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Shawshank Redemption, The (1994) movie scriptby Frank Darabont.
Based upon the story "Rita Hayworth and Shawshank Redemption" by Stephen King.
More info about this movie on IMDb.com
1 INT -- CABIN -- NIGHT (1946)
A dark, empty room.
The door bursts open. A MAN and WOMAN enter, drunk and
giggling, horny as hell. No sooner is the door shut than
they're all over each other, ripping at clothes, pawing at
flesh, mouths locked together.
He gropes for a lamp, tries to turn it on, knocks it over
instead. Hell with it. He's got more urgent things to do, like
getting her blouse open and his hands on her breasts. She
arches, moaning, fumbling with his fly. He slams her against
the wall, ripping her skirt. We hear fabric tear.
He enters her right then and there, roughly, up against the
wall. She cries out, hitting her head against the wall but not
caring, grinding against him, clawing his back, shivering with
the sensations running through her. He carries her across the
room with her legs wrapped around him. They fall onto the bed.
CAMERA PULLS BACK, exiting through the window, traveling
smoothly outside...
2 EXT -- CABIN -- NIGHT (1946) 2
...to reveal the bungalow, remote in a wooded area, the
lovers' cries spilling into the night...
...and we drift down a wooded path, the sounds of rutting
passion growing fainter, mingling now with the night sounds of
crickets and hoot owls...
...and we begin to hear FAINT MUSIC in the woods, tinny and
incongruous, and still we keep PULLING BACK until...
...a car is revealed. A 1946 Plymouth. Parked in a clearing.
3 INT -- PLYMOUTH -- NIGHT (1946) 3
ANDY DUFRESNE, mid-20's, wire rim glasses, three-piece suit.
Under normal circumstances a respectable, solid citizen; hardly
dangerous, perhaps even meek. But these circumstances are far
from normal. He is disheveled, unshaven, and very drunk. A
cigarette smolders in his mouth. His eyes, flinty and hard, are
riveted to the bungalow up the path.
He can hear them fucking from here.
He raises a bottle of bourbon and knocks it back. The radio
plays softly, painfully romantic, taunting him:
You stepped out of a dream...
You are too wonderful...
To be what you seem...
He opens the glove compartment, pulls out an object wrapped
in a rag. He lays it in his lap and unwraps it carefully --
-- revealing a .38 revolver. Oily, black, evil.
He grabs a box of bullets. Spills them everywhere, all over
the seats and floor. Clumsy. He picks bullets off his lap,
loading them into the gun, one by one, methodical and grim.
Six in the chamber. His gaze goes back to the bungalow.
He shuts off the radio. Abrupt silence, except for the distant
lovers' moans. He takes another shot of bourbon courage, then
opens the door and steps from the car.
4 EXT -- PLYMOUTH -- NIGHT (1946) 4
His wingtip shoes crunch on gravel. Loose bullets scatter to
the ground. The bourbon bottle drops and shatters.
He starts up the path, unsteady on his feet. The closer he
gets, the louder the lovemaking becomes. Louder and more
frenzied. The lovers are reaching a climax, their sounds of
passion degenerating into rhythmic gasps and grunts.
WOMAN (O.S.)
Oh god...oh god...oh god...
Andy lurches to a stop, listening. The woman cries out in
orgasm. The sound slams into Andy's brain like an icepick. He
shuts his eyes tightly, wishing the sound would stop.
It finally does, dying away like a siren until all that's left
is the shallow gasping and panting of post-coitus. We hear
languorous laughter, moans of satisfaction.
WOMAN (O.S.)
Oh god...that's sooo good...you're
the best...the best I ever had...
Andy just stands and listens, devastated. He doesn't look like
much of a killer now; he's just a sad little man on a dirt
path in the woods, tears streaming down his face, a loaded gun
held loosely at his side. A pathetic figure, really.
FADE TO BLACK: 1ST TITLE UP
5 INT -- COURTROOM -- DAY (1946) 5
THE JURY listens like a gallery of mannequins on display,
pale-faced and stupefied.
D.A. (O.S.)
Mr. Dufresne, describe the
confrontation you had with your
wife the night she was murdered.
ANDY DUFRESNE
is on the witness stand, hands folded, suit and tie pressed,
hair meticulously combed. He speaks in soft, measured tones:
ANDY
It was very bitter. She said she
was glad I knew, that she hated all
the sneaking around. She said she
wanted a divorce in Reno.
D.A.
What was your response?
ANDY
I told her I would not grant one.
D.A.
(refers to his notes)
"I'll see you in Hell before I see
you in Reno." Those were the words
you used, Mr. Dufresne, according
to the testimony of your neighbors.
ANDY
If they say so. I really don't
remember. I was upset.
FADE TO BLACK: 2ND TITLE UP
D.A.
What happened after you and your
wife argued?
ANDY
She packed a bag and went to stay
with Mr. Quentin.
D.A.
Glenn Quentin. The golf pro at the
Falmouth Hills Country Club. The
man you had recently discovered was
her lover.
(Andy nods)
Did you follow her?
ANDY
I went to a few bars first. Later,
I decided to drive to Mr. Quentin's
home and confront them. They
weren't there...so I parked my car
in the turnout...and waited.
D.A.
With what intention?
ANDY
I'm not sure. I was confused. Drunk.
I think mostly I wanted to scare them.
D.A.
You had a gun with you?
ANDY
Yes. I did.
FADE TO BLACK: 3RD TITLE UP
D.A.
When they arrived, you went up
to the house and murdered them?
ANDY
No. I was sobering up. I realized
she wasn't worth it. I decided to
let her have her quickie divorce.
D.A.
Quickie divorce indeed. A .38
caliber divorce, wrapped in a
handtowel to muffle the shots,
isn't that what you mean? And then
you shot her lover!
ANDY
I did not. I got back in the car
and drove home to sleep it off.
Along the way, I stopped and threw
my gun into the Royal River. I feel
I've been very clear on this point.
D.A.
Yes, you have. Where I get hazy,
though, is the part where the
cleaning woman shows up the next
morning and finds your wife and her
lover in bed, riddled with .38
caliber bullets. Does that strike
you as a fantastic coincidence, Mr.
Dufresne, or is it just me?
ANDY
(softly)
Yes. It does.
D.A.
I'm sorry, Mr. Dufresne, I don't
think the jury heard that.
ANDY
Yes. It does.
D.A.
Does what?
ANDY
Strike me as a fantastic coincidence.
D.A.
On that, sir, we are in accord...
FADE TO BLACK! 4TH TITLE UP
D.A.
You claim you threw your gun into
the Royal River before the murders
took place. That's rather convenient.
ANDY
It's the truth.
D.A.
You recall Lt. Mincher's testimony?
He and his men dragged that river
for three days and nary a gun was
found. So no comparison can be made
between your gun and the bullets
taken from the bloodstained corpses
of the victims. That's also rather
convenient, isn't it, Mr. Dufresne?
ANDY
(faint, bitter smile)
Since I am innocent of this crime,
sir, I find it decidedly inconvenient
the gun was never found.
FADE TO BLACK: STH TITLE UP
6 INT -- COURTROOM -- DAY (1946) 6
The D.A. holds the jury spellbound with his closing summation:
D.A.
Ladies and gentlemen, you've heard
all the evidence, you know all the
facts. We have the accused at the
scene of the crime. We have foot
prints. Tire tracks. Bullets
scattered on the ground which bear
his fingerprints. A broken bourbon
bottle, likewise with fingerprints.
Most of all, we have a beautiful
young woman and her lover lying
dead in each other's arms. They had
sinned. But was their crime so
great as to merit a death sentence?
He gestures to Andy sitting quietly with his ATTORNEY.
D.A.
I suspect Mr. Dufresne's answer to
that would be yes. I further
suspect he carried out that
sentence on the night of September
21st, this year of our Lord, 1946,
by pumping four bullets into his
wife and another four into Glenn
Quentin. And while you think about
that, think about this...
He picks up a revolver, spins the cylinder before their eyes
like a carnival barker spinning a wheel of fortune.
D.A.
A revolver holds six bullets, not
eight. I submit to you this was not
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the ball right back, zinging it into Heywood's hands. Heywood
drops the ball and grimaces, wringing his stung hands.
ANDY
I understand you're a man who knows
how to get things.
RED
I'm known to locate certain things
from time to time. They seem to
fall into my hands. Maybe it's
'cause I'm Irish.
ANDY
I wonder if you could get me a
rock-hammer?
RED
What is it and why?
ANDY
You make your customers' motives a
part of your business?
RED
If you wanted a toothbrush, I
wouldn't ask questions. I'd just
quote a price. A toothbrush, see,
is a non-lethal sort of object.
ANDY
Fair enough. A rock-hammer is about
eight or nine inches long. Looks
like a miniature pickaxe, with a
small sharp pick on one end, and a
blunt hammerhead on the other. It's
for rocks.
RED
Rocks.
Andy squats, motions Red to join him. Andy grabs a handful of
dirt and sifts it through his hands. He finds a pebble and
rubs it clean. It has a nice milky glow. He tosses it to Red.
RED
Quartz?
ANDY
Quartz, sure. And look. Mica. Shale.
Silted granite. There's some graded
limestone, from when they cut this
place out of the hill.
RED
So?
ANDY
I'm a rockhound. At least I was, in
my old life. I'd like to be again,
on a limited scale.
RED
Yeah, that or maybe plant your toy
in somebody's skull?
ANDY
I have no enemies here.
RED
No? Just wait.
Red flicks his gaze past Andy. Bogs is watching them.
RED
Word gets around. The Sisters have
taken a real shine to you, yes they
have. Especially Bogs.
ANDY
Tell me something. Would it help if
I explained to them I'm not
homosexual?
RED
Neither are they. You have to be
human first. They don't qualify.
(off Andy's look)
Bull queers take by force, that's
all they want or understand. I'd
grow eyes in the back of my head if
I were you.
ANDY
Thanks for the advice.
