou to come home right away.
PAUL: OK. [PAUL starts to walkout of bedroom. He pauses and turns.]
PAUL: Well, I guess I see you at bus-stop.
KEVIN: Yeah!
PAUL: Last night I had a dream that whenI got to school I realized I had no clothes on.
KEVIN: If you’re naked when you get tobus-stop, I’ll tell ya.
PAUL: Thanks. [He hesitates again.]Do you know what you’re going to wear?
KEVIN: Paul, I have no idea.
NARRATOR: Actually, I had been planningmy wardrobe for about six weeks.
INT. DAY. ARNOLD HOUSE.
[KEVIN enters into the kitchen, wearing a loud shirt and bellbottoms(for his first day at junior high school). JACK and KAREN sitat the kitchen table. NORMA is beside them. JACK, KAREN, andNORMA stare at KEVIN.]NORMA [concerned]: You're not gonna wear that toschool are you?
KEVIN[sarcastically]: No mom, I got a job as amale model.
[WAYNE enters, looks at KEVIN, then bursts intolaughter.]
EXT. DAY. BUS STOP.
[KEVIN is standing at the bus stop.]KEVIN[to PAUL]: Don't worry about it, youlook fine.
[Camera pans to include PAUL. He is wearing a bad outfit,and carries a violin case.]
[PAUL fishes in his pocket.]
PAUL: Let me see our class schedule one more time.
KEVIN: No.
NARRATOR: He was gonna have to get a gripon himself. This was the junior high bus stop.
[Camera pulls back to include WAYNEmeasuring boys tongues with a ruler.]
NARRATOR: And if we were gonna hold ourown with the older kids we were gonna have to act mature.
[WAYNE measures PAUL, then smackshim on the head. Two older girls walk past camera.]
NARRATOR: We seemed to have something ofa height disadvantage, but we did out best to fit in.
[KEVIN and PAUL turn tolook after the girls, with their tongues out. They spot a girl (Winnie)in the distance walking toward the bus stop.]
KEVIN [with tongue out]: Hooth that?
NARRATOR: What an incredible stroke ofluck, a new kid. A helpless waif would be even more lost than we were,a helpless waif in fishnet tights and gogo boots.
[Shot of WINNIE joining KEVIN and PAUL.]
WINNIE: Hi Kevin. Hi Paul.
PAUL[amazed]: Winnie Cooper?
WINNIE: Gwendolyn. I don't want to be called Winnie anymore,my real name is Gwendolyn.
NARRATOR: Well, there was no question now,we were entering uncharted territory. Even the familiar was cloaked inthe vestments of the devil. Junior high school was a whole new ball ofwax.
EXT. DAY. RFK JUNIOR HIGH.[KEVIN, PAUL, and hundreds of other kids are enteringthe school. KEVIN and PAUL walk past worker changing schoolsign.]
NARRATOR: Like about half the schools inthe country that year my school was being renamed Robert F. Kennedy JuniorHigh. As we approached those doors for the first time, we felt we wereapproaching the portals of manhood.
INT. DAY. HOME ROOM.[KEVIN is sitting at his desk in home room. He is sittingbetween ERIC and GAIL who are holding hands and staring atone another admiringly.]
NARRATOR: Home Room. I sat between Eric Antonio and Gail Aslanian.They had met on the bus and had taken a liking to each other.
ERIC: I love you.
GAIL: I love you too.
[ERIC and GAIL move in to kiss. KEVIN interrupts.]
KEVIN: And I love you both, but I'm having a little trouble breathinghere.
NARRATOR: I was about to have my firstsexual experience, and I wasn't even one of the principal players.
[GAIL and ERIC resume their positions.]
[MRS. RITVO knocks against the desk. ERIC and GAILseparatein a hurry.]
[Shot from KEVIN's perspective. MRS. RITVO glares atKEVIN.]
MRS. RITVO: Kevin Arnold, you're Wayne's brother, aren't you?[She frowns.]
KEVIN: Well, well according to my mother, yes. But my own theoryis..
