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ShawShank Redemption

		      THE SHAWSHANK REDEMPTION

                                 by

                           Frank Darabont


                        Based upon the story 
                Rita Hayworth and Shawshank Redemption
	                   by Stephen King



1	INT -- CABIN -- NIGHT (1946) 

	A dark, empty room. 

	The door bursts open. A MAN and WOMAN enter, drunk and 
	giggling, horny as hell. No sooner is the door shut than 
	they're all over each other, ripping at clothes, pawing at 
	flesh, mouths locked together. 

	He gropes for a lamp, tries to turn it on, knocks it over 
	instead. Hell with it. He's got more urgent things to do, like 
	getting her blouse open and his hands on her breasts. She 
	arches, moaning, fumbling with his fly. He slams her against 
	the wall, ripping her skirt. We hear fabric tear. 

	He enters her right then and there, roughly, up against the 
	wall. She cries out, hitting her head against the wall but not 
	caring, grinding against him, clawing his back, shivering with 
	the sensations running through her. He carries her across the 
	room with her legs wrapped around him. They fall onto the bed. 

	CAMERA PULLS BACK, exiting through the window, traveling 
	smoothly outside... 

2	EXT -- CABIN -- NIGHT (1946) 2

	...to reveal the bungalow, remote in a wooded area, the 
	lovers' cries spilling into the night... 

	...and we drift down a wooded path, the sounds of rutting 
	passion growing fainter, mingling now with the night sounds of 
	crickets and hoot owls... 

	...and we begin to hear FAINT MUSIC in the woods, tinny and
	incongruous, and still we keep PULLING BACK until... 

	...a car is revealed. A 1946 Plymouth. Parked in a clearing. 

3	INT -- PLYMOUTH -- NIGHT (1946) 3

	ANDY DUFRESNE, mid-20's, wire rim glasses, three-piece suit. 
	Under normal circumstances a respectable, solid citizen; hardly
	dangerous, perhaps even meek. But these circumstances are far 
	from normal. He is disheveled, unshaven, and very drunk. A 
	cigarette smolders in his mouth. His eyes, flinty and hard, are 
	riveted to the bungalow up the path. 

	He can hear them fucking from here. 

	He raises a bottle of bourbon and knocks it back. The radio 
	plays softly, painfully romantic, taunting him: 

		You stepped out of a dream... 
		You are too wonderful... 
		To be what you seem... 

	He opens the glove compartment, pulls out an object wrapped
	in a rag. He lays it in his lap and unwraps it carefully --

	-- revealing a .38 revolver. Oily, black, evil. 

	He grabs a box of bullets. Spills them everywhere, all over 
	the seats and floor. Clumsy. He picks bullets off his lap, 
	loading them into the gun, one by one, methodical and grim. 
	Six in the chamber. His gaze goes back to the bungalow. 

	He shuts off the radio. Abrupt silence, except for the distant 
	lovers' moans. He takes another shot of bourbon courage, then 
	opens the door and steps from the car. 

4	EXT -- PLYMOUTH -- NIGHT (1946) 4

	His wingtip shoes crunch on gravel. Loose bullets scatter to 
	the ground. The bourbon bottle drops and shatters. 

	He starts up the path, unsteady on his feet. The closer he 
	gets, the louder the lovemaking becomes. Louder and more 
	frenzied. The lovers are reaching a climax, their sounds of 
	passion degenerating into rhythmic gasps and grunts. 

				WOMAN (O.S.) 
		Oh god...oh god...oh god... 

	Andy lurches to a stop, listening. The woman cries out in 
	orgasm. The sound slams into Andy's brain like an icepick. He 
	shuts his eyes tightly, wishing the sound would stop. 

	It finally does, dying away like a siren until all that's left 
	is the shallow gasping and panting of post-coitus. We hear 
	languorous laughter, moans of satisfaction. 

				WOMAN (O.S.) 
		Oh god...that's sooo good...you're 
		the best...the best I ever had... 

	Andy just stands and listens, devastated. He doesn't look like 
	much of a killer now; he's just a sad little man on a dirt 
	path in the woods, tears streaming down his face, a loaded gun 
	held loosely at his side. A pathetic figure, really. 

	FADE TO BLACK: 1ST TITLE UP 

5	INT -- COURTROOM -- DAY (1946) 5

	THE JURY listens like a gallery of mannequins on display, 
	pale-faced and stupefied. 

				D.A. (O.S.) 
		Mr. Dufresne, describe the 
		confrontation you had with your 
		wife the night she was murdered. 

	ANDY DUFRESNE 

	is on the witness stand, hands folded, suit and tie pressed, 
	hair meticulously combed. He speaks in soft, measured tones: 

				ANDY 
		It was very bitter. She said she 
		was glad I knew, that she hated all 
		the sneaking around. She said she 
		wanted a divorce in Reno. 

				D.A. 
		What was your response? 

				ANDY 
		I told her I would not grant one. 

				D.A. 
			(refers to his notes) 
		I'll see you in Hell before I see
		you in Reno. Those were the words 
		you used, Mr. Dufresne, according 
		to the testimony of your neighbors. 

				ANDY 
		If they say so. I really don't 
		remember. I was upset. 

	FADE TO BLACK: 2ND TITLE UP 

				D.A. 
		What happened after you and your 
		wife argued? 

				ANDY 
		She packed a bag and went to stay 
		with Mr. Quentin. 

				D.A. 
		Glenn Quentin. The golf pro at the 
		Falmouth Hills Country Club. The 
		man you had recently discovered was 
		her lover. 
			(Andy nods) 
		Did you follow her? 

				ANDY 
		I went to a few bars first. Later, 
		I decided to drive to Mr. Quentin's 
		home and confront them. They 
		weren't there...so I parked my car 
		in the turnout...and waited. 

				D.A. 
		With what intention? 

				ANDY 
		I'm not sure. I was confused. Drunk. 
		I think mostly I wanted to scare them. 

				D.A. 
		You had a gun with you? 

				ANDY 
		Yes. I did. 

	FADE TO BLACK: 3RD TITLE UP 

				D.A. 
		When they arrived, you went up 
		to the house and murdered them? 

				ANDY 
		No. I was sobering up. I realized 
		she wasn't worth it. I decided to 
		let her have her quickie divorce. 

				D.A. 
		Quickie divorce indeed. A .38 
		caliber divorce, wrapped in a 
		handtowel to muffle the shots, 
		isn't that what you mean? And then 
		you shot her lover! 

				ANDY 
		I did not. I got back in the car 
		and drove home to sleep it off. 
		Along the way, I stopped and threw 
		my gun into the Royal River. I feel 
		I've been very clear on this point. 

				D.A. 
		Yes, you have. Where I get hazy, 
		though, is the part where the 
		cleaning woman shows up the next 
		morning and finds your wife and her 
		lover in bed, riddled with .38 
		caliber bullets. Does that strike 
		you as a fantastic coincidence, Mr. 
		Dufresne, or is it just me? 

				ANDY 
			(softly) 
		Yes. It does. 

				D.A. 
		I'm sorry, Mr. Dufresne, I don't 
		think the jury heard that. 

				ANDY 
		Yes. It does. 

				D.A. 
		Does what? 

				ANDY 
		Strike me as a fantastic coincidence. 

				D.A. 
		On that, sir, we are in accord... 

	FADE TO BLACK! 4TH TITLE UP 

				D.A. 
		You claim you threw your gun into 
		the Royal River before the murders 
		took place. That's rather convenient. 

				ANDY 
		It's the truth. 

				D.A. 
		You recall Lt. Mincher's testimony? 
		He and his men dragged that river 
		for three days and nary a gun was 
		found. So no comparison can be made 
		between your gun and the bullets 
		taken from the bloodstained corpses 
		of the victims. That's also rather 
		convenient, isn't it, Mr. Dufresne? 

				ANDY 
			(faint, bitter smile) 
		Since I am innocent of this crime, 
		sir, I find it decidedly inconvenient 
		the gun was never found. 

	FADE TO BLACK: STH TITLE UP 

6	INT -- COURTROOM -- DAY (1946) 6

	The D.A. holds the jury spellbound with his closing summation:

				D.A. 
		Ladies and gentlemen, you've heard 
		all the evidence, you know all the 
		facts. We have the accused at the 
		scene of the crime. We have foot 
		prints. Tire tracks. Bullets 
		scattered on the ground which bear 
		his fingerprints. A broken bourbon 
		bottle, likewise with fingerprints. 
		Most of all, we have a beautiful 
		young woman and her lover lying 
		dead in each other's arms. They had 
		sinned. But was their crime so 
		great as to merit a death sentence? 

	He gestures to Andy sitting quietly with his ATTORNEY. 

				D.A. 
		I suspect Mr. Dufresne's answer to 
		that would be yes. I further 
		suspect he carried out that 
		sentence on the night of September 
		21st, this year of our Lord, 1946, 
		by pumping four bullets into his 
		wife and another four into Glenn 
		Quentin. And while you think about 
		that, think about this... 

	He picks up a revolver, spins the cylinder before their eyes 
	like a carnival barker spinning a wheel of fortune. 

				D.A. 
		A revolver holds six bullets, not 
		eight. I submit to you this was not 
		a hot-blooded crime of passion! 
		That could at least be understood, 
		if not condoned. No, this was 
		revenge of a much more brutal and 
		cold-blooded nature. Consider! Four 
		bullets per victim! Not six shots 
		fired, but eight! That means he 
		fired the gun empty...and then 
		stopped to reload so he could shoot 
		each of them again! An extra bullet 
		per lover...right in the head. 
			(a few JURORS shiver) 
		I'm done talking. You people are 
		all decent, God-fearing Christian 
		folk. You know what to do. 

	FADE TO BLACK: 6TH TITLE UP 

7	INT -- JURY ROOM -- DAY (1946) 7

	CAMERA TRACKS down a long table, moving from one JUROR to the 
	next. These decent, God-fearing Christians are chowing down on 
	a nice fried chicken dinner provided them by the county, 
	smacking greasy lips and gnawing cobbettes of corn. 

				VOICE (O.S.) 
		Guilty. Guilty. Guilty. Guilty... 

	We find the FOREMAN at the head of the table, sorting votes. 

	FADE TO BLACK: 7TH TITLE UP 

8	INT -- COURTROOM -- DAY (1946) 8

	Andy stands before the dias. THE JUDGE peers down, framed by a 
	carved frieze of blind Lady Justice on the wall. 

				JUDGE 
		You strike me as a particularly icy 
		and remorseless man, Mr. Dufresne. 
		It chills my blood just to look at 
		you. By the power vested in me by 
		the State of Maine, I hereby order 
		you to serve two life sentences, 
		back to back, one for each of your 
		victims. So be it. 

	He raps his gavel as we 

	CRASH TO BLACK: LAST TITLE UP. 

9 	AN IRON-BARRED DOOR 9

	slides open with an enormous CLANG. A stark room waits beyond.
	CAMERA PUSHES through. SEVEN HUMORLESS MEN sit side by side at
	a long table. An empty chair faces them. We are now in: 

	INT -- SHAWSHANK HEARINGS ROOM -- DAY (1947) 

	RED enters, removes his cap and waits by the chair. 

				MAN #1 
		Sit. 

	Red sits, tries not to slouch. The chair is uncomfortable. 

				MAN #2 
		We see by your file you've served 
		twenty years of a life sentence. 

				MAN #3 
		You feel you've been rehabilitated? 

				RED 
		Yes, sir. Absolutely. I've learned 
		my lesson. I can honestly say I'm a 
		changed man. I'm no longer a danger 
		to society. That's the God's honest 
		truth. No doubt about it. 

	The men just stare at him. One stifles a yawn. 

	CLOSEUP -- PAROLE FORM 

	A big rubber stamp slams down: "REJECTED" in red ink. 

10	EXT -- EXERCISE YARD -- SHAWSHANK PRISON -- DUSK (1947) 10

	High stone walls topped with snaky concertina wire, set off at
	intervals by looming guard towers. Over a hundred CONS are 
	in the yard. Playing catch, shooting craps, jawing at each 
	other, making deals. Exercise period. 



	RED emerges into fading daylight, slouches low-key through the 
	activity, worn cap on his head, exchanging hellos and doing 
	minor business. He's an important man here. 

				RED (V.O.) 
		There's a con like me in every prison 
		in America, I guess. I'm the guy who 
		can get it for you. Cigarettes, a 
		bag of reefer if you're partial, a 
		bottle of brandy to celebrate your 
		kid's high school graduation. Damn 
		near anything, within reason. 

	He slips somebody a pack of smokes, smooth sleight-of-hand.

				RED (V.O.) 
		Yes sir, I'm a regular Sears & 
		Roebuck. 

	TWO SHORT SIREN BLASTS issue from the main tower, drawing 
	everybody's attention to the loading dock. The outer gate 
	swings open...revealing a gray prison bus outside. 

				RED (V.O.) 
		So when Andy Dufresne came to me in 
		1949 and asked me to smuggle Rita 
		Hayworth into the prison for him, I 
		told him no problem. And it wasn't. 

				CON 
		Fresh fish! Fresh fish today! 

	Red is joined by HEYWOOD, SKEET, FLOYD, JIGGER, ERNIE, SNOOZE. 
	Most cons crowd to the fence to gawk and jeer, but Red and his 
	group mount the bleachers and settle in comfortably. 

11	INT -- PRISON BUS -- DUSK (1947) 11

	Andy sits in back, wearing steel collar and chains. 

				RED (V.O.) 
		Andy came to Shawshank Prison in 
		early 1947 for murdering his wife 
		and the fella she was bangin'. 

	The bus lurches forward, RUMBLES through the gates. Andy gazes 
	around, swallowed by prison walls. 

				RED (V.O.) 
		On the outside, he'd been vice- 
		president of a large Portland bank. 
		Good work for a man as young as he 
		was, when you consider how 
		conservative banks were back then. 

				TOWER GUARD 
		All clear! 

	GUARDS approach the bus with carbines. The door jerks open. 
	The new fish disembark, chained together single-file, blinking 
	sourly at their surroundings. Andy stumbles against the MAN in 
	front of him, almost drags him down. 

	BYRON HADLEY, captain of the guard, slams his baton into 
	Andy's back. Andy goes to his knees, gasping in pain. JEERS 
	and SHOUTS from the spectators. 

				HADLEY 
		On your feet before I fuck you up 
		so bad you never walk again. 

13 	ON THE BLEACHERS 13

				RED 
		There they are, boys. The Human 
		Charm Bracelet. 

				HEYWOOD 
		Never seen such a sorry-lookin' 
		heap of maggot shit in my life. 

				JIGGER 
		Comin' from you, Heywood, you being 
		so pretty and all... 

				FLOYD 
		Takin' bets today, Red? 

				RED 
			(pulls notepad and pencil) 
		Bear Catholic? Pope shit in the woods? 
		Smokes or coin, bettor's choice. 

				FLOYD 
		Smokes. Put me down for two. 

				RED 
		High roller. Who's your horse? 

				FLOYD 
		That gangly sack of shit, third 
		from the front. He'll be the first. 

				HEYWOOD 
		Bullshit. I'll take that action. 

				ERNIE 
		Me too. 

	Other hands go up. Red jots the names. 

				HEYWOOD 
		You're out some smokes, son. Take 
		my word. 

				FLOYD 
		You're so smart, you call it. 

				HEYWOOD 
		I say that chubby fat-ass...let's 
		see...fifth from the front. Put me 
		down for a quarter deck. 

				RED 
		That's five cigarettes on Fat-Ass. 
		Any takers? 

	More hands go up. Andy and the others are paraded along, 
	forced by their chains to take tiny baby steps, flinching 
	under the barrage of jeers and shouts. The old-timers are 
	shaking the fence, trying to make the newcomers shit their 
	pants. Some of the new fish shout back, but mostly they look 
	terrified. Especially Andy. 

				RED (V.O.) 
		I must admit I didn't think much of 
		Andy first time I laid eyes on him. 
		He might'a been important on the 
		outside, but in here he was just a 
		little turd in prison grays. Looked 
		like a stiff breeze could blow him 
		over. That was my first impression 
		of the man. 

				SKEET 
		What say, Red? 

				RED 
		Little fella on the end. Definitely. 
		I stake half a pack. Any takers? 

				SNOOZE 
		Rich bet. 

				RED 
		C'mon, boys, who's gonna prove me 
		wrong? 
			(hands go up) 
		Floyd, Skeet, Joe, Heywood. Four brave 
		souls, ten smokes apiece. That's it, 
		gentlemen, this window's closed. 

	Red pockets his notepad. A VOICE comes over the P.A. speakers:

				VOICE (amplified) 
		Return to your cellblocks for 
		evening count. 

14	INT -- ADMITTING AREA -- DUSK (1947) 14

	The new fish are marched in. Guards unlock the shackles. The
	chains drop away, rattling to the stone floor. 

				HADLEY 
		Eyes front. 

	WARDEN SAMUEL NORTON strolls forth, a colorless man in a gray
	suit and a church pin in his lapel. He looks like he could 
	piss ice water. He appraises the newcomers with flinty eyes.

				NORTON 
		This is Mr. Hadley, captain of the 
		guard. I am Mr. Norton, the warden. 
		You are sinners and scum, that's 
		why they sent you to me. Rule 
		number one: no blaspheming. I'll 
		not have the Lord's name taken in 
		vain in my prison. The other rules 
		you'll figure out as you go along. 
		Any questions? 

				CON 
		When do we eat? 

	Cued by Norton's glance, Hadley steps up to the con and screams
	right in his face: 

				HADLEY 
		YOU EAT WHEN WE SAY YOU EAT! YOU 
		PISS WHEN WE SAY YOU PISS! YOU SHIT 
		WHEN WE SAY YOU SHIT! YOU SLEEP 
		WHEN WE SAY YOU SLEEP! YOU MAGGOT- 
		DICK MOTHERFUCKER! 

	Hadley rams the tip of his club into the con's belly. The 
	man falls to his knees, gasping and clutching himself. 
	Hadley takes his place at Norton's side again. Softly: 

				NORTON 
		Any other questions? 
			(there are none) 
		I believe in two things. Discipline 
		and the Bible. Here, you'll receive 
		both. 
			(holds up a Bible) 
		Put your faith in the Lord. Your 
		ass belongs to me. Welcome to 
		Shawshank. 

				HADLEY 
		Off with them clothes! And I didn't 
		say take all day doing it, did I? 

	The men shed their clothes. Within seconds, all stand naked. 

				HADLEY 
		First man into the shower! 

	Hadley shoves the FIRST CON into a steel cage open at the 
	front. TWO GUARDS open up with a fire hose. The con is slammed 
	against the back of the cage, sputtering and hollering. 
	Seconds later, the water is cut and the con yanked out. 

				HADLEY 
		Delouse that piece of shit! Next 
		man in! 

	The con gets a huge scoop of white delousing powder thrown all
	over him. Gasping and coughing, blinking powder from his eyes,
	he gets shoved to a trustee's cage. The TRUSTEE slides a short
	stack of items through the slot -- prison clothes and a Bible.
	All the men are processed quickly -- a blast of water, powder,
	clothes and a Bible... 

15	INT -- INFIRMARY -- NIGHT (1947) 15

	A naked CON steps before a DOCTOR and gets a cursory exam. 
	A penlight is shined in his eyes, ears, nose, and throat. 

				DOCTOR 
		Bend over. 

	The con does. A GUARD with a penlight in his teeth spreads his 
	cheeks, peers up his ass, and nods. Andy is next up. He gets 
	the same treatment. 


16	INT -- PRISON CHAPEL -- NIGHT (1947) 16

	CAMERA TRACKS the naked newcomers shivering on hard wooden 
	chairs, clothes on their laps, Bibles open. 

				CHAPLAIN (O.S.) 
		...maketh me to lie down in green 
		pastures. He leadeth me beside the 
		still waters. He restoreth my soul... 

17	INT -- CELLBLOCK FIVE -- NIGHT (1947) 17

	Three tiers to a side, concrete and steel, gray and imposing. 
	Andy and the others are marched in, still naked, carrying 
	their clothes and Bibles. The CONS in their cells greet them 
	with TAUNTS, JEERS, and LAUGHTER. One by one, the new men are 
	shown to their cells and locked in with a CLANG OF STEEL. 

				RED (V.O.) 
		The first night's the toughest, no 
		doubt about it. They march you in 
		naked as the day you're born, fresh 
		from a Bible reading, skin burning 
		and half-blind from that delousing 
		shit they throw on you... 

	Red watches from his cell, arms slung over the crossbars, 
	cigarette dangling from his fingers. 

				RED (V.O.) 
		...and when they put you in that 
		cell, when those bars slam home, 
		that's when you know it's for real. 
		Old life blown away in the blink of 
		an eye...a long cold season in hell 
		stretching out ahead...nothing 
		left but all the time in the world 
		to think about it. 