RED
That comes free. But you understand
my concern.
ANDY
If there's trouble, I doubt a rock-
hammer will do me any good.
RED
Then I guess you wanna escape.
Tunnel under the wall maybe?
(Andy laughs politely)
I miss the joke. What's so funny?
ANDY
You'll know when you see the rock-
hammer.
RED
What's this item usually go for?
ANDY
Seven dollars in any rock and gem shop.
RED
My standard mark-up's twenty
percent, but we're talkin' about a
special object. Risk goes up, price
goes up. Call it ten bucks even.
ANDY
Ten it is.
RED
I'll see what I can do.
(rises, slapping dust)
But it's a waste of money.
ANDY
Oh?
RED
Folks who run this place love
surprise inspections. They turn a
blind eye to some things, but not
a gadget like that. They'll find
it, and you'll lose it. Mention my
name, we'll never do business
again. Not for a pair of shoelaces
or a stick of gum.
ANDY
I understand. Thank you, Mr...?
RED
Red. The name's Red.
ANDY
Red. I'm Andy. Pleasure doing
business with you.
They shake. Andy strolls off. Red watches him go.
RED (V.O.)
I could see why some of the boys
took him for snobby. He had a quiet
way about him, a walk and a talk
that just wasn't normal around
here. He strolled. like a man in a
park without a care or worry. Like
he had on an invisible coat that
would shield him from this place.
(resumes playing catch)
Yes, I think it would be fair to
say I liked Andy from the start.
37 INT -- MESS HALL -- DAY (1947) 37
Red gets his breakfast and heads for a table. Andy falls in
step, slips him a tightly-folded square of paper.
38 INT -- RED'S CELL -- NIGHT (1947) 38
Lying on his bunk, Red unfolds the square. A ten dollar bill.
RED (V.O.)
He was a man who adapted fast.
39 EXT -- LOADING DOCK -- DAY (1947) 39
Under watchful supervision, CONS are off-loading bags of dirty
laundry from an "Eliot Nursing Home" truck.
RED (V.O.)
Years later, I found out he'd
brought in quite a bit more than
just ten dollars...
A certain bag hits the ground. The TRUCK DRIVER shoots a look
at a black con, LEONARD, then ambles over to a GUARD to shoot
the shit. Leonard loads the bag onto a cart...
40 INT -- PRISON LAUNDRY -- DAY (1947) 40
Bags are being unloaded. We find Leonard working the line.
RED (V.O.)
When they check you into this
hotel, one of the bellhops bends
you over and looks up your works,
just to make sure you're not
carrying anything. But a truly
determined man can get an object
quite a ways up there.
Leonard slips a small paper-wrapped package out of the laundry
bag, hides it under his apron, and keeps sorting...
4l INT -- PRISON LAUNDRY EXCHANGE -- DAY (1947) 41
Red deposits his dirty bundle and moves down the line to where
the clean sheets are being handed out.
RED (V.O.)
That's how Andy joined our happy
little Shawshank family with more
than five hundred dollars on his
person. Determination.
Leonard catches Red's eye, turns and grabs a specific stack of
clean sheets. He hands it across to Red --
TIGHT ANGLE
-- and more than clean laundry changes hands. Two packs of
cigarettes slide out of Red's hand into Leonard's.
42 INT -- RED'S CELL -- DAY (1947) 42
Red slips the package out of his sheets, carefully checks to
make sure nobody's coming, then rips it open. He pulls out the
rock-hammer. It's just as Andy described. Red laughs softly.
RED (V.O.)
Andy was right. I finally got the
joke. It would take a man about six
hundred years to tunnel under the
wall with one of these.
43 INT -- CELLBLOCK FIVE -- 2ND TIER -- NIGHT (1947) 43
Brooks Hatlen pushes a cart of books from cell to cell. The
rolling library. He finds Red waiting for him. Red slips the
rock-hammer, wrapped in a towel, through the bars and onto the
cart. Next comes six cigarettes to pay for postage.
RED
Dufresne.
Brooks nods, never missing a beat. He rolls his cart to
Andy's cell, mutters through the bars:
BROOKS
Middle shelf, wrapped in a towel.
Andy's hand snakes through the bars and makes the object
disappear. The hand comes back and deposits a small slip of
folded paper along with more cigarettes. Brooks turns his cart
around and goes back. He pauses, sorting his books long enough
for Red to snag the slip of paper. Brooks continues on,
scooping the cigarettes off the cart and into his pocket.
44 INT -- RED'S CELL -- NIGHT (1947) 44
Red unfolds the slip of paper. Penciled neatly on it is a
single word: "Thanks."
45 INT -- PRISON LAUNDRY -- DAY (1947) 45
We are assaulted by the deafening noise of the laundry line.
Andy is doing his job, getting good at it.
BOB
DUFRESNE! WE'RE LOW ON HEXLITE!
HEAD ON BACK AND FETCH US UP SOME!
Andy nods. He leaves the line, weaving his way through the
laundry room and into --
46 INT -- BACK ROOMS/STOCK AREA -- DAY (1947) 46
-- a dark, tangled maze of rooms and corridors, boilers and
furnaces, sump pumps, old washing machines, pallets of
cleaning supplies and detergents, you name it. Andy hefts a
cardboard drum of Hexlite off the stack, turns around --
-- and finds Bogs Diamond in the aisle. blocking his way.
Rooster looms from the shadows to his right, Pete Verness
on the left. A frozen beat. Andy slams the Hexlite to the
floor, rips off the top, and scoops out a double handful.
ANDY
You get this in your eyes, it
blinds you.
BOGS
Honey, hush.
Andy backs up, holding them at bay, trying to maneuver through
the maze. The Sisters keep coming, tense and guarded, eyes
riveted and gauging his every move, trying to outflank him.
Andy trips on some old gaint sugglies. That's all it takes.
They're on him in an instant, kicking and stomping.
Andy gets yanked to his feet. Bogs applies a chokehold from
behind. They propel him across the room and slam him against
an old four-pocket machine, bending him over it. Rooster jams
a rag into Andy's mouth and secures it with a steel pipe, like
a horse bit. Andy kicks and struggles, but Rooster and Pete
have his arms firmly pinned. Bogs whispers in Andy's ear:
BOGS
That's it, fight. Better that way.
Andy starts screaming, muffled by the rag. CAMERA PULLS BACK,
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I'll write down the forms you need,
you can pick them up, and I'll
prepare them for your signature...
nearly free of charge.
(off Hadley's look)
I'd only ask three beers apiece for
my co-workers, if that seems fair.
TROUT
(guffawing)
Co-workers! Get him! That's rich,
ain't it? Co-workers...
Hadley freezes him with a look. Andy presses on:
ANDY
I think a nan working outdoors
feels more like a man if he can
have a bottle of suds. That's only
my opinion.
The convicts stand gaping, all pretense of work gone. They
look like they've been pole-axed. Hadley shoots them a look.
HADLEY
What are you jimmies starin' at?
Back to work, goddamn it!
59 EXT -- LICENSE PLATE FACTORY -- DAY (1949) 59
As before, an object is hauled up the side of the building by
rope -- only this time, it's a cooler of beer and ice.
RED (V.O.)
And that's how it came to pass,
that on the second-to-last day of
the job, the convict crew that
tarred the plate factory roof in
the spring of '49...
60 EXT -- ROOF -- SHORTLY LATER (1949) 60
The cons are taking the sun and drinking beer.
RED (V.O.)
...wound up sitting in a row at ten
o'clock in the morning, drinking icy
cold Black Label beer courtesy of
the hardest screw that ever walked
a turn at Shawshank State Prison.
HADLEY
Drink up, boys. While it's cold.
RED (V.O.)
The colossal prick even managed to
sound magnanimous.
Red knocks back another sip, enjoying the bitter cold on his
tongue and the warm sun on face.
RED (V.O.)
We sat and drank with the sun on
our shoulders, and felt like free
men. We could'a been tarring the
roof of one of our own houses. We
were the Lords of all Creation.
He glances over to Andy squatting apart from the others.
RED (V.O.)
As for Andy, he spent that break
hunkered in the shade, a strange
little smile on his face, watching
us drink his beer.
HEYWOOD
(approaches with a beer)
Here's a cold one, Andy.
ANDY
No thanks. I gave up drinking.
Heywood drifts back to others, giving them a look.
RED (V.O.)
You could argue he'd done it to
curry favor with the guards. Or
maybe make a few friends among us
cons. Me, I think he did it just to
feel normal again...if only for a
short while.
61 EXT -- PRISON YARD -- THE BLEACHERS -- DAY (1949) 61
Andy and Red play checkers. Red makes his move.
RED
King me.
ANDY
Chess. Now there's a game of kings.
Civilized...strategic...
RED
...and totally fuckin'
inexplicable. Hate that game.
ANDY
Maybe you'll let me teach you
someday. I've been thinking of
getting a board together.
RED
You come to the right place. I'm
the man who can get things.
ANDY
We might do business on a board. But
the pieces, I'd like to carve those
myself. One side done in quartz...
the opposing side in limestone.
RED
That'd take you years.
ANDY
Years I've got. What I don't have
are the rocks. Pickings here in the
exercise yard are pretty slim.
RED
How's that rock-hammer workin' out
anyway? Scratch your name on your
wall yet?
ANDY
(smiles)
Not yet. I suppose I should.
RED
Andy? I guess we're gettin' to be
friends, ain't we?
ANDY
I suppose we are.
RED
I ask a question? Why'd you do it?
ANDY
I'm innocent, remember? Just like
everybody else here.
Red takes this as a gentle rebuff, keeps playing.
ANDY
What are you in for, Red?
RED
Murder. Same as you.
ANDY
Innocent?
RED
The only guilty man in Shawshank.
62 INT -- ANDY'S CELL -- NIGHT (1949) 62
Andy lies in his bunk after lights out, polishing a fragment
of quartz by the light of the moon. He pauses, glancing at
all the names scratched in the wall. He rises, makes sure
the coast is clear, and starts scratching his name into the
cement with his rock-hammer, adding to the record.