MRS. RITVO: You've got a tough row to hoe young man, a toughroad to hoe.
KEVIN[quietly]: Yes.
INT. DAY. SCHOOL CORRIDOR.
[Camera shoot down row of lockers. KEVIN is starting toopen his locker as DEBBIE ACKERMAN walk up to hers in foreground.]NARRATOR: The first major accessory ofadulthood, our own lockers. I couldn't believe my good fortune.
[DEBBIE looks a him and smiles.]
NARRATOR: Two lockers down from mine wasDebbie Ackerman, one of the prime knockouts of the seventh grade.
[KEVIN bashes the door of his locker against his head as heopens it. DEBBIE smiles in amusement.]
NARRATOR: There was only one problem.
[A student moves to the locker between them.]
NARRATOR: Charles Manson had the lockerbetween us. A seventh grader with a beard - this wasn't junior high school,it was a freak show. I hoped none of the girls would have beards.
(Editor's note: The following scene in red is not shown in some rerunsto make up time for the commercials.)
GUY: What’s you locker combination?
KEVIN: Well, I appreciate your asking,but actually they told us we’re not supposed to tell anyone.
[The guy picks KEVIN up and presseshim againt the lockers.]
[KEVIN indicates the paper in his hand.]
KEVIN: Here you go.
GUY: If anyone finds out about these..
[He puts a knife, then some pot, into KEVIN’slocker.]
GUY:..I’ll know who told.
KEVIN: Who?
NARRATOR: It was my only thought. MaybeI could trick him..
[Shot of guy thinking.]
GUY: You..You! That’s who!
KEVIN: Oh, right.
[Bell rings.]
INT. DAY. GYM.
[KEVIN and other seventh graders are standing in the middle ofthe gym. Coach CUTLIP is lecturing them about gym class.]NARRATOR: In one of those quirks of schedulingmy first class was gym. This meant that I had to wake up in the morning,shower, get dressed, go to school, get undressed, run around, shower andget dressed all in the space of about 45 minutes.
CUTLIP: Well, people. A lot of you probably think this is gymclass, huh?
NARRATOR: I was overwhelmed by a suddenpanic. Things hadn't been going that well so far but if this wasn't gymclass I was in bigger trouble than I thought.
CUTLIP: Well it's not. People, it's physical educationclass. Through those doors they educate your minds. In here, I educateyour bodies. I'm an educator, okay? A body educator.
[Camera pans boys.]
NARRATOR: Of course, we didn't realizeit at the time, but this guy had the biggest inferiority complex sinceNapoleon.
CUTLIP: People, when you leave this class, you're gonna havesmart bodies. Smart [he thumps stomach], smart bodies.
NARRATOR: He went on educating our bodiesfor about half an hour. By the time he'd finished I was ready to let myleg take a math test.
CUTLIP: One more thing people, before you do your laps, the jockstrap: A, what is it? and B, what can it do for you?
[CUTLIP looks down at his list of students.]
CUTLIP: Arnold.
[KEVIN takes a half-step, and straightens up.]
NARRATOR: This was it. I felt like a fighterpilot under heavy enemy fire.
KEVIN[unsure]: Well, the jock strap, sir, is aparticular type of strap that's constructed of a strap type material whichis utilized exclusively for the purposes of jocks.
[Sound effect of diving airplane. Shot of KEVIN waiting forreply. Shot of CUTLIP deep in thought as the sound gets louder.CUTLIPglances away.]
[Shot of boys fliching at sound of airplane crashing.]
INT. DAY. CAFETERIA.
[KEVIN and PAUL carry their trays and look for a table to sitat in the cafeteria.]NARRATOR: Lunch, at last, something I figuredeven I couldn't screw up.
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PAUL: Where do you want to sit?
KEVIN: Anywhere. Let's just sit here.
[KEVIN and PAUL sit down at a table.]
NARRATOR: A suburban junior high schoolcafeteria is like a microcosm of the world. The goal is to protect yourself,and safety comes in groups. You have your cool kids, you have your smartkids, you have your greasers, and in those days, of course, you had yourhippies. In a fact in junior high school, who you are is defined less bywho you are than by who's the person sitting next to you ..
