FIELD OF DREAMS
Phil Alden Robinson
March 9, 1988
FINAL DRAFT SCREENPLAY
MONTAGE OF PHOTOS
My father’s name was John Kinsella.
A faded, sepia shot of a dirty little kid on a farm.
It’s an Irish name. He was born in
North Dakota, in 1896...
Young man in doughboy uniform.
...and never saw a big city until he
came back from France in 1918.
Chicago. Tenement. Comiskey Park. Ballgames.
He settled in Chicago, where he quickly
learned to live and die with the White
Sox. Died a little when they lost the
1919 World Series...
Newspaper headlines. Photo of Shoeless Joe Jackson.
...died a lot the following summer when
eight members of the team were accused
of throwing that Series.
Dad (a catcher) playing ball. At work. Weeding.
He played in the minors for a year or
two, but nothing ever came of it. Moved
to Brooklyn in ’35, married Mom in ’38,
and was already an old man working at
the Naval Yards when I was born in 1949.
Ray as an infant. With his father. In front of Ebbets Field
in miniature Dodger uniform, etc.
My name’s Ray Kinsella. Mom died when
I was three, and I suppose Dad did the
best he could. Instead of Mother Goose,
I was put to bed at night to stories of
Babe Ruth, Lou Gehrig...and the great
Shoeless Joe Jackson. Dad was a Yankees
fan then, so of course I rooted for
Brooklyn. But in '58 the Dodgers moved
away, so we had to find other things to
fight about. We did. And when it came
time to go to college, I picked the
farthest one from home I could find.
Berkeley in the 1960s: hippies, protesters, etc.
This, of course, drove him right up the
wail, which I suppose was the point.
Officially my major was English, but
really it was the Sixties.
Ray looking foolish in long hair and tie-dye.
I marched, I smoked some grass, I tried
to like sitar music... and I met Annie.
Annie: blue jeans, T-shirt, freckles. Their courtship.
The only thing we had in common was that
she came from Iowa and I had once heard
of Iowa. We moved in together. After
graduation, we moved to the Midwest, and
stayed with her family as long as we
Unsmiling American Gothic types.
Almost a full afternoon.
The apartment, Ray at different jobs, the wedding.
We rented an apartment and I took a job
selling insurance. I also drove a cab
and worked in a pizza parlor. Dad died
in June of 1 74. Annie and I got married
A few years later Karin was born. She
smelled weird, but we loved her anyway.
Then Annie got the crazy idea that she
could talk me into buying a farm.
1 CONTINUED (2)
Ray, Annie, and four-year-old Karin by the "SOLD" sign of
their farm. Ray in a cornfield.
I'm thirty-eight years old and I'm about
to become a farmer. I love my family,
I love baseball, and I miss New York.
Moving in on Ray's face.
But until I heard The Voice...I'd never
done a crazy thing in my whole life.
2 THE CORNFIELD - DUSK
It is dusk on a spring evening. The sky is a robin's-egg
blue, and the wind is soft as a day-old chick. Ray
Kinsella is working in the cornfield when a voice -- like
that of a public address announcer -- speaks to him.
'If you build it, he will come.'
Ray looks up and around, but sees nothing that could be the
source of this sound. All around him are empty fields.
He stands quietly for a few moments, then goes back to
'If you build it, he will come.'
Ray jerks his head in all directions to see where this
voice is coming from, but again, he sees nothing unusual
-- just the furrowed fields and a few hundred feet away,
the massive old farmhouse with a sagging veranda on three
sides. On the north veranda is a wooden porch swing where
Annie and Karin sit, sipping lemonade and dreaming.
Annie, what was that?
What was what?
Just now. Like an announcement.
Annie confers briefly with Karin, then calls back to Ray.
We didn't hear anything.
Ray thinks for a second, then shakes it off, trying to
dislodge that thought from his mind, and gets back to work.
'If you build it, he will come.'
Again, he bolts upright and looks around. Again, he sees
nothing. This is beginning to bug him. He calls:
Okay, you must've heard that.
3 ON THE PORCH
Annie and Karin lock at each other and exchange a shrug.
Annie extends her arms palms upward, and calls to Ray.
Sorry. Come on. Dinner.
Annie leads Karin inside.
4 -IN THE FIELD
Ray looks all around him with an "Okay, fellas, what's the
joke?" look on his face. But there is no one there. He
puts down his tools and walks toward the house.
5 INT. KITCHEN
Ray enters, looks at his wife skeptically and joins his
wife and daughter setting the table.
Was there like a sound truck on the
highway, or something?
Kids with a radio?
Nope. You really hearing voices?
More like a. . .ballpark announcer.
Annie shoots him an "Are you kidding?" look. Ray responds
with a shrug. They sit down to eat.
What'd it say?
'If you build. it, he will come.'
If you build what, who will come?
He didn't say.
Ooh, I hate it when that happens.
6 RAY AND ANNIE'S BEDROOM - NIGHT
They are snuggled together, asleep. All is quiet. Then:
'If you build it, he will come.'
Ray's eyes pop open. He looks at Annie, who does not stir.
Without moving, he looks around the room. There is no one
there. Very quietly, he crosses to the window and looks
out. He whispers out toward the cornfield:
Build what? For who?
6 CONTINUED 6
Behind him, Annie stirs.
It's okay, honey, I'm just-talking to
He sighs and goes back to bed. Annie cuddles up to him.
Her eyes are closed, but Ray's eyes remain open. He is
puzzled and concerned.
7 TELEVISION SCREEN
A scene from the 1950 movie Harvey, in which James Stewart
insists he is conversing with an invisible rabbit.
8 RAY AND ANNIE'S KITCHEN MORNING
ittle Karin is watching Harvey while she eats her
breakfast. Ray enters, looking like he had very little
sleep, and promptly turns the TV set off.
Why'd you do that? It was funny.
Trust me, Karin, it's not funny. The
man is sick. He's very sick.
Annie enters, putting on her coat.
Karin, if you're finished, get your coat
and school bag. Let's go.
Karin bolts from the table.
Uh honey, I'll take her today. I'v-e got
some errands in town.
She takes off her coat and kisses Ray as he takes-the car
keys and heads outside. Annie sits at the kitchen table.
What if the voice calls while you're
Take a message.
He exits. She grins, turns on the TV and watches Harvey.
9 EXT. IOWA CITY ELEMENTARY SCHOOL - DAY 9
Ray's car pulls up, Karin runs out and Ray drives off.
10 INT. DOCTOR'S OFFICE - DAY 10
Ray is plugged into some weird-looking contraption, having
his hearing examined. Then the Doctor shines a penlight
into his eyes, shrugs, and starts putting his gear away.
Well, I can't find anything wrong. I
could recommend a shrink, but hey,
people hear things all the time. I
heard a voice once. I was still living
with my parents, 'then. They worked in
the circus, so I was raised in the
circus, and I was training to be a
clown. This one day, I'm putting on my
little red nose and I hear a voice,
tells me to go to medical school. Here
Ray is not sure if he should ignore this or run.
11 FARM SUPPLY STORE - DAY 11
Farmers are loading up with seed, fertilizer, and other
farmer stuff. This is the kind of place where people also
linger to exchange gossip, swap lies, and pass the time.
Ray is off to one side, chewing the fat with an old-timer.
11 CONTINUED 11
In all those years, did you ever...
I've heard that sometimes farmers out
in the field...hear things. Voices.
You hearing voices?
No. It's just that I heard some farmers
do, and... I, of course, don't, so I was
wondering if I was doing something
wrong, or something. Did you ever hear
voices out there?
(calls from her
Who's hearing voices?
Ray is. Out in the fields.
Now, everyone in the store turns to look at Ray.
No! No, I'm not. Really.
But the people still stare. Ray addresses them.
Noises! That darn tractor, it's...
(forces a nervous
Well, I'll just get some 3-in-1 oil,
Nice talking to you.
12 RAY'S FARM - DAY 12
Ray is out in the fields again, hard at work. A breeze
picks up. He stops fora moment, cocks an ear and looks
around. All he sees are the empty fields. Insects make
the only sounds. He goes back to work. Then:
'If you build it, he will come.'
12 CONTINUED 12
He throws his tools down angrily and looks all around, but
there is no apparent source of the voice. Ray is pissed.
All right, who are you, and what the
hell do you want from me?!?
All he hears is a faraway echo.
'If you build it, he will come.'
This is serious. Ray shakes his head and repeats the words
If you build it...
As he thinks about these words,,some unexplained impulse
causes Ray to turn his head deliberately toward a portion
of the cornfield between him and the house.
13 A BASEBALL FIELD L3
For the briefest of moments, the dreamlike image of a
baseball field at night, illuminated by floodlights, flares
in over the lawn. Standing on the edge of the field, is
the figure of a man with his back to us. Before we can see
anything else, the image disappears.
14 RAY 14
Ray's eyes widen.
. he will come'.
i5 THE MAN AND THE FIELD 1 5
The dream image flares in again, this time closer to the
man. He stands in the middle distance, silhouetted by the
lights, and we see he is wearing a uniform of some kind.
He starts to turn slowly towards us, but before we can see
his face, the image disappears.
16 CLOSE ON RAY
Ray's mouth opens. He half-laughs, as if to say "This
can't be." But whatever is in his mind won't go away.
.he will come.
17 THE MAN
Now we see him in head-and-shoulders. He has the muscular
neck of an athlete. As he slowly turns we start to see a
bit of his weathered face before the image flares out.
Wheels are turning inside his head. He is trying to figure
all this out. In the distance, a bell is ringing. He
19 EXT. HOUSE - DUSK
Annie is on the veranda ringing the dinner bell hanging by
the front door.
Yo, Ray! Food!
20 HER POINT OF VIEW - THE FIELDS 20
We see Ray emerge slowly from the fields, the twilit sky
changing colors behind him.
21 THE VERANDA
Annie leans against a post, lazily watching Ray approach.
She likes how he moves, and how he looks.
Ray climbs up the steps, accepts her kiss, and instead of
following her into the house, pulls her down with him onto
the swing. He takes-her hand and looks into her eyes.
You're not going to believe this...
You heard the voice again.
Wait, this gets better, I just saw a
Get out of here!
I swear to God. An actual vision.
We're going to have to burn you at the
stake if this keeps up.
22 INT. HOUSE - NIGHT
family is eating dinner. Ray seems lostin thought.
Hey, you don't suppose this could be
like an acid flashback, do you?
I never took acid.
Maybe you will someday, and it's a flash
Annie, there's more.
You're subscribing to the Enquirer.
I think I know what 'If you build it,
he will come' means.
Oooh, why do I not think this is a good
I think it means if I build a baseball
field out there, Shoeless Joe Jackson
will get to come back and play ball
She whistles. This is serious.
23 INT. KARIN'S BEDROOM - NIGHT
Ray and Annie are putting little Karin to bed.
Boy, I thought my family was crazy, but
this...this is the craziest thing I've
I know. It's totally nuts.
I mean, Shoeless Joe, he's...
Died in '51.
And he's the one they suspended, right?
He still dead?
Far as I know.
24 INT.'BATHROOM - NIGHT
Ray and Annie in their pajamas, brushing their teeth,
getting ready for bed.
You know what amazes me? No one could
ever get you to believe in astrology,
or ESP, or reincarnation, or heaven, or
any of that stuff. But this...I think
this shows real personal growth, Ray.
Annie smiles, but sees that Ray is troubled. She hugs him.
Oh, sweetie. I hope you know that even
though I make jokes, I'm going to visit
you every month wherever they put you.
He offers her a weak smile and exits.
25 INT. RAY AND'ANNIE'S BEDROOM - NIGHT
It is dark. For a few seconds it is quiet. Then:
Did you know Babe Ruth copied his swing?
If I did, I'd forgotten it.
Ray sits up in the dark.
I always felt cheated I never got to see
him play. He was supposed to be so
graceful, and agile. So to actually get
to see him play again...to let him play
again, to right an old wrong...
He shakes his head in wonder just to think of it. Annie
turns on the light.
Wait a minute, Bosco. Are you actually
thinking of doing this?
I mean, I can't think of one good reason
why I should,-but...
(takes a breath)
I'm thirty-eight years old, I have a
wife, a child, and a mortgage, and I'm
scared to death I'm turning into my
What's your father got to do with this?
Ray tries to picture his father in his mind. He speaks
softly, but the words obviously have a great deal of
meaning for him.
I never forgave him for getting old.
By the time he'was as old as I am now,
he was ancient. He must have had
dreams, but he never did anything about
them. For all I know, he may have even
heard voices, too, but he sure didn't
listen to them. The man never did one
spontaneous thing in all the years I
knew him. Annie, I'm scared that that's
what growing up means. I'm afraid of
that happening to me. And something
tells me this may be my last chance to
do something about it.
(looks at her)
I want to build that field. Do you
think I'm crazy?
She looks at him with great understanding.
He smiles wanly. She touches his face lovingly.