63 RAY MILLAND 63
fills the screen in glorious (and scratchy) black & white,
suffering a bad case of DT's...
64 INT -- PRISON AUDITORIUM -- NIGHT (1949) 64
...while a CONVICT AUDIENCE hoots and catcalls, talking back
to the screen. We find Red slouched in a folding chair,
watching the movie. Andy enters, backlit by the flickering
glare of the projector, and takes a seat next to him.
RED
Here's the good part. Bugs come out
of the walls to get his ass.
ANDY
I know. I've seen it three times
this month already.
Ray Milland starts SCREAMING. The entire audience SCREAMS with
him, high-pitched and hysterical. Andy fidgets.
ANDY
Can we talk business?
RED
Sure. What do you want?
ANDY
Rita Hayworth. Can you get her?
RED
No problem. Take a few weeks.
ANDY
Weeks?
RED
Don't have her stuffed down my
pants this very moment, sorry to
say. Relax. What are you so nervous
about? She's just a woman.
Andy nods, embarrassed. He gets up and hurries out. Red grins,
turns back to the movie.
65 INT -- AUDITORIUM CORRIDOR -- NIGHT (1949) 65
Andy exits the theater and freezes in his tracks. Two dark
figures loom in the corridor, blocking his path. Rooster and
Pete. Andy turns back -- and runs right into Bogs. Instant
bear hug. The Sisters are on him like a flash. They kick a
door open and drag him into --
66 THE PROJECTION BOOTH 66
-- where they confront the startled PROJECTIONIST, an old con
blinking at them through thick bifocals.
BOGS
Take a walk.
PROJECTIONIST
I have to change reels.
BOGS
I said fuck off.
Terrified, the old man darts past and out the door. Pete slams
and locks it. Bogs shoves Andy to the center of the room.
BOGS
Ain't you gonna scream?
Andy sighs, cocks his head at the projector.
ANDY
They'd never hear me over that.
Let's get this over with.
Seemingly resigned, Andy turns around, leans on the rewind
bench -- and curls his fingers around a full 1.000 foot reel
of 35mm film. Rooster licks his lips, pushes past the others.
ROOSTER
Me first.
ANDY
Okay.
Andy whips the reel of film around in a vicious arc, smashing
it into Rooster's face and bouncing him off the wall.
ROOSTER
Fuck! Shit! He broke my nose!
Andy fights like hell, but is soon overpowered and forced to his
knees. Bogs steps to Andy, pulls out an awl with a vicious
eight-inch spike, gives him a good long look at it.
BOGS
Now I'm gonna open my fly, and
you're gonna swallow what I give
you to swallow. And when you
do mine, you gonna swallow
Rooster's. You done broke his nose,
so he ought to have somethin' to
show for it.
ANDY
Anything you put in my mouth,
you're going to lose.
BOGS
You don't understand. You do that,
I'll put all eight inches of this
steel ii your ear.
ANDY
Okay. But you should know that
sudden serious brain injury causes
the victim to bite down. Hard.
(faint smile)
In fact, I understand the bite-reflex
is so strong the victim's jaws have
to be pried open with a crowbar.
The Sisters consider this carefully. The film runs out of the
projector, flapping on the reel. The screen goes white.
BOGS
You little fuck.
Andy gets a bootheel in the face. The Sisters start kicking
and beating the living shit out of him with anything they can
get their hands on. In the theater, the convicts are CHANTING
AND CLAPPING for the movie to come back on.
RED (V.O.)
Bogs didn't put anything in Andy's
mouth, and neither did his friends.
What they did do is beat him within
an inch of his life...
67 INT -- INFIRMARY -- DAY (1949) 67
Andy lies wrapped in bandages.
RED (V.O.)
Andy spent a month in traction.
68 INT -- SOLITARY CONFINEMENT -- DAY (1949) 68
RED (V.O.)
Bogs spent a week in the hole.
Bogs sits on bare concrete. The steel door slides open.
GUARD
Time's up, Bogs.
69 INT -- CELLBLOCK FIVE -- 3RD TIER -- DUSK (1949) 69
Bogs comes up the stairs, smoking a cigarette. Not many
cons around; the place is virtually deserted. A VOICE
echoes dimly over the P.A. system:
VOICE (O.S.)
Return to your cellblocks for
evening count.
Bogs enters his cell. Dark in here. He fumbles for the light
cord, yanks it. The sudden light reveals Captain Hadley six
inches from his face, waiting for him. Mert steps in behind
Bogs. hemming him.
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z*Faê 2Dtu2u2uFabQޥmMZ_VI! X]-gKPXc@bhҦEKK !j pdfjc-iPkh'*rr0GY+kled in. Norton is at his desk doing paperwork. Andy's
eyes go to a framed needle-point sampler on the wall behind
him that reads: "HIS JUDGMENT COMETH AND THAT RIGHT SOON."
NORTON
My wife made that in church group.
ANDY
It's very pretty, sir.
NORTON
You like working in the laundry?
ANDY
No, sir. Not especially.
NORTON
Perhaps we can find something more
befitting a man of your education.
89 INT -- MAIN BUILDING -- STORAGE ROOMS -- DAY (1949) 89
A series of bleak rooms stacked high with unused filing
cabinets, desks, paint supplies, etc. Andy enters. He hears a
FLUTTER OF WINGS. An adult crow lands on a filing cabinet and
struts back and forth, checking him out. Andy smiles.
ANDY
Hey, Jake. Where's Brooks?
Brooks Hatlen pokes his head out of the back room.
BROOKS
Andy! Thought I heard you out here!
ANDY
I've been reassigned to you.
BROOKS
I know, they told me. Ain't that a
kick in the ass? Come on in, I'll
give you the dime tour.
90 INT -- SHAWSHANK PRISON LIBRARY -- DAY (1949) 90
Brooks leads Andy into the bleakest back room of all. Rough
plank shelves are lined with books. Brooks' private domain.
BROOKS
Here she is, the Shawshank Prison
Library. Along this side, we got
the National Geographics. That
side, the Reader's Digest Condensed
books. Bottom shelf there, some
Louis L'Amours and Erle Stanley
Gardners. Every night I pile the
cart and make my rounds. I write
down the names on this clipboard
here. Well, that's it. Easy, peasy,
Japanesey. Any questions?
Andy pauses. Something about this doesn't make any sense.
ANDY
Brooks? How long have you been
librarian?
BROOKS
Since 1912. Yuh, over 37 years.
ANDY
In all that time, have you ever had
an assistant?
BROOKS
Never needed one. Not much to it,
is there?
ANDY
So why now? Why me?
BROOKS
I dunno. Be nice to have some
comp'ny down here for a change.
HADLEY (O.S.)
Dufresne!
91 Andy steps back into the outer rooms and finds Hadley with 91
another GUARD, a huge fellow named DEKINS.
HADLEY
That's him. That's the one.
Hadley exits. Dekins approaches Andy ominously. Andy stands
his ground, waiting for whatever comes next. Finally:
DEKINS
I'm Dekins. I been, uh, thinkin'
'bout maybe settin' up some kinda
trust fund for my kids' educations.
Andy covers his surprise. Glances at Brooks. Brooks smiles.
ANDY
I see. Well. Why don't we have a
seat and talk it over?
BROOKS
Pull down one'a them desks there.
Andy and Dekins grab a desk standing on end and tilt it to the
floor. They find chairs and settle in. Brooks returns with a
tablet of paper and a pen, slides them before Andy.
ANDY
What did you have in mind? A weekly
draw on your pay?
DEKINS
Yuh. I figured just stick it in the
bank, but Captain Hadley said check
with you first.
ANDY
He was right. You don't want your
money in a bank.
DEKINS
I don't?
ANDY
What's that gonna earn you? Two and
a half, three percent a year? We
can do a lot better than that.
(wets his pen)
So tell me, Mr. Dekins. Where do
you want to send your kids?
Harvard? Yale?
92 INT -- MESS HALL -- DAY (1949) 92
FLOYD
He didn't say that!
BROOKS
God is my witness. And Dekins, he
just blinks for a second, then
laughs his ass off. Afterward, he
actually shook Andy's hand.
HEYWOOD
My ass!
BROOKS
Shook his fuckin' hand. Just about
shit myself. All Andy needed was a
suit and tie, a jiggly little hula
girl on his desk, he would'a been
Mister Dufresne, if you please.
RED
Makin' yourself some friends, Andy.
ANDY
I wouldn't say "friends." I'm a
convicted murderer who provides
sound financial planning. That's a
wonderful pet to have.
RED
Got you out of the laundry, didn't
it?
ANDY
Maybe it can do more than that.
(off their looks)
How about expanding the library?
Get some new books in there.
HEYWOOD
How you 'spect to do that, "Mr.
Dufresne-if-you-please?"
ANDY
Ask the warden for funds.
LAUGHTER all around. Andy blinks at them.
BROOKS
Son, I've had six wardens through
here during my tenure, and I have
learned one great immutable truth
of the universe: ain't one of 'em
been born whose asshole don't
pucker up tight as a snare drum
when you ask for funds.
93 INT -- MAIN BUILDING HALLWAY -- DAY (1949) 93
DOLLYING Norton and Andy up the hall:
NORTON
Not a dime. My budget's stretched
thin as it is.
ANDY
I see. Perhaps I could write to the
State Senate and request funds
directly from them.
NORTON
Far as them Republican boys in
Augusta are concerned, there's only
three ways to spend the taxpayer's
hard-earned when it come to prisons.
More walls. More bars. More guards.
ANDY
Still, I'd like to try, with your
permission. I'll send a letter a
week. They can't ignore me forever.
NORTON
They sure can, but you write your
letters if it makes you happy. I'll
even mail 'em for you, how's that?
94 INT -- ANDY'S CELL -- NIGHT (1949) 94
Andy is on his bunk, writing a letter.