[Shot of PAUL sucking spaghetti.]
NARRATOR: .. a sobering thought.
KEVIN[to PAUL]: Try to look like you'rehaving fun.
[Shot of WINNIE in distance, looking for a place to sit. Sheapproaches KEVIN and PAUL.]
WINNIE: Hi. Do you guys mind if I sit with you?
KEVIN: Sure, Winnie. [Music “Winnie’s Theme” starts.]
NARRATOR: We were on our way. Our groupwas forming. And Winnie, I mean, Gwendolyn, was not chop liver. Who knows,maybe we even had an outside chance to become the cool seventh grade group,if we could just remain inconspicuous until we picked up a few more members.
[WAYNE, at another table with friend STEVE, spotsKEVIN, PAUL and WINNIE. He approaches them.]
WAYNE: Hey Steve, it looks like my baby brother and his girlfriendhave found each other.
KEVIN: She's not my girlfriend.
[WAYNE looks at KEVIN but talks to WINNIE.]
WAYNE[to WINNIE]: He thinks you are socute.
KEVIN [trying to control his anger]: I don't thinkshe's cute.
WAYNE: He wants to give you a big.. wet.. kiss.
[Shot of WINNIE.]
[WAYNE makes sucking noises and turns to WINNIE.]
WAYNE: He told me.
[KEVIN stands up.]
KEVIN: You liar, I never said that! I don't want to kiss her,I don't even like her!
[KEVIN picks up his apple and walks briskly to exit the cafeteria.He is stopped by MR. DIPERNA who is standing by the exit.]
MR. DIPERNA: Young man.
[MR. DIPERNA indicates a sign which says 'POSITIVELYNO FOOD OUTSIDE THE CAFETERIA'. KEVIN looks at the sign.]
MR. DIPERNA: What does that sign say? Hmm? You take that applethrough that door and you're asking for detention.
[KEVIN defiantly releases himself from MR. DIPERNA's gripand marches through the exit. He is followed by MR. DIPERNA.]
MR. DIPERNA: Young man!
[MR. DIPERNA grabs KEVIN.]
MR. DIPERNA: I think we have a problem.
NARRATOR: He was right, there was a problem.
KEVIN: Oh yeah, the apple.
MR. DIPERNA: That's right, the apple.
KEVIN: You wanted it inside the cafeteria.
MR. DIPERNA: That's right.
KEVIN: And now it's outside the cafeteria.
MR. DIPERNA: That's right.
NARRATOR: Conversation was getting stale.I asked myself 'Now, what would a guy like Brian Cooper do in this situation?'.
[KEVIN looks at MR. DIPERNA, then throws the appleback into the cafeteria. Sound of silverware flying and a girl screams.MR. DIPERNA gives KEVIN a withering look.]
KEVIN: Umm, uhh, if you want, I could get that.
[MR. DIPERNA hooks KEVIN by the neck.]
INT. DAY. MR. DIPERNA'S OFFICE.
[KEVIN is being questioned by his mother and MR. DIPERNAregardingthe apple.]NORMA [sternly]: Well, Kevin, perhaps we shouldstart by asking you to explain what in god's name moved you to do whatyou did.
NARRATOR: I wanted to tell them that Wayneembarrassed me, that the other kids were laughing, that Mr. Diperna hadplayed power games with me, that Winnie had seen the whole thing and thatshe'd been wearing pink fishnets and gogo boots.
KEVIN: I dunno.
NORMA: 'I dunno?' That's all you have to say? 'I dunno?'
MR. DIPERNA: Kevin, the question is, what did you hope to achieveby throwing an apple into a cafeteria?
KEVIN (V/O): No butthead, the questionis why do you have a brain the size of a baby pea?
NORMA: Kevin? Mr. Diperna just asked you a question. What didyou hope to achieve by throwing that apple into the cafeteria?
KEVIN (V/O): World peace.
NORMA: Kevin!?
KEVIN: Nothing.