	Red listens to the CLANGING below. He watches Andy and a few 
	others being brought up to the 2nd tier. 

				RED (V.O.) 
		Most new fish come close to madness 
		the first night. Somebody always 
		breaks down crying. Happens every 
		time. The only question is, who's 
		it gonna be? 

	Andy is led past and given a cell at the end of the tier. 

				RED (V.O.) 
		It's as good a thing to bet on as 
		any, I guess. I had my money on 
		Andy Dufresne... 

18	INT -- ANDY'S CELL -- NIGHT (1947) 18

	The bars slam home. Andy is alone in his cell, clutching his 
	clothes. He gazes around at his new surroundings, taking it 
	in. He slowly begins to dress himself... 

19	EXT -- SHAWSHANK PRISON -- NIGHT (1947) 19

	A malignant stone growth on the Maine landscape. The moon 
	hangs low and baleful in a dead sky. The headlight of a 
	PASSING TRAIN cuts through the night. 

20	INT -- RED'S CELL -- NIGHT (1947) 20

	Red lies on his bunk below us, tossing his baseball toward the 
	ceiling and catching it again. He pauses, listening. FOOTSTEPS 
	approach below, unhurried, echoing hollowly on stone. 

21	INT -- CELLBLOCK FIVE -- NIGHT (1947) 21

	LOW ANGLE. A CELLBLOCK GUARD strolls into frame. 

				GUARD 
		That's lights out! Good night, ladies. 

	The lights bump off in sequence. The guard exits, footsteps
	echoing away. Darkness now. Silence. CAMERA CRANES UP the 
	tiers toward Red's cell. 

				RED (V.O.) 
		I remember my first night. Seems a 
		long time ago now. 

	Red looms from the darkness, leans on the bars. Listens. 
	Waits. From somewhere below comes faint, ghastly tittering.
	VOICES drift through the cellblock, taunting: 

				VARIOUS VOICES (O.S.) 
		Fishee fishee fisheeee...You're 
		gonna like it here, new fish. A 
		whooole lot...Make you wish your 
		daddies never dicked your 
		mommies...You takin' this down, new 
		fish? Gonna be a quiz later. 
			(somebody LAUGHS) 
		Sshhh. Keep it down. The screws'll 
		hear...Fishee fishee fisheeee... 

				RED (V.O.) 
		The boys always go fishin' with 
		first-timers...and they don't quit 
		till they reel someone in. 

	The VOICES keep on, sly and creepy in the dark... 

22	INT -- VARIOUS CELLS -- NIGHT (1947) 22
	thru thru 25
	2g ...while the new cons go quietly crazy in their cells. One man
	paces like a caged animal...another sits gnawing his cuticles
	bloody...a third is weeping silently...a fourth is dry-heaving
	into the toilet... 

26	INT -- RED'S CELL -- NIGHT (1947) 26

	Red waits at the bars. Smoking. Listening. He cranes his head,
	peers down toward Andy's cell. Nothing. Not a peep. 

				HEYWOOD (O.S.) 
		Fat-Ass...oh, Faaaat-Ass. Talk to 
		me, boy. I know you're in there. I 
		can hear you breathin'. Now don't 
		you listen to these nitwits, hear? 

27	INT -- FAT-ASS' CELL -- NIGHT (1947) 27

	Fat-Ass is crying, trying not to hyperventilate. 

				HEYWOOD (O.S.) 
		This ain't such a bad place. I'll 
		introduce you around, make you feel 
		right at home. I know some big ol' 
		bull queers who'd love to make your 
		acquaintance...especially that big 
		white mushy butt of yours... 

	And that's it. Fat-Ass lets out a LOUD WAIL of despair: 

				FAT-ASS 
		OH GOD! I DON'T BELONG HERE! I 
		WANNA GO HOME! 

28	INT -- HEYWOOD'S CELL -- NIGHT (1947) 28

				HEYWOOD 
		AND IT'S FAT-ASS BY A NOSE.' 

29	INT -- CELLBLOCK -- NIGHT (1947) 29

	The place goes nuts. Fat-Ass throws himself screaming against
	the bars. The entire block starts CHANTING: 

				VOICES 
		Fresh fish...fresh fish...fresh 
		fish...fresh fish... 

				FAT-ASS 
		I WANNA GO HOME! I WANT MY MOTHER.' 

				VOICE (O.S.) 
		I had your mother! She wasn't that 
		great! 

	The lights bump on. GUARDS pour in, led by Hadley himself.

				HADLEY 
		What the Christ is this happy shit? 

				VOICE (O.S.) 
		He took the Lord's name in vain! 
		I'm tellin' the warden! 

				HADLEY 
			(to the unseen wit) 
		You'll be tellin' him with my baton 
		up your ass! 

	Hadley arrives at Fat-Ass' cell, bellowing through the bars:

				HADLEY 
		What's your malfunction you fat 
		fuckin' barrel of monkey-spunk? 

				FAT-ASS 
		PLEASE! THIS AIN'T RIGHT! I AIN'T 
		SUPPOSED TO BE HERE! NOT ME! 

				HADLEY 
		I ain't gonna count to three! Not 
		even to one! Now shut the fuck up 
		'fore I sing you a lullabye! 

	Fat-Ass keeps blubbering and wailing. Total freak-out. Hadley 
	draws his baton, gestures to his men. Open it. 

	A GUARD unlocks the cell. Hadley pulls Fat-Ass out and starts 
	beating him with the baton, brutally raining blows. Fat-Ass 
	falls, tries to crawl. 

	The place goes dead silent. All we hear now is the dull
	THWACK-THWACK-THWACK of the baton. Fat-ass passes out. Hadley
	gets in a few more licks and finally stops. 

				HADLEY 
		Get this tub of shit down to the 
		infirmary. 
			(peers around) 
		If I hear so much as a mouse fart 
		in here the rest of the night, by 
		God and Sonny Jesus, you'll all 
		visit the infirmary. Every last 
		motherfucker here. 

	The guards wrestle Fat-Ass onto a stretcher and carry him off. 
	FOOTSTEPS echo away. Lights off. Darkness again. Silence. 

30	INT -- RED'S CELL -- NIGHT (1947) 30

	Red stares through the bars at the main floor below, eyes 
	riveted to the small puddle of blood where Fat-Ass went down. 

				RED (V.O.) 
		His first night in the joint, Andy 
		Dufresne cost me two packs of 
		cigarettes. He never made a sound... 

31	INT -- CELLBLOCK FIVE -- MORNING (1947) 31

	LOUD BUZZER. The master locks are thrown -- KA-THUMP! The cons 
	step from their cells, lining the tiers. The GUARDS holler 
	their head-counts to the HEAD BULL, who jots on a clipboard. 
	Red peers at Andy, checking him out. Andy stands in line, 
	collar buttoned, hair combed. 

32	INT -- MESS HALL -- MORNING (1947) 32

	Andy goes through the breakfast line, gets a scoop of glop on
	his tray. WE PAN ANDY through the noise and confusion...and 
	discover BOGS DIAMOND and ROOSTER MacBRIDE watching Andy go 
	by. Bogs sizes Andy up with a salacious gleam in his eye, 
	mutters something to Rooster. Rooster laughs. 

	Andy finds a table occupied by Red and his regulars, chooses
	a spot at the end where nobody is sitting. Ignoring their 
	stares, he picks up his spoon -- and pauses, seeing something
	in his food. He carefully fishes it out with his fingers. 

	It's a squirming maggot. Andy grimaces, unsure what to do with
	it. BROOKS HATLEN is sitting closest to Andy. At age 65, he's
	a senior citizen, a long-standing resident. 

				BROOKS 
		You gonna eat that? 

				ANDY 
		Hadn't planned on it. 

				BROOKS 
		You mind? 

	Andy passes the maggot to Brooks. Brooks examines it, rolling
	it between his fingertips like a man checking out a fine 
	cigar. Andy is riveted with apprehension. 

				BROOKS 
		Mmm. Nice and ripe. 

	Andy can't bear to watch. Brooks opens up his sweater and 
	feeds the maggot to a baby crow nestled in an inside pocket.
	Andy breathes a sigh of relief. 

				BROOKS 
		Jake says thanks. Fell out of his 
		nest over by the plate shop. I'm 
		lookin' after him till he's old 
		enough to fly. 

	Andy nods, proceeds to eat. Carefully. Heywood approaches.

				JIGGER 
		Oh, Christ, here he comes. 

				HEYWOOD 
		Mornin', boys. It's a fine mornin'. 
		You know why it's fine? 

	Heywood plops his tray down, sits. The men start pulling out
	cigarettes and handing them down. 

				HEYWOOD 
		That's right, send 'em all down. I 
		wanna see 'em lined up in a row, 
		pretty as a chorus line. 

	An impressive pile forms. Heywood bends down and inhales
	deeply, smelling the aroma. Rapture. 

				FLOYD 
		Smell my ass... 

				HEYWOOD 
		Gee, Red. Terrible shame, your 
		horse comin' in last and all. 
		Hell, I sure do love that horse of 
		mine. I believe I owe that boy a 
		big sloppy kiss when I see him. 

				RED 
		Give him some'a your cigarettes 
		instead, cheap bastard. 

				HEYWOOD 
		Say Tyrell, you pull infirmary duty 
		this week? How's that winnin' horse 
		of mine, anyway? 

				TYRELL 
		Dead. 
			(the men fall silent) 
		Hadley busted his head pretty good. 
		Doc already went home for the 
		night. Poor bastard lay there till 
		this morning. By then... 

	He shakes his head, turns back to his food. The silence
	mounts. Heywood glances around. Men resume eating. Softly:

				ANDY 
		What was his name? 

				HEYWOOD 
		What? What'd you say? 

				ANDY 
		I was wondering if anyone knew his 
		name. 

				HEYWOOD 
		What the fuck you care, new fish? 
			(resumes eating) 
		Doesn't matter what his fuckin' 
		name was. He's dead. 

33	INT -- PRISON LAUNDRY -- DAY (1947) 33

	A DEAFENING NOISE of industrial washers and presses. Andy works
	the laundry line. A nightmarish job. He's new at it. BOB, the
	con foreman, elbows him aside and shows him how it's done. 

34	INT -- SHOWERS -- DAY (1947) 34

	Shower heads mounted in bare concrete. Andy showers with a
	dozen or more men. No modesty here. At least the water is good
	and hot, soothing his tortured muscles. 

	Bogs looms from the billowing steam, smiling, checking Andy up
	and down. Rooster and PETE appear from the sides. The Sisters.

				BOGS 

	You're some sweet punk. You been 
	broke in yet? 

	Andy tries to step past them. He gets shoved around, nothing
	serious, just some slap and tickle. Jackals sizing up prey.

				BOGS 
		Hard to get. I like that. 

	Andy breaks free, flushed and shaking. He hurries off, leaving
	the three Sisters laughing. 

35	INT -- ANDY'S CELL -- NIGHT (1947) 35

	Andy lies staring at the darkness, unable to sleep. 

36	EXT -- EXERCISE YARD -- DAY (1947) 36

	Exercise period. Red plays catch with Heywood and Jigger, 
	lazily tossing a baseball around. Red notices Andy off to the
	side. Nods hello. Andy takes this as a cue to amble over. 
	Heywood and Jigger pause, watching. 

				ANDY 
			(offers his hand) 
		Hello. I'm Andy Dufresne. 

	Red glances at the hand, ignores it. The game continues.

				RED 
		The wife-killin' banker. 

				ANDY 
		How do you know that? 

				RED 
		I keep my ear to the ground. Why'd 
		you do it? 

				ANDY 
		I didn't, since you ask. 

				RED 
		Hell, you'll fit right in, then. 
			(off Andy's look) 
		Everyone's innocent in here, don't 
		you know that? Heywood! What are 
		you in for, boy? 

				HEYWOOD 
		Didn't do it! Lawyer fucked me! 

	Red gives Andy a look. See? 

				ANDY 
		What else have you heard? 

				RED 
		People say you're a cold fish. They 
		say you think your shit smells 
		sweeter than ordinary. That true? 


				ANDY 
		What do you think? 

				RED 
		Ain't made up my mind yet. 

	Heywood nudges Jigger. Watch this. He winds up and throws the
	ball hard -- right at Andy's head. Andy sees it coming out of
	the corner of his eye, whirls and catches it. Beat. He sends
	the ball right back, zinging it into Heywood's hands. Heywood
	drops the ball and grimaces, wringing his stung hands. 

				ANDY 
		I understand you're a man who knows 
		how to get things. 

				RED 
		I'm known to locate certain things 
		from time to time. They seem to 
		fall into my hands. Maybe it's 
		'cause I'm Irish. 

				ANDY 
		I wonder if you could get me a 
		rock-hammer? 

				RED 
		What is it and why? 

				ANDY 
		You make your customers' motives a 
		part of your business? 


				RED 
		If you wanted a toothbrush, I 
		wouldn't ask questions. I'd just 
		quote a price. A toothbrush, see, 
		is a non-lethal sort of object. 

				ANDY 
		Fair enough. A rock-hammer is about 
		eight or nine inches long. Looks 
		like a miniature pickaxe, with a 
		small sharp pick on one end, and a 
		blunt hammerhead on the other. It's 
		for rocks. 

				RED 
		Rocks. 

	Andy squats, motions Red to join him. Andy grabs a handful of
	dirt and sifts it through his hands. He finds a pebble and
	rubs it clean. It has a nice milky glow. He tosses it to Red.

				RED 
		Quartz? 

				ANDY 
		Quartz, sure. And look. Mica. Shale. 
		Silted granite. There's some graded 
		limestone, from when they cut this 
		place out of the hill. 

				RED 
		So? 

				ANDY 
		I'm a rockhound. At least I was, in 
		my old life. I'd like to be again, 
		on a limited scale. 

				RED 
		Yeah, that or maybe plant your toy 
		in somebody's skull? 

				ANDY 
		I have no enemies here. 

				RED 
		No? Just wait. 

	Red flicks his gaze past Andy. Bogs is watching them. 

				RED 
		Word gets around. The Sisters have 
		taken a real shine to you, yes they 
		have. Especially Bogs. 

				ANDY 
		Tell me something. Would it help if 
		I explained to them I'm not 
		homosexual? 

				RED 
		Neither are they. You have to be 
		human first. They don't qualify. 
			(off Andy's look) 
		Bull queers take by force, that's 
		all they want or understand. I'd 
		grow eyes in the back of my head if 
		I were you. 

				ANDY 
		Thanks for the advice. 

				RED 
		That comes free. But you understand 
		my concern. 

				ANDY 
		If there's trouble, I doubt a rock- 
		hammer will do me any good. 

				RED 
		Then I guess you wanna escape. 
		Tunnel under the wall maybe? 
			(Andy laughs politely) 
		I miss the joke. What's so funny? 

				ANDY 

	You'll know when you see the rock- 
	hammer. 

				RED 
		What's this item usually go for? 

				ANDY 
		Seven dollars in any rock and gem shop.

				RED 
		My standard mark-up's twenty 
		percent, but we're talkin' about a 
		special object. Risk goes up, price 
		goes up. Call it ten bucks even. 

				ANDY 
		Ten it is. 

				RED 
		I'll see what I can do. 
			(rises, slapping dust) 
		But it's a waste of money. 

				ANDY 
		Oh? 

				RED 
		Folks who run this place love 
		surprise inspections. They turn a 
		blind eye to some things, but not 
		a gadget like that. They'll find 
		it, and you'll lose it. Mention my 
		name, we'll never do business 
		again. Not for a pair of shoelaces 
		or a stick of gum. 

				ANDY 
		I understand. Thank you, Mr...? 

				RED 
		Red. The name's Red. 

				ANDY 
		Red. I'm Andy. Pleasure doing 
		business with you. 

	They shake. Andy strolls off. Red watches him go. 

				RED (V.O.) 
		I could see why some of the boys 
		took him for snobby. He had a quiet 
		way about him, a walk and a talk 
		that just wasn't normal around 
		here. He strolled. like a man in a 
		park without a care or worry. Like 
		he had on an invisible coat that 
		would shield him from this place. 
			(resumes playing catch) 
		Yes, I think it would be fair to 
		say I liked Andy from the start. 

37	INT -- MESS HALL -- DAY (1947) 37

	Red gets his breakfast and heads for a table. Andy falls in
	step, slips him a tightly-folded square of paper. 

38	INT -- RED'S CELL -- NIGHT (1947) 38

	Lying on his bunk, Red unfolds the square. A ten dollar bill.

				RED (V.O.) 
		He was a man who adapted fast. 

39	EXT -- LOADING DOCK -- DAY (1947) 39

	Under watchful supervision, CONS are off-loading bags of dirty
	laundry from an "Eliot Nursing Home" truck. 

				RED (V.O.) 
		Years later, I found out he'd 
		brought in quite a bit more than 
		just ten dollars... 

	A certain bag hits the ground. The TRUCK DRIVER shoots a look 
	at a black con, LEONARD, then ambles over to a GUARD to shoot 
	the shit. Leonard loads the bag onto a cart... 

40	INT -- PRISON LAUNDRY -- DAY (1947) 40

	Bags are being unloaded. We find Leonard working the line. 

				RED (V.O.) 
		When they check you into this 
		hotel, one of the bellhops bends 
		you over and looks up your works, 
		just to make sure you're not 
		carrying anything. But a truly 
		determined man can get an object 
		quite a ways up there. 

	Leonard slips a small paper-wrapped package out of the laundry 
	bag, hides it under his apron, and keeps sorting... 

4l	INT -- PRISON LAUNDRY EXCHANGE -- DAY (1947) 41

	Red deposits his dirty bundle and moves down the line to where 
	the clean sheets are being handed out. 

				RED (V.O.) 
		That's how Andy joined our happy 
		little Shawshank family with more 
		than five hundred dollars on his 
		person. Determination. 

	Leonard catches Red's eye, turns and grabs a specific stack of 
	clean sheets. He hands it across to Red -- 

	TIGHT ANGLE 

	-- and more than clean laundry changes hands. Two packs of
	cigarettes slide out of Red's hand into Leonard's. 

42	INT -- RED'S CELL -- DAY (1947) 42

	Red slips the package out of his sheets, carefully checks to 
	make sure nobody's coming, then rips it open. He pulls out the 
	rock-hammer. It's just as Andy described. Red laughs softly. 

				RED (V.O.) 
		Andy was right. I finally got the 
		joke. It would take a man about six 
		hundred years to tunnel under the 
		wall with one of these. 

43	INT -- CELLBLOCK FIVE -- 2ND TIER -- NIGHT (1947) 43

	Brooks Hatlen pushes a cart of books from cell to cell. The 
	rolling library. He finds Red waiting for him. Red slips the 
	rock-hammer, wrapped in a towel, through the bars and onto the
	cart. Next comes six cigarettes to pay for postage. 

				RED 

	Dufresne. 

	Brooks nods, never missing a beat. He rolls his cart to 
	Andy's cell, mutters through the bars: 

				BROOKS 
		Middle shelf, wrapped in a towel. 

	Andy's hand snakes through the bars and makes the object 
	disappear. The hand comes back and deposits a small slip of 
	folded paper along with more cigarettes. Brooks turns his cart
	around and goes back. He pauses, sorting his books long enough
	for Red to snag the slip of paper. Brooks continues on, 
	scooping the cigarettes off the cart and into his pocket. 

44	INT -- RED'S CELL -- NIGHT (1947) 44

	Red unfolds the slip of paper. Penciled neatly on it is a 
	single word: "Thanks." 

45	INT -- PRISON LAUNDRY -- DAY (1947) 45

	We are assaulted by the deafening noise of the laundry line. 
	Andy is doing his job, getting good at it. 

				BOB 
		DUFRESNE! WE'RE LOW ON HEXLITE! 
		HEAD ON BACK AND FETCH US UP SOME! 

	Andy nods. He leaves the line, weaving his way through the 
	laundry room and into -- 

46	INT -- BACK ROOMS/STOCK AREA -- DAY (1947) 46

	-- a dark, tangled maze of rooms and corridors, boilers and
	furnaces, sump pumps, old washing machines, pallets of 
	cleaning supplies and detergents, you name it. Andy hefts a 
	cardboard drum of Hexlite off the stack, turns around -- 

	-- and finds Bogs Diamond in the aisle. blocking his way.
	Rooster looms from the shadows to his right, Pete Verness
	on the left. A frozen beat. Andy slams the Hexlite to the
	floor, rips off the top, and scoops out a double handful.

				ANDY 
		You get this in your eyes, it 
		blinds you. 

				BOGS 
		Honey, hush. 

	Andy backs up, holding them at bay, trying to maneuver through 
	the maze. The Sisters keep coming, tense and guarded, eyes 
	riveted and gauging his every move, trying to outflank him. 
	Andy trips on some old gaint sugglies. That's all it takes. 
	They're on him in an instant, kicking and stomping. 