I also think that if you feel you really
have to do this... then you should do it.
They hold each other's gaze, and Ray cannot remember when
he has loved her so much. He takes her in his arms.
Outside their window, the field of corn lies waiting.
26 THE CORNFIELD - DAY
Stalks of corn wave slowly in the breeze. A bee buzzes
near one. The light is yellow. Suddenly, the stalks bend
violently to the ground as Ray's tractor plows them under.
27 ON THE TRACTOR 27
Ray drives, Karin rides shotgun, holding the large detailed
diagram Ray has drawn of the ballpark's dimensions.
Ty Cobb called him the greatest left
fielder of all time. His glove was
called 'the place where triples go to
28 HIGH ANGLE 28
The tractor turns to plow under more corn, and we can see
the size of the area Ray has staked off with marker sticks.
Could he hit?
Lifetime 356 average. Third highest
29 ANOTHER ANGLE 29
By the side of the road, an old man and woman stand and
watch these neighbors-plow under their. corn. They look at
each other as if to say "Could it be Communists?"
Why'd they called him Shoeless Joe?
30 SEEDING THE FIELD - DAY 30
It is days later, an area the size of a baseball field has
been plowed under, and Ray is seeding it.
When he was still in the minors, he
bought a new pair of spikes and they
hurt his feet. About the sixth inning
he took them off and played the outfield
in just his socks. The other players
kidded him, called him Shoeless Joe, and
the name stuck.
31 WATERING THE GRASS - NIGHT- 31
We can see roughly where the grass has been planted, and
where the dirt will be smoothed out for the base paths.
Ray stands stock-still in the moonlight, water hose in
hand, patiently misting the baby grass, little Karin at his
Then in 1919, his team, the Chicago
White Sox, threw the World Series.
They lost it on purpose. Gamblers paid
32 SIDE OF THE ROAD
Now, dozens of families stand to watch silent and
dumb-eyed, at what has obviously become a daily spectacle
among the townspeople. Some snap photos.
Except Shoeless Joe.
33 SMOOTHING OUT THE FIELD - DAY
Ray smooths out the base paths with a large roller, as
Annie and Karin follow behind with rakes. On either side
of the base paths, the infield and outfield grass is
Nobody could prove anything one way or
another, but he was the one guy who
probably wasn't in on it.
34 INT. HARDWARE STORE - DAY
Ray, Annie and Karin wait as the cashier totals up their
load of lumber and hardware.
I mean if he was supposed to be throwing
it, how do you explain the fact he hit
375 for the series and didn't commit
one error? Huh?
34 CONTINUED 34,
Twelve hits, including the series' only
home run. And they said he was trying
That's 855 dollars, sixty-four cents.
From O.S., we hear oooh. Ray turns and notices for the
first time that a crowd of spectators -- employees and
customers -- has been watching him and whispering among
themselves. They look at him as if he had two heads.
Ray turns his attention back to writing a check for his
purchases. He deadpans to Annie:
We'd better notify Mars to send us more
Remlak won't like that.
That's his problem. And tell him to
make it in Earth dollars this time.
Ray hands over the check to the open-mouthed cashier.
Thank you. Have a nice day.
Ray and Annie turn and leave with Karin. The farmers
watch, obviously trying hard to figure this one out.
35 BUILDING THE OUTFIELD WALL - DAY 35
Ray hammers the braces that will support the outfield wall.
Karin hands him nails from a bag she wears around her neck.
There's a famous story about when he
came out of the courtroom, a kid ran up
to him, tugged his sleeve and said 'Say
it ain't so, Joe.' And Jackson looked
down t him and said 'I'm afraid it is,
35 CONTINUED 35
Then what happened?
36 BUILDING THE BLEACHERS 36
Annie helps Ray lift a board to what will be the top row.
The Commissioner of Baseball suspended
eight of the players -- including the
great Shoeless Joe Jackson -- for life.
They never let him play the game again.
They continue to work in silence.
37 INT. SPORTING GOODS STORE I 7
Ray writes a check for his purchases: bats, balls, bases
pitcher's rubber, home plate, etc. He appears slightly
annoyed that once again, he is being stared at by all the
uniformed employees of the store. He turns to catch the
Store Owner staring at him the most intently.
You're the fella that plowed under your
corn and built a baseball diamond,
Yeah. What about it?
(shakes his hand)
Greatest damn thing I ever heard.
The other employees beam their agreement.
At these prices, I'm not surprised.
He wheels his shopping cart of sporting goods out through
a gauntlet of approving salesmen. They smile and pat him
on the back. Ray cannot decide if they're crazier than he
Thank you...thank you...
38 THE LIGHT STANDARD - NIGHT 38
Atop the aluminum-painted poles, an array of store-bought
floodlights switch on, flaring against the blue-black sky.
In this sharp white light the grass glows parrot green,
cool as mint, soft as a cashmere blanket. Annie and Karin
watch as Ray puts down the clean white bases, which pick
up the light like little moons on a cold, clear night.
My father said he saw him years later
playing under a made-up name in some
tenth-rate league in Carolina. He'd put
on fifty pounds, and the spring was gone
from his step, but he could still hit.
Dad used to say no one could hit like
Ray is smiling wistfully.
That's the first time I've ever seen you
smile as you mentioned your father.
Ray considers that.
Come on, you. Bed time.
Annie hoists Karin on her shoulders with a grunt, and the
three climb their way down the bleachers. Ray's hand
steadies Annie as she takes one of the steps.
Moonl ight butters the Iowa night. They walk along the side
of the field, and Ray stops. He looks at the field.
38 CONTINUED 38
I have just created something totally
That's what I like about it.
Am I completely nuts?
She looks out over the baseball field.
It's a good baseball field, Ray.
It is kinda pretty, isn't it?
Annie smiles at him and carries Karin inside. Ray steps
onto the porch and flicks the switch shutting off the
floodlights over the field.
39 RAY AND ANNIE'S BEDROOM - NIGHT 39
Annie opens her eyes and sees Ray not beside her in bed,
but in th window seat, looking out at the empty field.
Barely awake, she gets out of bed, shuffles to his side and
curls up against him.
Something's going to happen out there.
I can feel it.
Annie lowers her head against his chest and goes back to
sleep. Outside, the trees are fully leafed.
40 RAY'S BASEBALL FIELD - OCTOBER 40
The trees are almost bare now, and there's a Halloween
pumpkin in the front window of the house. The cornstalks
,rustle like crumpling paper in the Indian-summer breeze
which blows fallen leaves across the empty baseball field
while Ray sits in the stands... waiting.
41 THE BASEBALL FIELD - LATE DECEMBER 41
it is covered with snow.
42 INT. RAY AND ANNIE'S HOUSE 42
Ray looks forlornly out the living room window towards his
snow-covered baseball field, the merrily blinking lights
of the Christmas tree behind him belying his true mood.
43 SPRINGTIME - DAY
A baby robin tries to pull a worm out of the around.
Inside the house, Annie is doing spring cleaning. She
looks out the window to see:
44 THE BASEBALL FIELD
Ray mowing the outfield grass. He stops, looks around,
listens, hears nothing, and continues mowing.
just watches him.
46 TV SCREEN 46
We see the first exhibition game of spring training from
Florida, as the announcer talks about a "southpaw" pitcher.
47 INT. RAY AND ANNIE'S LIVING ROOM - NIGHT 47
Little Karin watches the TV, while Annie and Ray sit at the
living room table, financial ledgers spread out before them
as they struggle with their accounts.
Daddy, what's a southpaw?
A left-handed pitcher.
How bad is it?
Well, given how much less acreage we
have for corn, I'd say we'll probably
.almost break even.
We've spent all our savings on that
Just a minute, Karin.
So what are you saying? We can't keep
It makes it real hard to keep the farm,
Ray closes his eyes.
(a little testy)
In a minute, Karin.
There's a man out there on your lawn.
Ray opens his eyes and turns to see Karin kneeling on the
kitchen counter, looking out the window. Ray and Annie
exchange a quick glance, and Ray walks to the window.
48 EXT. THE WINDOW
seen from outside, as Ray's head appears and looks out.
He sees something out there and just looks at it.
49 RAY'S POINT OF VIEW
There is a Man standing on the edge ofthebaseballfield.
Hi es wearing a baseball uniform.
50 INT HOUSE
Ray turns to Annie. She looks out and nods thoughtfully.
Annie stays very calm in emergencies.
We'll put up some coffee. You go ahead.
Ray takes a breath and steps out onto the veranda. The
night sky seems close enough to touch.
51 EXT. HOUSE
On the porch wall, Ray finds the switch, holds his breath,
flicks it and the floodlights sputter to life.
52 THE MAN
steps onto the field. On his uniform is a large "S" with
an "O" in the top crook, an "X" in the bottom, and an
American flag with forty-eight stars on his left sleeve.
walks through the swirling ground mist toward the field.
54 RAY'S POINT OF VIEW
Moving closer to the field we see the Man standing out in
left field. Feet spread wide, body bent forward from the
waist, hands on hips, he waits.
Ray's mouth is dry. He reaches home plate and picks up one
of the bats lying beside the pail of hard balls. The back
of his neck tingles. Then, he picks up one of the balls.
56 IN THE OUTFIELD
The Man spreads his feet, pounds his small, old-style
glove, and waits to field the ball.
57 AT HOME PLATE 57
Ray tosses the ball a few feet into the air and swings at
it. And misses. His face reddens, he clears his throat,
and tries again. This time he connects.
58 THE FIELD 58
He has hit a grounder that would be easily fielded by a
shortstop had there been one, but it bounces through and
falls into left field. The Man runs in for it, scoops it
up cleanly and throws it back to the plate.
Ray is thrilled. He hits another ground ball, and this
too, is fielded cleanly. Then another, which the Man
deftly short-hops. Ray hollers out to him.
How's the field play?
It's good. The ball bounces true.
Ray smiles with pride. He tosses up another ball, gives
it his best swing, and is thrilled to see he has actually
lofted one into the air. But into center field. The Man
sprints across the outfield, and makes a lovely catch in
short center. Instead of throwing the ball in, the Man
runs it in, loping toward home plate. Ray's heart thumps.
The Man nods at him, takes the bat, and tests it to feel
Ray is thrilled to hear the words spoken. It is Shoeless
Joe Jackson after all, who stands not five feet away from
him, trying out all the bats now. Ray isn't quite sure if
he should talk, or ask questions, or just stand there.
Finally, he can't help himself.
I bet its good to be playing again,
It was like having part of me amputated.
Joe looks over at Ray, now, his dark eyes evincing the pain
his steady voice tries to conceal.
I've heard that old man wake up and
scratch itchy legs that've been dust for
fifty years. That was me. I'd wake up
in the night with the smell of the
ballpark in my nose and the cool of the
grass on my feet. The thrill of the
He has found the bat he likes.
Can you pitch?
Yeah, I'm not bad.
Joe hands Ray the bucket of balls. Ray can barely contain
his excitement as he races to the mound. He stands on the
rubber and faces Joe at the plate.
Don't we need a catcher?
Not if you can get it near the plate,
Ray smiles, takes a breath and starts his windup, during
which he says aloud to himself:
I am pitching to Shoeless Joe Jackson.
He makes a pitch. It's not a very good one, and Joe has
to step across the plate to make contact, but his swing is
graceful, compact and effortlessly powerful. He drives the
ball against the fence.
Ray watches it with wonder and when he turns back, Jackson
is gesturing with the bat for him to make the next pitch.
Ray makes the standard pitcher's gesture for a curve ball.
See if you can hit my curve.
°He goes into an elaborate windup, throws it, it does not
curve much, and Jackson whistles it right by Ray's ear.
58 CONTINUED (2) 58
Yes, he can hit the curve.
Stick with fast balls, kid.
Ray makes another pitch, and Jackson hits a line drive down
the third base line. Then a smoker down the first base
line. Ray is mightily impressed.
Damn, this feels good. Put it right
Joe holds the bat out low over the plate and Ray pitches
it reasonably close to that spot. Jackson hits it out of
the park, and beams. Ray brightens up with remembrance.
Right, you were a low ball hitter.
Oh man, I did love this game. You know,
I'd have played for food money. it was
the game, the sounds, the smells. You
ever held a glove or a ball to your
Ray smiles as he walks in from the mound.
And it was riding the trains from town
to town. And the hotels with brass
spittoons in the lobbies and brass beds
in the rooms. And it was the crowd
getting to their feet when the ball was
hit deep. Shoot, I'd have played for
The sound of a screen door turns their. attention to the
house. Annie and Karin are coming out to them.
Jackson nods and then points to the floodlights.
58 CONTINUED (3)
What's with the lights?
"All the stadiums have them now except
Makes it harder to see the ball.
The owners found that more people could
attend night games.
By now, Annie and Karin have joined them.
Mr. Jackson: my wife Annie, my daughter
hand and winks
Are you a ghost?
Ray and Annie are instantly embarrassed, and try to cover
with forced, nervous laughter.