MR. DIPERNA: Well, Kevin, that's exactly what you did achieve,nothing. Now, I'm going to let you go without any further punishment. ButI want you to know that I'll be keeping my eye on you. Do you understandthat?
NORMA: Kevin? Do you understand that?
KEVIN: Yes.
JACK: I'd like to take him home now. [Simon and Garfunkle’s“Mrs. Robinson starts.]
EXT. DAY. ARNOLD CAR.
[KEVIN is sitting in the back seat of the car, worried aboutwhat lies ahead.]NARRATOR: In my twelve and a half years,my father had never struck me. But he'd given Wayne a beating, twice, andI recognized that glazed look in his eyes. Besides, maybe I deserved it.
EXT. DAY. ARNOLD HOUSE.
[The car, with NORMA, JACK, and KEVIN inside, approachesthe driveway.]NARRATOR: There really is no good excusefor hurling food around the cafeteria. He probably figured that if he laiddown the law now I'd stay in line, and he was probably right. Anyway, Icould take the pain. I decided I'd just shut my eyes and imagine it wasWayne.[Music ends]
[NORMA, JACK, and KEVIN get out of the car.]
JACK[to KEVIN]: Come on, inside.
[JACK is holding KEVIN’s arm and neck.]
NARRATOR: And then it happened, I thinkwe were about halfway to the front porch.
[KAREN and WAYNE approach JACK, NORMA, andKEVIN. They appear on verge of tears.]
[Shot of KAREN.]
KAREN: Brian Cooper was killed.
NORMA: Oh my god. When did they find out?
[KAREN shakes her head.]
NORMA: I'm gonna call Evelyn and see if there's anything I cando. Oh my god, poor Evelyn..
[NORMA hurries into the house.]
[Shot of WAYNE.]
[Shot of JACK.]
[JACK looks down and squeezes KEVIN’s shoulder.]
[KEVIN looks up at JACK.]
EXT. EVENING. RESIDENTIAL STREET.
[Camera shoots down empty sidewalk. KEVIN walks past camera intoscene.]NARRATOR: That night I decided to go fora walk. The days were still long and back then kids could still go forwalks at dusk without the fear of ending up on a milk carton. I went downto the big climbing tree in Harper's Woods. I didn't admit it to myselfuntil years later but in my mind was the shadow of a thought that Winniemight be there.
[KEVIN sees WINNIE, who is sitting on a rock next tothe big climbing tree.]
NARRATOR: She was sort of hugging herself,and rocking slowly back and forth. There was a bit of a chill in the airand she didn't have a sweater. For a minute I was scared to approach her.
[WINNIE looks at KEVIN. KEVIN approaches.]
NARRATOR: I didn't know what to say. [KEVINsits next to her.]I had the strangestfeeling. It was impossible for me to believe that Brian was dead.
KEVIN: I'm sorry, about Brian, and I'm sorry about what I saidtoday - it wasn't true.
WINNIE: I know. [She looks off and hunches up. KEVINlooks at her a few seconds.]
[KEVIN removes his sweater and places it around WINNIE'sshoulders. He puts his arm around her.]
[They sit a few seconds.]
[She turns toward him.]
[They move in and kiss.] [Music: 'When AMan Loves A Woman' starts.]
(Editor's remark: This was Danica McKellar's first kiss, see interview. She was 12 at that time.)
NARRATOR: It was the first kiss for bothof us. We never really talked about it afterward. But I think about theevents of that day again and again.
[KEVIN and WINNIE hug.]
NARRATOR: And somehow I know that Winniedoes too, whenever some blowhard starts talking about the anonymity ofthe suburbs or the mindlessness of the TV generation.
[Camera starts to pull up and back.]
NARRATOR: Because we know that inside eachone of those identical boxes, with its Dodge parked out front and its whitebread on the table and its TV set glowing blue in the falling dusk, therewere people with stories, there were families bound together in the painand the struggle of love.
[Image freezes. Picture fades to sepia tones.]
NARRATOR: There where moments that madeus cry with laughter, and there were moments, like that one, of sorrowand wonder.