	Andy gets yanked to his feet. Bogs applies a chokehold from 
	behind. They propel him across the room and slam him against 
	an old four-pocket machine, bending him over it. Rooster jams 
	a rag into Andy's mouth and secures it with a steel pipe, like 
	a horse bit. Andy kicks and struggles, but Rooster and Pete 
	have his arms firmly pinned. Bogs whispers in Andy's ear: 

				BOGS 
		That's it, fight. Better that way. 

	Andy starts screaming, muffled by the rag. CAMERA PULLS BACK, 
	SLOWLY WIDENING. The big Washex blocks our view. All we see 
	is Andy's screaming face and the men holding him down... 

	...and CAMERA DRIFTS FROM THE ROOM, leaving the dark place 
	and the dingy act behind...MOVING up empty corridors, past 
	concrete walls and steel pipes... 

				RED (V.O.) 
		I wish I could tell you that Andy 
		fought the good fight, and the 
		Sisters let him be. I wish I could 
		tell you that, but prison is no 
		fairy-tale world. 

	WE EMERGE into the prison laundry past a guard, WIDENING for 
	a final view of the line. The giant steel "mangler" is 
	slapping down in brutal rhythm. The sound is deafening. 

				RED (V.O.) 
		He never said who did it...but we 
		all knew. 

	PRISON MONTAGE: (1947 through 1949) 

47 	ANDY PLODS THROUGH HIS DAYS. WORKING. EATING. CHIPPING AND 47
	shaping his rocks after lights-out... 

				RED (V.O.) 
		Things went on like that for a 
		while. Prison life consists of 
		routine, and then more routine. 

48 	ANDY WALKS THE YARD, FACE SWOLLEN AND BRUISED. 48 

				RED (V.O.) 
		Every so often, Andy would show up 
		with fresh bruises. 

49 	ANDY EATS BREAKFAST. A FEW TABLES OVER, BOGS BLOWS HIM A KISS. 49

				RED (V.O.) 
		The Sisters kept at him. Sometimes 
		he was able to fight them off... 
		sometimes not. 

50 	ANDY BACKS INTO A CORNER IN SOME DINGY PART OF THE PRISON, 
	wildly swinging a rake at his tormentors. 

				RED (V.O.) 
		He always fought, that's what I 
		remember. He fought because he knew 
		if he didn't fight, it would make 
		it that much easier not to fight 
		the next time. 

	The rake connects, snapping off over somebody's skull. They 
	beat the hell out of him. 

				RED (V.O.) 
		Half the time it landed him in the 
		infirmary... 


51	INT -- SOLITARY CONFINEMENT ("THE HOLE") -- NIGHT (1949) 51 

	A stone closet. No bed, sink, or lights. Just a toilet with no 
	seat. Andy sits on bare concrete, bruised face lit by a faint 
	ray of light falling through the tiny slit in the steel door. 

				RED (V.O.) 
		...the other half, it landed him in 
		solitary. Warden Norton's "grain & 
		drain" vacation. Bread, water, and 
		all the privacy you could want. 

52	INT -- PRISON LAUNDRY -- DAY (1949) 52

	Andy is working the line. 

				RED (V.O.) 
		And that's how it went for Andy. That 
		was his routine. I do believe those 
		first two years were the worst for 
		him. And I also believe if things 
		had gone on that way, this place 
		would have got the best of him. 
		But then, in the spring of 1949, 
		the powers-that-be decided that... 

53	EXT -- PRISON YARD -- DAY (1949) 53

	Warden Norton addresses the assembled cons via bullhorn: 

				NORTON 
		...the roof of the license-plate 
		factory needs resurfacing. I need a 
		dozen volunteers for a week's work. 
		We're gonna be taking names in this 
		steel bucket here... 

	Red glances around at his friends. Andy also catches his eye.

				RED (V.O.) 
		It was outdoor detail, and May is 
		one damn fine month to be workin' 
		outdoors. 

54	EXT -- PRISON YARD -- DAY (1949) 54

	Cons shuffle past, dropping slips of paper into a bucket. 

				RED (V.O.) 
		More than a hundred men volunteered 
		for the job. 

	Red saunters to a guard named TIM YOUNGBLOOD, mutters 
	discreetly in his ear. 

55	EXT -- PRISON YARD -- DAY (1949) 55

	Youngblood is pulling names and reading them off. Red 
	exchanges grins with Andy and the others. 

				RED (V.O.) 
		Wouldn't you know it? Me and some 
		fellas I know were among the names 
		called. 

56	INT -- PRISON CORRIDOR -- NIGHT (1949) 56

	Red slips Youngblood six packs of cigarettes. 

				RED (V.O.) 
		Only cost us a pack of smokes per 
		man. I made my usual twenty 
		percent, of course. 

57	EXT -- LICENSE PLATE FACTORY -- DAY (1949) 57

	A tar-cooker bubbles and smokes. TWO CONS dip up a bucket of
	tar and tie a rope to the handle. The rope goes taught. CAMERA
	FOLLOWS the bucket of tar up the side of the building to -- 

58 	THE ROOF 58

	-- where it is relayed to the work detail. the men are dipping
	big Padd brushes and spreading the tar. ANGLZ OVER to Byron 
	Hadley bitching sourly to his fellow guards: 

				HADLEY 
		...so this shithead lawyer calls 
		long distance from Texas, and he 
		says, Byron Hadley? I say, yeah. He 
		says, sorry to inform you, but your 
		brother just died. 

				YOUNGBLOOD 
		Damn, Byron. Sorry to hear that. 

				HADLEY 
		I ain't. He was an asshole. Run off 
		years ago, family ain't heard of him 
		since. Figured him for dead anyway. 
		So this lawyer prick says, your 
		brother died a rich man. Oil wells 
		and shit, close to a million bucks. 
		Jesus, it's frigging incredible how 
		lucky some assholes can get. 

				TROUT 
		A million bucks? Jeez-Louise! You 
		get any of that? 

				HADLEY 
		Thirty five thousand. That's what 
		he left me. 

				TROUT 
		Dollars? Holy shit, that's great! 
		Like winnin' a lottery... 
			(off Hadley's shitty look) 
		...ain't it? 

				HADLEY 
		Dumbshit. What do you figger the 
		government's gonna do to me? Take a 
		big wet bite out of my ass, is what. 

				TROUT 
		Oh. Hadn't thought of that. 

				HADLEY 
		Maybe leave me enough to buy a new 
		car with. Then what happens? You 
		pay tax on the car. Repairs and 
		maintenance. Goddamn kids pesterin' 
		you to take 'em for a ride... 

				MERT 
		And drive it, if they're old enough. 

				HADLEY 
		That's right, wanting to drive it, 
		wanting to learn on it, f'Chrissake! 
		Then at the end of the year, if you 
		figured the tax wrong, they make 
		you pay out of your own pocket. 
		Uncle Sam puts his hand in your 
		shirt and squeezes your tit till 
		it's purple. Always get the short 
		end. That's a fact. 
			(spits over the side) 
		Some brother. Shit. 

	The prisoners keep spreading tar, eyes on their work. 

				HEYWOOD 
		Poor Byron. What terrible fuckin' 
		luck. Imagine inheriting thirty 
		five thousand dollars. 

				RED 
		Crying shame. Some folks got it 
		awful bad. 

	Red glances over -- and is shocked to see Andy standing up,
	listening to the guards talk. 

				RED 
		Hey, you nuts? Keep your eyes on 
		your pail! 

	Andy tosses his Padd in the bucket and strolls toward Hadley.

				RED 
		Andy! Come back! Shit! 

				SNOOZE 
		What's he doing? 

				FLOYD 
		Gettin' himself killed. 

				RED 
		God damn it... 

				HEYWOOD 
		Just keep spreadin' tar... 

	The guards stiffen at Andy's approach. Youngblood's hand goes
	to his holster. The tower guards CLICK-CLACK their rifle 
	bolts. Hadley turns, stupefied to find Andy there. 

				ANDY 
		Mr. Hadley. Do you trust your wife? 

				HADLEY 
		That's funny. You're gonna look 
		funnier suckin' my dick with no 
		fuckin' teeth. 

				ANDY 
		What I mean is, do you think she'd 
		go behind your back? Try to 
		hamstring you? 

				HADLEY 
		That's it! Step aside, Mert. This 
		fucker's havin' hisself an accident. 

	Hadley grabs Andy's collar and propels him violently toward
	the edge of the roof. The cons furiously keep spreading tar.

				HEYWOOD 
		Oh God, he's gonna do it, he's 
		gonna throw him off the roof... 

				SNOOZE 
		Oh shit, oh fuck, oh Jesus... 

				ANDY 
		Because if you do trust her, there's 
		no reason in the world you can't 
		keep every cent of that money. 

	Hadley abruptly jerks Andy to a stop right at the edge. In 
	fact, Andy's past the edge, beyond his balance, shoetips 
	scraping the roof. The only thing between him and an ugly drop
	to the concrete is Hadley's grip on the front of his shirt.

				HADLEY 
		You better start making sense. 

				ANDY 
		If you want to keep that money, all 
		of it, just give it to your wife. 
		See, the IRS allows you a one-time- 
		only gift to your spouse. It's good 
		up to sixty thousand dollars. 

				HADLEY 
		Naw, that ain't right! Tax free? 

				ANDY 
		Tax free. IRS can't touch one cent. 

	The cons are pausing work, stunned by this business discussion.

				HADLEY 
		You're the smart banker what shot 
		his wife. Why should I believe a 
		smart banker like you? So's I can 
		wind up in here with you? 

				ANDY 
		It's perfectly legal. Go ask the 
		IRS, they'll say the same thing. 
		Actually, I feel silly telling you 
		all this. I'm sure you would have 
		investigated the matter yourself. 

				HADLEY 
		Fuckin'-A. I don't need no smart 
		wife-killin' banker to show me where 
		the bear shit in the buckwheat. 

				ANDY 
		Of course not. But you will need 
		somebody to set up the tax-free 
		gift, and that'll cost you. A 
		lawyer, for example... 

				HADLEY 
		Ambulance-chaaing, highway-robbing 
		cocksuckers! 

				ANDY 
		...or come to think of it, I 
		suppose I could set it up for you. 
		That would save you some money. 
		I'll write down the forms you need, 
		you can pick them up, and I'll 
		prepare them for your signature... 
		nearly free of charge. 
			(off Hadley's look) 
		I'd only ask three beers apiece for 
		my co-workers, if that seems fair. 

				TROUT 
			(guffawing) 
		Co-workers! Get him! That's rich, 
		ain't it? Co-workers... 

	Hadley freezes him with a look. Andy presses on: 

				ANDY 
		I think a nan working outdoors 
		feels more like a man if he can 
		have a bottle of suds. That's only 
		my opinion. 

	The convicts stand gaping, all pretense of work gone. They
	look like they've been pole-axed. Hadley shoots them a look.

				HADLEY 
		What are you jimmies starin' at? 
		Back to work, goddamn it! 

59	EXT -- LICENSE PLATE FACTORY -- DAY (1949) 59

	As before, an object is hauled up the side of the building by
	rope -- only this time, it's a cooler of beer and ice. 

				RED (V.O.) 
		And that's how it came to pass, 
		that on the second-to-last day of 
		the job, the convict crew that 
		tarred the plate factory roof in 
		the spring of '49... 

60	EXT -- ROOF -- SHORTLY LATER (1949) 60

	The cons are taking the sun and drinking beer. 

				RED (V.O.) 
		...wound up sitting in a row at ten 
		o'clock in the morning, drinking icy 
		cold Black Label beer courtesy of 
		the hardest screw that ever walked 
		a turn at Shawshank State Prison. 

				HADLEY 
		Drink up, boys. While it's cold. 

				RED (V.O.) 
		The colossal prick even managed to 
		sound magnanimous. 

	Red knocks back another sip, enjoying the bitter cold on his
	tongue and the warm sun on face. 

				RED (V.O.) 
		We sat and drank with the sun on 
		our shoulders, and felt like free 
		men. We could'a been tarring the 




	roof of one of our own houses. We 
	were the Lords of all Creation. 

	He glances over to Andy squatting apart from the others.

				RED (V.O.) 
		As for Andy, he spent that break 
		hunkered in the shade, a strange 
		little smile on his face, watching 
		us drink his beer. 

				HEYWOOD 
			(approaches with a beer) 
		Here's a cold one, Andy. 

				ANDY 
		No thanks. I gave up drinking. 

	Heywood drifts back to others, giving them a look. 

				RED (V.O.) 
		You could argue he'd done it to 
		curry favor with the guards. Or 
		maybe make a few friends among us 
		cons. Me, I think he did it just to 
		feel normal again...if only for a 
		short while. 

61	EXT -- PRISON YARD -- THE BLEACHERS -- DAY (1949) 61

	Andy and Red play checkers. Red makes his move. 

				RED 
		King me. 

				ANDY 
		Chess. Now there's a game of kings. 
		Civilized...strategic... 

				RED 
		...and totally fuckin' 
		inexplicable. Hate that game. 

				ANDY 
		Maybe you'll let me teach you 
		someday. I've been thinking of 
		getting a board together. 

				RED 
		You come to the right place. I'm 
		the man who can get things. 

				ANDY 
		We might do business on a board. But 
		the pieces, I'd like to carve those 
		myself. One side done in quartz... 
		the opposing side in limestone. 

				RED 
		That'd take you years. 

				ANDY 
		Years I've got. What I don't have 
		are the rocks. Pickings here in the 
		exercise yard are pretty slim. 

				RED 
		How's that rock-hammer workin' out 
		anyway? Scratch your name on your 
		wall yet? 

				ANDY 
			(smiles) 
		Not yet. I suppose I should. 

				RED 
		Andy? I guess we're gettin' to be 
		friends, ain't we? 

				ANDY 
		I suppose we are. 

				RED 
		I ask a question? Why'd you do it? 

				ANDY 
		I'm innocent, remember? Just like 
		everybody else here. 

	Red takes this as a gentle rebuff, keeps playing. 

				ANDY 
		What are you in for, Red? 

				RED 
		Murder. Same as you. 

				ANDY 
		Innocent? 

				RED 
		The only guilty man in Shawshank. 

62	INT -- ANDY'S CELL -- NIGHT (1949) 62

	Andy lies in his bunk after lights out, polishing a fragment 
	of quartz by the light of the moon. He pauses, glancing at 
	all the names scratched in the wall. He rises, makes sure 
	the coast is clear, and starts scratching his name into the 
	cement with his rock-hammer, adding to the record. 

63 	RAY MILLAND 63

	fills the screen in glorious (and scratchy) black & white, 
	suffering a bad case of DT's... 

64	INT -- PRISON AUDITORIUM -- NIGHT (1949) 64

	...while a CONVICT AUDIENCE hoots and catcalls, talking back 
	to the screen. We find Red slouched in a folding chair, 
	watching the movie. Andy enters, backlit by the flickering 
	glare of the projector, and takes a seat next to him. 

				RED 
		Here's the good part. Bugs come out 
		of the walls to get his ass. 

				ANDY 
		I know. I've seen it three times 
		this month already. 

	Ray Milland starts SCREAMING. The entire audience SCREAMS with 
	him, high-pitched and hysterical. Andy fidgets. 

				ANDY 
		Can we talk business? 

				RED 
		Sure. What do you want? 

				ANDY 
		Rita Hayworth. Can you get her? 

				RED 
		No problem. Take a few weeks. 

				ANDY 
		Weeks? 

				RED 
		Don't have her stuffed down my 
		pants this very moment, sorry to 
		say. Relax. What are you so nervous 
		about? She's just a woman. 

	Andy nods, embarrassed. He gets up and hurries out. Red grins, 
	turns back to the movie. 

65	INT -- AUDITORIUM CORRIDOR -- NIGHT (1949) 65

	Andy exits the theater and freezes in his tracks. Two dark 
	figures loom in the corridor, blocking his path. Rooster and 
	Pete. Andy turns back -- and runs right into Bogs. Instant 
	bear hug. The Sisters are on him like a flash. They kick a 
	door open and drag him into -- 

66 	THE PROJECTION BOOTH 66

	-- where they confront the startled PROJECTIONIST, an old con
	blinking at them through thick bifocals. 

				BOGS 
		Take a walk. 

				PROJECTIONIST 
		I have to change reels. 

				BOGS 
		I said fuck off. 

	Terrified, the old man darts past and out the door. Pete slams 
	and locks it. Bogs shoves Andy to the center of the room. 

				ANDY 
		I know. I've seen it three times 
		this month already. 

	Ray Milland starts SCREAMING. The entire audience SCREAMS witt 
	him, high-pitched and hysterical. Andy fidgets. 

				ANDY 
		Can we talk business? 

				RED 
		Sure. What do you want? 

				ANDY 
		Rita Hayworth. Can you get her? 

				RED 
		No problem. Take a few weeks. 

				ANDY 
		Weeks? 

				RED 
		Don't have her stuffed down my 
		pants this very moment, sorry to 
		say. Relax. What are you so nervous 
		about? She's just a woman. 

	Andy nods, embarrassed. He gets up and hurries out. Red grins, 
	turns back to the movie. 

65	INT -- AUDITORIUM CORRIDOR -- NIGHT (1949) 65

	Andy exits the theater and freezes in his tracks. Two dark 
	figures loom in the corridor, blocking his path. Rooster and 
	Pete. Andy turns back -- and runs right into Bogs. Instant 
	bear hug. The Sisters are on him like a flash. They kick a 
	door open and drag him into -- 

66 	THE PROJECTION BOOTH 66

	-- where they confront the startled PROJECTIONIST, an old con
	blinking at them through thick bifocals. 

				BOGS 
		Take a walk. 

				PROJECTIONIST 
		I have to change reels. 

				BOGS 
		I said fuck off. 

	Terrified, the old man darts past and out the door. Pete slams 
	and locks it. Bogs shoves Andy to the center of the room. 

				BOGS 
		Ain't you gonna scream? 

	Andy sighs, cocks his head at the projector. 

				ANDY 
		They'd never hear me over that. 
		Let's get this over with. 

	Seemingly resigned, Andy turns around, leans on the rewind 
	bench -- and curls his fingers around a full 1.000 foot reel
	of 35mm film. Rooster licks his lips, pushes past the others.

				ROOSTER 
		Me first. 

				ANDY 
		Okay. 

	Andy whips the reel of film around in a vicious arc, smashing
	it into Rooster's face and bouncing him off the wall. 

				ROOSTER 
		Fuck! Shit! He broke my nose! 

	Andy fights like hell, but is soon overpowered and forced to his
	knees. Bogs steps to Andy, pulls out an awl with a vicious 
	eight-inch spike, gives him a good long look at it. 

				BOGS 
		Now I'm gonna open my fly, and 
		you're gonna swallow what I give 
		you to swallow. And when you 
		d mine, you gonna swallow 
		Rooster's. You done broke his nose, 
		so he ought to have somethin' to 
		show for it. 

				ANDY 
		Anything you put in my mouth, 
		you're going to lose. 

				BOGS 
		You don't understand. You do that, 
		I'll put all eight inches of this 
		steel ii your ear. 

				ANDY 
		Okay. But you should know that 
		sudden serious brain injury causes 
		the victim to bite down. Hard. 
			(faint smile) 
		In fact, I understand the bite-reflex 
		is so strong the victim's jaws have 
		to be pried open with a crowbar. 

	The Sisters consider this carefully. The film runs out of the 
	projector, flapping on the reel. The screen goes white. 

				BOGS 
		You little fuck. 

	Andy gets a bootheel in the face. The Sisters start kicking 
	and beating the living shit out of him with anything they can 
	get their hands on. In the theater, the convicts are CHANTING 
	AND CLAPPING for the movie to come back on. 

				RED (V.O.) 
		Bogs didn't put anything in Andy's 
		mouth, and neither did his friends. 
		What they did do is beat him within 
		an inch of his life... 

67	INT -- INFIRMARY -- DAY (1949) 67

	Andy lies wrapped in bandages. 

				RED (V.O.) 
		Andy spent a month in traction. 

68	INT -- SOLITARY CONFINEMENT -- DAY (1949) 68

				RED (V.O.) 
		Bogs spent a week in the hole. 

	Bogs sits on bare concrete. The steel door slides open. 

				GUARD 
		Time's up, Bogs. 

69	INT -- CELLBLOCK FIVE -- 3RD TIER -- DUSK (1949) 69

	Bogs comes up the stairs, smoking a cigarette. Not many 
	cons around; the place is virtually deserted. A VOICE 
	echoes dimly over the P.A. system: 

				VOICE (O.S.) 
		Return to your cellblocks for 
		evening count. 

	Bogs enters his cell. Dark in here. He fumbles for the light 
	cord, yanks it. The sudden light reveals Captain Hadley six 
	inches from his face, waiting for him. Mert steps in behind 
	Bogs. hemming him. 