(to Shoeless Joe)
She's just kidding.
What do you think?
You look real to me.
Then I guess I'm real.
Would you like to come inside'?
58 CONTINUED (4) 58
Uh, thanks, but...I don't think I can.
Ray and Annie look at Joe for a moment, not quite
understanding the ground rules here. Joe senses their
discomfort and changes the subject.
Hey, can I come back again?
Yeah. I built this for you.
There are others, you know. There were
eight of us. It'd sure mean a lot to
Oh man, anytime. They're all welcome
Joe looks out over the field in eager anticipation of the
good times to come.
Thank you, Ray. I appreciate it. See
you later, huh?
Yeah. See you later.
Say it ain't so, Joe!
Joe laughs and walks to the outfield. Annie puts her arm
around Ray and snuggles her head against his chest.
Nearby, brook water splashes softly in the darkness, a frog
shrills, and fireflies dazzle the night.
Joe is in the outfield grass now, walking toward a door cut
into the fence.
Where's he going?
Through that door in the fence.
Since when is there a door in the fence?
I don't know. I didn't put one there.
Joe reaches the door, opens it, and turns back to Ray, his
voice carrying effortlessly through the night air.
Hey! Is this heaven?
No. It's Iowa.
Shoeless Joe Jackson nods and fades away as he walks
through the door in the fence. Ray and Annie looks at each
other in absolute wonder.
We're keeping this field.
You bet your ass we are.
59 INT. RAY AND ANNIE'S LIVING ROOM - DAY 9
You're going to lose your farm, pal.
It is Sunday afternoon, and Annie's family is visiting.
her mother, pink-faced and white-dentured, sits ramrod
straight in an antique rocking chair. Also present are her
brother, Mark, and his wife Dee.
Come on, it's so big. How can you lose
something so big?
You misplaced the house once.
Yeah, but it turned up two days later,
Ray, this stupid baseball field is going
to bankrupt you. Everybody knows it.
All I'm saying is if you wait till you
default on your loan, you lose
everything. Sell now, my partners'll
give you a more than a fair price and
you walk away with a nest egg.
Thanks, Mark, but no.
What are you holding on to this place
for? You've never even liked Iowa. You
don't like farming, you don't know the
first thing about it ---
Hey; I know a lot more about farming
than you think.
How could you plow under your major
What's a crop?
Karin enters breathlessly.
Daddy, the baseball game is on.
Ray beams. Karin returns the smile and reaches her arms
out to be picked up. She scissors her legs around her
father at belt level, hugging his neck.
He exits, carrying Karin. Mark shakes his head.
I don't believe this guy. I'm trying
to bail him out and he goes off to watch
Annie stifles a laugh.
He used to be so normal.
Does he beat you?
59 CONTINUED (2)
He's drinking, right?
He doesn't drink, and he doesn't beat
me, okay? Now I'll grant you, he has
gotten me to worship Satan with him, but
just a little.
Her mother gasps.
Kidding... I'm kidding!
Her family has no sense of humor about this whatsoever.
I think we need more cheese.
She goes into the kitchen, and when she has rounded the
corner, she raises her eyes to heaven and mutters:
60 THE FIELD 6 0
Karin and Ray sit on the bleachers, eating peanuts while
Shoeless Joe and his seven teammates practice. (Three,
including Shoeless Joe, are in the outfield, two more in
the infield, one pitches, one catches, and one bats.)
The men are all in their twenties or thirties, but show the
sheer enjoyment of returning after an absence of sixty-five
years to the game they love.
Ray directs Karin's attention to the left fielder.
Watch Joe. Watch his feet as the
pitcher gets the sign and starts to
pitch. A good left fielder knows what
pitch is coming, and he can tell from
the.angle of the bat where the ball's
going to be hit.
At the sharp crack of the bat Shoeless Joe whirls, takes
five loping strides toward the fence, turns again', reaches
up, and the ball smacks into his glove.
Karin cheers. One of the players good-naturedly boos.
Aw, stick it in your ear, Felsch.
Yeah, if you'd run like that against
Detroit I'da won twenty games that year.
Oh for Pete's sake, that was sixty-five
years ago! Give it up, will ya...
Hey., you guys wanna play ball, or what?
.you muscle-bound jerk.
Oh yeah? At least I got muscles.
No. At most you got muscles.
Come on, asshole, pitch!
The good-natured banter stops short, and the other players
glare at Weaver who looks sheepishly toward the little girl
and her father in the bleachers.
The players resume their practicing and ribbing.
61 EXT. HOUSE
Annie emerges with-her Mother, Mark and Dee, walking toward
the bleachers where Karin and Ray are still watching the
Ray? Mom's leaving.
Oh. Well, it was...you know, thanks for
Think about what I said. I just want
Mark just stands there for a moment, the only sounds coming
from the players on the, field.
I thought you two were going to watch
Oh, I guess it's not really a game.
It's more like a practice.
Mark looks at his wife and Mother with concern. Ray
doesn't understand this reaction.
See, there's only eight of them, so they
can't play a real game...
Eight of what?
Ray points to the noisy players on the field.
Now, Mother and Dee look as if they're about to go into
mourning. Mark kneels next to Karin.
Karin honey... what are you watching?
The baseball men.
Do you see any baseball men right now?
Of course I do.
Mark stands up and shoots Ray an accusing look. Annie's
Mother starts to walk away.
61 CONTINUED (2) 61
I don't think it's very polite to try
to make other people feel stupid.
Annie questions Mark and Dee as they pass her on the way
to catch up with Mother.
You don't see it?
That's not funny, Annie.
Her family leaves in a huff.
They couldn't see it.
He and Annie sit beside Karin and watch the players. Each
slowly starts to smile.
62 ON THE FIELD - LATER 62
The practice is over, the players are perspired and
exhilarated. Ray is over at first base talking with Swede
Risberg, the shortstop.
Here, look at this. Sixty-five years
since I worn this uniform, still fits
me like a glove.
You must keep in pretty good shape.
I died in '75. So I ain't had a
cigarette in, what, thirteen years. You
don't smoke, do you?
Felt good out there today, huh, guys?
62 CONTINUED 62
Buck realizes that once again he has cursed in front of
Oh shit. I mean, sorry. I'm sorry.
Annie calls from the house.
SOME OF THE PLAYERS
They all laugh. Ray clearly loves being part of this
locker room-style comradery. Karin runs to the house.
Come on, fellas. Let's hit the
See you later, Ray.
Right. See you guys.
The players call their "good-byes" to Ray and head for the
door in the outfield fence. Ray watches them fade out as
they go through the door. Then he takes a moment to look
The baseball diamond set in the cornfield is quite
beautiful. Ray takes a satisfied breath, and walks back
toward his house. He is the very picture of contentment.
Then he hears The Voice.
'Ease his pain.'
Ray stops short.
62 CONTINUED (2)
I'm sorry. I didn't understand.
'Ease his pain.'
Ray stops short.
I'm sorry. I didn't understand.
'Ease his pain.'
Whose pain? What pain?
But there is no response.
63 INT. HOUSE
Ray enters as Annie and Karin are putting dinner on the
table. Ray plops- into his chair at the head of the table.
Come on, wash up. We've got a PTA
meeting after dinner. They're talking
about banning books again. Really
subversive books like, Wizard of Oz,
Diary of Anne Frank ---
She notices Ray is strangely silent.
What happened to you?
The Voice is back.
Oh Lord, you don't have to build a
football field now, do you?
(shakes head no)
He said...'Ease his pain.'
Ease whose pain?
I asked him. He wouldn't tell me.
I don't think so.
One of the other players?
I don't think so.
This is a very non-specific voice you've
got out there, Ray, and he's really
starting to piss me off.
Ray nods as Annie serves the meal in silence.
EXT. IOWA CITY PUBLIC SCHOOL BUILDING - NIGHT 64
Parents stream in past the "PTA Meeting Tonite" sign. Ray
and Annie stand by the doorway, talking with Miss Corser,
Karin's teacher. (Ray is too distracted by his own
thoughts to pay this much attention.)
Karin has such a wonderful imagination.
Lately, she's been making up these
charming little stories about ghosts who
play baseball in a cornfield... wonderful
Yes. She gets that from Ray.
Miss Corser smiles approvingly. Ray realizes both women
are looking at him, now, and he emerges from his thoughts.
Annie leads Ray inside.
65 INT. SCHOOL LIBRARY - NIGHT
Ray and Annie -- along with a hundred or so other grownups
-- are sitting in chairs too small for their grownup
backsides. Ray is still lost in his own thoughts, doodling
"Ease his pain" over and over again, while an Irate Mother
has the floor, holding up a novel.
.and I say smut and filth like this has
no place in our schools!
A large portion of the audience applauds. Annie whispers
snarlingly to Ray:
Fascist. I'd like to ease her pain.
Ray is still lost in thought.
Mrs. Perkins, the book you are waving
about is hardly smut. It is considered
by many critics as the classic novel
about growing up in the 1960s.
(whispers to Ray)
I read it four times. Funniest book I
The Supreme Court said its not. And
its author, Mr. Mann ---
-- is sick!
Terence Mann is a Pulitzer prize-winner,
and was widely regarded as the finest
satirist of his time.
Well I think he's a pervert, and quite
probably a Communist, too!
65 CONTINUED 65
The crowd murmurs its assent.
What planet are these people from?
Ray looks as if he is starting to realize something.
The se-called novels of Terence Mann
endorse promiscuity, godlessness, the
mongrelization of races, and disrespect
to high-ranking officers of the United
States Army. And that's why right-
thinking school boards all across the
country have been banning this guy's
shit since 1969.
You know why he stopped writing books?
Because he masturbates!
I can't take this anymore.
Annie stands and smiles disarmingly.
Excuse me, madam, but you're speaking
of something about which you don't know
squat. Terence Mann was a warm and
gentle voice of.reason during a time of
great madness. He coined the phrase
'Make Love, Not War.' When others were
chanting 'Burn, baby, burn,' he was
writing about love, and peace, and
understanding. He helped define an era.
And a generation. And he helped us
laugh at ourselves. I cherished every
one of his books, and I dearly wish he'd
write more. And if you had experienced
even a little bit of the Sixties, you
might feel the same way, too.
65 CONTINUED (2)
I experienced the sixties.
No. I think you had two Fifties, and
moved right on to the Seventies.
Oh yeah? Well your husband plowed under
his corn and built a baseball field!
The crowd "oohs" and "aahs."
Now there's an intelligent response.
Ray is so excited at his revelation that he really wants
to leave immediately. He tugs Annie's sleeve.
But Annie mistakes her husband's intentions. She thinks
he is cautioning her not to get embroiled in trouble.
It's okay, I'll be cool.
(aloud, to the
At least he's not a book burner, you
Now the crowd erupts.
You're both a bunch of weirdos!
Annie pulls herself up to her full 5'4" and thrusts an
angry finger at. the woman.
All right Beulah, you wanna step
The other woman takes a half-step backward. No one has
ever seen sweet Annie like this.
I got a better idea. Let's put it to
a vote. Come on! Who's for Eva Braun
65 CONTINUED (3)
here? Who wants to burn books? Who
wants to piss on the Constitution of the
United Sates? Anybody?
The majority who had sided with the book-banner wants to
vote for censorship, but under these terms just can't raise
their arms. Little Annie is on a roll, now.
All right. Now: who's for The Bill of
Rights? Come on...who thinks freedom's
a pretty good thing? Let's see those
Some people start raising their hands.
Who thinks we have to stand up to the
kind of censorship they have in Russia?
Reluctantly, just about everyone raises their hands. Annie
There you go. All right, America! I'm
proud of you. I mean it. You're
Annie, we gotta go.
(to the crowd)
We gotta go.
Ray pulls her from the room. Each is proud as hell, each
for a different reason.
66 EXT. SCHOOL - NIGHT
as they burst out, bubbling over with their enthusiasm.
Oh Ray, was that great, or what? it was
like the Sixties again.
I figured it out.
'Step outside, you Nazi cow.' Ha-ha!
66 - - CONTINUED
I know whose pain I'm supposed to ease.
I know whose pain I'm supposed to ease.
Ray, I just halted the spread of
neo-facism in America, and you're
talking about ---
What about him?
That's whose pain.
How do you know that?
I don't know. I just know. I was right
about building the field, wasn't I?
What's his pain?
I don't know.
Then how are you supposed to ease it?
I don't know.
None of this questioning has dampened Ray's pride and
excitement. Annie shakes her head.
66 CONTINUED (2)
(tries to put
He's my favorite writer too,
but...what's Terence Mann got to do with
Ray's smile freezes. Then disappears. He hasn't a clue.
67 INT. UNIVERSITY OF IOWA LIBRARY - DAY 67
A montage of Ray at the library: checking indices, reading
old magazines, finding newspaper interviews on microfilm,
s couring old anthologies, and taking copious notes.