RED (V.O.)
So Andy started writing a letter a
week, just like he said.
95 INT -- GUARD DESK/NORTON'S OUTER OFFICE -- DAY (1949) 95
Andy pops his head in. The GUARD shakes his head.
RED (V.O.)
And just like Norton said, Andy got
no answers. But still he kept on.
96 INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1950) 96
Andy is doing taxes. Mert Entwhistle is seated across from
him. Other off-duty guards are waiting their turn.
RED (V.O.)
The following April, Andy did tax
returns for half the guards at
Shawshank.
97 INT -- PRISON LIBRARY -- ONE YEAR LATER (1951) 97
Tax time again. Even more guards are waiting.
RED (V.O.)
Year after that, he did them all...
including the warden's.
98 EXT -- BASEBALL DIAMOND -- DAY (1952) 98
A BATTER in a "Noresby Marauders" baseball uniform WHACKS the
ball high into left field and races for first.
RED (V.O.)
Year after that, they rescheduled
the start of the intramural season
to coincide with tax season...
99 INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1952) 99
The Batter sits across from Andy. The line winds out the door.
RED (V.O.)
The guards on the opposing teams
all remembered to bring their W-2's.
ANDY
Moresby Prison issued you that gun,
but you actually had to pay for it?
THE BATTER
Damn right, and the holster too.
ANDY
See, that's all deductible. You get
to write that off.
RED (V.O.)
Yes sir, Andy was a regular H&R
Block. In fact, he got so busy at
tax time, he was allowed a staff.
ANGLE SHIFTS to reveal Red and Brooks doing filing chores.
ANDY
Say Red, could you hand me a stack
of those 1040s?
RED (V.O.)
Got me out of the wood shop a month
out of the year, and that was fine
by me.
100 INT -- GUARD DESK/NORTON'S OUTER OFFICE -- DAY (1953) 100
Andy enters and drops a letter on the outgoing stack.
RED (V.O.)
And still he kept sending those
letters...
101 INT -- ANDY'S CELL -- NIGHT (1953) 101
Dark. Andy's in his bunk, polishing a four-inch length of
quartz. It's a beautifully-crafted chess piece in the shape of
a horse's head, poise and nobility captured in gleaming stone.
He puts the knight on a chess board by his bed, adding it to
four pieces already there: a king, a queen, and two bishops.
He turns to Rita. Moonlight casts bars across her face.
102 EXT -- EXERCISE YARD -- DAY (1954) 102
Floyd runs into the yard, scared and winded. He finds Andy and
Red on the bleachers.
FLOYD
Red? Andy? It's Brooks.
103 INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1954) 103
Floyd rushes in with Andy and Red at his heels. They find
Jigger and Snooze trying to calm Brooks, who has Heywood in a
chokehold and a knife to his throat. Heywood is terrified.
JIGGER
C'mon, Brooksie, why don't you just
calm the fuck down, okay?
BROOKS
Goddamn miserable puke-eatin' sons
of whores!
He kicks a table over. Tax files explode through the air.
RED
What the hell's going on?
SNOOZE
You tell me, man. One second he was
fine, then out came the knife. I
better get the guards.
RED
No. We'll handle this. Ain't that
right, Brooks? Just settle do*
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h#*up the
wood. He glances up. The ants disappear over the top. He pulls
a chair over and stands on it, peers cautiously over.
ANDY
Red!
Red steps in with an armload of files. Andy gingerly reaches
in, grabs a black feathered wing, and pulls out a dead crow.
RED
(softly)
Is that Jake?
123 INT -- WOOD SHOP -- DAY (1954) 123
Red is making something at his bench, sanding and planing.
RED (V.O.)
It never would have occurred to us,
if not for Andy. It was his idea.
We all agreed it was the right
thing to do...
124 EXT -- FIELDS -- DAY (1954) 124
Low hilly terrain all around. A HUNDRED CONS are at work in
the fields. GUARDS patrol with carbines, keeping a sharp eye.
We find Andy, Red, and the boys working with picks and
shovels. They glance over to the pickup truck. Hadley's
chewing the fat with Mert and Youngblood. A WHISTLE BLOWS.
GUARD
Water break! Five minutes!
The work stops. Cons head for the pickup truck, where water is
dispensed with dipper and pail. Red and the boys look to Andy.
Andy nods. Now's the time. The group moves off through the
confusion, using it as cover. They head up the slope of a
nearby hill and quickly decide on a suitable spot. The
guards haven't noticed.
Jigger and Floyd start swinging picks into the soft earth,
quickly ripping out a hole. Red reaches into his jacket and
pulls out a beautiful wooden box, carefully stained and
varnished. He shows it around to nods of approval.
ANDY
That's real pretty, Red. Nice work.
HEYWOOD
Shovel man in. Watch the dirt.
124 CONTINUED 124
Heywood jumps in and starts spading out the hole.
125 BY THE TRUCK 125
Youngblood glances up and sees the men on the slope.
YOUNGBLOOD
What the fuck.
HADLEY
(follows his gaze)
HEY. 'YOU MEN UP THERE.' GET YOUR
ASSES OFF THAT SLOPE!
(works his rifle bolt)
YOU HAPPY ASSHOLES GONE DEAF? YOU
GOT FIVE SECONDS 'FORE I SHOOT
SOMEBODY!
Suddenly, other cons start breaking away in groups, dozens of
them heading toward the slope. The guards look around.
HADLEY
What am I, talkin' to myself?
126 ON THE SLOPE 126
Andy pulls a towel-wrapped bundle from his jacket and unfolds
it. Jake. Andy lays him in the box, followed by Brook's
letter. Red places the casket in the hole. A moment of
silence. Andy gives Red with an encouraging nod.
RED
Lord. Brooks was a sinner. Jake was
just a crow. Neither was much to
look at. Both got institutionalized.
See what you can do for 'em. Amen.
Muttered "amens" all around. The boys shovel dirt onto the
small grave and tamp it down.
127 INT -- SHAWSHANK CORRIDORS -- DAY (1955) 127
RAPID DOLLY with Hadley. He's striding, pissed-off, a man on a
mission. He straight-arms a door and emerges onto --
128 EXT -- SHAWSHANK PRISON WALL -- DAY (1955) 128
-- the wall overlooking the exercise yard. He leans on the
railing, scans the yard, sees Andy chatting with Red.
HADLEY
Dufresne! What the fuck did you do?
(Andy looks up)
Your ass, warden's office, now!
Andy shoots a worried look at Red, then heads off.
129 INT -- GUARD DESK/WARDEN'S OUTER OFFICE -- DAY (1955) 129
Dozens of parcel boxes litter the floor. WILEY, the duty
guard, picks through them. Hadley enters, trailed by Andy.
ANDY
What is all this?
HADLEY
You tell me, fuck-stick! They're
addressed to you, every damn one!
Wiley thrusts an envelope at Andy. Andy just stares at it.
WILEY
Well, take it.
Andy takes the envelope, pulls out a letter, reads:
ANDY
"Dear Mr. Dufresne. In response to
your repeated inquiries, the State
Senate has allocated the enclosed
funds for your library project..."
(stunned, examines check)
This is two hundred dollars.
Wiley grins. Hadley glares at him. The grin vanishes.
ANDY
"In addition, the Library District
has generously responded with a
charitable donation of used books
and sundries. We trust this will
fill your needs. We now consider
the matter closed. Please stop
sending us letters. Yours truly,
the State Comptroller's Office."
Andy gazes around at the boxes. The riches of the world lay at
his feet. His eyes mist with emotion at the sight.
HADLEY
I want all this cleared out before
the warden gets back, I shit you not.
Hadley exits. Andy touches the boxes like a love-struck man
touching a beautiful woman. Wiley grins.
WILEY
Good for you, Andy.
ANDY
Only took six years.
(beat)
From now on, I send two letters a
week instead of one.
WILEY
(laughs, shakes his head)
I believe you're crazy enough. You
better get this stuff downstairs
like the Captain said. I'm gonna go
pinch a loaf. When I get back, this
is all gone, right?
Andy nods. Wiley disappears into the toilet, Jughead Comix in
hand. Alone now, Andy starts going through the boxes like a
starving man exploring packages of food. He doesn't know where
to turn first. He gets giddy, ripping boxes open and pulling
out books, touching them, smelling them.
He rips open another box. This one contains an old phonograph
player, industrial gray and green, the words "Portland Public
School District" stenciled on the side. The box also contains
stacks and stacks of used record albums.
Andy reverently slips a stack from the box and starts flipping
through them. Used Nat King Coles, Bing Crosbys, etc.
He comes across a certain album -- Mozart's "Le Nozze de
Figaro." He pulls it from the stack, gazing upon it as a man
transfixed. It is a thing of beauty. It is the Grail.
130 INT -- BATHROOM -- DAY (1955) 130
Wiley sits in one of the stalls, Jughead comic on his knees.
131 INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 131
Andy wrestles the phonograph player onto the guards' desk,
sweeping things onto the floor in his haste. He plugs the
machine in. A red light warms up. The platter starts spinning.
He slides the Mozart album from its sleeve, lays it on the
platter, and lowers the tone arm to his favorite cut. The
needle HISSES in the groove...and the MUSIC begins, lilting
and gorgeous. Andy sinks into Wiley's chair, overcome by its
beauty. It is "Deutino: Che soave zeffiretto," a duet sung by
Susanna and the Contessa.
132 INT -- BATHROOM -- DAY (1955) 132
Wiley pauses reading, puzzled. He thinks he hears music.
WILEY
Andy? You hear that?
133 INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 133
Andy shoots a look at the bathroom...and smiles. Go for broke.
He lunges to his feet and barricades the front door, then the
bathroom. He returns to the desk and positions the P.A.
microphone. He works up his courage, then flicks all the
toggles to "on." A SQUEAL OF FEEDBACK echoes briefly...