	Before Bogs can even open his mouth to say "what the fuck," 
	Hadley rams the tip of his baton brutally into his solar 
	plexus. Bogs doubles over, gagging his wind out. 

70 	GROUND FLOOR 70

	Ernie comes slowly around the corner, rolling a steel mop 
	cart loaded with supplies. 

71 	2ND TIER 71

	Red is darning a sock in his open cell. He pauses, frowning, 
	hearing strange THUMPING sounds. What the hell is that? 

72 	3RD TIER 72

	It's Hadley and Mert methodically and brutally pulping Bogs 
	with their batons, and kicking the shit out of him for good 
	measure. He feebly tries to ward them off. 

73 	2ND TIER 73

	Puzzled, Red steps from his cell, following the sound. It 
	dawns on him that it's coming from above. He moves to the 
	railing and leans out, craning around to look up -- 

74 	RED'S POV 74

	-- just as Bogs flips over the railing and comes sailing

	directly toward us, eyes bugging out, SCREAMING as he falls. 

75 	RED (SLOW MOTION) 75

	jumps back as Bogs plummets past, missing him by inches, arms 
	swimming and trying to grab the railing (but missing that 
	too), SCREAMING aaaaalll the way down -- 

76 	GROUND FLOOR 76

	-- and impacting on Ernie's gassing mop cart in an enormous 
	eruption of solvents and cleansers. The cart is squashed flat, 
	shooting out from under Bogs and skidding across the cellblock 
	floor like a tiddly wink, kicking up sparks for thirty yards. 
	Ernie is left gaping in shock at Bogs and all the Bogs-related 
	wreckage at his feet. 

77 	2ND TIER 77

	Red is stunned. He very tentatively leans out and looks up. 
	Above him, Hadley and Mert lean on the 3rd tier railing. 
	Hadley tilts the cap back on his head, shakes his head. 

				MERT 
		Damn, Byron. Look'a that. 

				HADLEY 
		Poor fella must'a tripped. 

	A tiny drop of blood drips off the toe of Hadley's shoe and 

	splashes across Red's upturned cheek. He wipes it off, then 
	looks down at Bogs. Cons and guards are racing to the scene. 

				RED (V.O.) 
		Two things never happened again 
		after that. The Sisters never laid 
		a finger on Andy again... 

7B	EXT -- PRISON YARD/LOADING DOCK -- DAY (1949) 78

	Bogs, wheelchair-bound and wearing a neck brace, is loaded 
	onto an ambulance for transport. Behind the fence stand Red 
	and his friends, watching. 

				RED (V.O.) 
		...and Bogs never walked again. They 
		transferred him to a minimum security 
		hospital upstate. To my knowledge, 
		he lived out the rest of his days 
		drinking his food through a straw. 

				RED 
		I'm thinkin' Andy could use a nice 
		welcome back when he gets out of 
		the infirmary. 

				HEYWOOD 
		Sounds good to us. Figure we owe 
		him for the beer. 

				RED 
		Man likes to play chess. Let's get 
		him some rocks. 

79	EXT -- FIELD -- DAY (1949) 79

	A HUNDRED CONS at work. Hoes rise and fall in long waves. 
	GUARDS patrol on horseback. Heywood turns up a rocky chunk, 
	quickly shoves it down his pants. He maneuvers to Red and the 
	others, pulls out the chunk and shows it to them. 

				FLOYD 
		That ain't quartz. Nor limestone. 

				HEYWOOD 
		What are you, fuckin' geologist? 

				SNOOZE 
		He's right, it ain't. 

				HEYWOOD 
		What the hell is it then? 

				RED 
		Horse apple. 

				HEYWOOD 
		Bullshit. 

				RED 
		No, horse shit. Petrified. 

	Cackling, the men go back to work. Heywood stares at the rock.
	He crumbles it in his hands. 

				RED (V.O.) 
		Despite a few hitches, the boys 
		came through in fine style... 

80	INT -- PRISON LAUNDRY -- BACK ROOM -- DAY (1949) 80

	A huge detergent box is filled with rocks, hidden in the 
	shadows behind a boiler furnace. 

				RED (V.O.) 
		...and by the week Andy was due 
		back, we had enough rocks saved up 
		to keep him busy till Rapture. 

	ANGLE SHIFTS to Red as he plops a bag of "laundry" on the 
	floor. Leonard and Bob toss a few more down. Red starts 
	pulling out contraband, giving them their commissions. 

				RED (V.O.) 
		Also got a big shipment in that 
		week. Cigarettes, chewing gum, 
		shoelaces, playing cards with naked 
		ladies on 'em, you name it... 
			(pulls a cardboard tube) 
		...and, of course, the most 
		important item. 

81	INT -- CELLBLOCK FIVE -- NIGHT (1949) 81

	Andy, limping a bit, returns from the infirmary. Red watches 
	from his cell as Andy is brought up and locked away. 

82	INT -- ANDY'S CELL -- NIGHT (1949) 82

	Andy finds the cardboard tube lying on his bunk. 

				GUARD (O.S.) 
		Lights out! 

	The lights go off. Andy opens the tube and pulls out a large 
	rolled poster. He lets it uncurl to the floor. A small scrap 
	of paper flutters out, landing at his feet. The poster is the
	famous Rita Hayworth pin-up -- one hand behind her head, eyes
	half closed, sulky lips parted. Andy picks up the scrap of 
	paper. It reads: "No charge. Welcome back." Alone in the dark,
	Andy smiles. 

83	INT -- CELLBLOCK FIVE -- MORNING (1949) 83

	The BUZZER SOUNDS, the cells SLAM OPEN. Cons step from their
	cells. Andy catches Red's eye, nods his thanks. As the men 
	shuffle down to breakfast, Red glances into Andy's cell -- 

84 	RED'S POV -- DOLLYING PAST 84


	-- and sees Rita in her new place of honor on Andy's wall. 
	Sunlight casts a harsh barred shadow across her lovely face.

85	INT -- CELLBLOCK FIVE -- NIGHT (1949) 85

	Ernie is mopping the floor. He glances back and sees Warden 
	Norton approach the cellblock with an entourage of a DOZEN 
	GUARDS. Still mopping, Ernie mutters to the nearest cell: 

				ERNIE 
		Heads up. They're tossin' cells. 

	Word travels fast from cell to cell. Cons scramble to tidy up
	and hide things. Norton enters, nods to his men. The guards 
	pair off in all directions, making their choices at random. 

				GUARD 
		What kind'a contraband you hiding 
		in there, boy? 

	Cells are opened, occupants displaced, items scattered, 
	mattresses overturned. Whatever contraband is found gets 
	tossed out onto the cellblock floor. Mostly harmless stuff. 

	A GUARD pulls a sharpened screwdriver out of a mattress, 
	shoots a nasty look at the CON responsible. 

				NORTON 
		Solitary. A week. Make sure he 
		takes his Bible. 

				CON 
		Too goddamn dark to read down there.

				NORTON 
		Add another week for blasphemy. 

	The man is taken away. Norton's gaze goes up. 

				NORTON 
		Let's try the second tier. 

86 	2ND TIER 86

	Norton arrives, makes a thin show of picking a cell at random.
	He motions at Andy on his bunk, reading his Bible. The door is
	unlocked. Norton enters, trailed by his men. Andy rises. 

				ANDY 
		Good evening. 

	Norton gives a curt nod. Hadley and Trout start tossing the
	cell in a thorough search. Norton keeps his eyes on Andy,
	looking for a wrong glance or nervous blink. He takes the
	Bible out of Andy's hand. 

				NORTON 
		I'm pleased to see you reading 
		this. Any favorite passages? 


				ANDY 
		Watch ye therefore, for ye know not
		when the master of the house cometh. 

				NORTON 
			(smiles) 
		Luke. Chapter 13, verse 35. I've 
		always liked that one. 
			(strolls the cell) 
		But I prefer: "I am the light of 
		the world. He that followeth me 
		shall not walk in darkness, but 
		shall have the light of life." 

				ANDY 
		John. Chapter 8, verse 12. 

				NORTON 
		I hear you're good with numbers. 
		How nice. A man should have a skill. 

				HADLEY 
		You wanna explain this? 

	Andy glances over. Hadley is holding up a rock blanket, a
	polishing cloth roughly the size of an oven mitt. 

				ANDY 
		It's called a rock blanket. It's 
		for shaping and polishing rocks. 
		Little hobby of mine. 

	Hadley glances at the rocks lining the window sill, turns to
	Norton. 

				HADLEY 
		Looks pretty clean. Some contraband 
		here, nothing to get in a twist over. 

	Norton nods, strolls to the poster of Rita. 

				NORTON 
		I can't say I approve of this... 
			(turns to Andy) 
		...but I suppose exceptions can 
		always be made. 

	Norton exits, the guards follow. The cell door is slammed and
	locked. Norton pauses, turns back. 

				NORTON 
		I almost forgot. 

	He reaches through the bars and returns the Bible to Andy. 

				NORTON 
		I'd hate to deprive you of this. 
		Salvation lies within. 

	Norton and his men walk away. 

				RED (V.O.) 
		Tossin' cells was just an excuse. 
		Truth is, Norton wanted to size 
		Andy up. 

87	INT -- PRISON LAUNDRY -- DAY (1949) 87

	Andy is working the line. Hadley enters and confers briefly 
	with Bob. Bob nods, crosses to Andy, taps him. Andy turns, 
	removes an earplug. Bob shouts over the machine noise: 

				BOB 
		DUFRESNE! YOU'RE OFF THE LINE! 

88	INT -- WARDEN NORTON'S OFFICE -- DAY (1949) 88

	Andy is led in. Norton is at his desk doing paperwork. Andy's
	eyes go to a framed needle-point sampler on the wall behind 
	him that reads: "HIS JUDGMENT COMETH AND THAT RIGHT SOON." 

				NORTON 
		My wife made that in church group. 

				ANDY 
		It's very pretty, sir. 

				NORTON 
		You like working in the laundry? 

				ANDY 
		No, sir. Not especially. 

				NORTON 
		Perhaps we can find something more 
		befitting a man of your education. 

89	INT -- MAIN BUILDING -- STORAGE ROOMS -- DAY (1949) 89

	A series of bleak rooms stacked high with unused filing 
	cabinets, desks, paint supplies, etc. Andy enters. He hears a
	FLUTTER OF WINGS. An adult crow lands on a filing cabinet and
	struts back and forth, checking him out. Andy smiles. 

				ANDY 
		Hey, Jake. Where's Brooks? 

	Brooks Hatlen pokes his head out of the back room. 

				BROOKS 
		Andy! Thought I heard you out here! 

				ANDY 
		I've been reassigned to you. 

				BROOKS 
		I know, they told me. Ain't that a 
		kick in the ass? Come on in, I'll 
		give you the dime tour. 

90	INT -- SHAWSHANK PRISON LIBRARY -- DAY (1949) 90

	Brooks leads Andy into the bleakest back room of all. Rough
	plank shelves are lined with books. Brooks' private domain.

				BROOKS 
		Here she is, the Shawshank Prison 
		Library. Along this side, we got 
		the National Geographics. That 
		side, the Reader's Digest Condensed 
		books. Bottom shelf there, some 
		Louis L'Amours and Erle Stanley 
		Gardners. Every night I pile the 
		cart and make my rounds. I write 
		down the names on this clipboard 
		here. Well, that's it. Easy, peasy, 
		Japanesey. Any questions? 

	Andy pauses. Something about this doesn't make any sense.

				ANDY 
		Brooks? How long have you been 
		librarian? 

				BROOKS 
		Since 1912. Yuh, over 37 years. 

				ANDY 
		In all that time, have you ever had 
		an assistant? 

				BROOKS 
		Never needed one. Not much to it, 
		is there? 

				ANDY 
		So why now? Why me? 

				BROOKS 
		I dunno. Be nice to have some 
		comp'ny down here for a change. 

				HADLEY (O.S.) 
		Dufresne! 

91 	ANDY STEPS BACK INTO THE OUTER ROOMS AND FINDS HADLEY WITH 91
	another GUARD, a huge fellow named DEKINS. 

				HADLEY 
		That's him. That's the one. 

	Hadley exits. Dekins approaches Andy ominously. Andy stands 
	his ground, waiting for whatever comes next. Finally: 

				DEKINS 
		I'm Dekins. I been, uh, thinkin' 
		'bout maybe settin' up some kinda 
		trust fund for my kids' educations. 

	Andy covers his surprise. Glances at Brooks. Brooks smiles.

				ANDY 
		I see. Well. Why don't we have a 
		seat and talk it over? 

				BROOKS 
		Pull down one'a them desks there. 

	Andy and Dekins grab a desk standing on end and tilt it to the
	floor. They find chairs and settle in. Brooks returns with a 
	tablet of paper and a pen, slides them before Andy. 

				ANDY 
		What did you have in mind? A weekly 
		draw on your pay? 

				DEKINS 
		Yuh. I figured just stick it in the 
		bank, but Captain Hadley said check 
		with you first. 

				ANDY 
		He was right. You don't want your 
		money in a bank. 

				DEKINS 
		I don't? 

				ANDY 
		What's that gonna earn you? Two and 
		a half, three percent a year? We 
		can do a lot better than that. 
			(wets his pen) 
		So tell me, Mr. Dekins. Where do 
		you want to send your kids? 
		Harvard? Yale? 

92	INT -- MESS HALL -- DAY (1949) 92

				FLOYD 
		He didn't say that! 

				BROOKS 
		God is my witness. And Dekins, he 
		just blinks for a second, then 
		laughs his ass off. Afterward, he 
		actually shook Andy's hand. 

				HEYWOOD 
		My ass! 

				BROOKS 
		Shook his fuckin' hand. Just about 
		shit myself. All Andy needed was a 
		suit and tie, a jiggly little hula 
		girl on his desk, he would'a been 
		Mister Dufresne, if you please. 

				RED 
		Makin' yourself some friends, Andy. 

				ANDY 
		I wouldn't say "friends." I'm a 
		convicted murderer who provides 
		sound financial planning. That's a 
		wonderful pet to have. 

				RED 
		Got you out of the laundry, didn't 
		it? 

				ANDY 
		Maybe it can do more than that. 
			(off their looks) 
		How about expanding the library? 
		Get some new books in there. 

				HEYWOOD 
		How you 'spect to do that, "Mr. 
		Dufresne-if-you-please?" 

				ANDY 
		Ask the warden for funds. 

	LAUGHTER all around. Andy blinks at them. 

				BROOKS 
		Son, I've had six wardens through 
		here during my tenure, and I have 
		learned one great immutable truth 
		of the universe: ain't one of 'em 
		been born whose asshole don't 
		pucker up tight as a snare drum 
		when you ask for funds. 

93	INT -- MAIN BUILDING HALLWAY -- DAY (1949) 93

	DOLLYING Norton and Andy up the hall: 

				NORTON 
		Not a dime. My budget's stretched 
		thin as it is. 

				ANDY 
		I see. Perhaps I could write to the 
		State Senate and request funds 
		directly from them. 

				NORTON 
		Far as them Republican boys in 
		Augusta are concerned, there's only 
		three ways to spend the taxpayer's 
		hard-earned when it come to prisons. 
		More walls. More bars. More guards. 

				ANDY 
		Still, I'd like to try, with your 
		permission. I'll send a letter a 
		week. They can't ignore me forever. 

				NORTON 
		They sure can, but you write your 
		letters if it makes you happy. I'll 
		even mail 'em for you, how's that? 

94	INT -- ANDY'S CELL -- NIGHT (1949) 94

	Andy is on his bunk, writing a letter. 

				RED (V.O.) 
		So Andy started writing a letter a 
		week, just like he said. 

95	INT -- GUARD DESK/NORTON'S OUTER OFFICE -- DAY (1949) 95

	Andy pops his head in. The GUARD shakes his head. 

				RED (V.O.) 
		And just like Norton said, Andy got 
		no answers. But still he kept on. 

96	INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1950) 96

	Andy is doing taxes. Mert Entwhistle is seated across from
	him. Other off-duty guards are waiting their turn. 

				RED (V.O.) 
		The following April, Andy did tax 
		returns for half the guards at 
		Shawshank. 

97	INT -- PRISON LIBRARY -- ONE YEAR LATER (1951) 97

	Tax time again. Even more guards are waiting. 

				RED (V.O.) 
		Year after that, he did them all... 
		including the warden's. 

98	EXT -- BASEBALL DIAMOND -- DAY (1952) 98

	A BATTER in a "Noresby Marauders" baseball uniform WHACKS the
	ball high into left field and races for first. 

				RED (V.O.) 
		Year after that, they rescheduled 
		the start of the intramural season 
		to coincide with tax season... 

99	INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1952) 99

	The Batter sits across from Andy. The line winds out the door.

				RED (V.O.) 
		The guards on the opposing teams 
		all remembered to bring their W-2's. 

				ANDY 
		Moresby Prison issued you that gun, 
		but you actually had to pay for it? 

				THE BATTER 
		Damn right, and the holster too. 

				ANDY 
		See, that's all deductible. You get 
		to write that off. 

				RED (V.O.) 
		Yes sir, Andy was a regular H&R 
		Block. In fact, he got so busy at 
		tax time, he was allowed a staff. 

	ANGLE SHIFTS to reveal Red and Brooks doing filing chores. 

				ANDY 
		Say Red, could you hand me a stack 
		of those 1040s? 

				RED (V.O.) 
		Got me out of the wood shop a month 
		out of the year, and that was fine 
		by me. 

100	INT -- GUARD DESK/NORTON'S OUTER OFFICE -- DAY (1953) 100

	Andy enters and drops a letter on the outgoing stack. 

				RED (V.O.) 
		And still he kept sending those 
		letters... 

101	INT -- ANDY'S CELL -- NIGHT (1953) 101

	Dark. Andy's in his bunk, polishing a four-inch length of 
	quartz. It's a beautifully-crafted chess piece in the shape of 
	a horse's head, poise and nobility captured in gleaming stone. 

	He puts the knight on a chess board by his bed, adding it to 
	four pieces already there: a king, a queen, and two bishops. 
	He turns to Rita. Moonlight casts bars across her face. 

102	EXT -- EXERCISE YARD -- DAY (1954) 102

	Floyd runs into the yard, scared and winded. He finds Andy and 
	Red on the bleachers. 

				FLOYD 
		Red? Andy? It's Brooks. 

103	INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1954) 103

	Floyd rushes in with Andy and Red at his heels. They find 
	Jigger and Snooze trying to calm Brooks, who has Heywood in a 
	chokehold and a knife to his throat. Heywood is terrified. 

				JIGGER 
		C'mon, Brooksie, why don't you just 
		calm the fuck down, okay? 

				BROOKS 
		Goddamn miserable puke-eatin' sons 
		of whores! 

	He kicks a table over. Tax files explode through the air. 

				RED 
		What the hell's going on? 

				SNOOZE 
		You tell me, man. One second he was 
		fine, then out came the knife. I 
		better get the guards. 

				RED 
		No. We'll handle this. Ain't that 
		right, Brooks? Just settle down and 
		we'll talk about it, okay? 

				BROOKS 
		Nothing left to talk about! It's all 
		talked out! Nothing left now but to 
		cut his fuckin' throat! 

				RED 
		Why? What's Heywood done to you? 

				BROOKS 
		That's what they want! It's the 
		price I gotta pay! 

	Andy steps forward, rivets Brooks with a gaze. Softly: 

				ANDY 
		Brooks, you're not going to hurt 
		Heywood, we all know that. Even 
		Heywood knows it, right Heywood? 

				HEYWOOD 
			(nods, terrified) 
		Sure. I know that. Sure. 

				ANDY 
		Why? Ask anyone, they'll tell you. 
		Brooks Hatlen is a reasonable man. 

				RED 
			(cuing nods all around) 
		Yeah, that's right. That's what 
		everybody says. 

				ANDY 
		You're not fooling anybody, so just 
		put the damn knife down and stop 
		scaring the shit out of people. 

				BROOKS 
		But it's the only way they'll let 
		me stay. 

	Brooks bursts into tears. The storm is over. Heywood staggers
	free, gasping for air. Andy takes the knife, passes it to Red.
	Brooks dissolves into Andy's arms with great heaving sobs.

				ANDY 
		Take it easy. You'll be all right. 

				HEYWOOD 
		Him? What about me? Crazy old 
		fool! Goddamn near slit my throat! 

				RED 
		You've had worse from shaving. 
		What'd you do to set him off? 

				HEYWOOD 
		Nothin'! Just came in to say 
		fare-thee-well. 
			(off their looks) 
		Ain't you heard? His parole came 
		through! 

	Red and Andy exchange a surprised look. Andy wants to 
	understand. Red just motions to let it be for now. He puts his
	arm around Brooks, who sobs inconsolably. Softly: 

				RED 

	Ain't that bad, old hoss. Won't be 
	long till you're squiring pretty 
	young girls on your arm and telling 
	'em lies. 