Some of the articles include: "Where is Terence Mann Now
That We Really Need Him?". ."20 Rumors About America's
Greatest Living Ex-Writer" ... and , "Terence Mann: Still
Ignoring Us After All These Years ". The photographs show
Mann to be a large black man with gentle eyes.
Annie, it's incredible.
68 EXT. LIBRARY
Ray and Annie run down the steps to the street for their
car, Ray's words racing as fast as his feet.
By the early Seventies, the guy decides
people have become either too extremist
or too apathetic to listen to him. So
he stops writing books. He starts
writing poetry. About whales and stuff.
Then, he starts fooling around with a
home computer, and gets hooked. Know
what he does now?
Annie shakes her head no.
He writes software for interactive
children's videos. They teach kids how
to resolve conflicts peacefully. What
an amazing guy..
Right. So what's it got to do with
In the April 1962 issue of Jet Magazine,
there's a story of his called 'This Is
Not A Pipe.'
Annie laughs at that. Ray is so excited, he laughs too.
It's not his best work, but the hero of
the story, a character that Mann created
twenty-six years ago, is named John
Kinsella. My father.
She stops short.
He gives her a "See? What'd I tell you?" look.
What can I say... Big wow, but..what's
it got to do with baseball?
They are standing by their car.
69 INT. CAR
Annie drives as Ray excitedly consults his notes.
Okay. The last interview-he ever gave
was in 1973. Guess what it's about.
Mmm. Some kind of team sport?
Annie, he was a baseball fanatic!
Listen to this:
He finds a page and reads from it:
'As a child, my earliest recurring dream
was to play at Ebbets Field with Jackie
Robinson and the Brooklyn Dodgers. Of
course, it never happened, and the
Dodgers left Brooklyn, and they torn
down Ebbets Field. But even now, I
still dream that dream.'
70 EXT. RAY AND ANNIE'S HOUSE - DAY 70
They have arrived home and are walking into the house. He
is still spouting things to her his research has uncovered.
The man wrote the best books of his
generation, he was a pioneer in the
civil rights and anti-war movements, he
made the cover of Newsweek, he knew
everybody, he did everyting...he helped
shape his time. He hung out with the
Beatles! But in the end, it wasn't
enough. What he missed ...was'baseball.
Annie takes a look at Ray's handful of Xeroxes.
Oh my God!
As a small boy, he had a bat named
Ray disapprovingly grabs the Xeroxes back.from her.
He hasn't been to a live baseball game
So to ease his pain, you have to take
him to a ball game?
71 INT. HOUSE 71
as they enter and put away their things.
71 CONTINUED 71
Ray, this is nuttier than building the
No it's not. It's pretty weird, I grant
you, but building the field was weirder.
Five, ten percent weirder.
I'm sorry, pal, but I have to nip this
one in the bud. We are having moderate
to heavy financial difficulties here.
You cannot take off for Boston while
you're going broke in Iowa.
Annie, this is really new territory for
both of us, I know, but we're dealing
with primal forces of nature, here.
When primal forces of nature tell you
to do something, the prudent thing is
not to quibble over details and ---
(starting to get
But why do you have to go? Why can't
the voice send someone else? What's
wrong with Shirley MacLaine, she too
busy? What does this have to do with
Ray hears her anger and sits her down.
That's what I need to find out.
Ray, we're behind on the mortgage. That
field ate up our savings. We could lose
I won't even stay in motels. I'll sleep
in the car, and I'll beg for food.
No. This is too much.- I understand
your need to prove to the world you're
not turning into your father, but you've
done it! You believed in the magic, and
it came true. Isn't that enough?
71 CONTINUED (2) 71
Annie, it's more than that. I know this-
is nuts, but there's another reason I'm
supposed to do it. I feel it. I feel
it as strongly as I've ever felt
anything in my life. There's a reason.
What. Just tell me what it is.
I think something's going to happen at
the game. I don't know what,
but...there's something at Fenway Park
in Boston, and I have to be there with
Terence Mann to find it.
Something he just said changes Annie's mood.
Fenway Park... Is that the one with the
big green wall in left field?
I dreamt last night you were at Fenway.
Uh, was I sitting on the first base
About the fifth row?
You were keeping score and eating
-- a hot dog. I had the same dream.
I'll help you pack.
72 INT. BEDROOM 72-
Ray is throwing clothes into a suitcase as fast as he can.
Annie reads from a road map she has marked for him.
.you take that to 93, and then it gets
all squiggly, and after that you're on
your own. How are you going to find
him, anyway? He won't exactly be in the
phone book, you know.
The article says he has a storefront on
Harvard Street next to some place that
sells Kosher food. Shouldn't be too
hard to find. I don't need a tie, do
No, dear. Not for a kidnapping.
73 EXT. HOUSE 73
Ray has packed the car and is getting ready to leave.
You'll be okay, right?
I'll try to sell the combine. We sure
don't need it anymore.
Karin runs up, grabs Ray behind each ear and hugs and
So long Tiger.
He get into the car and looks up at Annie.
I'll call you every night. If the team
shows up while I'm gone, just tell
(shakes his head)
On second thought, stay away from them.
Those guys haven't been near a woman
Ray, they're not going to make a pass
at me. They're'ghosts.
They're jocks. Keep away from them.
7 3 CONTINUED 73
She laughs, kisses him, and watches him drive off.
74 ON THE ROAD 74
Ray's brave little Datsun chugs along the interstate
between eighteen-wheelers, busses, gasoline tankers,
auto-transport trucks, and other monsters.
75 TRAVELING MONTAGE 75
Driving...gas stations...boring roadside restaurants...
getting lost...looking at the map...signs that announce the
"Entering" and "Leaving" of various states...days turning
to nights and back again... .Finally, the green hills of
76 BOSTON - DAY 76
He emerges from a tunnel and enters traffic, the likes of
which he has not seen in a very long time. On one side of
the expressway there are sweaty factories, and on the
other, old wood-frame apartment buildings with advertising
for long-forgotten products painted on the sides. Lunatic
drivers abound. We are not in Iowa anymore.
77 INT.-RAY'S CAR 77
He rehearses as he drives.
Hi, I'm Ray Kinsella. I'm really a big
How do you, Mr. Mann, I have to take you
to a baseball game.
All right, put your hands up and get in
78 HARVARD STREET - BROOKLINE - DAY 78
Ray drives slowly, looking for a store that sells Kosher
food. But in this old newish neighborhood, there are
dozens: butcher shops, delis, bakeries, groceries.
79- INT. KOSHER BUTCHER SHOP 79
Ray is asking the spritely Jewish Butcher for directions.
He lives right around here. Do you know
him? I'm a friend of his.
The Butcher just stares back, with suspicion.
He's sort of a tall, black man.
If you was much of a friend, he'd of
give you the directions himself.
Ray nods. He knows this is useless.
That's a good point. Thank you.
80 ON THE STREET 80
Ray has stopped an Ancient Jewish Woman on the street. She
looks from Ray's Iowa license plate to Ray's face.
I don't know where he lives.
But by her raised eyebrows and the tone of her voice, it
is clear that if she did know -- which she probably does
-- she certainly wouldn't tell him.
81 GAS STATION 81
Ray has pulled his car to the edge of the gas station --
he is not buying gas -- and slips a five dollar bill to the
ruddy-faced, teenaged Irish Pump Jockey.
Two blocks down. Right hand side.
First store that don't have a chicken
in the window, is his.
82 EXT. HARVARD STREET - DAY
In between a deli and a Kosher butcher shop, Ray finds a
storefront with blacked-out windows. He enters an open
hallway in which he sees the door to the storefront, as
well as stairs to the apartments above it.
There are half-a-dozen mail boxes on the wall. Ray checks
the names. He smiles.
83 INSERT- MAILBOXES
All but one have immigrant names. The first one reads:
#1: TIE-DYED SOFTWARE.
Ray turns to the storefront door. Instead of a buzzer
there is a long wire with a weight on its end hanging from
a hole at the top of the door. Next to the wire is a
handwritten note taped to the door, which reads: "You
better have a goddamn good reason for ringing this bell."
Ray laughs. This guy is great. He pulls on the wire. On
the other side of the door, a bell rings.
Ray has to struggle to control his nervousness. He takes
a breath. He hears footsteps inside, approaching the door.
He cannot help but smile with delight at the thought of
meeting one of his cultural heroes.
The door opens. Terence Mann is menacingly huge. He
glares at Ray and roars:
Who the fuck are you???-
Ray is momentarily taken aback, but he figures maybe the
guy is joking, so he just smiles and plunges ahead.
Sir, my name is Ray Kinsella, and it's
a great pleasure 'Co finally ---
The door slams in his face. It takes Ray a few seconds to
realize the interview is over.
He rings the bell again. The door opens. Mann°s large
frame fills it.
We got a learning disability here?
Mr. Mann, I've come 1500 miles to see
you at the risk of losing my home and
alienating my wife. If I could just
have a minute. Please.
Look. I can't tell you the secret of
life, and I don't have any answers for
you. I don't give interviews, I am no
longer a public figure, I just want to
be left alone. So fuck off.
Just one minute. I'm begging you.
Mann looks him over. Then he sighs.
Mann turns and enters the storefront. Ray follows.
85 INT. MANN'S STOREFRONT
It is hardly fashionable, but it's roomy and comfortable.
There are tables stacked high with mailing envelopes and
a postage scale. A few workbenches have software and
spread sheets strewn across them. In the back are a couple
of personal computers.
On a side wall there are book jackets and newspaper photos
in cheap frames: pictures of Mann with Martin Luther
King...with Bob Dylan...with Timothy Leary...rann being
arrested at some demonstration.. .Mann at Woodstock...
Mann's gruff voice pulls Ray's attention away from these
Your minute ain't getting bigger.
Okay. I understand your desire for
privacy, and i wouldn't dream of
intruding if this weren't extremely
Oh God. I don't do causes anymore.
This isn't a cause. I don't need money,
or an endorsement.
You once wrote: 'There comes a time
when all the cosmic tumblers have
clicked into place, and the universe
opens itself up for a few seconds, to
show you what is possible.'
Oh my God.
You're from the Sixties!
Well, actually ---
Just wait a second ---
Mann picks up an old-fashioned bug sprayer -- the kind with
a long arm that pumps in and out -- and starts spraying it
at Ray as if he were an unwanted insect.
Back to the Sixties! Back!
He is backing Ray out the door.
If you'd just ---
There's no place for you here in the
future! Get back while you still can!
He gets Ray just past the door and slams it shut.
Ray slams it open. He's pissed.
You've changed, you know that?
85 CONTINUED (2) 85
Mann stops fuming and considers that. He sighs, sadly.
Yes. I suppose I have. How's this?
(smiles and makes
the peace sign)
'Peace, love, dope.'
Now get the fuck out of here!!!
And he slams the door shut again. Ray is flabbergasted.
He is thinking furiously. Then he notices that in slamming
the door, the latch has not locked in place. He thinks,
makes up his mind, and quietly opens the door.
Mann has returned to work, his back to the door.
Ray enters the loft, his left hand in his jacket pocket.
When he is halfway across the loft, he clears his throat.
Mann spins around.
Now you've pissed me off.
Okay, hold it right there.
He juts his pocketed hand forward, as if he had a gun in
I was hoping I wouldn't have to do it
What the fuck is that?
It's a gun. What'd you think it is?
It's your finger.
No it's not. It's a gun.
Yeah? Let me see it.
Get out of here, I'm not going to show
you my gun.
Mann sighs, and stands.
85 CONTINUED (3)
Now look. I'm not going to hurt you,
I just need you to go with me for a
little while, then -- what are you
Mann has found a crowbar among his tools, and is advancing
I'm going to beat you with a crowbar
till you go away.
Understandably, this makes Ray nervous.
Whoa! Wait! You can't do that.
What, are there rules? There's no
Mann is almost to him, now, the crowbar raised above his
You're a pacifist!
Mann stops. He thinks. He lowers the crowbar.
Ray breathes a sigh of relief.
All right, are you kidnapping me?
What's the deal here?
I'm sorry. I was hoping I could-just
convince you to come with me.
Then you are kidnapping me.
I have to take you to a baseball game.
- 85 CONTINUED (4) 85
Tonight's game. Red.Sox, Twins.
Something will happen there. I don't
know what, but we'll find out when it
Mann now has no idea what to make of all this, so he just
looks Ray over for a few seconds.
My name is Ray Kinsella. You used my
father's name for a character in one of
your stories. John Kinsella.
You're seeing a team of psychiatrists,
I don't blame you for thinking that, but
no, I'm not. I swear to God I'm the
least crazy person I've ever known.
Then why are you kidnapping me to a
I read an interview you gave a long time
ago about how you always dreamed of
playing at Ebbets Field, and how sad you
felt when they tore it down.
(shakes head no)
I never said that.
I don't even remember thinking it.
Now Ray is ndt sure what to do.
This whole. thing is so weird.
85 CONTINUED (5)
Then why go through with it?