134 INT/EXT -- VARIOUS P.A. SPEAKERS -- DAY (1955) 134
...and the Mozart is suddenly broadcast all over the prison.
135 INT -- BATHROOM -- DAY (1955) 135
Wiley lunges to his feet, pants tangling around his ankles.
136 INT/EXT -- SHAWSHANK PRISON -- VARIOUS LOCATIONS -- DAY (1955) 136
Cons all over the prison stop whatever they're doing, freezing
in mid-step to listen, gazing up at the speakers.
137 The stamping machines in the plate shop are shut down... 137
138 The laundry line goes silent, grinding to a halt... 138
139 The wood shop machines are turned off, buzzing to a stop... 139
140 The motor pool...the kitchen...the loading dock...the exercise 140
thru yard...the numbing routine of prison life itself...all grinds thru
143 to a stuttering halt. Nobody moves, nobody speaks. Everybody 143
just stands in place, listening to the MUSIC, hypnotized.
144 INT -- GUARD STATION -- DAY (1955) 144
Andy is reclined in the chair, transported, arms fluidly
conducting the music. Ecstasy and rapture. Shawshank no
longer exists. It has been banished from the mind of men.
145 EXT -- EXERCISE YARD -- DAY (1955) 145
CAMERA TRACKS along groups of men, all riveted.
RED (V.O.)
I have no idea to this day what
them two Italian ladies were
singin' about. Truth is, I don't
want to know. Some things are best
left unsaid. I like to think they
were singin' about something so
beautiful it can't be expressed in
words, and makes your heart ache
because of it.
CAMERA brings us to Red.
RED (V.O.)
I tell you, those voices soared.
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X,0̂Q+ i!eg k^zdry, the pie
box under his arm.
167 INT -- LIBRARY -- DAY (1965) 167
TILT UP FROM PIE to find Red munching away as he helps Andy
sort books on the shelves.
RED
Got his fingers in a lot of pies,
from what I hear.
ANDY
What you hear isn't half of it.
He's got scams you haven't dreamed
of. Kickbacks on his kickbacks.
There's a river of dirty money
flowing through this place.
RED
Money like that can be a problem.
Sooner or later you gotta explain
where it came from.
ANDY
That's where I come in. I channel
it, funnel it, filter it...stocks,
securities, tax free municipals...
I send that money out into the big
world. And when it comes back...
RED
It's clean as a virgin's whistle?
ANDY
Cleaner. By the time Norton retires,
I will have made him a millionaire.
RED
Jesus. They ever catch on, he's
gonna wind up wearing a number
himself.
ANDY
(smiles)
I thought you had more faith in me
than that.
RED
I'm sure you're good, but all that
paper leaves a trail. Anybody gets
too curious -- FBI, IRS, whatever --
that trail's gonna lead to somebody.
ANDY
Sure it will. But not to me, and
certainly not to the warden.
RED
Who then?
ANDY
Peter Stevens.
RED
Who?
ANDY
The silent, silent partner. He's
the guilty one, your Honor. The man
with the bank accounts. That's
where the filtering process starts.
They trace it back, all they're
gonna find is him.
RED
Yeah, okay, but who the hell is he?
ANDY
A phantom. An apparition. Second
cousin to Harvey the Rabbit.
(off Red's look)
I conjured him out of thin air. He
doesn't exist...except on paper.
RED
You can't just make a person up.
ANDY
Sure you can, if you know how the
system works, and where the cracks
are. It's amazing what you can
accomplish by mail. Mr. Stevens has
a birth certificate, social
security card, driver's license.
They ever track those accounts,
they'll wind up chasing a figment
of my imagination.
RED
Jesus. Did I say you were good?
You're Rembrandt.
ANDY
It's funny. On the outside, I was
an honest man. Straight as an
arrow. I had to come to prison to
be a crook.
168 EXT -- PRISON YARD -- DUSK (1965)
RED
Does it ever bother you?
ANDY
I don't run the scams, Red, I just
process the profits. That's a fine
line, maybe. But I've also built
that library, and used it to help a
dozen guys get their high school
diplomas. Why do you think the
warden lets me do all that?
RED
To keep you happy and doing the
laundry. Money instead of sheets.
ANDY
I work cheap. That's the trade-off.
TWO SIREN BLASTS draw their attention to the main gate. It
swings open, revealing a prison bus waiting outside.
169 INT -- PRISON BUS -- DUSK (1965) 169
Among those on board is TOMMY WILLIAMS, a damn good-looking
kid in his mid-20's. The bus RUMBLES through the gate.
170 EXT -- PRISON YARD -- DUSK (1965) 170
The new fish disembark, chained together single-file. The old-
timers holler and shake the fence. A deafening gauntlet.
171 INT -- CELLBLOCK EIGHT -- NIGHT (1965) 171
Tommy and the others are marched in naked and shivering,
covered with delousing powder, greeted by TAUNTS and JEERS.
172 INT -- TOMMY'S CELL -- NIGHT (1965) 172
The bars slam with a STEEL CLANG. Tommy and his new CELLMATE
take in their new surroundings.
TOMMY
Well. Ain't this for shit?
173 INT -- PRISON CORRIDOR -- DAY (1965) 173
DOLLYING Tommy as he struts along, combing his ducktail,
cigarette behind his ear. (We definitely need The Coasters or
Del Vikings on the soundtrack here. Maybe Jerry Lee Lewis.)
RED (V.O.)
Tommy Williams came to Shawshank in
1965 on a two year stretch for B&E.
Cops caught him sneakin' TV sets
out the back door of a JC Penney.
174 INT -- WOOD SHOP -- DAY (1965) 174
A SHRIEKING BUZZSAW slices ten-foot lengths of wood. Red runs
the machine while some other OLD-TIMERS feed the wood.
RED (V.O.)
Young punk, Mr. Rock n' Roll, cocky
as hell...
Tommy is hauling the cut wood off the conveyor and stacking it,
It's a ball-busting job, but the kid's a blur.
TOMMY
(slapping his gloves)
C'mon there, old boys! Movin' like
molasses! Makin' me look bad!
The old guys just grin and shake their heads.
RED (V.O.)
We liked him immediately.
175 INT -- MESS HALL -- DAY (1965) 175
Tommy regales the old boys with his exploits:
TOMMY
...so I'm backin' out the door,
right? Had the TV like this...
(mimes his grip)
Big ol' thing. Couldn't see shit.
Suddenly, here's this voice:
"Freeze kid! Hands in the air!"
Well I just stand there holdin' on
to that TV, so the voice says: "You
hear what I said, boy?" And I say,
"Yes sir, I sure did! But if I drop
this fuckin' thing, you got me on
destruction of property too!"
The whole table falls about laughing.
176 INT -- LIBRARY -- DAY (1965) 176
Poker game in progress. Tommy, Andy, Red and the boys.
HEYWOOD
You did a stretch in Cashman too?
TOMMY
Yeah. That was an easy ride, let me
tell you. Work programs, weekend
furloughs. Not like here.
SNOOZE
Sounds like you done time all over
New England.
TOMNY
Been in and out since I was 13. Name
the place, chances are I been there.
ANDY
Perhaps it's time you considered a
new profession.
(the game stalls)
What I mean is, you don't seem to
be a very good thief. Maybe you
should try something else.
TOMMY
What the hell you know about it,
Capone? What are you in for?
ANDY
(wry glance to Red)
Everyone's innocent in here. Don't
you know that?
The tension breaks. Everyone laughs.
177 INT -- VISITOR'S ROOM -- DAY (1965) 177
CAMERA TRAVELS the room. Chaotic. CONS are waiting their turn
or talking to visitors through a thick plexi shield.
RED (V.O.)
As it turns out, Tommy had himself
a young wife and new baby girl...
Tommy's at the end of the row, phone to his ear. Other side of
the glass is BETH, near tears, fussing with a BABY on her lap.
BETH
...said we can stay with them, but
Joey's gettin' out of the service
next month, and they barely got
enough room as it is. Plus they got
Poppa workin' double shifts and the
baby cries half the night. I just
don't know where we're gonna go...
PUSH IN on Tommy's face as he listens.
RED (V.O.)
Maybe it was the thought of them on
the streets...or his child growing
up not knowing her daddy...
178 INT -- LIBRARY -- DAY (1965) 178
Tommy enters, the strut gone from his step. A little scared.
He finds Andy filing library cards.
RED (V.O.)
Whatever it was, something lit a
fire under that boy's ass.
TOMMY
I'm thinkin' maybe I should try for
high school equivalency. Hear you
helped some fellas with that.
ANDY
I don't waste time on losers, Tommy.
TOMMY
(tight)
I ain't no goddamn loser.
ANDY
That's a good start. If we do this,
we do it all the way. One hundred
percent. Nothing half-assed.
Tommy thinks about it, nods.
TOMMY
Thing is, see...
(leans in, mutters)
...I don't read all that good.
ANDY
(smiles)
Well. You've come to the right
place then.
179 INT -- LIBRARY -- DAY (1965) 179
We find Andy giving an impassioned reading:
ANDY
"...and the lamplight o'er him
streaming throws his shadow on the
floor...and my soul from out that
shadow that lies floating on the
floor, shall be lifted nevermore!"
Andy slaps the book shut, immensely pleased with himself.
TOMMY
So this raven just sits there and
won't go away?
ANDY
That's right.
TOMMY
(beat)
Why don't that fella get hisself a
12-gauge and dust the fucker?
180 INT -- LIBRARY -- DAY (1965) 180
Tommy tries to read as Andy looks on:
TOMMY
"The cat sh--The cat shh..."
(glances up)
The cat shat on the welcome mat?
Andy shakes his head. Not exactly.
181 INT -- LIBRARY -- DAY (1965) 181
Andy chalks the alphabet on a blackboard.
RED (V.O.)
So Andy took Tommy under his wing.
Started walking him through his
ABCs...
182 INT -- MESS HALL -- DAY (1965) 182
TRACK the table to Tommy and Andy. Discussing a book.
RED (V.O.)