104	EXT -- PRISON YARD BLEACHERS -- DUSK (1954) 104

				ANDY 
		I just don't understand what 
		happened in there, that's all. 

				HEYWOOD 
		Old man's crazy as a rat in a tin 
		shithouse, is what. 

				RED 
		Heywood, enough. Ain't nothing 
		wrong with Brooksie. He's just 
		institutionalized, that's all. 

				HEYWOOD 
		Institutionalized, my ass. 

				RED 
		Man's been here fifty years. This 
		place is all he knows. In here, 
		he's an important man, an educated 
		man. A librarian. Out there, he's 
		nothing but a used-up old con with 
		arthritis in both hands. Couldn't 
		even get a library card if he 
		applied. You see what I'm saying? 

				FLOYD 
		Red, I do believe you're talking 
		out of your ass. 

				RED 
		Believe what you want. These walls 
		are funny. First you hate 'em, then 
		you get used to 'em. After long 
		enough, you get so you depend on 
		'em. That's "institutionalized." 

				JIGGER 
		Shit. I could never get that way. 

				ERNIE 
			(softly) 
		Say that when you been inside as 
		long as Brooks has. 

				RED 
		Goddamn right. They send you here 
		for life, and that's just what they 
		take. Part that counts, anyway. 

105	EXT -- SHAWSHANK PRISON -- DAWN (1954) 105

	The sun rises over gray stone. 

106	INT -- ANDY'S CELL -- DAWN (1954) 106

	ANGLE ON RITA POSTER. Sexy as ever. The rising sun sends 
	fingers of rosy light creeping across her face. 

107	INT -- LIBRARY -- DAWN (1954) 107

	Brooks stands on a chair, poised at the bars of a window, 
	cradling Jake in his hands. 

				BROOKS 
		I can't take care of you no more. 
		You go on now. You're free. 

	He tosses Jake through the bars. The crow flaps away. 

108	EXT -- SHAWSHANK PRISON -- MAIN GATE -- DAY (1954) 108

	TWO SHORT SIREN BLASTS herald the opening of the gate. It 
	swings hugely open, revealing Brooks standing in his cheap 
	suit, carrying a cheap bag, wearing a cheap hat. 

	Brooks walks out, tears streaming down his face. He looks 
	back. Red, Andy, and others stand at the inner fence, seeing 
	him off. The massive gate closes, wiping them from view. 

109	INT -- BUS -- DAY (1954) 109

	Brooks is riding the bus, clutching the seat before him, 
	gripped by terror of speed and motion. 

				BROOKS (V.O.) 
		Dear Fellas. I can't believe how 
		fast things move on the outside. 

110	EXT -- STREET -- PORTLAND, MAINE -- DAY (1954) 110

	Brooks looks like a kid trying to cross the street without his 
	parents. People and traffic a blur. 

				BROOKS (V.O.) 
		I saw an automobile once when I was 
		young. Now they're everywhere. 

111	EXT -- BREWSTER HOTEL -- DAY (1954) 111

	Brooks comes trudging up the sidewalk. He glances up as a 
	prop-driven airliner streaks in low overhead. 

				BROOKS (V.O.) 
		The world went and got itself in a 
		big damn hurry. 

	He arrives at the Brewster. It ain't much to look at. 



112	INT -- BREWSTER HOTEL -- DAY (1954) 112

	A WOMAN leads Brooks up the stairs toward the top floor. He 
	has trouble climbing so many stairs. 

				WOMAN 
		No music in your room after eight 
		p.m. No guests after nine. No 
		cooking except on the hotplate... 

				BROOKS (V.O.) 
		People even talk faster. And louder. 

113	INT -- BROOKS' ROOM -- DAY (1954) 113

	Brooks enters. The room is small, old, dingy. Heavy wooden 
	beams cross the ceiling. An arched window affords a view of 
	Congress Street. Traffic noise drifts in. Brooks sets his bag 
	down. He doesn't quite know what to do. He just stands there, 
	like a man waiting for a bus. 

				BROOKS (V.O.) 
		The parole board got me into this 
		halfway house called the Brewster, 
		and a job bagging groceries at the 
		Foodway... 

114	INT -- FOODWAY MARKET -- DAY (1954) 114

	Loud. Jangling with PEOPLE and NOISE. Brooks is bagging 
	groceries. Registers are humming, kids are shrieking. 

				WOMAN 
		Make sure he double-bags. Last time 
		your man didn't double-bag and the 
		bottom near came out. 

				MANAGER 
		You double-bag like the lady says, 
		understand? 

				BROOKS 
		Yes sir, double-bag, surely will. 

				BROOKS (V.O.) 
		It's hard work. I try to keep up, 
		but my hands hurt most of the time. 
		I don't think the store manager 
		likes me very much. 

115	EXT -- PARK -- DAY (1954) 115

	Brooks sits alone on a bench, feeding pigeons. 

				BROOKS (V.O.) 
		Sometimes after work I go to the 
		park and feed the birds. I keep 
		thinking Jake might show up and say 
		hello, but he never does. I hope 
		wherever he is, he's doing okay and 
		making new friends. 

116	INT -- BROOKS' ROOM -- NIGHT (1954) 116

	Dark. Traffic outside. Brooks wakes up. Disoriented. Afraid.
	Somewhere in the night, a LOUD ARGUMENT is taking place. 

				BROOKS (V.O.) 
		I have trouble sleeping at night. 
		The bed is too big. I have bad 
		dreams, like I'm falling. I wake 
		up scared. Sometimes it takes me a 
		while to remember where I am. 

117	INT -- FOODWAY -- DAY (1954) 117

				BROOKS (V.O.) 
		Maybe I should get me a gun and rob 
		the Foodway, so they'd send me home. 
		I could shoot the manager while I 
		was at it, sort of like a bonus. 

118	INT -- BROOKS' ROOM -- DAY (1954) 118

	Brooks is packing his worldly possessions into the carry bag. 
	Undershirts, socks, etc. 

				BROOKS (V.O.) 
		But I guess I'm too old for that 
		sort of nonsense anymore. 

119	INT -- BROOKS' ROOM -- SHORTLY LATER (1954) 119

	Brooks is dressed in his suit. He finishes knotting his tie, 
	puts his hat on his head. The letter lies on the desk, stampe3 
	and ready for mailing. His bag is by the door. 

				BROOKS (V.O.) 
		I don't like it here. I'm tired of 
		being afraid all the time. I've 
		decided not to stay. 

	He takes one last look around. Only one thing left to do. He 
	steps to a wooden chair in the center of the room, pulls out s 
	pocketknife, and glances up at the ceiling beam. 

	He steps up onto the chair. It wobbles queasily. Now facing
	the beam, he carves a message into the wood: "Brooks Hatlen
	was here." He smiles with a sort of inner peace. 

				BROOKS (V.O.) 
		I doubt they'll kick up any fuss. 
		Not for an old crook like me. 

120 	TIGHT ON CHAIR 120

	His weight shifts on the wobbly chair -- and it goes out 
	from under him. His feet remain where they are, kicking feebly 
	in mid-air. His hat falls to the floor. 

	ANGLE WIDENS. Brooks has hanged himself. He swings gently, 
	facing the open window. Traffic noise floats up from below. 

121	EXT -- EXERCISE YARD -- SHAWSHANK -- DAY (1954) 121

	Andy reads the letter to Red and the others: 

				ANDY 
		P.S. Tell Heywood I'm sorry I put a 
		knife to his throat. No hard feelings. 

	A long silence. Andy folds the letter, puts it away. Softly: 

				RED 
		He should'a died in here, goddamn it. 

122	INT -- PRISON LIBRARY -- DAY (1954) 122

	Andy is sorting books on the cart. He replaces a stack on the
	shelf -- and pauses, noticing a line of ants crawling up the
	wood. He glances up. The ants disappear over the top. He pulls
	a chair over and stands on it, peers cautiously over. 

				ANDY 
		Red! 

	Red steps in with an armload of files. Andy gingerly reaches
	in, grabs a black feathered wing, and pulls out a dead crow.

				RED 
			(softly) 
		Is that Jake? 

123	INT -- WOOD SHOP -- DAY (1954) 123

	Red is making something at his bench, sanding and planing. 

				RED (V.O.) 
		It never would have occurred to us, 
		if not for Andy. It was his idea. 
		We all agreed it was the right 
		thing to do... 

124	EXT -- FIELDS -- DAY (1954) 124

	Low hilly terrain all around. A HUNDRED CONS are at work in 
	the fields. GUARDS patrol with carbines, keeping a sharp eye.
	We find Andy, Red, and the boys working with picks and 
	shovels. They glance over to the pickup truck. Hadley's 
	chewing the fat with Mert and Youngblood. A WHISTLE BLOWS. 

				GUARD 
		Water break! Five minutes! 

	The work stops. Cons head for the pickup truck, where water is
	dispensed with dipper and pail. Red and the boys look to Andy.
	Andy nods. Now's the time. The group moves off through the 
	confusion, using it as cover. They head up the slope of a 
	nearby hill and quickly decide on a suitable spot. The 
	guards haven't noticed. 

	Jigger and Floyd start swinging picks into the soft earth, 
	quickly ripping out a hole. Red reaches into his jacket and 
	pulls out a beautiful wooden box, carefully stained and 
	varnished. He shows it around to nods of approval. 

				ANDY 
		That's real pretty, Red. Nice work. 

				HEYWOOD 
		Shovel man in. Watch the dirt. 

124 	CONTINUED 124
	Heywood jumps in and starts spading out the hole. 

125 	BY THE TRUCK 125

	Youngblood glances up and sees the men on the slope. 

				YOUNGBLOOD 
		What the fuck. 

				HADLEY 
			(follows his gaze) 
		HEY.' YOU MEN UP THERE.' GET YOUR 
		ASSES OFF THAT SLOPE! 
			(works his rifle bolt) 
		YOU HAPPY ASSHOLES GONE DEAF? YOU 
		GOT FIVE SECONDS 'FORE I SHOOT 
		SOMEBODY! 

	Suddenly, other cons start breaking away in groups, dozens of
	them heading toward the slope. The guards look around. 

				HADLEY 
		What am I, talkin' to myself? 

126 	ON THE SLOPE 126

	Andy pulls a towel-wrapped bundle from his jacket and unfolds
	it. Jake. Andy lays him in the box, followed by Brook's 
	letter. Red places the casket in the hole. A moment of 
	silence. Andy gives Red with an encouraging nod. 

				RED 
		Lord. Brooks was a sinner. Jake was 
		just a crow. Neither was much to 
		look at. Both got institutionalized. 
		See what you can do for 'em. Amen. 

	Muttered "amens" all around. The boys shovel dirt onto the 
	small grave and tamp it down. 

127	INT -- SHAWSHANK CORRIDORS -- DAY (1955) 127

	RAPID DOLLY with Hadley. He's striding, pissed-off, a man on e
	mission. He straight-arms a door and emerges onto -- 

128	EXT -- SHAWSHANK PRISON WALL -- DAY (1955) 128

	-- the wall overlooking the exercise yard. He leans on the
	railing, scans the yard, sees Andy chatting with Red. 

				HADLEY 
		Dufresne! What the fuck did you do? 
			(Andy looks up) 
		Your ass, warden's office, now! 

	Andy shoots a worried look at Red, then heads off. 

129	INT -- GUARD DESK/WARDEN'S OUTER OFFICE -- DAY (1955) 129

	Dozens of parcel boxes litter the floor. WILEY, the duty 
	guard, picks through them. Hadley enters, trailed by Andy.

				ANDY 
		What is all this? 

				HADLEY 
		You tell me, fuck-stick! They're 
		addressed to you, every damn one! 

	Wiley thrusts an envelope at Andy. Andy just stares at it.

				WILEY 
		Well, take it. 

	Andy takes the envelope, pulls out a letter, reads: 

				ANDY 
		Dear Mr. Dufresne. In response to
		your repeated inquiries, the State
		Senate has allocated the enclosed
		funds for your library project... "
			(stunned, examines check) 
		This is two hundred dollars. 

	Wiley grins. Hadley glares at him. The grin vanishes. 

				ANDY 
		In addition, the Library District
		has generously responded with a
		charitable donation of used books
		and sundries. We trust this will
		fill your needs. We now consider
		the matter closed. Please stop
		sending us letters. Yours truly,
		the State Comptroller's Office.

	Andy gazes around at the boxes. The riches of the world lay at
	his feet. His eyes mist with emotion at the sight. 

				HADLEY 
		I want all this cleared out before 
		the warden gets back, I shit you not. 

	Hadley exits. Andy touches the boxes like a love-struck man
	touching a beautiful woman. Wiley grins. 

				WILEY 
		Good for you, Andy. 

				ANDY 
		Only took six years. 
			(beat) 
		From now on, I send two letters a 
		week instead of one. 

				WILEY 
			(laughs, shakes his head) 
		I believe you're crazy enough. You 
		better get this stuff downstairs 
		like the Captain said. I'm gonna go 
		pinch a loaf. When I get back, this 
		is all gone, right? 

	Andy nods. Wiley disappears into the toilet, Jughead Comix in 
	hand. Alone now, Andy starts going through the boxes like a 
	starving man exploring packages of food. He doesn't know where 
	to turn first. He gets giddy, ripping boxes open and pulling 
	out books, touching them, smelling them. 

	He rips open another box. This one contains an old phonograph
	player, industrial gray and green, the words "Portland Public
	School District" stenciled on the side. The box also contains
	stacks and stacks of used record albums. 

	Andy reverently slips a stack from the box and starts flipping 
	through them. Used Nat King Coles, Bing Crosbys, etc. 
	He comes across a certain album -- Mozart's "Le Nozze de 
	Figaro." He pulls it from the stack, gazing upon it as a man 
	transfixed. It is a thing of beauty. It is the Grail. 

130	INT -- BATHROOM -- DAY (1955) 130

	Wiley sits in one of the stalls, Jughead comic on his knees. 

131	INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 131

	Andy wrestles the phonograph player onto the guards' desk, 
	sweeping things onto the floor in his haste. He plugs the 
	machine in. A red light warms up. The platter starts spinning. 

	He slides the Mozart album from its sleeve, lays it on the 
	platter, and lowers the tone arm to his favorite cut. The 
	needle HISSES in the groove...and the MUSIC begins, lilting 
	and gorgeous. Andy sinks into Wiley's chair, overcome by its 
	beauty. It is "Deutino: Che soave zeffiretto," a duet sung by 

	Susanna and the Contessa. 

132	INT -- BATHROOM -- DAY (1955) 132

	Wiley pauses reading, puzzled. He thinks he hears music. 

				WILEY 
		Andy? You hear that? 

133	INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 133

	Andy shoots a look at the bathroom...and smiles. Go for broke. 
	He lunges to his feet and barricades the front door, then the 
	bathroom. He returns to the desk and positions the P.A. 
	microphone. He works up his courage, then flicks all the 
	toggles to "on." A SQUEAL OF FEEDBACK echoes briefly... 

134 INT/EXT -- VARIOUS P.A. SPEAKERS -- DAY (1955) 134

	...and the Mozart is suddenly broadcast all over the prison. 

135	INT -- BATHROOM -- DAY (1955) 135

	Wiley lunges to his feet, pants tangling around his ankles. 

136 INT/EXT -- SHAWSHANK PRISON -- VARIOUS LOCATIONS -- DAY (1955) 136

	Cons all over the prison stop whatever they're doing, freezing 
	in mid-step to listen, gazing up at the speakers. 

137 	THE STAMPING MACHINES IN THE PLATE SHOP ARE SHUT DOWN... 137 

138 	THE LAUNDRY LINE GOES SILENT, GRINDING TO A HALT... 138

139 	THE WOOD SHOP MACHINES ARE TURNED OFF, BUZZING TO A STOP... 139

140 	THE MOTOR POOL...THE KITCHEN...THE LOADING DOCK...THE EXERCISE 140
	thru yard...the numbing routine of prison life itself...all grinds thru
143 	TO A STUTTERING HALT. NOBODY MOVES, NOBODY SPEAKS. EVERYBODY 143

	just stands in place, listening to the MUSIC, hypnotized. 

144	INT -- GUARD STATION -- DAY (1955) 144

	Andy is reclined in the chair, transported, arms fluidly 
	conducting the music. Ecstasy and rapture. Shawshank no 
	longer exists. It has been banished from the mind of men. 

145	EXT -- EXERCISE YARD -- DAY (1955) 145

	CAMERA TRACKS along groups of men, all riveted. 

				RED (V.O.) 
		I have no idea to this day what 
		them two Italian ladies were 
		singin' about. Truth is, I don't 
		want to know. Some things are best 
		left unsaid. I like to think they 
		were singin' about something so 
		beautiful it can't be expressed in 
		words, and makes your heart ache 
		because of it. 

	CAMERA brings us to Red. 

				RED (V.O.) 
		I tell you, those voices soared. 
		Higher and farther than anybody in 
		a gray place dares to dream. It was 
		like some beautiful bird flapped 
		into our drab little cage and made 
		these walls dissolve away...and for 
		the briefest of moments -- every 
		last man at Shawshank felt free. 

146	INT -- PRISON CORRIDOR -- DAY (1955) 146

	FAST DOLLY with Norton striding up the hallway with Hadley. 

				RED (V.O.) 
		It pissed the warden off something 
		terrible. 

147	INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 147

	Norton and Hadley break the door in. Andy looks up with a 
	sublime smile. We hear Wiley POUNDING on the bathroom door: 

				WILEY (O.S.) 
		LET ME OUUUUT! 

148	INT -- SOLITARY WING -- DAY (1955) 148

	LOW ANGLE SLOW PUSH IN on the massive, rust-streaked steel 
	door. God, this is a terrible place to be. 

				RED (V.O.) 
		Andy got two weeks in the hole for 
		that little stunt. 

149	INT -- SOLITARY CONFINEMENT -- DAY (1955) 149

	Andy doesn't seem to mind. His arms sweep to the music still 
	playing in his head. We hear a FAINT ECHO of the soaring duet. 

150	INT -- MESS HALL -- DAY (1955) 1 50

				HEYWOOD 
		Couldn't play somethin' good, huh? 
		Hank Williams? 

				ANDY 
		They broke the door down before I 
		could take requests. 

				FLOYD 
		Was it worth two weeks in the hole? 

				ANDY 
		Easiest time I ever did. 

				HEYWOOD 
		Shit. No such thing as easy time in 
		the hole. A week seems like a year. 

				ANDY 
		I had Mr. Mozart to keep me company. 
		Hardly felt the time at all. 

				RED 
		Oh, they let you tote that record 
		player down there, huh? I could'a 
		swore they confiscated that stuff. 

				ANDY 
			(taps his heart, his head) 
		The music was here...and here. 
		That's the one thing they can't 
		confiscate, not ever. That's the 
		beauty of it. Haven't you ever felt 
		that way about music, Red? 

				RED 
		Played a mean harmonica as a younger 
		man. Lost my taste for it. Didn't 
		make much sense on the inside. 

				ANDY 
		Here's where it makes most sense. 
		We need it so we don't forget. 

				RED 
		Forget? 

				ANDY 
		That there are things in this world 
		not carved out of gray stone. That 
		there's a small place inside of us 
		they can never lock away, and that 
		place is called hope. 

				RED 
		Hope is a dangerous thing. Drive a 
		man insane. It's got no place here. 
		Better get used to the idea. 

				ANDY 
			(softly) 
		Like Brooks did? 

	FADE TO BLACK 

151 	AN IRON-BARRED DOOR 151

	slides open with an enormous CLANG. A stark room beyond. 
	CAMERA PUSHES through. SEVEN HUMORLESS MEN sit at a long 

	table. An empty chair faces them. We are again in: 

	INT -- SHAWSHANK HEARINGS ROOM -- DAY (1957) 

	Red enters, ten years older than when we first saw him at a 
	parole hearing. He removes his cap and sits. 

				MAN #l 
		It says here you've served thirty 
		years of a life sentence. 

				MAN #2 
		You feel you've been rehabilitated? 

				RED 
		Yes sir, without a doubt. I can say 
		I'm a changed man. No danger to 
		society, that's the God's honest 
		truth. Absolutely rehabilitated. 

	CLOSEUP -- PAROLE FORM 

	A big rubber stamp slams down: "REJECTED." 

152	EXT -- PRISON YARD -- DUSK (1957) 152

	Red emerges into fading daylight. Andy's waiting for him.

				RED 
		Same old, same old. Thirty years. 
		Jesus. When you say it like that... 

				ANDY 
		You wonder where it went. I wonder 
		where ten years went. 

	Red nods, solemn. They settle in on the bleachers. Andy pulls 
	a small box from his sweater, hands it to Red. 

				ANDY 
		Anniversary gift. Open it. 