It's a long story...and I'll tell you
on the way. Please.
I'm not going to get rid of you, am I?
If you just come to this game with me,
I'll never bother you again. Not even
a Christmas card.
Mann picks up a hat,
.plops it on his head and heads out the
86 CITY STREETS
Mann sits tensely beside Ray, who drives with his right
hand, while his left hand remains in his pocket,
substituting for a gun.
You do this often?
No. It's my first time. So be gentle.
Ray laughs nervously, and is embarrassed to see Mann not
sharing the humor.
You used to have a sense of humor.
Things used to be funny.
Ray pulls up at an intersection. He has to choose between
left and right. Behind him, cars are honking. Ray doesn't
have a clue which way to go. He sighs.
I'm sorry. This is really humiliating.
Which way is-Eenway?
Mann shakes his head, then tilts it to the left.
Ray makes the turn, and heads off down the street.
You're really inept at this, aren't you?
Ray grins sheepishly and nods. Mann laughs.
I mean you're like a total bumbler.
Ray chuckles his reluctant acceptance of the truth.
'Bozo the Kidnapper.
(no longer so
After a few moments, Ray decidesto break the ice.
Can I ask you a question? Something
I've always wanted to know.
Mann nods. He's been asked this question a million times.
No, I never slept with her.
You never slept with who?
Whoever you were going to ask me about.
If I'd been with one-tenth the famous
women they said I was with, I'd be in
formaldehyde by now.
You slept with a lot of famous women?
What's your question?
How'd you get a name like Terence?
Mann cannot believe that's the question.
Rastus was taken.
86 CONTINUED (2)
Ray knows now to shut up. He returns his attention to his
driving, glances up to his rearview mirror, and sees
something that causes his eyes to widen in horror.
87 REAR-VIEW MIRROR
A Boston police car on his tail, red lights flashing.
88 INT. RAY'S CAR 88
Mann looks behind him, sees the police car, and turns back
to Ray. Ray wears a look of resignation as he pulls the
car over to the side of the road, and shuts off the
ignition. Mann just looks at him, and starts to chuckle.
Nice going, Boze.
Okay. I don't really have a gun. So
don't say anything to this guy, okay?
I swear to God there's a reason we're
supposed to be at this game.
Mann gives him a "Give me a break" look.
Ray sees the Policeman is getting out of his cruiser and
walking towards them. Ray is desperate.
If I get arrested, the press'll be all
over you, you'll have to appear in open
court, you'll be the lead story on
Entertainment Tonight, and your
picture'll be on the front page of every
tabloid in America.
The Policeman knocks on Ray's window. He is young,
fresh-scrubbed and earnest. Ray holds up one hand to him.
Just a second.
'Terence-Mann Kidnapped... Also seen in
UFO with Elvis.'
Mann's eyes narrow. The cop knocks again, more
insistently. Ray rolls down-the window."
License and registration.
Nervously, Ray complies. Mann turns his face toward the
passenger side window. Ray's mouth dries up. He has no
idea what Mann will do.
The Policeman scrutinizes the license, turns it over to
look for convictions, and checks Ray's face against the
felonlike photo. Then he looks at Mann.
And what's your name,-sir?
Mann keeps his face averted.
Where is it that you and Raymond are
Fenway Park! We're going to the ball
(turns to cop)
Actually, Officer, I'm being kidnapped.
Discreetly, under his breath, Ray sings the "Entertainment
Tonight" theme song.
Mann winces. The officer looks at him questioningly.
What I mean by that is, I don't care
much for baseball, but Raymond insisted.
Yeah, I hate baseball.
(hands Ray back
Your right taillight is out, Raymond.
I want you to get it fixed at the first
88 CONTINUED (2)
Yes. I will. Thank you.
The Policeman walks away, and Ray heaves a sigh of relief.
Ray. My...hostages call me Ray. Can
I call you Terry?
Sourly, Mann nods. Ray smiles and drives off.
And thank you.
I didn't do it just because I don't want
Then what else?
I envy you your craziness, Ray. It's
been years since I did something
Well, you want to hear something really
Do I have a choice?
Nope. I live on a farm in Iowa. One
day, out in the cornfield, I heard a
89 EXT. CAR
It glides through city traffic.
90 EXT. FENWAY PARK - DAY
Ray slides the Datsun into a parking place, and he and Mann
walk the short sleazy block to Fenway, and old-fashioned
90 CONTINUED 90
But can't you accept the probability
that it's all just a hallucination?
Annie and Karin see it, too.
They have reached the ticket window.
Two, field level, first base side.
The elderly Ticket Seller pulls out two tickets.
Section seventeen. Twelve dollars.
Ray takes out his wallet and turns to Mann..
It's on me.
You're damn right it is.
Ray pays the man and receives the tickets.
Game don't start for a while, but you
can go in, watch batting practice.
They enter the stadium.
91 INT. STADIUM 91
They walk through the indoor portion of the grandstand
toward their section.
So what do you do with yourself these
I live. I work. I've learned to cook.
I take walks. I watch sunsets.
Don't you miss being... involved?
91 CONTINUED 91
I was the East Coast distributor of
'involved.'. I ate it, drank it, and
breathed it. Then they killed Martin.
They killed Bobby. And then they
elected Tricky Dick. Twice. And now,
people like you think I must be
miserable that I'm not involved anymore.
Well, I've got news for you: I spent all
my misery years ago. I have no more
pain for any of you. I gave at the
They approach the refreshment stand.
So...what do you want?
I want them to stop looking to me for
answers. Begging me to speak again,
write again, be a leader. I want them
to start thinking for themselves. And
I want my privacy!
Ray looks slightly embarrassed.
No, I meant what do you want from...
Ray points to the hot dog vendor, as they have reached the
front of the line.
A dog and a beer.
(to the vendor)
Okay, I agree, you should be entitled
to as much privacy as you wane. But why
I haven't published a word in seventeen
years and I still have to endure
assholes like you all the time. What
do you think it'd be like if I suddenly
came out with a new book?
91 CONTINUED (2)
Ray nods. Mann is making sense.
They'd bleed me dry.
92 SECTION SEVENTEEN
Ray and Mann emerge into the sunlight and walk down the
aisle toward the field.
God, this place is so beautiful.
The grass is so green you can almost smell it. Looking
around the old ballpark, they see only about twenty or
thirty die-hard fans in the stands for batting practice;
a half-dozen players are grouped around the batting cage
as one player hits to several others in the field. A few
sportswriters and other civilians stand near the dugouts.
Ray and Mann stop at the first row, right behind the Red
Sox on-deck circle, lean on the railing and talk.
It could be 1912 out there, for all this
place has changed. Babe Ruth stood on
that very mound as a pitcher long before
anyone knew he could hit home runs.
Why are we here, Ray?
Something.. about the game.
93 THE GAME - NIGHT
The game is in progress. Ray and Mann are in their fifth
row seats. They do not speak.
At one point, Ray becomes suddenly and strangely aware that
something is about to happen. He looks at Mann who is just
watching the game. Then he looks at the scoreboard.
94 THE SCOREBOARD 94
Fenway Park has a sophisticated scoreboard that flashes
pictures of the batter and pitcher, and can show instant
replays of some of the action.
Right now, the display is replaced by an oddly glowing
message. The sounds of the stadium, the game, and the
crowd fade out.
There is only the message:
ARCHIBALD "MOONLIGHT" GRAHAM
New York Giants
1 Game, 0 At Bats
The message does not just glow, it pulsates. It looks
almost otherworldly, phosphorescent; clearly unlike
anything ever seen before on a ballpark scoreboard.
95 RAY AND MANN
Ray looks around him. The sounds of the game return, and
from the unconcerned faces of the people near him, he
realizes that no one else can see the message. He opens
his program and starts writing it down. Mann notices this,
but cannot see what Ray is writing.
Then Ray hears The Voice.
'Go the distance.'
Oh my God.
What's the matter?
Whenever you wanttogo,wecan go.
If you want to go, we can go.
Mann looks at Ray curiously, trying to read this new
Then let's go.
Mann rises and heads up the aisle. Ray looks down at the
program -- at the handwritten legend of Moonlight Graham,
who played one game fifty-seven years ago, but did not get
to bat -- and follows Mann out of the ballpark.
96 THE RIDE BACK TO BOSTON 96
It is nighttime, and Mann drives. Ray slumps, dozing,
troubled. Mann looks curiously at Ray, but says nothing.
They ride in silence.
97 MANN'S STREET - NIGHT
The street is blue with moonlight as they park in front of
Where are you goingfrom here?
What is it you're not telling me?
(shakes head no)
I've taken up too much of your time.
Mann gets out of the car.
I wish I had your passion, Ray. However
misdirected it may be, it's still a
passion. I used to feel that way about
Ray slides into the driver's seat.
You got another message, didn't you?
You'll think I'm crazy.
I already think you're crazy. What did
After a little thought, Ray smiles sadly.
It said 'The man's done enough. Leave
Ray puts the car in gear, makes a wide turn, and starts to
head back up the street. But he stops short when Mann's
form looks out of the darkness into the glare of the
Ray does not know why Mann is blocking his path. Or why
he appears tense, almost frightened.
Ray's jaw drops.
You saw it.
New York Giants, 1922. He played one
game, never got to bat.
Mann looks spectrial in the high-contrast glare on the
What did I see, Ray?
Chisholm, Minnesota. We were the only
ones who saw it. Did you hear the
Mann glances at Ray, then looks away.
97 CONTINUED (2) 97
It's all right to admit it. That's what
told me to find you.
Did you hear it too?
'Go the distance.'
Do you know what it means?
It means...we're going to Minnesota to
find Moonlight Graham.
What do we do when we find him?
We'll know that when we find him.
Ray opens the passenger door of the Datsun and Mann jumps
in. Ray releases the brake and peels out, burning rubber.
The two men look happy as kids with bats over shoulders,
gloves dangling, on their way to a sandlot.
98 ON THE ROAD
Once on 1-90, they begin the long haul across the Great
Lakes states. Ray drives, Mann dozes in the reclined
Annie, I'm really sorry, but I'm going
to be a few days longer.
Oh, Ray...Is everything all right?
Everything's great, and'I'll tell you
all about it when I get back, but I'm
going to Minnesota now.
99 MORE ON THE ROAD 99
Now Mann drives, and Ray tries to sleep, his stockinged
feet propped up on the dash, occasionally sliding with a
thud against the steering column.
I don't believe this. What's in
RAY (V. 0.)
An old ballplayer. I'll explain when
I get home. How are things with you?
100 GAS STATION
Ray is using the pay phone on the wall of the office, while
the car is being gassed.
Hey, guess what? Terence Mann is with
me. We're going to Minnesota together.
Are you kidding me? Oh, Ray, that's
I know. I gotta go. Hug Karin for me.
I love you.
I love you too. You guys behave
yourselves. Hurry home.
Ray smiles and hangs up.
101 ANNIE'S KITCHEN
She hangs up, and loses her smile as she turns back to the
kitchen table, where her brother Mark sits with two men in
Why didn't you tell him?
For the same reason I've never pissed
on your birthday cake.
Annie, you don't have a choice in the
Annie looks vertroubldye.
102 ON THE ROAD - MINNESOTA
They are north of Duluth,andthelandscape hasgrown
harsher, the trees shorterandmore gnarled, thegrass
tougher and wirier.
After Virginia, Minnesota, all the land is scarred. Above
the town the mines sit like sand-colored bunkers in the
cliffs,- stern and silent.
Near Chisholm, the land is getting ever weirder. It looks
like a pasture rooted and rerooted by giant hogs. It has
been split and gutted; greenery has grown back, but at
weird and unnatural angles.
But as they swing into town; the highway divides and they
cross a beautiful and tranquil lake, so smooth and shiny
it might be a scene painted on a glass plate. A sign reads
WELCOME TO CHISHOLM.
103 CHISHOLM, MINNESOTA
Ray and Mann have parked on the main street next to a
corner phone booth. Ray is flipping through the thin phone
book attached to the booth by a chain.
Half a dozen Grahams...no Archibald, no
104 EXT. CHISHOLM FREE PRESS
The local newspaper is located in a small storefront that
was probably once a confectioners or a dry-goods store.
105 INT. CHISHOLM FREE PRESS
Ray and Mann are talking with the paper's publisher, Veda
Ponikvar, a handsome woman in her sixties, with a sweet,
innocent smile, and eyeglasses hanging from a fine chain
around her neck.
We're trying to find an ex-baseball
player named Archibald Graham.
You mean 'Doc' Graham.
No, I think his nickname was
Yes, that's Doctor Graham.
This is interesting news to Ray and Mann.
His baseball career never amounted to
much, so he went back to school. His
father was a doctor.
Do you know where we can find him?
It's nothing bad. We're not from the
IRS, or anything ---
105 CONTINUED 105
Doc Graham is dead. He died in 1972.
Ray and Mann look at each other, unsure of what this means
to their quest.