Tommy took to it pretty well, too.
Boy found brains he never knew he
had.
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}1zqHu+ qZEne hundreds of
jobs. Hard to believe, high-strung
as he was. Cut a loud fart, he'd go
three feet in the air. Talked all
the time, too, that's the other
thing. Never shut up. Places he'd
been, jobs he pulled, women he
fucked. Even people he killed.
People that gave him shit, that's
how he put it. One night, like a
joke, I say: "Yeah? Who'd you
kill?" So he says...
BLATCH
...I got me this job one time
bussin' tables at a country club.
So I could case all the big rich
pricks that come in. I pick out
this guy, go in one night and do
his place. He wakes up and gives
me shit. So I killed him. Him and
the tasty bitch he was with.
(starts laughing)
That's the best part! She's fuckin'
this prick, see, this golf pro, but
she's married to some other guy!
Some hotshot banker. He's the one
they pinned it on! They got him
down-Maine somewhere doin' time for
the crime! Ain't that choice?
He throws his head back and ROARS with laughter.
191 INT -- PRISON LIBRARY -- DAY (1966) 191
Silence. Tommy has finished his story. Red is stunned...but
Andy looks like he's been smacked with a two by four.
RED
Andy?
Andy says nothing. Walks stiffly away. Doesn't look back.
192 INT -- NORTON'S OFFICE -- DAY (1966) 192
NORTON
Well. I have to say, that's the
most amazing story I ever heard.
What amazes me most is you were
taken in by it.
ANDY
Sir?
NORTON
It's obvious this fellow Williams
is impressed with you. He hears
your tale of woe and quite
naturally wants to cheer you up.
He's young, not terribly bright.
Not surprising he didn't know what
a state he'd put you in.
ANDY
I think he's telling the truth.
NORTON
Let's say for a moment Blatch does
exist. You think he'd just fall to
his knees and cry, "Yes, I did it!
I confess! By all means, please add
a life term to my sentence!"
ANDY
It wouldn't matter. With Tommy's
testimony, I can get a new trial.
NORTON
That's assuming Blatch is even
still there. Chances are excellent
he'd be released by now. Excellent.
ANDY
They'd have his last known address.
Names of relatives...
(Norton shakes his head)
Well it's a chance. isn't it? How
can you be so obtuse?
NORTON
What? What did you call me?
ANDY
Obtuse! Is it deliberate? The
country club will have his old time
cards! W-2s with his name on them!
NORTON
(rises)
Dufresne, if you want to indulge
this fantasy, that's your business.
Don't make it mine. This meeting's
over.
ANDY
Look, if it's the squeeze, don't
worry. I'd never say what goes on
in here. I'd be just as indictable
as you for laundering the money!
NORTON
Don't you ever mention money to me
again, you sorry son of a bitch!
Not in this office, not anywhere!
(slaps intercom)
Get in here! Now!
ANDY
I was just trying to rest your mind
at ease, that's all.
NORTON
(as GUARDS enter)
Solitary! A month!
Andy gets dragged away, kicking and screaming:
ANDY
What's the matter with you? It's my
chance to get out, don't you see
that? It's my life! Don't you
understand it's my life?
193 EXT -- PRISON YARD -- DAY (1966) 193
Mail call. Men crowd around as names are called out. Red and
the boys are parked on the bleachers.
FLOYD
A month in the hole. Longest damn
stretch I ever heard of.
TOMMY
It's my fault.
RED
Like hell. You didn't pull the
trigger, and you didn't convict him.
HEYWOOD
Red? You saying Andy's innocent? I
mean for real innocent?
(Red nods)
Sweet Jesus. How long's he been in
here?
RED
Since '47. Going on nineteen years.
MAIL CALLER
Thomas Williams!
Tommy raises his hand. The envelope gets tossed to him. He
stares at it. Red peers over his shoulder.
RED
Board of Education.
TOMMY
The son of a bitch mailed it.
RED
Looks that way. You gonna open it
or stick your thumb up your butt?
TOMMY
Thumb up my butt sounds better.
He gets hemmed in by the older men. Red snatches the letter.
TOMMY
C'mon, just throw it away. Will you
please? Just throw it away?
Red rips it open, scans the letter. Expressionless.
RED
Well, shit.
194 INT -- VISITOR'S ROOM -- DAY (1966) 194
Tommy makes his way through the chaos, finds Beth and the baby
waiting behind the thick plexi shield. He sits, doesn't pick
up the phone. Just stares at Beth. She doesn't know what to
make of it.
He presses a piece of paper against the glass. A high school
diploma. Her face lights up, blinking back tears.
195 INT -- SOLITARY WING -- NIGHT (1966) 195
LOW ANGLE on steel door. Somewhere behind it, unseen, is Andy,
A rat scurries along the wall. FOOTSTEPS approach slowly.
196 INT -- SOLITARY -- NIGHT (1966) 196
Andy listens in darkness. The FOOTSTEPS pause outside his
door. The slot opens. An ELDERLY GUARD peers in.
ELDERLY GUARD
Kid passed. C-plus average. Thought
you'd like to know.
The slot closes. The FOOTSTEPS recede. Andy smiles.
197 INT -- PRISON CORRIDOR -- NIGHT (1966) 197
We find Tommy on evening work detail, mopping the floors with
bucket and pail. Mert Entwhistle comes into view.
MERT
Warden wants to talk.
198 EXT -- PRISON -- NIGHT (1966) 198
A steel door rattles open. Mert leads Tommy outside to a gate,
unlocks it. Tommy looks around.
TOMMY
Out here?
MERT
That's what the man said.
Mert swings the gate open, sends Tommy through, turns and
heads back inside. Tommy proceeds out across a loading-dock
access for the shops and mills. Some vehicles parked. The
place is deserted. He stops, sensing a presence.
TOMMY
Warden?
Norton steps into the light.
NORTON
Tommy, we've got a situation here.
I think you can appreciate that.
TOMMY
Yes sir, I sure can.
NORTON
I tell you, son, this really came
along and knocked my wind out. It's
got me up nights, that's the truth.
Norton pulls a pack of cigarettes, offers Tommy a smoke. Tommy
takes one. Norton lights both cigarettes, pockets his lighter.
NORTON
The right decision. Sometimes it's
hard to figure out what that is.
You understand?
(Tommy nods)
Think hard, Tommy. If I'm gonna
move on this, there can't be the
least little shred of doubt. I have
to know if you what you told
Dufresne was the truth.
TOMMY
Yes sir. Absolutely.
NORTON
Would you be willing to swear before
a judge and jury...having placed
your hand on the Good Book and taken
an oath before Almighty God Himself?
TOMMY
Just gimme that chance.
NORTON
That's what I thought.
Norton drops his cigarette. Crushes it out with the toe of his
shoe. Glances up toward the plate shop roof as --
199 HIGH ANGLE FROM PLATE SHOP ROOF (SNIPER POV) 199
-- a rifle scope pops up into frame, jumping Tommy's image
into startling magnification, framed in the crosshairs.
200 THE SNIPER 200
rapid-fires a carbine -- BLAM!BLAM!BLAM!BLAM! -- his face lit
up by the muzzle flashes. Captain Hadley.
201 TOMMY 201
gets chewed to pieces by the gunfire. He smacks the ground in
a twitching, thrashing heap. Eyes wide and staring. Dead.
Surprise still stamped on his face. Silence now. Norton
turns, strolls into darkness.
202 INT -- SOLITARY WING -- DAY (1966) 202
GUARDS approach Andy's cell. The door is unlocked. Andy
emerges slowly, blinking painfully at the light.
203 INT/EXT -- PRISON -- DAY (1966) 203
Andy is marched along. Convicts stop to stare.
204 INT -- NORTON'S OFFICE -- DAY (1966) 204
Andy is led in. The door is closed. Alone with Norton. Softly,
NORTON
Terrible thing. Man that young,
less than a year to go, trying to
escape. Broke Captain Hadley's
heart to shoot him, truly it did.
ANDY
I'm done. It stops right now. Get
H&R Block to declare your income.
Norton lunges to his feet, eyes sparkling with rage.
NORTON
Nothing stops! NOTHING!
(tight)
Or you will do the hardest time
there is. No more protection from
the guards. I'll pull you out of
that one-bunk Hilton and put you in
with the biggest bull queer I can
find. You'll think you got fucked
by a train! And the library? Gone!
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206 INT -- MESS HALL -- DAY (1966)
RED
I tell you, the man was talkin'
crazy. I'm worried, I truly am.
SKEET
We ought to keep an eye on him.
ZIGGER
That's fine, during the day. But
at night he's got that cell all to
himself.
HEYWOOD
Oh Lord. Andy come down to the
loading dock today. Asked me for a
length of rope. Six foot long.
SNOOZE
Shit! You gave it to him?
HEYWOOD
Sure I did. I mean why wouldn't I?
FLOYD
Christ! Remember Brooks Hatlen?
HEYWOOD
How the hell was I s'pose to know?
ZIGGER
Andy'd never do that. Never.
They all look to Red.
RED
Every man's got a breaking point.
207 EXT -- PRISON YARD -- ANGLE ON P.A. -- DUSK (1966) 207
VOICE (over P.A.)
Report to your cellblocks for
evening count.
BOOM DOWN to Red and the boys. Convicts drift past them.
FLOYD
Where the hell is he?
HEYWOOD
Probably still up in the warden's.
TOWER GUARD
(via bullhorn)
YOU MEN! YOU HEAR THAT ANNOUNCEMENT
OR ZUST TOO STUPID TO UNDERSTAND?
SKEET
Christ. What do we do?
FLOYD
Nothing we can do. Not tonight.
HEYWOOD
Let's pull him aside tomorrow, all
of us. Have a word with him. Ain't
that right, Red?
RED
(unconvinced)
Yeah. Sure. That's right.
20B INT -- NORTON'S OFFICE -- NIGHT (1966) 208
Andy's working away. Norton pokes his head in.