	Red does. Inside the box, on a thin layer of cotton, is a 
	shiny new harmonica, bright aluminum and circus-red. 

				ANDY 
		Had to go through one of your 
		competitors. Hope you don't mind. 
		Wanted it to be a surprise. 

				RED 
		It's very pretty, Andy. Thank you. 

				ANDY 
		You gonna play something? 

	--

	Red considers it, shakes his head. Softly: 

				RED 
		Not today. 

153	INT -- CELLBLOCK FIVE/ANDY'S CELL -- NIGHT (1957) 153

	Men line the tiers as the evening count is completed. The 
	convicts step into their cells. The master switch is thrown 
	and all the doors slam shut -- KA-THUMP! Andy finds a 
	cardboard tube on his bunk. The note reads: "A new girl for 
	your 10 year anniversary. From your pal. Red." 

154	INT -- ANDY'S CELL -- LATER (1957) 154

	Marilyn Monroe's face fills the screen. SLOW PULL BACK reveals
	the new poster: the famous shot from "The Seven Year Itch," 
	on the subway grate with skirt billowing up. Andy sits gazing 
	at her as lights-out commences... 

155	INT -- RED'S CELL -- NIGHT (1957) 155

	...and we find Red gazing blankly as darkness takes the 
	cellblock. Adding up the months, weeks, days... 

	He regards the harmonica like a man confronted with a Martian 
	artifact. He considers trying it out -- even holds it briefly 
	to his lips, almost embarrassed -- but puts it back in its box
	untested. And there the harmonica will stay... 

	FADE TO BLACK 

156 	WE HOLD IN BLACKNESS as THUMPING SOUNDS grow louder... 156

				RED (V.O.) 
		Andy was as good as his word. He 
		kept writing to the State Senate. 
		Two letters a week instead of one. 

	...and the BLACKNESS disintegrates as a wall tumbles before 
	our eyes, revealing a WORK CREW with picks and sledgehammers, 
	faces obscured outlaw-style with kerchiefs against the dust. 
	Behind them are GUARDS overseeing the work. 

	Andy yanks his kerchief down, grinning in exhilaration. Red
	and the others follow suit. They step through the hole in the
	wall, exploring what used to be a sealed-off storage room. 

				RED (V.O.) 
		In 1959, the folks up Augusta way 
		finally clued in to the fact they 
		couldn't buy him off with just a 
		200 dollar check. Appropriations 
		Committee voted an annual payment of 
		500 dollars, just to shut him up. 

157	INT -- PRISON LIBRARY -- DAY (1960) 157

	TRACKING the construction. Walls have been knocked down. Men 
	are painting, plastering, hammering. Lots of shelves going up.
	Red is head carpenter. We find him discussing plans with Andy.

				RED (V.O.) 
		Those checks came once a year like 
		clockwork. 

158	INT -- PRISON LIBRARY -- DAY (1960) 158

	Red and the boys are opening boxes, pulling out books. 

				RED (V.O.) 
		You'd be amazed how far Andy could 
		stretch it. He made deals with book 
		clubs, charity groups...he bought 
		remaindered books by the pound... 

				HEYWOOD 
		Treasure Island. Robert Louis... 

				ANDY 
			(jotting) 
		...Stevenson. Next? 

				RED 
		I got here an auto repair manual, 
		and a book on soap carving. 

				ANDY 
		Trade skills and hobbies, those go 
		under educational. Stack right 
		behind you. 

				HEYWOOD 
		The Count of Monte Crisco... 

				FLOYD 
		Cristo, you dumbshit. 

				HEYWOOD 
		...by Alexandree Dumb-ass. 

				ANDY 
		Dumas. You boys'll like that one. 
		It's about a prison break. 

	Floyd tries to take the book. Heywood yanks it back. I saw it 
	first. Red shoots Andy a look. 

				RED 
		Maybe that should go under 
		educational too. 


159	INT -- WOOD SHOP -- DAY (1961) 159

	Red is making a sign, carefully routing letters into a long 
	plank of wood. It turns out to be -- 

160	INT -- PRISON LIBRARY -- DAY (1963) 160

	-- the varnished wood sign over the archway: "Brooks Hatlen 
	Memorial Library." TILT DOWN to reveal the library in all its 
	completed glory: shelves lined with books, tables and chairs, 
	even a few potted plants. Heywood is wearing headphones, 
	listening to Hank Williams on the record player. 

				RED (V.O.) 
		By the year Kennedy was shot, Andy 
		had transformed a broom closet 
		smelling of turpentine into the 
		best prison library in New England. 

161	EXT -- SHAWSHANK PRISON -- DAY (1963) 161

	FLASHBULBS POP as Norton addresses MEMBERS OF THE PRESS: 

				RED (V.O.) 
		That was also the year Warden Norton 
		instituted his famous "Inside-Out" 
		program. You may remember reading 
		about it. It made all the papers 
		and got his picture in LIFE magazine. 

				NORTON 
		...a genuine, progressive advance 
		in corrections and rehabilitation. 
		Our inmates, properly supervised, 
		will be put to work outside these 
		walls performing all manner of 
		public service. Cutting pulpwood, 
		repairing bridges and causeways, 
		digging storm drains... 

	ANGLE TO Red and the boys listening from behind the fence. 

				NORTON 
		These men can learn the value of an 
		honest day's labor while providing 
		a valuable service to the community 
		-- and at a bare minimum of expense
		to Mr. and Mrs. John Q. Taxpayer! 

				HEYWOOD 
		Sounds like road-gangin', you ask me. 

				RED 
		Nobody asked you. 

162	EXT -- HIGHWAY CONSTRUCTION SITE -- DAY (1963) 162

	A ROAD-GANG is grading a culvert with picks. There's dust and 
	the smell of sweat in the air. GUARDS patrol with sniper rifles,
	A pushy WOMAN REPORTER in an ugly hat bustles up the grade, 
	trailed by a PHOTOGRAPHER. 

				WOMAN REPORTER 
		You there! You men! We're gonna 
		take your picture now! 

				HEYWOOD 
		Give us a break, lady. 

				WOMAN REPORTER 
		Don't you know who I am? I'm from 
		LIFE magazine! I was told I'd get 
		some co-operation out here! You 
		want me to report you to your 
		warden? Is that what you want? 

				HEYWOOD 
			(sighs) 
		No, ma'am. 

				WOMAN REPORTER 
		That's more like it! Now I want you 
		all in a row with big bright smiles 
		on your faces! Grab hold of your 
		tools and show 'em to me! 

	She turns, motioning her photographer up the grade. Heywood 
	glances around at the other men. 

				HEYWOOD 
		You heard the lady. 

	Heywood unzips his pants, reaches inside. The others do 
	likewise. The woman turns back and is greeted by the sight of 
	a dozen men displaying their penises and smiling brightly. Her
	legs go wobbly and she sits heavily down on the dirt grade. 

				HEYWOOD 
		C'mon! We're showin' our tools and 
		grinnin' like fools! Take the damn 
		picture! 

163	INT -- SOLITARY CONFINZMENT -- NIGHT (1963) 163

	Heywood sits alone in the dark. He sighs. 

				RED (V.O.) 
		None of the inmates were invited to 
		express their views... 

164	EXT -- WOODED FIELDS -- DAY (1965) 164

	A ROAD-GANG is pulling stumps, bogged down in mud. 

				RED (V.O.) 
		'Course, Norton failed to mention 
		to the press that "bare minimum of 
		expense" is a fairly loose term. 
		There are a hundred different ways 
		to skim off the top. Men, 
		materials, you name it. And, oh my 
		Lord, how the money rolled in... 

	Norton strolls into view with NED GRIMES at his heels. 

				NED 
		This keeps up, you're gonna put me 
		out of business! With this pool of 
		slave labor you got, you can 
		underbid any contractor in town. 

				NORTON 
		Ned, we're providing a valuable 
		community service. 

				NED 
		That's fine for the papers, but I 
		got a family to feed. The State 
		don't pay my salary. Sam, we go 
		back a long way. I need this new 
		highway contract. I don't get it, I 
		go under. That's a fact. 
			(hands him a box) 
		Now you just have some'a this fine 
		pie my missus baked specially for 
		you, and you think about that. 

	Norton opens the box. Alongside the pie is an envelope. He
	runs his thumb across the thick stack of cash it contains.

	IN THE BACKGROUND, a winch cable SNAPS and whips through the
	air, damn near severing a man's leg. He goes down, screaming
	in mud and blood, pinned by a fallen tree stump. Men rush over
	to help him. Norton barely takes notice. 

				NORTON 
		Ned, I wouldn't worry too much over 
		this contract. Seems to me I've 
		already got my boys committed 
		elsewhere. You be sure and thank 
		Maisie for this fine pie. 

165	INT -- NORTON'S OFFICE -- NIGHT (1965) 165

	ANGLE on Maisie's pie. Several pieces gone. 

				RED (V.O.) 
		And behind every shady deal, behind 
		every dollar earned... 

	TILT UP to Andy at the desk, munching thoughtfully as he 
	totals up figures on an adding machine. 

				RED (V.O.) 
		...there was Andy, keeping the books. 

	Andy finishes preparing two bank deposits. Norton hovers near 
	the desk, keeping a watchful eye. 

				ANDY 
		Two deposits, Casco Bank and New 
		England First. Night drop, like 
		always. 

	Norton pockets the envelopes. Andy crosses to the wall safe 
	and shoves the ledger and sundry files inside. Norton locks 
	the safe, swings his wife's framed sampler back into place. He 
	cocks his thumb at some laundry and two suits in the corner. 

				NORTON 
		Get my stuff down t'laundry. Two 
		suits for dry-clean and a bag of 
		whatnot. Tell 'em if they over- 
		starch my shirts again, they're 
		gonna hear about it from me. 
			(adjusts his tie) 
		How do I look? 

				ANDY 
		Very nice. 

				NORTON 
		Big charity to-do up Portland 
		way. Governor's gonna be there. 
			(indicates pie) 
		Want the rest of that? Woman can't 
		bake worth shit. 

166	INT -- PRISON CORRIDOR -- NIGHT (1965) 166

	Andy trudges down the corridor with Norton's laundry, the pie 
	box under his arm. 

167	INT -- LIBRARY -- DAY (1965) 167

	TILT UP FROM PIE to find Red munching away as he helps Andy 
	sort books on the shelves. 

				RED 
		Got his fingers in a lot of pies, 
		from what I hear. 

				ANDY 
		What you hear isn't half of it. 
		He's got scams you haven't dreamed 
		of. Kickbacks on his kickbacks. 
		There's a river of dirty money 
		flowing through this place. 

				RED 
		Money like that can be a problem. 
		Sooner or later you gotta explain 
		where it came from. 

				ANDY 
		That's where I come in. I channel 
		it, funnel it, filter it...stocks, 
		securities, tax free municipals... 
		I send that money out into the big 
		world. And when it comes back... 

				RED 
		It's clean as a virgin's whistle? 

				ANDY 
		Cleaner. By the time Norton retires, 
		I will have made him a millionaire. 

				RED 
		Jesus. They ever catch on, he's 
		gonna wind up wearing a number 
		himself. 

				ANDY 
			(smiles) 
		I thought you had more faith in me 
		than that. 

				RED 
		I'm sure you're good, but all that 
		paper leaves a trail. Anybody gets 
		too curious -- FBI, IRS, whatever -- 
		that trail's gonna lead to somebody. 

				ANDY 
		Sure it will. But not to me, and 
		certainly not to the warden. 

				RED 
		Who then? 

				ANDY 
		Peter Stevens. 

				RED 
		Who? 

				ANDY 
		The silent, silent partner. He's 
		the guilty one, your Honor. The man 
		with the bank accounts. That's 
		where the filtering process starts. 
		They trace it back, all they're 
		gonna find is him. 

				RED 
		Yeah, okay, but who the hell is he?

				ANDY 
		A phantom. An apparition. Second 
		cousin to Harvey the Rabbit. 
			(off Red's look) 
		I conjured him out of thin air. He 
		doesn't exist...except on paper. 

				RED 
		You can't just make a person up. 

				ANDY 
		Sure you can, if you know how the 
		system works, and where the cracks 
		are. It's amazing what you can 
		accomplish by mail. Mr. Stevens has 
		a birth certificate, social 
		security card, driver's license. 
		They ever track those accounts, 
		they'll wind up chasing a figment 
		of my imagination. 

				RED 
		Jesus. Did I say you were good? 
		You're Rembrandt. 

				ANDY 
		It's funny. On the outside, I was 
		an honest man. Straight as an 
		arrow. I had to come to prison to 
		be a crook. 

168	EXT -- PRISON YARD -- DUSK (1965) 

				RED 
		Does it ever bother you? 

				ANDY 
		I don't run the scams, Red, I just 
		process the profits. That's a fine 
		line, maybe. But I've also built 
		that library, and used it to help a 
		dozen guys get their high school 
		diplomas. Why do you think the 
		warden lets me do all that? 

				RED 
		To keep you happy and doing the 
		laundry. Money instead of sheets. 

				ANDY 
		I work cheap. That's the trade-off. 

	TWO SIREN BLASTS draw their attention to the main gate. It 
	swings open, revealing a prison bus waiting outside. 

169	INT -- PRISON BUS -- DUSK (1965) 169

	Among those on board is TOMMY WILLIAMS, a damn good-looking 
	kid in his mid-20's. The bus RUMBLES through the gate. 

170	EXT -- PRISON YARD -- DUSK (1965) 170

	The new fish disembark, chained together single-file. The old- 
	timers holler and shake the fence. A deafening gauntlet. 

171	INT -- CELLBLOCK EIGHT -- NIGHT (1965) 171

	Tommy and the others are marched in naked and shivering, 
	covered with delousing powder, greeted by TAUNTS and JEERS. 

172	INT -- TOMMY'S CELL -- NIGHT (1965) 172

	The bars slam with a STEEL CLANG. Tommy and his new CELLMATE 
	take in their new surroundings. 

				TOMMY 
		Well. Ain't this for shit? 

173	INT -- PRISON CORRIDOR -- DAY (1965) 173

	DOLLYING Tommy as he struts along, combing his ducktail, 
	cigarette behind his ear. (We definitely need The Coasters or 
	Del Vikings on the soundtrack here. Maybe Jerry Lee Lewis.) 

				RED (V.O.) 
		Tommy Williams came to Shawshank in 
		1965 on a two year stretch for B&E. 
		Cops caught him sneakin' TV sets 
		out the back door of a JC Penney. 

174	INT -- WOOD SHOP -- DAY (1965) 174

	A SHRIEKING BUZZSAW slices ten-foot lengths of wood. Red runs 
	the machine while some other OLD-TIMERS feed the wood. 

				RED (V.O.) 
		Young punk, Mr. Rock n' Roll, cocky 
		as hell... 

	Tommy is hauling the cut wood off the conveyor and stacking it, 
	It's a ball-busting job, but the kid's a blur. 

				TOMMY 
			(slapping his gloves) 
		C'mon there, old boys! Movin' like 
		molasses! Makin' me look bad! 

	The old guys just grin and shake their heads. 

				RED (V.O.) 
		We liked him immediately. 

175	INT -- MESS HALL -- DAY (1965) 175

	Tommy regales the old boys with his exploits: 

				TOMMY 
		...so I'm backin' out the door, 
		right? Had the TV like this... 
			(mimes his grip) 
		Big ol' thing. Couldn't see shit. 
		Suddenly, here's this voice: 
		Freeze kid! Hands in the air! 
		Well I just stand there holdin' on 
		to that TV, so the voice says: "You 
		hear what I said, boy?" And I say, 
		Yes sir, I sure did! But if I drop
		this fuckin' thing, you got me on 
		destruction of property too!

	The whole table falls about laughing. 

176	INT -- LIBRARY -- DAY (1965) 176

	Poker game in progress. Tommy, Andy, Red and the boys. 

				HEYWOOD 
		You did a stretch in Cashman too? 


				TOMMY 
		Yeah. That was an easy ride, let me 
		tell you. Work programs, weekend 
		furloughs. Not like here. 

				SNOOZE 
		Sounds like you done time all over 
		New England. 

				TOMNY 
		Been in and out since I was 13. Name 
		the place, chances are I been there. 

				ANDY 
		Perhaps it's time you considered a 
		new profession. 
			(the game stalls) 
		What I mean is, you don't seem to 
		be a very good thief. Maybe you 
		should try something else. 

				TOMMY 
		What the hell you know about it, 
		Capone? What are you in for? 

				ANDY 
			(wry glance to Red) 
		Everyone's innocent in here. Don't 
		you know that? 

	The tension breaks. Everyone laughs. 

177	INT -- VISITOR'S ROOM -- DAY (1965) 177

	CAMERA TRAVELS the room. Chaotic. CONS are waiting their turn 
	or talking to visitors through a thick plexi shield. 

				RED (V.O.) 
		As it turns out, Tommy had himself 
		a young wife and new baby girl... 

	Tommy's at the end of the row, phone to his ear. Other side of
	the glass is BETH, near tears, fussing with a BABY on her lap.

	BETH 
	...said we can stay with them, but 
	Joey's gettin' out of the service 
	next month, and they barely got 
	enough room as it is. Plus they got 
	Poppa workin' double shifts and the 
	baby cries half the night. I just 
	don't know where we're gonna go... 

	PUSH IN on Tommy's face as he listens. 

				RED (V.O.) 
		Maybe it was the thought of them on 

	the streets...or his child growing 
	up not knowing her daddy... 

178	INT -- LIBRARY -- DAY (1965) 178

	Tommy enters, the strut gone from his step. A little scared. 
	He finds Andy filing library cards. 

				RED (V.O.) 
		Whatever it was, something lit a 
		fire under that boy's ass. 

				TOMMY 
		I'm thinkin' maybe I should try for 
		high school equivalency. Hear you 
		helped some fellas with that. 

				ANDY 
		I don't waste time on losers, Tommy. 

				TOMNY 
			(tight) 
		I ain't no goddamn loser. 

				ANDY 
		That's a good start. If we do this, 
		we do it all the way. One hundred 
		percent. Nothing half-assed. 

	Tommy thinks about it, nods. 

				TOMMY 
		Thing is, see... 
			(leans in, mutters) 
		...I don't read all that good. 

				ANDY 
			(smiles) 
		Well. You've come to the right 
		place then. 

179	INT -- LIBRARY -- DAY (1965) 179

	We find Andy giving an impassioned reading: 

				ANDY 
		...and the lamplight o'er him
		streaming throws his shadow on the
		floor...and my soul from out that
		shadow that lies floating on the
		floor, shall be lifted nevermore! "

	Andy slaps the book shut, immensely pleased with himself.

				TOMMY 
		So this raven just sits there and 
		won't go away? 

				ANDY 
		That's right. 

				TOMMY 
			(beat) 
		Why don't that fella get hisself a 
		12-gauge and dust the fucker? 

180	INT -- LIBRARY -- DAY (1965) 180

	Tommy tries to read as Andy looks on: 

				TOMMY 
		The cat sh--The cat shh... 
			(glances up) 
		The cat shat on the welcome mat? 

	Andy shakes his head. Not exactly. 

181	INT -- LIBRARY -- DAY (1965) 181

	Andy chalks the alphabet on a blackboard. 

				RED (V.O.) 
		So Andy took Tommy under his wing. 
		Started walking him through his 
		ABCs... 

182	INT -- MESS HALL -- DAY (1965) 182

	TRACK the table to Tommy and Andy. Discussing a book. 

				RED (V.O.) 
		Tommy took to it pretty well, too. 
		Boy found brains he never knew he 
		had. 

183	EXT -- EXERCISE YARD BLEACHERS -- DAY (1965) 183

				TOMNY 
		The cat sh--shh--shimmied up the 
		tree and crept st--stel--stealthily 
		out on the limb... 

184	INT -- WOOD SHOP -- DAY (1965) 184

	Tommy intent on a paperback, mouthing the words. Behind him,
	wood is piling up on the conveyor belt. 

				RED (V.O.) 
		After a while, you couldn't pry 
		those books out of hands. 

				RED 
		Ass in gear, son! You're putting us 
		behind! 

	Tommy shoves the book in his back pocket and hurries over.

185	INT -- LIBRARY -- DAY (1965) 185

	Tommy writes a sentence on the blackboard. Andy steps in, 
	shows him how to reconstruct it. 

				RED (V.O.) 
		Before long, Andy started him on 
		his course requirements. He really 
		liked the kid, that was part of it. 
		Gave him a thrill to help a 
		youngster crawl off the shitheap. 
		But that wasn't the only reason... 

186	INT -- ANDY'S CELL -- NIGHT (1966) 186

	TIGHT ANGLE on chessboard. Most of the pieces complete. PAN TO 
	Andy lying in his bunk, carefully polishing... 

				RED (V.O.) 
		Prison time is slow time. Sometimes 
		it feels like stop-time. So you do 
		what you can to keep going... 