106 NEWSPAPER BACK ROOM 106
Ray and Mann sit at a table in the newspaper's back room,
the "morgue" file on Doc Graham -- a collection of
clippings, pictures, and the obituary -- strewn before
Right now, their attention is on Veda, who has put her
glasses on, and is reading from an editorial.
.'And there were times when children
could not afford eyeglasses or milk, or
clothing. Yet no child was ever denied
these essentials, because in the
background, there was always Doctor
Graham. Without any fanfare or
publicity, the glasses or the milk or
the ticket to the ball game found their
way into the child's pocket.'
You wrote that.
The day he died.
You're a good writer.
The compliment is just right, and she smiles warmly.
She exits. Mann spreads out the clippings and shakes his
Ray is looking at a photo of Doc Graham as a man in his
Half the towns in North America has a
Doc Graham. What makes this one so
special we have to come halfway across
the country to find him fifteen years
after he died? There's got to be more.
Veda enters with a piece of paper from a yellow legal pad.
You might want to talk to some of these
people. They knew Doc pretty well.
Mann takes the list and looks it over.
107 INTERVIEW 07
Two old Codgers on a park bench.
Oh, that man had an arm on him. One day
over at the ballpark, he said 'Lemme see
that ball', and one of the boys threw
him the ball, and he walked over behind
home plate, reared back, and fired that
ball over the left field fence.
And he was at least fifty years old when
he did it.
It was still rising when it disappeared.
A woman, an older Nurse.
i went with him to make a housecall at
one of the camps. .mining camps. The
husband was sick, and they had no stove,
so they had no heat.
When we got back to Chisholm, Doc went
to the hardware store and bought a stove
for them and paid to have it delivered.
And I know that wasn't the only time he
did something like that.
109 COUNTRY KITCHEN RESTAURANT - DAY 109
Several tables have been pushed together, and Mann sits
surrounded by townspeople, mostly men past retirement age.
He didn't smoke or drink, .but he used
to chew up paper and spit it out
wherever he went. If you were around
Doc very long, you learned to duck.
He'd even chew up his prescription
slips, so sometimes we'd have to dig
into our pockets for a piece of paper
so Doc could write us prescriptions.
He always wore a black overcoat, even
in the summer, and it was always
flapping open, even in the winter and
it was fifty below. And he had white
hair, like me, and he always carried an
'Cept he was always, I mean always,
losing them. Stores 'round town would
just lean his umbrella somewhere near
the door, and if anybody asked, they'd
just say 'Oh, that's Doc's umbrella'.
What was the umbrella for?
Oh, I think it got to be a habit,
something to hang onto. But if you'd
ask him, he'd say it was to beat away
all his lady admirers.
This, as much as the other remembrances, brings warm
chuckles to the old men.
Tell me about his wife.
Alicia. She moved to South Carolina
after he passed. She passed a few years
later. She always wore blue. I bet you
didn't know that.
No. I didn't.
110 MOTEL OFFICE - NIGHT
The woman Manager of the motel is having a'cup of coffee
You know, everybody's talking about you
two. Our neighbors came over last night
and we just told Doc'Graham stories
until after midnight. I even wrote some
of them down.
She takes out a piece of paper.
That's very nice of you.
Well, it's funny. It's like all these
memories we have of Doc had gone to
sleep and sunk way down inside us. But
once you started asking about him, and
started us talking about him, why they
swum back up to the surface again.
111 MOTEL ROOM
Ray and Mann are sitting in their beds, comparing their
No screwing, no drinking, no opium, no
illegitimate children. No-midnight
abortions, no shady finances.
Ray puts down his notes and picks up the Chicago Tribune.
You sound disappointed.
Shoeless Joe had a problem. That's why
he needed you. This guy doesn't need
Suddenly, Ray straightens with a start.
Oh, My God.
Ray hurries over to Mann, offering the opened newspaper,
and points out an article to Mann. It is headlined:
TERENCE MANN MISSING.
'His son, who lives in New York City,
notified police after receiving no
answer to repeated telephone calls...'
Shit. I'd better call him.
He pulls the phone onto the bed and dials
What the hell do I tell him.
You want me to...?
He motions outside with his head.
112 EXT. CHISHOLM RESIDENTIAL STREET - NIGHT 112
Ray walks by the old movie theatre, which sits at the edge
of a residential street. The Godfather is playing. He
nods at an elderly man who passes him on the street. He
passes a darkened house and notices there is a sign of some
kind in its unlit front window. He takes another two or
three steps before he has, to stop to take a better look at
113 THE SIGN
It takes a second to make out the image in the dark, but
it is a head shot of Richard Nixon. Above, it says "Four
More Years". Below, it reads "Re-Elect The President".
is puzzled. He turns and looks at the theatre marquee.
115 THE THEATRE MARQUEE
Under the letters that spell out "The Godfather", are
smaller letters that read "Nominated for 10 Academy
frowns. He says the word to himself.
Ray now looks at the car parked nearest to him.
117 THE CAR
: . 17
It is an old Mustang. The annual tag on the license plate
118 ?? RAY
119 HIS POINT OF VIEW
All the cars on the street are pre-1972. And still walking
down the block away from him, is the elderly man Ray passed
The man is about sixty-five years old, stooped a little,
but the body is still lithe, an athlete's body. He is
wearing a dark overcoat...
120 CLOSER POINT OF VIEW
.and he carries an umbrella.
121 RAY 121
The little hairs on the back of Ray's neck stand up. His
mouth is dry, and for a moment, he cannot speak. Then, he
calls to the man.
Slowly, the man stops and turns back to face Ray. Ray
starts to trot to him.
My name is Ray Kinsella. I'm from Iowa.
Are you Moonlight Graham?
The old man narrows his bright eyes to see Ray more
No one's called me 'Moonlight' Graham
for fifty years.
Well, I've come...
. a very long way to see you.
Funny. I couldn't sleep tonight.
Usually, I sleep like a baby. So I told
Alicia I was going to take a walk.
Mind if i join you? I'd like to talk
Doc nods and they start to walk.
Let's go to the high school. We can sit
in my office. What do. you want to talk
Well, first of all, how'd you get to be
'Cause of a night like this, long ago.
I'd just gotten to the minors, and I
went out to the ballpark.
DOC GRAHAM (Cont'd}
There's nothing as peaceful as a
ballpark at night. Like a church.
Yeah, I know what you mean.
Anyway, I fell asleep. Next morning,
they found me in the on-deck circle, all
curled up like a baby. Someone called
me 'Moonlight,' and it stuck.
122 EXT. HIGH SCHOOL 122
Doc fumbles out a key, and lets them in.
When you got to the majors, you played
only one inning of one game. What
happened in that inning?
123 INT. HIGH SCHOOL 123
They enter the hallway of the old school, the smell of
varnish and chalk almost palpable.
It was the last day of the season.
Bottom of the eighth, and we were way
ahead. I'd been up with the club for
most of a month, but hadn't seen any
action. Just then old John McGraw
points a bony finger at me and says
'Right field.' Well sir, I jumped up
like I was sitting on a spring, grabbed
my glove, and ran out onto the field.
They reach a varnished door with an opaque glass inset, and
enter. Doc Graham's office.
124 INT.,DOC GRAHAM'S OFFICE 124
Doc seats himself behind a cluttered desk, and motions Ray
to the black-leather sofa a few feet away.
Did you get to make a play?
Doc takes a sheet of paper off his desk, expertly rips an
inch or so off the corner with his teeth, and begins
124 CONTINUED 124
Nope. They never hit the ball out of
Ray chuckles, but then flinches as Doc shoots his little
spitball towards him.
It hits the back of the sofa a few feet from Ray, and hangs
there, like a white fly.
I was warned about you.
Anyway, one inning later the game was
over, and so was I.
And what was that like?
It was like coming this close to your
dreams, and then watching them brush
past you like a stranger in a crowd.
Ray nods, and a look of understanding begins to appear on
his face. He looks out the window, focused on faraway.
Except, at the time, you don't think
much of it. Hardly anybody recognizes
the most significant moment of their
life when they're happening. Back then
I just figured there'd be plenty more
days. I didn't know that would be the
Doc Graham notices that Ray is looking very serious.
Now, let me ask you a question, Ray
Kinsella. What makes that half-inning
so interesting that you come all the way
from Iowa to ask me about it sixty-five
Ray chooses his words carefully.
124 CONTINUED (2) 124
I didn't really know till just now. But
I think it's to ask you if you could do
anything you wanted to...if you could
have a wish...
Doc nods. his understanding. He smiles wryly, takes a new
piece of paper, and bites off a little section.
And are you the kind of man who could
grant me that wish?
I don't know. I'm just asking...
Doc leans his left elbow on the desk and rubs his forehead
thoughtfully with a palm, as if it were an eraser that
could erase the years and take him back to 1929 and the
Polo Grounds in New York.
I never got to bat in the major leagues.
I'd have liked the chance -- just once
-- to stare down a big league pitcher.
Stare him down and then just as he goes
into the windup -- wink! Make him
wonder if I know something he doesn't.
That's what I wish for. The chance to
squint my eyes when the sky is so blue
it hurts to look at it, and to feel the
'tingle that runs up your arms when you
connect dead-on. The chance to run the
bases, stretch a double to a triple, and
flop race-first into third, wrapping my
arm around the bag. That's my wish, Ray
Kinsella... that's my wish.
Ray begins to smile. Graham is staring intently at him.
Is there enough magic floating around
in the night out there for you to make
that wish come true?
What would you do if I said 'Yes'?
I think I might actually believe you.
124 CONTINUED (3)
There is a place where things like that
happen. And if you want to go there,
I can take you.
Doc's eyes start to glisten, and he offers an embarrassed
smile as he wipes away a tear.
If it means leaving Chisholm...
He shakes his head.no. Ray is surprised.
I understand, but I think you're
supposed to come with us.
This is my most special place in the
world, Ray. Once a place touches you
like this, the wind never blows so cold
again. You feel for it like it was your
child. I can't leave here.
Ray cannot believe the man won't leave Chisholm for his
But your wish...
It'll stay one. I was born here, lived
here, and I'll die here. That's okay.
I'll have no regrets.
But sixty-five years ago -- for five
minutes -- you came this close.
(holds up two
It would kill some men to get that close
to their dream and never touch it.
They'd consider it a tragedy.
Son...if I'd only gotten to be a doctor
for five minutes. .now that would have
been a tragedy.
Those words fill up the room, and Ray sinks back against
124 CONTINUED (4)
Well, I'd better get home before Alicia
starts to thinking I've got a
And Doc Graham smiles at him.
And he smiled.
125 INT. MOTEL ROOM - NIGHT 125
It is later that same night, and Ray has been recounting
his experience with Doc Graham to Mann, who appears quietly
And then I figured maybe we're not
supposed to take him with us. So now
I don't know why the hell we were
supposed to come here.
Maybe it was to find out if one inning
can change the world.
It did for these people. If he'd gotten
a hit, he might've stayed there.
Your wife called before. She wants you
to call her tonight.
126 INT.RAY AND ANNIE'S BEDROOM - NIGHT 126
Annie is asleep. The phone rings, and the speed with which
she picks it up suggests that her anxiety to get this phone
call prevented her from sleeping very deeply.
126 CONTINUED 126
I asked the bank if we could miss a
payment or two, and they told me they'd
just sold the note on the farm to Mark
and his partners. So they own the
paper now, and he says if we don't sell
to them, they'll foreclose. Ray, we
don't have the money.
127 INT. MOTEL ROOM - NIGHT 127
Ray holds the phone, pained.
Okay, look. They can't foreclose for
thirty days, or something like that.
I've got to take Terry back to Boston
first, so it'll be ---
Ray looks over at Mann.
I'm going to Iowa with you.
We're coming home.-
128 ON THE ROAD - MORNING 128
Ray drives with purpose and speed. Mann looks relaxed.
Hell, I couldn't quit now. I've got
see this ballpark.
Not everybody can see it. You might
I'll give it a try.
As they turn onto the highway near the lake, a Teenager
with a dufflebag appears on the side of the road, his arm
raised in. a hitchhiker's stance. Ray pulls the car over
to the side of the road.
---128 - - - CONTINUED
I need all the karma I can get right
The car stops, and the Teenager runs for it. He tosses his
dufflebag in the backseat and squeezes in after it.
Thanks. You're the first car by. I
didn't expect to get a lift so soon.
Ray starts the car back onto the highway.
How far are you going?
How far are you going?
Well, if it's okay with you, I'll ride
along for a while. I play baseball.
Ray and Mann exchange brief smiles.
I'm looking for a place to play, and I
heard that all through the Midwest,
towns have teams, and in some places
they'll find you a day job so you can
play ball nights and weekends.
This is your lucky day, kid. We're
going someplace kind of like that.
I'm Ray Kinsella, this is Terry Mann.
Hi. I'm Archie Graham.
Mann and Ray just look at each other.
And the little Datsun heads off down the highway.