NORTON
Lickety-split. I wanna get home.
ANDY
Just about done, sir.
We follow Norton to his wife's sampler. He swings it aside,
works the combination dial, opens the wall safe. Andy moves up,
shoves in the black ledger and files. Norton shuts the safe.
ANDY
Three deposits tonight.
Andy hands him the envelopes. Norton heads for the door.
NORTON
Get my stuff down t'laundry. And
shine my shoes. I want 'em lookin'
like mirrors.
(pauses at door)
Nice havin' you back, Andy. Place
just wasn't the same without you.
Norton exits. Andy turns to the laundry. He opens the shoebox.
Nice pair of dress shoes inside. He sighs, glances down at the
old ragged pair of work shoes on his own feet.
209 INT -- NORTON'S OFFICE -- NIGHT (1966) 209
Andy is diligently shining Norton's shoes.
210 INT -- PRISON CORRIDOR -- NIGHT (1966) 210
Andy trudges down the hallway, laundry slung over his shoulder,
211 INT -- CELLBLOCK FIVE -- NIGHT (1966) 211
Andy nods to the GUARD. The guard BUZZES him through.
212 INT -- RED'S CELL -- NIGHT (1966) 212
Red hears Andy coming, moves to the bars. He watches Andy come
up to the second tier and pause before his cell.
GUARD (O.S.)
Open number twelve!
Andy gazes directly at Red. A beat of eye contact. Red shakes
his head. Don't do it. Andy smiles, eerily calm...and enters
his cell. The door closes. KA-THUMP! We hold on Red's face.
213 INT -- ANDY'S CELL -- NIGHT (1966) 213
Andy is polishing a chess piece.
VOICE (O.S.)
Lights out!
The lights bump off. He finishes polishing, holds up the piece
to admire. A pawn. He sets it down with the others -- and we
realize it's the final glance for the board. A full set.
He gazes up at Racquel and smiles. Pulls a six foot length of
rope from under his pillow. Lets it uncoil to the floor.
214 INT -- RED'S CELL -- NIGHT (1966) 214
Red sits in the dark, a bundle of nerves, trying to hold
himself still. He feels like he might scream or shake to
pieces. The seconds tick by, each an eternity.
RED (V.O.)
I have had some long nights in
stir. Alone in the dark with
nothing but your thoughts, time can
draw out like a blade...
A FLASH OF LIGHTNING outside his window sends harsh barred
shadows jittering across the cell. A storm breaking.
RED (V.O.)
That was the longest night of my
life...
215 INT -- CELLBLOCK FIVE -- MORNING (1966) 215
KA-THUMP! The master lock is thrown. The cons emerge from
their cells and the headcount begins. Red looks back to see if
Andy's in line. He's not. Suddenly the count stalls:
GUARD
Man missing on tier two! Cell 12!
The head bull, HAIG, checks his list:
HAIG
Dufresne? Get your ass out here,
boy! You're holding up the show!
(no answer)
Don't make me come down there now!
I'll thump your skull for you!
Still no answer. Glaring, Haig stalks down the tier, clipboard
in hand. His men fall in behind.
HAIG
Dufresne, dammit, you're putting me
behind! You better be sick or dead
in there, I shit you not!
They arrive at bars. Their faces go slack. Stunned. Softly:
HAIG
Oh my Holy God.
216 REVERSE ANGLE 216
reveals the cell is empty. Everything neat and tidy. Even the
bunk is stowed. They wrench the door open and rush in, tossing
the cell in a panic as if Andy might be lurking under the
Kleenex or the toothpaste. CAMERA ROCKETS IN on Haig as he
spins toward us, bellowing at the top of his lungs:
HAIG
WHAT THE FUCK!
217 INT -- NORTON'S OFFICE -- MORNING (1966) 217
Norton is kicking back with the morning paper. He notices ha
dingy his shoes are. He glances at the shoebox on the desk.
kicks his shoes off, opens the box -- and gulls out Andy's o
grimy work shoes. He stares blankly. What the fuck indeed.
An ALARM STARTS BLARING throughout the prison. He looks up.
218 EXT -- PRISON -- DAY (1966) 218
Norton and Hadley stride across the grounds, ALARM BLARING.
NORTON
I want every man on that cellblock
questioned! Start with that friend
of his!
HADLEY
Who?
219 INT -- CELLBLOCK FIVE -- RED'S CELL -- DAY (1966) 219
Red watches as Norton storms up with an entourage of guards.
NORTON
Him.
Red's eyes widen. Guards yank him from his cell.
220 INT -- ANDY'S CELL -- DAY (1966) 220
Norton steps to the center of the room, working himself up
into a fine rage:
NORTON
What do you mean "he just wasn't
here?" Don't say that to me, Haig!
Don't say that to me again!
HAIG
But sir! He wasn't! He isn't!
NORTON
I can see that, Haig! You think I'm
blind? Is that what you're saying?
Am I blind, Haig?
HAIG
No sir!
Norton grabs the clipboard and thrusts it at Hadley.
NORTON
What about you? You blind? Tell me
what this is!
HADLEY
Last night's count.
NORTON
You see Dufresne's name? I sure do!
Right there, see? "Dufresne." He
was in his cell at lights out!
Stands to reason he'd still be here
this morning! I want him found! Not
tomorrow, not after breakfast! Now!
Haig scurries out, gathering men. Norton spins to Red.
NORTON
Well?
RED
Well what?
NORTON
I see you two all the time, you're
thick as thieves, you are! He
must'a said something!
RED
No sir, he didn't!
Norton spreads his arms evangelist-style, spins slowly around.
NORTON
Lord! It's a miracle! Man up and
vanished like a fart in the wind!
Nothin' left but some damn rocks on
the windowsill and that cupcake on
the wall! Let's ask her! Maybe she
knows! What say there, Fuzzy-
Britches? Feel like talking? Guess
not. Why should you be different?
Red exchanges looks with the guards. Even they're nervous.
Norton scoops a handful rocks off the sill. He hurls them at
the wall one at a time, shattering them, punctuating his words:
NORTON
It's a conspiracy! (SMASH) That's
what this is! (SMASH) It's one big
damn conspiracy! (SMASH) And
everyone's in on it! (SMASH)
Including her!
He sends the last rock whizzing right at Racquel.
No smash.
It takes a moment for this to sink in. All eyes go to her. The
rock went through her. There's a small hole in the poster
where her navel used to be.
You could hear a pin drop. Norton reaches up, sinks his finger
into the hole. He keeps pushing...and his entire hand
disappears into the wall.
221 ANGLE FROM BEHIND POSTER 221
as Norton rips the poster from before our eyes. Stunned faces
peer in. CAMERA PULLS SLOWLY BACK...to reveal the long
crumbling tunnel in the wall.
222 INT -- ANDY'S CELL -- MINUTES LATER (1966) 222
RORY TREMONT, a guard barely out of his teens, tries not to
look nervous as they lash a rope around his chest. He's
getting instructions from six different people at once.
RED (V.O.)
They got this skinny kid named Rory
Tremont to go in the hole. He wasn't
much in the brains department, but
he possessed the one most important
qualification for the job...
(they slap a flashlight
in his hands)
...he was willing to go.
223 INT -- TUNNEL -- DAY (1966) 223
Rory squeezes down the tunnel on his belly.
RED (V.O.)
Probably thought he'd win a Bronze
Star or something.
224 INT -- VERTICAL SHAFT -- DAY (1966) 224
Dark as midnight. Concrete walls rise on both sides. If you
imagine them as two huge slices of bread, the meat of this
particular sandwich is about three feet of airspace and a dark
tangle of pipes between the cellblocks. Rory's appears, shining
his flashlight down the shaft. Somewhere, a rat SQUEAKS.
RED (V.O.)
It was his third day on the job.
RORY
Warden? There's a space here
between the walls 'bout three feet
across! Smells pretty damn bad!
NORTON (O.S.)
I don't care what it smells like!
HADLEY (O.S.)
Go on, boy! We got a hold of you!
Looking none too happy about it, Rory squeezes from the tunnel
and dangles into the shaft. He gets lowered, shining his
light, smothered by darkness. Not having a good time.
RORY
Hoo-whee! Smell's gettin' worse!
NORTON (O.S.)
Never mind, I said! Just keep going!
RORY
Smells pretty damn bad, Warden! In
fact, it smells just like shit.
His feet touch the ground -- or what he assumed was the
ground. It's not. In fact, it's just what it smells like. He
sinks in past his ankles. He slips and sits heavily in it.
RORY
Oh God, that's what it is, it's
shit. Oh my God it's shit. pull me
out 'fore I blow my groceries, oh
shit it's shit, oh my Gawwwwwwd!
225 INT -- ANDY'S CELL -- DAY (1966) 225
Red and others listen to violent barfing from below.
RED (V.O.)
And then came the unmistakable
sound of Rory Tremont losing his
last few meals. The whole cellblock
heard it. I mean, it echoed.
That's it for Red. He starts laughing. Laughing, hell, he's
bellowing laughter, laughing so hard he has to hold himself,
laughing so hard tears are pouring down his cheeks. The look
of rage on Norton's face makes him laugh all the harder.
226 INT -- SOLITARY WING -- NIGHT (1966) 226
Abrupt silence. LOW ANGLE on steel door.
RED (V.O.)
I laughed myself right into
solitary. Two week stretch.
227 INT -- SOLITARY -- NIGHT (1966) 227
RED
It's shit, it's shit, oh my God
it's shit...
He starts laughing all over again, fit to split.
RED (V.O.)
Andy once talked about doing easy
time in the hole. Now I knew what
he meant.
228 EXT -- SHAWSHANK PRISON -- WIDE SHOT -- DAY (1966) 228
Virgin landscape. Charming rural road. Suddenly, State Police
cruisers rocket up the road with SIRENS AND LIGHTS.
RED (V.O.)
In 1966, Andy Dufresne escaped from
Shawshank Prison.