	...and we keep going past Andy in a SLOW PAN of the cell. 
	Sink. Toilet. Books. Outside the window bars, we hear another 
	TRAIN passing in the night... 

				RED (V.O.) 
		Some fellas collect stamps. Others 
		build matchstick houses. Andy built 
		a library. Now he needed a new project. 
		Tommy was it. It was the same reason 
		he spent years shaping and polishing 
		those rocks. The same reason he hung 
		his fantasy girlies on the wall... 

	...STILL PANNING, past a chair, a sweater on a hook...and 
	finally to the place of honor on the wall... 

				RED (V.O.) 
		In prison, a man'll do most 
		anything to keep his mind occupied. 

	...where the latest poster turns out to be Racquel Welch ins
	fur bikini. Gorgeous. "One Million Years, B. C. " SLOW PUSH IN,

				RED (V.O.) 
		By 1966...right about the time 
		Tommy was getting ready to take his 
		exams...it was lovely Racquel. 

187	INT -- LIBRARY -- DAY (1966) 187

	Tommy's taking the big test. Andy's monitoring the time. Deep 
	silence, save for Tommy's pencil-scribbling. A few old-timers 
	are browsing the shelves, sneaking looks their way. Tommy 
	tries to ignore them. Concentrate. 

	Andy clears his throat. Time's up. Tommy puts his pencil down, 

				ANDY 
		Well? 

				TOMMY 
		Well. It's for shit. 
			(gets up in disgust) 
		Wasted a whole fuckin' year of my 
		time with this bullshit! 

				ANDY 
		May not be as bad as you think. 

				TOMMY 
		It's worse! I didn't get a fuckin' 
		thing right! Might as well be in 
		Chinese! 

				ANDY 
		We'll see how the score comes out. 

				TOMMY 
		I'll tell you how the goddamn 
		score comes out... 

	Tommy grabs the test, wads it, slam-dunks it into the trash.

				TOMMY 
		Two points! Right there! There's 
		your goddamn score! 
			(storms out) 
		Goddamn cats crawlin' up trees, 5 
		times 5 is 25, fuck this place, 
		fuck it! 

	Tommy is gone. Red and others stare. Andy gets up, pulls the 
	test from the trash, smoothes it out on the desk. 

188	INT -- WOOD SHOP -- DAY (1966) 188

	Rest break. Tommy and Red sipping Cokes. 

				TOMMY 
		I feel bad. I let him down. 

				RED 
		That's crap, son. He's proud of 
		you. Proud as a hen. 
			(off Tommy's look) 
		We been friends a long time. I know 
		him as good as anybody. 

				TOMMY 
		Smart fella, ain't he? 

				RED 
		Smart as they come. Used to be a 
		banker on the outside. 

				TOMMY 
		What's he in for anyway? 

				RED 
		Murder. 

				TOMMY 
		The hell you say. 

				RED 
		You wouldn't think, lookin' at him. 
		Caught his wife in bed with some 
		golf pro. Greased 'em both. C'mon, 
		boy, back to work... 

	SMASH! Red turns back. Tommy's Coke has slipped from his hand 
	and shattered on the floor. The kid's gone white as a sheet. 

				TOMMY 
			(bare whisper) 
		Oh my God... 

189	INT -- LIBRARY -- DAY (1966) 189

	Tommy sits before Andy and Red: 

				TOMMY 
		'Bout four years ago, I was in 
		Thomaston on a 2 to 3 stretch. 
		Stole a car. Dumbfuck thing to do. 
			(beat) 
		Few months left to go, I get a new 
		cellmate in. Elmo Blatch. Big 
		twitchy fucker. Crazy eyes. Kind of 
		roomie you pray you don't get, know 
		what I'm sayin'? 6 to 12 for armed 
		burglary. Said he done hundreds of 
		jobs. Hard to believe, high-strung 
		as he was. Cut a loud fart, he'd go 
		three feet in the air. Talked all 
		the time, too, that's the other 
		thing. Never shut up. Places he'd 
		been, jobs he pulled, women he 
		fucked. Even people he killed. 
		People that gave him shit, that's 
		how he put it. One night, like a 
		joke, I say: "Yeah? Who'd you 
		kill?" So he says... 

				BLATCH 
		...I got me this job one time 
		bussin' tables at a country club. 
		So I could case all the big rich 
		pricks that come in. I pick out 
		this guy, go in one night and do 
		his place. He wakes up and gives 
		me shit. So I killed him. Him and 
		the tasty bitch he was with. 
			(starts laughing) 
		That's the best part! She's fuckin' 
		this prick, see, this golf pro, but 
		she's married to some other guy! 
		Some hotshot banker. He's the one 
		they pinned it on! They got him 
		down-Maine somewhere doin' time for 
		the crime! Ain't that choice? 

	He throws his head back and ROARS with laughter. 

191	INT -- PRISON LIBRARY -- DAY (1966) 191

	Silence. Tommy has finished his story. Red is stunned...but 
	Andy looks like he's been smacked with a two by four. 

				RED 
		Andy? 

	Andy says nothing. Walks stiffly away. Doesn't look back. 

192	INT -- NORTON'S OFFICE -- DAY (1966) 192

				NORTON 
		Well. I have to say, that's the 
		most amazing story I ever heard. 
		What amazes me most is you were 
		taken in by it. 

				ANDY 
		Sir? 

				NORTON 
		It's obvious this fellow Williams 
		is impressed with you. He hears 
		your tale of woe and quite 
		naturally wants to cheer you up. 
		He's young, not terribly bright. 
		Not surprising he didn't know what 
		a state he'd put you in. 

				ANDY 
		I think he's telling the truth. 

				NORTON 
		Let's say for a moment Blatch does 
		exist. You think he'd just fall to 
		his knees and cry, "Yes, I did it! 
		I confess! By all means, please add
		a life term to my sentence!" 

				ANDY 
		It wouldn't matter. With Tommy's 
		testimony, I can get a new trial. 

				NORTON 
		That's assuming Blatch is even 
		still there. Chances are excellent 
		he'd be released by now. Excellent.

				ANDY 
		They'd have his last known address.
		Names of relatives... 
			(Norton shakes his head)
		Well it's a chance. isn't it? How
		can you be so obtuse? 

				NORTON 
		What? What did you call me? 

				ANDY 
		Obtuse! Is it deliberate? The 
		country club will have his old time
		cards! W-2s with his name on them! 

				NORTON 
			(rises) 
		Dufresne, if you want to indulge 
		this fantasy, that's your business.
		Don't make it mine. This meeting's 
		over. 

				ANDY 
		Look, if it's the squeeze, don't 
		worry. I'd never say what goes on 
		in here. I'd be just as indictable 
		as you for laundering the money! 

				NORTON 
		Don't you ever mention money to me 
		again, you sorry son of a bitch! 
		Not in this office, not anywhere! 
			(slaps intercom) 
		Get in here! Now! 

				ANDY 
		I was just trying to rest your mind
		at ease, that's all. 

				NORTON 
			(as GUARDS enter) 
		Solitary! A month! 

	Andy gets dragged away, kicking and screaming: 

				ANDY 
		What's the matter with you? It's my 
		chance to get out, don't you see 
		that? It's my life! Don't you 
		understand it's my life? 

193	EXT -- PRISON YARD -- DAY (1966) 193

	Mail call. Men crowd around as names are called out. Red and
	the boys are parked on the bleachers. 

				FLOYD 
		A month in the hole. Longest damn 
		stretch I ever heard of. 

				TOMMY 
		It's my fault. 

				RED 
		Like hell. You didn't pull the 
		trigger, and you didn't convict him. 

				HEYWOOD 
		Red? You saying Andy's innocent? I 
		mean for real innocent? 
			(Red nods) 
		Sweet Jesus. How long's he been in 
		here? 

				RED 
		Since '47. Going on nineteen years. 

				MAIL CALLER 
		Thomas Williams! 

	Tommy raises his hand. The envelope gets tossed to him. He
	stares at it. Red peers over his shoulder. 

				RED 
		Board of Education. 

				TOMMY 
		The son of a bitch mailed it. 

				RED 
		Looks that way. You gonna open it 
		or stick your thumb up your butt? 

				TOMMY 
		Thumb up my butt sounds better. 

	He gets hemmed in by the older men. Red snatches the letter. 

				TOMMY 
		C'mon, just throw it away. Will you 
		please? Just throw it away? 

	Red rips it open, scans the letter. Expressionless. 

				RED 
		Well, shit. 

194	INT -- VISITOR'S ROOM -- DAY (1966) 194

	Tommy makes his way through the chaos, finds Beth and the baby 
	waiting behind the thick plexi shield. He sits, doesn't pick 
	up the phone. Just stares at Beth. She doesn't know what to 
	make of it. 

	He presses a piece of paper against the glass. A high school 
	diploma. Her face lights up, blinking back tears. 

195	INT -- SOLITARY WING -- NIGHT (1966) 195

	LOW ANGLE on steel door. Somewhere behind it, unseen, is Andy, 
	A rat scurries along the wall. FOOTSTEPS approach slowly. 

196	INT -- SOLITARY -- NIGHT (1966) 196

	Andy listens in darkness. The FOOTSTEPS pause outside his 
	door. The slot opens. An ELDERLY GUARD peers in. 

				ELDERLY GUARD 
		Kid passed. C-plus average. Thought 
		you'd like to know. 

	The slot closes. The FOOTSTEPS recede. Andy smiles. 

197	INT -- PRISON CORRIDOR -- NIGHT (1966) 197

	We find Tommy on evening work detail, mopping the floors with 
	bucket and pail. Mert Entwhistle comes into view. 

				MERT 
		Warden wants to talk. 

198	EXT -- PRISON -- NIGHT (1966) 198

	A steel door rattles open. Mert leads Tommy outside to a gate, 
	unlocks it. Tommy looks around. 

				TOMMY 
		Out here? 

				MERT 
		That's what the man said. 

	Mert swings the gate open, sends Tommy through, turns and 
	heads back inside. Tommy proceeds out across a loading-dock
	access for the shops and mills. Some vehicles parked. The 
	place is deserted. He stops, sensing a presence. 

				TOMMY 
		Warden? 

	Norton steps into the light. 

				NORTON 
		Tommy, we've got a situation here. 
		I think you can appreciate that. 

				TOMMY 
		Yes sir, I sure can. 

				NORTON 
		I tell you, son, this really came 
		along and knocked my wind out. It's 
		got me up nights, that's the truth. 

	Norton pulls a pack of cigarettes, offers Tommy a smoke. Tommy
	takes one. Norton lights both cigarettes, pockets his lighter.

				NORTON 
		The right decision. Sometimes it's 
		hard to figure out what that is. 
		You understand? 
			(Tommy nods) 
		Think hard, Tommy. If I'm gonna 
		move on this, there can't be the 
		least little shred of doubt. I have 
		to know if you what you told 
		Dufresne was the truth. 

				TOMMY 
		Yes sir. Absolutely. 

				NORTON 
		Would you be willing to swear before 
		a judge and jury...having placed 
		your hand on the Good Book and taken 
		an oath before Almighty God Himself? 

				TOMMY 
		Just gimme that chance. 

				NORTON 
		That's what I thought. 

	Norton drops his cigarette. Crushes it out with the toe of his 
	shoe. Glances up toward the plate shop roof as -- 

199 	HIGH ANGLE FROM PLATE SHOP ROOF (SNIPER POV) 199

	-- a rifle scope pops up into frame, jumping Tommy's image 
	into startling magnification, framed in the crosshairs. 

200 	THE SNIPER 200

	rapid-fires a carbine -- BLAM!BLAM!BLAM!BLAM! -- his face lit 
	up by the muzzle flashes. Captain Hadley. 

201 	TOMMY 201

	gets chewed to pieces by the gunfire. He smacks the ground in 
	a twitching, thrashing heap. Eyes wide and staring. Dead. 
	Surprise still stamped on his face. Silence now. Norton 
	turns, strolls into darkness. 

202	INT -- SOLITARY WING -- DAY (1966) 202

	GUARDS approach Andy's cell. The door is unlocked. Andy 
	emerges slowly, blinking painfully at the light. 

203 INT/EXT -- PRISON -- DAY (1966) 203

	Andy is marched along. Convicts stop to stare. 

204	INT -- NORTON'S OFFICE -- DAY (1966) 204

	Andy is led in. The door is closed. Alone with Norton. Softly, 

				NORTON 
		Terrible thing. Man that young, 
		less than a year to go, trying to 
		escape. Broke Captain Hadley's 
		heart to shoot him, truly it did. 

				ANDY 
		I'm done. It stops right now. Get 
		H&R Block to declare your income. 

	Norton lunges to his feet, eyes sparkling with rage. 

				NORTON 
		Nothing stops! NOTHING! 
			(tight) 
		Or you will do the hardest time 
		there is. No more protection from 
		the guards. I'll pull you out of 
		that one-bunk Hilton and put you in 
			(MORE) 

	-
				NORTON (cont.) 
		with the biggest bull queer I can 
		find. You'll think you got fucked 
		by a train! And the library? Gone! 
		Sealed off brick by brick! We'll 
		have us a little book-barbecue in 
		the yard! They'll see the flames 
		for miles! We'll dance around it 
		like wild Indians! Do you understand 
		me? Are you catching my drift? 

	SLOW PUSH IN on Andy's face. Eyes hollow. His beaten 
	expression says it all... 

205	EXT -- PRISON YARD -- DAY (1966) 205

	Red finds Andy sitting in the shadow of the high stone wall, 
	poking listlessly through the dust for small pebbles. Red 
	waits for some acknowledgment. Andy doesn't even look up. 
	Red hunkers down and joins him. Nothing is said for the 
	longest time. And then, softly: 

				ANDY 
		My wife used to say I'm a hard man 
		to know. Like a closed book. 
		Complained about it all the time. 
			(pause) 
		She was beautiful. I loved her. But 
		I guess I couldn't show it enough. 
			(softly) 
		I killed her, Red. 

	Andy finally glances to Red, seeking a reaction. Silence. 

				ANDY 
		I didn't pull the trigger. But I 
		drove her away. That's why she 
		died. Because of me, the way I am. 

				RED 
		That don't make you a murderer. Bad 
		husband, maybe. 

	Andy smiles faintly in spite of himself. Red gives his 

	shoulder a squeeze. 

				RED 
		Feel bad about it if you want. But 
		you didn't pull the trigger. 

				ANDY 
		No. I didn't. Someone else did, and 
		I wound up here. Bad luck, I guess. 

				RED 
		Bad luck? Jesus. 

				ANDY 
		It floats around. Has to land on 
		somebody. Say a storm comes 
		through. Some folks sit in their 
		living rooms and enjoy the rain. 
		The house next door gets torn out 
		of the ground and smashed flat. It 
		was my turn, that's all. I was in 
		the path of the tornado. 
			(softly) 
		I just had no idea the storm would 
		go on as long as it has. 
			(glances to him) 
		Think you'll ever get out of here? 

				RED 
		Sure. When I got a long white beard 
		and about three marbles left 
		rolling around upstairs. 

				ANDY 
		Tell you where I'd go. Zihuatanejo.

				RED 
		Zihuatanejo? 

				ANDY 
		Mexico. Little place right on the 
		Pacific. You know what the Mexicans 
		say about the Pacific? They say it 
		has no memory. That's where I'd 
		like to finish out my life, Red. A 
		warm place with no memory. Open a 
		little hotel right on the beach. 
		Buy some worthless old boat and fix 
		it up like new. Take my guests out 
		charter fishing. 
			(beat) 
		You know, a place like that, I'd 
		need a man who can get things. 

	Red stares at Andy, laughs. 

				RED 
		Jesus, Andy. I couldn't hack it on 
		the outside. Been in here too long. 
		I'm an institutional man now. Like 
		old Brooks Hatlen was. 

				ANDY 
		You underestimate yourself. 

	-

				RED 
		Bullshit. In here I'm the guy who 
		can get it for you. Out there, all 
		you need are Yellow Pages. I 
		wouldn't know where to begin. 
			(derisive snort) 
		Pacific Ocean? Hell. Like to scare 
		me to death, somethin' that big. 

				ANDY 
		Not me. I didn't shoot my wife and 
		I didn't shoot her lover, and 
		whatever mistakes I made I've paid 
		for and then some. That hotel and 
		that boat...I don't think it's too 
		much to want. To look at the stars 
		just after sunset. Touch the sand. 
		Wade in the water. Feel free. 

				RED 
		Goddamn it, Andy, stop! Don't do 
		that to yourself! Talking shitty 
		pipedreams! Mexico's down there, 
		and you're in here, and that's the 
		way it is! 

				ANDY 
		You're right. It's down there, and 
		I'm in here. I guess it comes down 
		to a simple choice, really. Get 
		busy living or get busy dying. 

	Red snaps a look. What the hell does that mean? Andy rises and
	walks away. Red lunges to his feet. 

				RED 
		Andy? 

				ANDY 
			(turns back) 
		Red, if you ever get out of here, 
		do me a favor. There's this big 
		hayfield up near Buxton. You know 
		where Buxton is? 

				RED 
			(nods) 
		Lots of hayfields there. 

				ANDY 
		One in particular. Got a long rock 
		wall with a big oak at the north 
		end. Like something out of a Robert 
		Frost poem. It's where I asked my 
			(MORE) 



				ANDY (cont.) 
		wife to marry me. We'd gone for a 
		picnic. We made love under that 
		tree. I asked and she said yes. 
			(beat) 
		Promise me, Red. If you ever get 
		out, find that spot. In the base of 
		that wall you'll find a rock that 
		has no earthly business in a Maine 
		hayfield. A piece of black volcanic 
		glass. You'll find something buried 
		under it I want you to have. 

				RED 
		What? What's buried there? 

				ANDY 
		You'll just have to pry up that 
		rock and see. 

	Andy turns and walks away. 

206	INT -- MESS HALL -- DAY (1966) 

				RED 
		I tell you, the man was talkin' 
		crazy. I'm worried, I truly am. 

				SKEET 
		We ought to keep an eye on him. 

				JIGGER 
		That's fine, during the day. But 
		at night he's got that cell all to 
		himself. 

				HEYWOOD 
		Oh Lord. Andy come down to the 
		loading dock today. Asked me for a 
		length of rope. Six foot long. 

				SNOOZE 
		Shit! You gave it to him? 

				HEYWOOD 
		Sure I did. I mean why wouldn't I?

				FLOYD 
		Christ! Remember Brooks Hatlen? 

				HEYWOOD 
		How the hell was I s'pose to know? 

				JIGGER 
		Andy'd never do that. Never. 

	They all look to Red. 

				RED 
		Every man's got a breaking point. 

207	EXT -- PRISON YARD -- ANGLE ON P.A. -- DUSK (1966) 207

				VOICE (over P.A.) 
		Report to your cellblocks for 
		evening count. 

	BOOM DOWN to Red and the boys. Convicts drift past them.

				FLOYD 
		Where the hell is he? 

				HEYWOOD 
		Probably still up in the warden's. 

				TOWER GUARD 
			(via bullhorn) 
		YOU MEN! YOU HEAR THAT ANNOUNCEMENT 
		OR ZUST TOO STUPID TO UNDERSTAND? 

				SKEET 
		Christ. What do we do? 

				FLOYD 
		Nothing we can do. Not tonight. 

				HEYWOOD 
		Let's pull him aside tomorrow, all 
		of us. Have a word with him. Ain't 
		that right, Red? 

				RED 
			(unconvinced) 
		Yeah. Sure. That's right. 

20B	INT -- NORTON'S OFFICE -- NIGHT (1966) 208

	Andy's working away. Norton pokes his head in. 

				NORTON 
		Lickety-split. I wanna get home. 

				ANDY 
		Just about done, sir. 

	We follow Norton to his wife's sampler. He swings it aside, 
	works the combination dial, opens the wall safe. Andy moves up,
	shoves in the black ledger and files. Norton shuts the safe. 

				ANDY 
		Three deposits tonight. 

	Andy hands him the envelopes. Norton heads for the door. 

				NORTON 
		Get my stuff down t'laundry. And 
		shine my shoes. I want 'em lookin' 
		like mirrors. 
			(pauses at door) 
		Nice havin' you back, Andy. Place 
		just wasn't the same without you. 

	Norton exits. Andy turns to the laundry. He opens the shoebox. 
	Nice pair of dress shoes inside. He sighs, glances down at the 
	old ragged pair of work shoes on his own feet. 

209	INT -- NORTON'S OFFICE -- NIGHT (1966) 209

	Andy is diligently shining Norton's shoes. 

210	INT -- PRISON CORRIDOR -- NIGHT (1966) 210

	Andy trudges down the hallway, laundry slung over his shoulder, 

211	INT -- CELLBLOCK FIVE -- NIGHT (1966) 211

	Andy nods to the GUARD. The guard BUZZES him through. 