129 INT. CAR - NIGHT
Archie sleeps in the backseat.
I'm dying to ask him if he has a
Don't. He didn't get it till he was in
Maybe we can give it to him.
Funny, the way he described towns,
finding you a job so you can play on
their team...they haven't done that for
years. My Dad did that for a while.
But that was in the Twenties.
What happened to your father?
He never made it as ball player, so he
tried to get his son to make it for him.
By the time I was ten, playing baseball
got to be like eating vegetables or
taking out the garbage, so when I was
fourteen, I started to refuse. Can you
believe that? An American boy refusing
to have a catch with his father.
Why at fourteen?
That's when I read The Boat Rocker, by
I never played catch with him again.
See, that's the kind of crap people are
always trying to lay on me. It's not
my fault you wouldn't play catch with
I know. Anyway, when I was seventeen,
we had a big fight, I packed my things,
said something awful, and left. After
a while I wanted to come home, but I
didn't know how. I made it back for the
What was the awful thing you said?
I said I could never respect a man whose
hero was a criminal.
Who was his hero?
Shoeless Joe Jackson.
Mann considers this all very carefully.
You knew he wasn't a criminal.
Then why'd you say it?
I was seventeen.
Mann nods with growing understanding.
So this is your penance.
I know. I can't bring my father
.so the least you can do is bring back
Well now we know what everybody's
purpose here is...except mine.
Ray looks at him. He hadn't thought of that. After a few
moments Ray points to something in the distance.
130 POINT OF VIEW
Something down the road, in the midst of all this flat
farmland, is glowing in the night.
It is an illuminated baseball diamond in a cornfield.
131 RAY AND ANNIE'S FARM - NIGHT
Ray turns the Datsun into the long driveway and, with a
rumble, crosses the metal cattle guard that keeps livestock
from escaping to the roadway.
He eases the car to a stop in front of the house, and as
the three men unfold themselves from the car, Karin bolts
from the back door of the house, a blur of white blouse and
pink pedal pushers. She flings herself into Ray's arms,
and hugs his neck in unrestrained joy.
Then Annie appears too. They kiss while Mann and Archie
wait to be introduced. Finally, Mann clears his throat.
Karin, Annie... This is Terence Mann
Annie steps forward, wining some curls from her eyes with
ahand that has recently been immersed in flour'. She
smiles, wipes the hand on the thigh of her jeans, and
shakes his hand.
And this young fellow is Moon -- uh,
Karin and Annie shake his hand.
He's come to practice with the team.
He'll be able to do more than just
What does that mean?
They walk towards the field.
Let's enjoy this place while we still
132 EXT. BASEBALL FIELD - NIGHT
Ray and Annie walk silently with their arms around each
other as they lead Mann, Archie and Karin to the bleachers.
Mann's eyes widen as several of the players shout greetings
Hi, Ray, welcome back.
Thanks, Joe. Good to see you.
Oh my Lord.
That's Shoeless Joe Jackson!
Well of course it is.
I've seen pictures. Those are the White
You mean you still didn't believe me?
I thought I did, but... Oh my Lord.
They have reached the foul line where Shoeless Joe waits
Terry, I'd like you to meet Joe Jackson.
Joe, this is Terry Mann.
Mann and Jackson shake hands.
It's a pleasure to meet you.
Ray, I hope you don't mind, but we got
tired of just having practices, so we
brought another team out with us so we
could have some real games.
He points to the visitors' bench, and, indeed, there are
a dozen or so more old-time baseball players in old-time
I don't mind. Where'd they come from?
Where'd we come from. Man, you wouldn't
believe how many guys wanted to play
here. We had to beat 'em off with a
Hey, that's Mel Ott. And Carl Hubbell.
Those are the New York Giants!
With a couple of Cardinals and A's
thrown in for good measure. Ty Cobb
wanted to play, but none of us could
stand the sonofabitch when we were
alive, so we told him to stuff it.
Hey, are you Graham?
Ray and Mann are astonished that Shoeless Joe knows who
132 CONTINUED (2)
What the hell you doing on the
sidelines? You came here to play ball,
Go warm up!
Archie quickly scampers down the bleachers, onto the field,
shakes Joe's hand, and runs to the dugout.
It's more than that. It's perfect.
133 THE GAME
The White Sox are in the field, the Giants at bat. A Giant
hitter bunts, and the runner on second takes third despite
a close throw.
Mann, Ray, Karin and Annie are in the stands, Mann keeping
Does he get a hit for that?
Um, no. The batter was trying to
So how do you score it?
Mann is impressed. He lifts Karin up from her seat on the
row below them, and places her next to him to help him.
You better sit here.
Karin beams. Ray taps Mann and points to the plate.
Archie Graham -- now wearing a Giant's uniform -- drops one
of the two bats he has been swinging in the on-deck circle,
and advances on the plate, slashing the air with a
brand-new bat the color of vanilla ice cream. He plants
himself in the batter's b.ox, then cocks the bat, the top
end of it trembling as if he were stirring something, and
waits for the pitch.'
The pitcher looks in for his signs. Archie stares back.
As the pitcher goes into his windup, Archie winks at him.
There is a moment of confusion and then anger on the
pitcher's face, and when the ball speeds to the plate it
is aimed right at Archie's head. He dives out of the way
and hits the dirt hard. The Catcher chuckles through his
Good thing for you that wasn't his
Archie digs in again at the plate, but backs up just a
little. Now his look to the pitcher is one of
Come on, let's see your fastball.
The pitcher smiles, winds up and throws. Very fast. And
right at Archie's chin. Again, he has to dive out of the
way. This time, however, he gets right up and immediately
appeals to the Umpire.
Hey, ump, how about a warning?
Sure. Watch out-you don't get killed.
Both benches laugh at that. Archie holds up his hands to
call time, and steps out of the batter's box. The on-deck
batter, Mel Ott, comes over.
133 CONTINUED (2)
Okay, kid, first two were high and
tight, where do you think the next one's
going to be?
Either-low and away, or in my ear.
He don't want to load the bases. Look
for low and away.
Archie nods and starts to walk back to the plate.
But watch out for 'in your ear.'
Archie takes his place in the batter's box again. He still
looks determined, but a little less cocky. The next pitch
is a curve that looks as if it's heading right for him.
But he holds his ground, and when the ball breaks down and
away, he steps in, snaps the bat forward, and hits it.
The ball sails in a high arc to right center. The center
fielder backs up a couple of steps, lopes a few strides to
his left, and makes the catch.
Archie is out, but the runner on third tags up and scores.
As Archie curls across the diamond from the first baseline
to the Giants' bench, he hears cheering.
In the stands, Ray, Annie, Karin and Mann are giving him
a standing ovation. In return, he touches the brim of his
cap, a ballplayer's cool response to adulation.
•Look at that. Mr. Cool.
But when Archie gets to the bench, he can't contain himself
anymore. He leaps up and lets out a cheer of pure joy.
134 THE FIELD - LATER 134
The game has ended, and players are rough-housing and
joking as they slowly make their way to the door in the
outfield fence. Ray and Mann are talking to some of the
players over the fence.
Where do you go when you walk through
that door? What do you do?
You can't leave the field any other way,
Not if we want to come back.
I'd love to go with you sometime.
The silence that follows is long and ominous.
I'd like to see what's out there.
There is still no response.
I'll take that as a no for now.
He spots Archie jogging off the field.
Hey, slugger, congratulations!
Archie jogs over.
Thanks. I can't stop shaking I'm so
happy. 'Course, I would've liked a base
But you got a RBI!
I sure did, didn't I?
A rookie's luck!
They all laugh at that.
Well come on, this calls for a drink.
134 CONTINUED (2)
I can't. I'm...
He motions with his head toward the other players
disappearing through the outfield door. Ray nods
Good game, Archie.
Good night, kid.
Ray, Karin, Annie and Mann watch Archie jog towards the
rest of the players. When he reaches the fence, he turns
back to them.
Ray turns toward him. Archie looks as if he knows more
than he's saying.
Thank you for bringing me here. I
couldn't have wished for anything more.
Ray recognizes there may be more behind those words than
just a teenager's pleasure. But he decides not to ask any
I know. You're welcome.
Archie runs through the door in the fence and vanishes.
135 INT. KITCHEN - MORNING
Mann and Karin eat their country breakfasts at one and of
the table, while at the other end, Annie and Ray sit in
front of the bank books, ledgers, and the sheaf of bills
puffed up around the paper spike.
Once we fell behind in the payments, the
full amount of the mortgage became due.
And they own the paper, so they have the
legal right to foreclose.
Unless we sell.
Either way we lose the farm. Maybe we
can make it a condition of the sale that
they keep the field up.
Forget it. They're buying up single
farms all around us, make it one big
farm. First thing they'll do is plow
under your field.
Ray just sits there, letting that sink in.
136 EXT. FARM - DAY
Ray and Mann walking.
I don't have a lot of money, Ray, but
maybe I could pitch in a little.
Fine. You can put in twenty bucks for
That's not what I meant. Maybe the
reason you were supposed to find me was
so I could help you with this.
More likely it's that you're supposed
to start writing again. About this.
Don't change the subject.
You promise to publish and I'll let you
chip in from your royalties.
Mann's expression suddenly turns to one of indignation.
One thing has nothing to do with the
I'm not sure I agree with that.
You're not only stubborn, you're stupid.
That I won't argue with.
Annie emerges from the house and calls to Ray.
Honey, that was Mark. He's coming
tonight. He needs a decision tonight.
137 THE GAME
Again, it's J,oe Jackson's Chicago White Sox against the New
York Giants, now featuring rookie Archie Graham.
In the stands, Mann keeps score, Karin munches on a hot
dog, and Annie and Ray snuggle together to watch the game.
Everything is so perfect here.
Whatever I have to do to save this
place, I'll do.
Suddenly, Ray snaps his head to the side, as one does to
pick up a-distant sound.
They look and see Mark's car heading up the gravel lane.
He parks the car at the edge of the field, and the game
stops as he walks right across it, completely mindless of
the players. Since he doesn't see any of them, a few
actually have to move out of his way. He approaches the
bottom of the bleachers.
You're interrupting the game, . Mark.
Mark shakes his head sadly at the thought that these
otherwise sensible relations have lost their minds.
Ray, it's time'to put away our little
fantasies and come down to earth.
It's not a fantasy, Mark. They're real.
Mark obviously do.esn't see anyone on the field.
Shoeless Joe Jackson. The White Sox.
He can't see any of it.
And who's that? Babe Ruth?
Ray smiles, savoring the moment.
As a matter of fact, it's Terence Mann.
Ah, how do you? I'm Michael Jackson.
Ray, we have to settle this thing right
I'm not selling you my home.
You have no money, you've got a stack
of bills to choke a pig, and come fall,
you've got no crop to sell. But I have
a deal to offer you that will allow you
to stay on this land.
This has Ray's attention. Mark climbs the bleachers to
stand closer to him.
Daddy, we don't have to sell the farm.
But no one pays her any attention. All eyes are on Mark.
137 CONTINUED (2)
Let us buy you out, and we'll leave the
house. You can live in it rent free as
long as you want.
What about the baseball field?
Do you realize what this land is worth?
Over $2200 an acre.
Then you must realize we cannot keep a
useless baseball diamond in the middle
of rich farmland.
No deal, Mark. We're staying.
We don't have to go.
You're virtually bankrupt, and I'm
offering you a way to keep your home
because I love my sister! I've got
partners who don't give a damn about
you, and they're ready to foreclose
Daddy, we don't have to sell the farm.
They all turn to Karin.
People will come.
What people, sweetheart?
137 CONTINUED (3)
From all over. They'll just decide to
take a vacation, see, and they'll come
to Iowa City, and they'll think it's
really boring, so they'll take a drive.
And they'll drive down our road, and
they'll see the lights and they'll think
it's really pretty.
Ray, Annie, and Mann listen with wonder, to this vision.
So, the people in the cars? They'll
drive up and they'll want to pay us,
like buying a ticket.
Mark looks at them all as if they're crazy.
You're not listening to this seriously,
Why would anybody pay money to come
Karin looks at her Uncle mark as if he were a simpleton.
To watch the game. And it'll be just
like when they were little kids a long
time ago, and it was summertime, and
they'll watch the game and .remember what
it was like.
Ray and Annie couldn't be prouder of their daughter than
they are right now.
What the hell is she talking about?
She's talking about people seeing their
memories... touching their past.
People will come.
137 CONTINUED (4)
It'll be like one of those tiny, French
restaurants that have no sign. You find
it by instinct. They'll be drawn.
Okay, this is all fascinating, but the
fact remains that you don't have the
money to bring the mortgage up to date,
so you still have to sell. I'm sorry,
but you have no choice.
He produces a document and hands it to Ray with a pen. Ray
looks at it. He doesn't know what to do.
Ray looks at Mann.
speaks now as he has not spoken for many years: as Terence
Mann, master of words, spellbinder.