229 EXT -- FIELD -- DAY (1966) 229
Shawshank is half a mile distant. WE TRACK ALONG a muddy creel
as STATE TROOPERS and PRISON GUARDS scour the brush. A TROOPEE
fishes a prison uniform out of the creek with a long stick.
RED (V.O.)
All they found of him was a muddy
set of prison clothes, a bar of
soap, and an old rock-hammer damn
near worn down to the nub.
TROOPER #2 pulls the rock-hammer from the weeds. SWISH PAN
to a POLICE PHOTOGRAPHER. His FLASHBULB GLARE produces:
230 A BLACK AND WHITE STILL PHOTO 230
of the hapless cops posing with Andy's reeking uniform and the
worn rock-hammer. PUSH IN on the hammer.
RED (V.O.)
I remember thinking it would take a
man six hundred years to tunnel
through the wall with it. Andy did
it in less than twenty.
231 INT -- ANDY'S CELL -- NIGHT (1949) 231
Once again, we see Andy using the rock-hammer to scratch his
name into the cement. Suddenly, a palm-sized chunk of cement
pops free and hits the floor. He stares down at it.
232 INT -- ANDY'S CELL -- NIGHT (1949) 232
Andy lies in the dark, studying the chunk of concrete in his
hands. Considering the possibilities. Wrestling with hope.
RED (V.O.)
Andy loved geology. I imagine it
appealed to his meticulous nature.
An ice age here, a million years of
mountain-building there, plates of
bedrock grinding against each other
over a span of millennia...
233 INT -- ANDY'S CELL -- NIGHT (1949) 233
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c`bt]z|y!IDp+ѥ!ؠ LT6u-:QZHb #U~G}$irections as Norton raises the gun --
-- and jams it under his chin. His head snaps back as the wall
goes red. His swivel chair does a slow half-turn and creaks to
a final stop. Troopers rise slowly, gazing in horror.
RED (V.O.)
I like to think the last thing that
went through his head...other than
that bullet...was to wonder how the
hell Andy Dufresne ever got the
best of him.
PUSH SLOWLY to the wall to reveal Mrs. Norton's framed sampler
trickling blood and brains...and we get our final Bible lesson
for today: "HIS JUDGMENT COMETH AND THAT RIGHT SOON."
265 EXT -- PRISON YARD -- DAY (1966) 265
Mail call. Red hears his name. They pass him a postcard.
RED (V.O.)
Not long after the warden deprived
us of his company, I got a postcard
in the mail. It was blank. But the
postmark said, "McNary, Texas."
266 INT -- LIBRARY -- DAY (1966) 266
Red sits with an atlas, tracing his finger down the page.
RED (V.O.)
McNary. Right on the border. That's
where Andy crossed.
(shuts the book)
When I picture him heading south in
his own car with the top down, it
makes me laugh all over again...
267 EXT -- MEXICO -- HIGHWAY -- DAY (1966) 267
A red convertible rips along with Andy at the wheel, cigar
jutting from his grin, warm wind fluttering his tie.
RED (V.O.)
Andy Dufresne, who crawled through
a river of shit and came out clean
on the other side. Andy Dufresne,
headed for the Pacific.
268 INT -- MESS HALL -- DAY (1966) 268
Heywood is regaling the table with some anecdote about Andy.
RED (V.O.)
Those of us who knew him best talk
about him often. I swear, the stuff
he pulled. It always makes us laugh.
A wild burst of laughter. PUSH IN on Red. Feeling melancholy.
RED (V.O.)
Sometimes it makes me sad, though,
Andy being gone. I have to remind
myself that some birds aren't meant
to be caged, that's all. Their
feathers are just too bright...
269 EXT -- FIELDS -- LATE DAY (1966) 269
Convicts hoe the fields. Guards patrol on horseback.
RED (V.O.)
...and when they fly away, the part
of you that knows it was a sin to
lock them up does rejoice...but still,
the place you live is that much more
drab and empty that they're gone.
A DISTANT RUMBLE OF THUNDER. Red pauses, gazes off. Storm
clouds coming in, backlit by the sun. A light drizzle begins.
RED (V.O.)
I guess I just miss my friend.
270 INT -- PRISON CELL -- NIGHT (1966) 270
Red is sleeping. He wakes with a start.
RED (V.O.)
But there are times I curse him for
the dreams he left behind...
He senses a presence, looks over his shoulder. There's a Rita
Hayworth poster on his wall. He gets out of bed. Rita just
keeps smiling, inscrutable. As Red watches, a brilliant
round glow builds behind the poster, shining from the
tunnel. The poster rips free, charred to ash in the blink
of an eye as a shaft of holy white light stabs into the
cell. Sunlight. Red staggers back against the glare.
A whirlwind kicks up, whipping everything into the air. The
hole in the wall is like a giant vacuum cleaner -- papers,
book, toiletries, bedding -- if it ain't nailed down, it gets
sucked down the hole toward the light. Red fights it, but the
suction drags him closer and closer...
271 RED'S POV 271
...and CAMERA rockets into the hole, getting sucked down an
endless tunnel at impossible speed, the ROAR of air mixing
with his drawn-out SCREAM, closer and closer to the light...
...and erupting out the other side into total silence and a
beautiful white beach. The Pacific Ocean before us. Enormous.
Mind-blowing. Beautiful beyond description. All we hear now
are the gentle sound of waves.
RED (V.O.)
...dreams where I am lost in a warm
place with no memory.
A lone figure stands at water's edge. CAMERA KEEPS MOVING,
coming up behind him and TRACKING AROUND to reveal -- Red.
RED (V.O.)
An ocean so big it strikes me dumb.
Waves so quiet they strike me deaf.
Sunshine so bright it strikes me
blind. It is a place that is blue
beyond reason. Bluer than can
possibly exist. Bluer than my mind
can possibly grasp.
272 AERIAL SHOT 272
Nothing for a million miles but beach, sky, and water. Red is
a tiny speck at water's edge. Just another grain of sand.
RED (V.O.)
I am terrified. There is no way home.
273 INT -- RED'S CELL -- NIGHT (1966) 273
Red wakes from the nightmare. He gets out of bed. Moves to the
barred window of his cell. Peers up at the stars.
RED (V.O.)
Andy. I know you're in that place.
Look at the stars for me just after
sunset. Touch the sand...wade in
the water...and feel free.
FADE TO BLACK
274 AN IRON-BARRED DOOR 274
slides open with an enormous CLANG. A stark room beyond.
CAMERA PUSHES through. SIX MEN AND ONE WOMAN sit at a long
table. An empty chair faces them. We are again in:
INT -- SHAWSHANK HEARINGS ROOM -- DAY (1967)
Red enters, sits. 20 years older than when we first saw him.
MAN #1
Your file says you've served forty
years of a life sentence. You feel
you've been rehabilitated?
Red doesn't answer. Just stares off. Seconds tick by. The
parole board exchanges glances. Somebody clears his throat.
MAN #1
Shall I repeat the question?
RED
I heard you. Rehabilitated. Let's
see now. You know, come to think of
it, I have no idea what that means.
MAN #2
Well, it means you're ready to
rejoin society as a--
RED
I know what you think it means. Me,
I think it's a made-up word, a poli-
tician's word. A word so young fellas
like you can wear a suit and tie and
have a job. What do you really want
to know? Am I sorry for what I did?
MAN #2
Well...are you?
RED
Not a day goes by I don't feel
regret, and not because I'm in here
or because you think I should. I
look back on myself the way I
was...stupid kid who did that
terrible crime...wish I could talk
sense to him. Tell him how things
are. But I can't. That kid's long
gone, this old man is all that's
left, and I have to live with that.
(beat)
"Rehabilitated?" That's a bullshit
word, so you just go on ahead and
stamp that form there, sonny, and
stop wasting my damn time. Truth
is, I don't give a shit.
The parole board just stares. Red sits drumming his fingers.
CLOSEUP -- PAROLE FORM
A big rubber stamp SLAMS down -- and lifts away to reveal the
word "APPROVED" in red ink.
275 EXT -- SHAWSHANK PRISON -- DAY 275
TWO SHORT SIREN BLASTS herald the opening of the main gate. It
swings hugely open, revealing Red standing in his cheap suit,
carrying a cheap bag, wearing a cheap hat. He walks out, still
looking stunned.
276 INT -- BUS -- DAY 276
Red rides the bus, clutching the seat before him, gripped by
terror of speed and motion.
277 EXT -- BREWSTER HOTEL -- LATE AFTERNOON 277
Red arrives at the Brewster, three stories high and even less
to look at than it used to be.
27B INT -- BREWSTER -- LATE DAY 278
A BLACK WOMAN leads Red up the stairs toward the top floor.
279 INT -- RED'S ROOM -- LATE DAY 279
Small, old, dingy. An arched window with a view of Congress
Street. Traffic noise floats up. Red enters and pauses,
staring up at the ceiling beam. Carved into the wood are the
words: "Brooks Hatlen was here."
280 INT -- FOODWAY MARKET -- DAY 280
Loud. Jangling with PEOPLE and NOISE. We find Red bagging
groceries. Registers are humming, kids are shrieking. Red
calls to the STORE MANAGER:
RED
Sir? Restroom break sir?
MANAGER
(motions him over)
You don't need to ask me every
time you go take a piss. Just go.
Understand?
28l INT -- EMPLOYEE RESTROOM -- DAY 281
Red steps to the urinal, stares at himself in the wall mirror.
RED (V.O.)
Thirty years I've been asking
permission to piss. I can't squeeze
a drop without say-so.
A strange east Indian guitar-whine begins. The Beatles. George
Harrison's "Within You Without You..."
282 EXT -- STREET -- DAY 282
...which carries through as Red walks. People and traffic. He
keeps looking at the women. An alien species.
RED (V.O.)
Women, too, that's the other thing.
I forgot they were half the human
race. There's women everywhere,
every shape and size. I find myself
semi-hard most of the time, cursing
myself for a dirty old man.
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