People will come, Ray. They'll come to
Iowa for reasons they can't even fathom.
They'll turn up your driveway, not
knowing for sure why they're doing it,
and arrive at your door, innocent as
children, longing for the past. 'Of
course we won't mind if you look
around,' you'll say. 'It's only twenty
dollars per person.' And they'll pass
over the money without even looking at
it. For it is money they have, and
peace they lack.
pushes the papers. forward.
Just sign the papers, Ray.
is not one to give up.
They'll walk out to the bleachers and
sit in shirtsleeves in the perfect
evening, or they'll find they have
reserved seats somewhere in the
grandstand or along one of the baselines
-- wherever they sat when they were
children and cheered their heroes.
They'll watch the game, and it will be
as if they'd dipped themselves in magic
waters. The memories will be so thick
they'll have to brush them away from
Spellbound, Ray has put the papers down. Mark picks them
up again. He is battling Mann for Ray's attention.
Listen to me. Tomorrow morning, when
the bank opens, they will foreclose.
People will come, Ray.
You're broke, Ray. Sell now or lose
The one constant through all the years,
Ray, has been baseball. America has
rolled by like an`army of steamrollers.
It's been erased like a blackboard,
rebuilt, and erased again. But baseball
has marked the time. This field, this °
game... it's a piece of our past. It
reminds us of all that once was good.
And that could be again. People will
come. People will most definitely come.
Mann has moved everyone (but Mark) with the beauty of his
words, and the passion in his.voice. Behind him, the
assembled ballplayers respectfully applaud.
That was beautiful...
The other players nod, also teary-eyed.
141 CONTINUED 141
The players on either side of him jab his ribs with their
elbows, but Mann, Ray and Annie laugh with pleasure.
Ray. You will lose everything and you
will be evicted.
Ray looks at the paper with dread. He looks at Shoeless
Joe and the players. He looks at his family. Then he
turns back to Mark. It's decision time.
I'm not signing.
Mark shakes his head sadly. Annie hugs Ray. The players
breathe a great sigh of relief. Mann smiles.
Ray looks up at Mann, who, with a gentle tilt of the head,
directs Ray's attention to the house. Ray looks behind him
toward the house.
142 RAY'S POINT OF VIEW - CARS 142
have parked in front of the house. More are coming quietly
down the driveway. Dozens of cars. Cars with out-of-state
Some people,have gotten out of their cars and wait
patiently. One or two families sit on their hoods, or have
set up picnic dinners on their station wagons' tailgates.
143 THE BLEACHERS 143
Ray, Annie, Karin and Mann are deeply happy -- but not
terribly surprised -- to see these people.
Mark looks at the house and then back at Ray.
(with an edge)
You don't see those cars? All those
Don't do this, you son of a bitch!
There's no cars, no people...
Uncle Mark, I can see them.
We all can.
You're crazy. You're all bat-shit
Watch your language, Mark.
You build a baseball field in the middle
of nowhere, you sit around here and
stare at nothing ---
It's not nothing.
Mark grabs Karin's arm and pulls her to her feet as if she
were "Exhibit A."
And you've turned your daughter into a
Get your hands off her.
Ray rises threateningly, and Mark turns toward him. In so
doing, he twists little Karin off balance.
I'm trying to help you, goddamnit!
In that split second, they hear a strangled gasp, and see
Karin falling forward from the top row of the bleachers.
Her hot dog flies off, the bun and wiener separating in
midair. One small sandal bounces end over end and lands
at the foot of the bleacher. It takes forever for her body
to come down with a sickening thud on the hard green boards
of one of the bottom rows.
145 THE OTHERS
rush down to where she lies, face up. Ray is first, but
he does not know what to do. Annie and Mann hover. Mark
is horror-stricken, but no one knows what to do.
Oh my God, I'm sorry...Annie...I didn't
Karin is unconscious, and seems to be fighting for breath.
Ray and Annie's eyes meet in anguish.
Should we move her?
Get the car.
springs for the house. The tourists by their cars watch
Is there a doctor? A nurse? Any of
They sadly shake their heads no. Annie races inside.
147 BACK AT THE BLEACHERS
Most of the White Sox players stand by the left field
fence, staring silently.
Its a twenty-minute drive.
Mann winces. He knows that could be fatal. Ray kneels by
Karin. Her nose and one side of her face have been scraped
by the fall. Blood starts to trickle from her nose, across
her cheek and down her neck. She is becoming bluer and her
cough is faint, as though she is in another room.
Mark takes off his $300 pale-green velvet corduroy jacket
and is wordlessly holding it out to Ray. Ray takes the
jacket and covers Karin gently.
Karin is getting paler, bluer, and her breathing more
strained and distant.
Then, without reason, Ray slowly turns toward the field.
The White Sox stand near him by the fence, the Giants stay
around their bench. All except one: young Archie Graham.
148 ARCHIE GRAHAM
has noticed the'commotion in the bleachers, and he starts
to lope across the field.
Annie has pulled the car over and honks. Ray holds up his
hand to her to wait. His eyes are on young Archie Graham.
150 YOUNG ARCHIE GRAHAM
As Graham gets closer, his features begin to change, and
his step slows. He reaches the end of the fence -- around
which no player can pass
-- and when he emerges from the
shadows on the bleachers side, he is no longer young
Moonlight Graham, the ballplayer of long ago...but Doc
Graham, the old man from Chisholm, Minnesota. His baseball
glove has turned into a black doctor's bag.
151 THE BLEACHERS
as Doc Graham approaches.
What have we got here?
Doc kneels beside her and instantly knows what is wrong.
This child's choking to death.
He picks her up with one hand under her shoulders and the
other under her knees, seats himself on the bleachers, and
turns her face down. Supporting her chest with one hand,
he delivers a series of sharp blows between her shoulder
blades with the heel of his other hand.
Annie honks again. Ray waves her to him. Mark cannot
believe what he is seeing.
Suddenly, Karin's diaphragm expands as she sucks in air.
Doc reaches around and pries her mouth open, releasing a
sizable piece of hog dog and bun.
As he turns her over, we can see the blueness disappearing
from her face as she continues to breathe deeply. Doc
peels back each eyelid in turn, stares at the pupil for a
few seconds, and lets the eye close.
She's okay. I don't think the fall
really hurt her, just the dog in her
throat. She'll be coming around in a
minute or two.
Thank you, Doc.
Doc looks deeply into Ray's eyes.
No, son. Thank you.
It just now sinking for Ray what-Doc Graham has sacrificed
to save the child. Ray looks to the field, and then back
at the Doctor.
'Oh, my God, you can't go back.
152 MARK AND ANNIE
Mark is slack-jawed. He has seen something magical happen
and cannot explain it.
I saw...A11 of a sudden this kid runs
off the field and turns.into...
He looks questioningly at Annie. She smiles reassuringly.
There's hope for you yet, Mark.
153 RAY AND DOC GRAHAM
Doc Graham stands, and picks up his black bag.
Well, I best be getting back home before
Alicia starts to thinking I've got a
He walks around the edge of the fence, and heads for the
outfield door. The players respectfully make way for him.
Good work, Doc.
Way to go, Doc.
Thanks, boys. Win one for me, someday,
He passes them.
Doc Graham turns.
You were good.
Only now do Doc Graham's eyes shine with tears. He smiles,
and disappears through the door.
154 ON THE SIDE
Karin is coming to, Ray and Annie by her side. Some of the
players start to gather up their equipment. Shoeless Joe
calls to Ray.
We're gonna call it a night. We'll see
Joe starts to trot off the field, then he stops and turns
back to the bleachers.
Hey! You wanna come with us?
Ray's jaw drops.
You mean it?
(points to Mann)
Come with you?
What is out there?
Come find out.
Wait a second. Why him?
Shoeless Joe and the other players wait for Mann to join
them, ignoring Ray's question.
I built this field! You wouldn't be
here if it weren't for me.
Ray, for God's sake, I'm unattached.
You've got a family.
This takes Ray down a peg or two.
But I want to know what's out there! I
want to see it!
154 CONTINUED (2)
There's a reason they chose me, just as
there was a reason they chose you to
Oh yeah? Why?
Because, you big jerk, I gave that
The one about Ebbets Field. The one
that charged you up and sent you all the
way to Boston to find me.
Then you lied to me.
You were kidnapping me at the time, you
asshole! Think of it, Ray: maybe
there's an Ebbets Field still floating
around out there somewhere. And maybe
I'll get to sit in the stands, and watch
a twenty-year-old kid with a smooth face
and kinky hair try out for the 1948
(to Shoeless Joe)
So I do all the work, and all I get is
to see everybody else's dreams come
true. Is that it?
What are you saying, Ray?
I'm saying I'm happy for you, and I'm
happy for him, but after all
this what's in it L for me?
Is that why you did this? For-you?
There's something out there for me, Ray.
And what a story it'll make: a man
being able to touch the perfect dream.
154 CONTINUED (3)
Then you'll write about it?
You bet I will.
Annie walks Karin over. Ray bends down to Karin's face.
How you feeling, honey?
Ray laughs and hugs her. He looks up at Annie.
Terry's been invited to go-with the
You mean 'out'?
Doo-doo-doo-doo. Be careful.
She smiles brightly and gives Mann a kiss on the cheek.
Mann shakes Ray's hand.
I want a full description.
-You take care of this family, Ray.
Mann joins several of the White Sox as they leave the
is absolutely dumbfounded as'he sees the players fade out
upon walking through the outfield gate. He turns to Annie.
He just... Where'd he...?
You go inside and lie down. I'll
Mark walks off toward the people in their cars outside the house.
Where'd all these people come from...?
156 BACK AT THE FIELD
Only a few players are left on the field.
We're keeping this field.
You bet your ass we are.
Ray realizes Shoeless Joe is staring at him, with a
shit-eating grin on his face.
Shoeless Joe just keeps smiling.
What're you grinning at, you ghost?
'If you build it...
He nods toward where the catcher is taking off his gear at home plate.
' .he will come.'
Ray looks at the Catcher. The hairs on the back of his
neck begin to stand up.
Oh, my God.
What is it?
Its my father.
157 THE YOUNG CATCHER
has taken off his mask. He is in his early twenties. He
is in the same pose as the photo we saw in the prologue.
158 RAY AND SHOELESS JOE
Ray blanches and turns to Shoeless Joe, his voice a
Say it ain't so,- Joe.
I'm afraid it is, kid.
The Catcher is now walking toward Ray.
'Ease his pain...'
(smiles and nods)
'Go the distance.'
When he says those words, Shoeless Joe sounds just like The
It was you.
159 SHOELESS JOE
No, Ray. It was you.
Shoeless joe winks and walks away, disappearing through the
door in the outfield fence.
160 RAY AND ANNIE
The Catcher is halfway across the field. Ray turns to
Annie. He cannot even swallow.
My God, I only saw him later, when he
was worn down by life. Look at him.
The young Catcher has reached the outfield grass. Ray
walks down to the edge of the outfield.
He has his whole life in front of him,
and I'm not even a glint in his eye.
What do I say to him?
Introduce him to his granddaughter.
Ray cannot believe how wonderful Annie is. The Catcher has
reached the edge of the field, and now stands before Ray
Hi, I just wanted to thank you folks for
putting up the field and letting us play
here. I'm John Kinsella.
They shake his hand.
I'm Ray. My wife Annie. And this is
my daughter, Karin.
Karin, this is...
He almost says "My father."
Ray and Annie are beaming. Annie takes Karin's hand.
We're going to let you two talk. I have
to go look after our guests. Someone's
gotta start collecting admission if
we're going to keep this place.
(to the Catcher)
Very nice meeting you.
hoists Karin up and totes her toward the tourists waiting
in front of the house.
162 RAY AND JOHN
watch them for a while, then start to,stroll across the
You catch a good game.
Thank you. It's so beautiful here. Its
like-well for me, it's like a dream
Ray cannot speak. He nods.
Can I ask you something?
Again, Ray nods.
Is this heaven?
Ray smiles and shakes his head no.
Iowa. I could've sworn this was heaven.
stops and looks intently at John. He asks this question
as if he were asking the secret of life. Maybe he is.
Is there a heaven?
takes time to answer that. He looks up at the night sky
and searches it.
Then he looks square into Ray's eyes.
Heaven's where dreams come true.
looks toward the house and sees his wife and daughter on
the veranda, a moon bright as butter silvering the night
above them. He smiles. He finally understands. He turns
back to John and nods.
Then maybe this is heaven.
smiles wisely in return.
Well...good night, Ray.
John starts to walk off toward the door in the outfield
John turns back. Ray is holding a ball.
You wanna have a catch?
John closes his eyes for a second, and when he opens them;
there is the hint of moisture. Does he know Ray is his
I'd like that.
Ray tosses him the ball, picks up a glove lying there, and
puts it on.
They throw the ball back and forth.
And as we pull up higher and higher we see a father and son
bathed by white floodlights and car headlights... on the
silent, satiny green of a baseball diamond at the edge of