212	INT -- RED'S CELL -- NIGHT (1966) 212

	Red hears Andy coming, moves to the bars. He watches Andy come 
	up to the second tier and pause before his cell. 

				GUARD (O.S.) 
		Open number twelve! 

	Andy gazes directly at Red. A beat of eye contact. Red shakes 
	his head. Don't do it. Andy smiles, eerily calm...and enters 
	his cell. The door closes. KA-THUMP! We hold on Red's face. 

213	INT -- ANDY'S CELL -- NIGHT (1966) 213

	Andy is polishing a chess piece. 

				VOICE (O.S.) 
		Lights out! 

	The lights bump off. He finishes polishing, holds up the piece 
	to admire. A pawn. He sets it down with the others -- and we 
	realize it's the final glance for the board. A full set. 

	He gazes up at Racquel and smiles. Pulls a six foot length of 
	rope from under his pillow. Lets it uncoil to the floor. 

214	INT -- RED'S CELL -- NIGHT (1966) 214

	Red sits in the dark, a bundle of nerves, trying to hold 

	himself still. He feels like he might scream or shake to 
	pieces. The seconds tick by, each an eternity. 

				RED (V.O.) 
		I have had some long nights in 
		stir. Alone in the dark with 
		nothing but your thoughts, time can 
		draw out like a blade... 

	A FLASH OF LIGHTNING outside his window sends harsh barred 
	shadows jittering across the cell. A storm breaking. 

				RED (V.O.) 
		That was the longest night of my 
		life... 

215	INT -- CELLBLOCK FIVE -- MORNING (1966) 215

	KA-THUMP! The master lock is thrown. The cons emerge from 
	their cells and the headcount begins. Red looks back to see if 
	Andy's in line. He's not. Suddenly the count stalls: 

				GUARD 
		Man missing on tier two! Cell 12! 

	The head bull, HAIG, checks his list: 

				HAIG 
		Dufresne? Get your ass out here, 
		boy! You're holding up the show! 
			(no answer) 
		Don't make me come down there now! 
		I'll thump your skull for you! 

	Still no answer. Glaring, Haig stalks down the tier, clipboard 
	in hand. His men fall in behind. 

				HAIG 
		Dufresne, dammit, you're putting me 
		behind! You better be sick or dead 
		in there, I shit you not! 

	They arrive at bars. Their faces go slack. Stunned. Softly: 

				HAIG 

	Oh my Holy God. 

216 	REVERSE ANGLE 216

	reveals the cell is empty. Everything neat and tidy. Even the 
	bunk is stowed. They wrench the door open and rush in, tossing 
	the cell in a panic as if Andy might be lurking under the 
	Kleenex or the toothpaste. CAMERA ROCKETS IN on Haig as he 
	spins toward us, bellowing at the top of his lungs: 

				HAIG 
		WHAT THE FUCK! 

217	INT -- NORTON'S OFFICE -- MORNING (1966) 217

	Norton is kicking back with the morning paper. He notices ha
	dingy his shoes are. He glances at the shoebox on the desk. 
	kicks his shoes off, opens the box -- and gulls out Andy's o
	grimy work shoes. He stares blankly. What the fuck indeed. 

	An ALARM STARTS BLARING throughout the prison. He looks up. 

218	EXT -- PRISON -- DAY (1966) 218

	Norton and Hadley stride across the grounds, ALARM BLARING. 

				NORTON 
		I want every man on that cellblock 
		questioned! Start with that friend 
		of his! 

				HADLEY 
		who? 

219	INT -- CELLBLOCK FIVE -- RED'S CELL -- DAY (1966) 219

	Red watches as Norton storms up with an entourage of guards.


				NORTON 
		Him. 

	Red's eyes widen. Guards yank him from his cell. 

220	INT -- ANDY'S CELL -- DAY (1966) 220

	Norton steps to the center of the room, working himself up 
	into a fine rage: 

				NORTON 
		What do you mean "he just wasn't 
		here?" Don't say that to me, Haig! 
		Don't say that to me again! 

				HAIG 
		But sir! He wasn't! He isn't! 

				NORTON 
		I can see that, Haig! You think I'm 
		blind? Is that what you're saying? 
		Am I blind, Haig? 

				HAIG 
		No sir! 

	Norton grabs the clipboard and thrusts it at Hadley. 

				NORTON 
		What about you? You blind? Tell me 
		what this is! 

				HADLEY 
		Last night's count. 

				NORTON 
		You see Dufresne's name? I sure do! 
		Right there, see? "Dufresne." He 
		was in his cell at lights out! 
		Stands to reason he'd still be here 
		this morning! I want him found! Not 
		tomorrow, not after breakfast! Now! 

	Haig scurries out, gathering men. Norton spins to Red. 

				NORTON 
		Well? 

				RED 
		Well what? 

				NORTON 
		I see you two all the time, you're 
		thick as thieves, you are! He 
		must'a said something! 

				RED 
		No sir, he didn't! 

	Norton spreads his arms evangelist-style, spins slowly around.

				NORTON 
		Lord! It's a miracle! Man up and 
		vanished like a fart in the wind! 
		Nothin' left but some damn rocks on 
		the windowsill and that cupcake on 
		the wall! Let's ask her! Maybe she 
		knows! What say there, Fuzzy- 
		Britches? Feel like talking? Guess 
		not. Why should you be different? 

	Red exchanges looks with the guards. Even they're nervous. 
	Norton scoops a handful rocks off the sill. He hurls them at
	the wall one at a time, shattering them, punctuating his words:

				NORTON 
		It's a conspiracy! (SMASH) That's 
		what this is! (SMASH) It's one big 
		damn conspiracy! (SMASH) And 
		everyone's in on it! (SMASH) 
		Including her! 

	He sends the last rock whizzing right at Racquel. 
	No smash. 

	It takes a moment for this to sink in. All eyes go to her. The 
	rock went through her. There's a small hole in the poster 
	where her navel used to be. 

	You could hear a pin drop. Norton reaches up, sinks his finger 
	into the hole. He keeps pushing...and his entire hand 
	disappears into the wall. 

221 	ANGLE FROM BEHIND POSTER 221

	as Norton rips the poster from before our eyes. Stunned faces 
	peer in. CAMERA PULLS SLOWLY BACK...to reveal the long 
	crumbling tunnel in the wall. 

222	INT -- ANDY'S CELL -- MINUTES LATER (1966) 222

	RORY TREMONT, a guard barely out of his teens, tries not to 
	look nervous as they lash a rope around his chest. He's 
	getting instructions from six different people at once. 

				RED (V.O.) 
		They got this skinny kid named Rory 
		Tremont to go in the hole. He wasn't 
		much in the brains department, but 
		he possessed the one most important 
		qualification for the job... 
			(they slap a flashlight 
		in his hands) 
		...he was willing to go. 

223	INT -- TUNNEL -- DAY (1966) 223

	Rory squeezes down the tunnel on his belly. 

				RED (V.O.) 
		Probably thought he'd win a Bronze 
		Star or something. 

224	INT -- VERTICAL SHAFT -- DAY (1966) 224

	Dark as midnight. Concrete walls rise on both sides. If you 
	imagine them as two huge slices of bread, the meat of this 
	particular sandwich is about three feet of airspace and a dark
	tangle of pipes between the cellblocks. Rory's appears, shining
	his flashlight down the shaft. Somewhere, a rat SQUEAKS. 

				RED (V.O.) 
		It was his third day on the job. 

				RORY 
		Warden? There's a space here 
		between the walls 'bout three feet 
		across! Smells pretty damn bad! 

				NORTON (O.S.) 
		I don't care what it smells like! 

				HADLEY (O.S.) 
		Go on, boy! We got a hold of you! 

	Looking none too happy about it, Rory squeezes from the tunnel 
	and dangles into the shaft. He gets lowered, shining his 
	light, smothered by darkness. Not having a good time. 

				RORY 
		Hoo-whee! Smell's gettin' worse! 

				NORTON (O.S.) 
		Never mind, I said! Just keep going! 

				RORY 
		Smells pretty damn bad, Warden! In 
		fact, it smells just like shit. 

	His feet touch the ground -- or what he assumed was the 
	ground. It's not. In fact, it's just what it smells like. He 
	sinks in past his ankles. He slips and sits heavily in it. 

				RORY 
		Oh God, that's what it is, it's 
		shit. oh my God it's shit. pull me 
		out 'fore I blow my groceries, oh 
		shit it's shit, oh my Gawwwwwwd! 

225	INT -- ANDY'S CELL -- DAY (1966) 225

	Red and others listen to violent barfing from below. 

				RED (V.O.) 
		And then came the unmistakable 
		sound of Rory Tremont losing his 
		last few meals. The whole cellblock 
		heard it. I mean, it echoed. 

	That's it for Red. He starts laughing. Laughing, hell, he's 
	bellowing laughter, laughing so hard he has to hold himself, 
	laughing so hard tears are pouring down his cheeks. The look 
	of rage on Norton's face makes him laugh all the harder. 

226	INT -- SOLITARY WING -- NIGHT (1966) 226

	Abrupt silence. LOW ANGLE on steel door. 

				RED (V.O.) 
		I laughed myself right into 
		solitary. Two week stretch. 

227	INT -- SOLITARY -- NIGHT (1966) 227

				RED 
		It's shit, it's shit, oh my God 
		it's shit... 

	He starts laughing all over again, fit to split. 

				RED (V.O.) 
		Andy once talked about doing easy 
		time in the hole. Now I knew what 
		he meant. 

228	EXT -- SHAWSHANK PRISON -- WIDE SHOT -- DAY (1966) 228

	Virgin landscape. Charming rural road. Suddenly, State Police
	cruisers rocket up the road with SIRENS AND LIGHTS. 

				RED (V.O.) 
		In 1966, Andy Dufresne escaped from 
		Shawshank Prison. 

229	EXT -- FIELD -- DAY (1966) 229

	Shawshank is half a mile distant. WE TRACK ALONG a muddy creel
	as STATE TROOPERS and PRISON GUARDS scour the brush. A TROOPEE
	fishes a prison uniform out of the creek with a long stick. 

				RED (V.O.) 
		All they found of him was a muddy 
		set of prison clothes, a bar of 
		soap, and an old rock-hammer damn 
		near worn down to the nub. 

	TROOPER g2 pulls the rock-hammer from the weeds. SWISH PAN 
	to a POLICE PHOTOGRAPHER. His FLASHBULB GLARE produces: 

230 	A BLACK AND WHITE STILL PHOTO 230

	of the hapless cops posing with Andy's reeking uniform and the
	worn rock-hammer. PUSH IN on the hammer. 

				RED (V.O.) 
		I remember thinking it would take a 
		man six hundred years to tunnel 
		through the wall with it. Andy did 
		it in less than twenty. 

231	INT -- ANDY'S CELL -- NIGHT (1949) 231

	Once again, we see Andy using the rock-hammer to scratch his

	name into the cement. Suddenly, a palm-sized chunk of cement 
	pops free and hits the floor. He stares down at it. 

232	INT -- ANDY'S CELL -- NIGHT (1949) 232

	Andy lies in the dark, studying the chunk of concrete in his 
	hands. Considering the possibilities. Wrestling with hope. 

				RED (V.O.) 
		Andy loved geology. I imagine it 
		appealed to his meticulous nature. 
		An ice age here, a million years of 
		mountain-building there, plates of 
		bedrock grinding against each other 
		over a span of millennia... 

233	INT -- ANDY'S CELL -- NIGHT (1949) 233

	Andy stands peering at the small hole left by the fallen 
	chunk. Carefully runs his fingertip over it. 

				RED (V.O.) 
		Geology is the study of pressure 
		and time. That's all it takes, 
		really. Pressure and time. 

234	INT -- ANDY'S CELL -- NIGHT (1951) 234

	Rita is now on the wall, hanging down over Andy's back. 

				RED (V.O.) 
		That and a big damn poster. 

	TRACK IN to reveal Andy scraping patiently at the concrete. 

				RED (V.O.) 
		Like I said. In prison, a man'll do 
		most anything to keep his mind 
		occupied. 

	He hears FOOTSTEPS approaching. He smoothes the poster down and 
	dives into bed. A GUARD strolls by a moment later, shining his 
	flashlight into the cell. 

235	EXT -- PRISON YARD -- DAY (1953) 235

	Andy strolls along, whistling softly, hands in both pockets. 
	TILT DOWN to his pantleg. Concrete grit trickles out. 

				RED (V.O.) 
		It turns out Andy's favorite hobby 
		was totin' his wall out into the 
		exercise yard a handful at a time... 

236	INT -- 2ND TIER -- NIGHT (1962) 236

	A GUARD strolls the tier, shining his flashlight into the 
	cells. He pauses at Andy's bars, playing the beam over the 
	sleeping form huddled under the blankets. 

	p37 REVERSE ANGLE (FROM INS1DE ANDY'S CELL) 237

	We see what the guard doesn't: instead of Andy's head under 
	the blanket, it's a wadded-up pillow. The flashlight plays 
	across the cell, pinning Marilyn Monroe in a circle of light. 

238 	ANGLE FROM BEHIND POSTER 238

	The light illuminates her face through the paper. WIDEN to 
	reveal Andy lying in his tunnel, holding his breath. The 
	light clicks off. The FOOTSTEPS move on. He gets back to work. 

				RED (V.O.) 
		While the rest of us slept, Andy 
		spent years workin' the nightshift... 

239	INT -- SHAFT -- NIGHT (1965) 239

	BOOMING SLOWLY UP the shaft. Rats scurry the pipes. Suddenly, r
	piece of concrete the size of a quarter jumps free and plummets
	down the shaft as the rock-hammer pushes through. The pick 
	withdraws, replaced by Andy's peering eye. 

240 	A SERIES OF DISSOLVES (1965 through 1966) 240

	takes us through the widening of the hole. First as big as a 
	tea cup. Then a saucer. Then a dinner plate. 

				RED (V.O.) 
		Probably took him most of a year 
		just to get his head through. 

	Andy finally gets his head through, scraping his ears. He's 
	got a penlight clenched in his teeth. He peers down into the 
	shaft. At the very bottom, maybe 20 feet down, a big ceramic 
	pipe runs the length of the cellblock. Beneath its coat of 
	grime and dust, the word "SEWER" is stenciled. 

241	EXT -- LOADING DOCK ACCESS -- NIGHT (1966) 241

	ANGLE LOOKING STRAIGHT DOWN. Below us, Tommy Williams lies 
	facedown at Norton's feet. Blood is spreading, fanning out oa 
	the pavement. Norton turns, strolls out of frame. 

				RED (V.O.) 
		I guess after Tommy was killed, 
		Andy decided he'd been here just 
		about long enough. 

	Again we see: Andy working. Norton pokes his head in. 

				NORTON 
		Lickety-split. I wanna get home. 

				ANDY 
		Just about done, sir. 

	Norton crosses to the wall safe and works the dial, his back 
	turned. This time, though, we stay on Andy: 

	He pulls up his sweater, yanks out a large black book and a 
	stack of files, lays them on the desk. He then grabs the real 
	ledger and files, jams them down his pants and smoothes his 
	sweater down. He picks up the bogus stack, crosses to Norton, 
	and shoves everything in. 

243	INT -- HALLWAY -- NIGHT (1966) 243

	Norton exits his office and strolls off whistling. PUSH IN on 
	the open door. We see Andy at the guard's desk, pulling 
	Norton's dress shoes from their box. 

				RED (V.O.) 
		Andy did like he was told. Buffed 
		those shoes to a high mirror shine. 

244	INT -- NORTON'S OFFICE -- MINUTES LATER (1966) 244

	Andy sorts through Norton's three suits. He pauses, checking 
	the gray pinstripe. Nice. 

245	INT -- CELLBLOCK FIVE -- NIGHT (1966) 245

	The guard BUZZES Andy through. Andy walks toward us. 

				RED (V.O.) 
		The guard simply didn't notice. 
		Neither did I. I mean, seriously, 
		how often do you really look at a 
		man's shoes? 

	TILT DOWN as he passes by. Yep, he's wearing Norton's shoes. 

246	INT -- ANDY'S CELL -- NIGHT (1966) 246

	The lights go out. Andy places the last chess piece. Gazes up 
	at Racquel. Smiles. Pulls the rope from under his pillow. 
	He stands and unbuttons his prison shirt, revealing Norton's 
	gray pinstripe suit underneath. A FLASH OF LIGHTNING floods the 
	cell, throwing wild shadows. 

247	INT -- ANDY'S CELL -- NIGHT (1966) 247

	The storm rages. Andy, naked, carefully slips Norton's folded 
	suit into a large industrial Zip-Lock bag. Next to go in are the
	shoes, chess pieces (already in a smaller bag), black ledger en
	files. Last but not least, a bar of soap wrapped in a towel. 

248	INT -- TUNNEL -- NIGHT (1966) 248

	Andy, again wearing prison clothes, inches down the tunnel. 

249	INT -- SHAFT -- NIGHT (1966) 249

	Andy squeezes through the hole head-first, emerges to the waist,
	He reaches for the opposite wall, manages to snag a steel 
	conduit with his fingers. 

	Suddenly, a huge rat darts for his hand. Andy yanks away and 
	almost plummets head-first down the shaft. He dangles wildly 
	upside-down for a moment, arms windmilling, then gets his 
	hands pressed firmly against the opposite wall. The rat 
	scurries off, pissed. 

	Andy snags the conduit again. He contorts out of the hole and
	dangles into the shaft. We now see the purpose for the rope: the
	plastic bag hangs from his ankle with about two feet of slack,

	He kicks his legs across the shaft, gets his feet braced. Wit3
	his back against one wall and feet against the other, he 
	starts down the shaft. Sliding dangerously. Using pipes for 
	handholds. Flinching as rats dart this way and that, scurrying
	in the shadows. He drops the last few feet to the bottom. 

	He approaches the ceramic sewer pipe and kneels before it. 
	Pulls out the rock-hammer and says a quick silent prayer. 
	Raises the rock-hammer high and swings it down with all his 
	might. Once, twice -- third time lucky. An enormous eruption 
	of sewage cascades into the air as if rocket-propelled, the 
	Mount St. Helens of shit. Andy is instantly coated black. He 
	turns away and heaves his guts out. The shit keeps coming. 

250	INT -- SEWER PIPE -- NIGHT (1966) 250

	Andy peers down through the hole, playing his penlight aroun5,
	The inside diameter is no more than two feet. Tight squeeze. 
	Coated with crud. It seems to go on for miles. 

	No turning back. He wriggles into the pipe and starts 
	crawling, plastic bag dragging behind. 

				RED (V.O.) 
		Andy crawled to freedom through 
		five hundred yards of shit-smelling 
		foulness I can't even imagine. Or 
		maybe I just don't want to. 

251	EXT -- FIELD -- NIGHT (1966) 251

	Rain is falling in solid sheets. Shawshank is half a mile 
	distant. BOOM DOWN to reveal the creek...and PUSH IN toward the 
	mouth of the sewer pipe that feeds into it. 

				RED (V.O.) 
		Five hundred yards. The length of 
		five football fields. Just shy of 
		half a mile. 

	Fingers appear, thrusting through the heavy-gauge wire mesh 
	covering the mouth of the pipe. Andy's face looms from the 
	darkness, peering out at freedom. He wrenches the mesh loose, 
	pushes himself out, and plunges head-first into the creek. He 
	comes up sputtering for breath. The water is waist-deep. 

	He wades upstream, ripping his clothes from his body. He gets 
	his shirt off, spins it through the air over his head, flings 
	the shirt away. He raises his arms to the sky, turning slowly, 
	feeling the rain washing him clean. Exultant. Triumphant. A 
	FLASH OF LIGHTNING arcs from horizon to horizon. 

252	INT -- ANDY'S TUNNEL -- DAY (1966) 252

	Once again, we see stunned faces as CAMERA PULLS BACK. 

				RED (V.O.) 
		The next morning, right about the 
		time Racquel was spilling her 
		little secret... 

253	INT -- CASCO BANK OF PORTLAND -- MORNING (1966) 253

	The door opens. Spit-shined shoes enter. DOLLY the shoes to 
	the counter. 

				RED (V.O.) 
		...a man nobody ever laid eyes on 
		before strolled into the Casco Bank 
		of Portland. Until that moment, he 
		didn't exist -- except on paper. 

				FEMALE TELLER (O.S.) 
		May I help you? 

	TILT UP to Andy. Smiling in Norton's gray pinstripe suit.

				ANDY 
		My name is Peter Stevens. I've come 
		to close out some accounts. 

254	INT -- BANK -- SHORTLY LATER (1966) 254

	The teller is cutting a cashier's check while the MANAGER 

	carefully examines Mr. Stevens' various I.D.s. 

				RED (V.O.) 
		He had all the proper I.D. Driver's 
		license, birth certificate, social 
		security card. The signature was a 
		spot-on match. 

				MANAGER 

	I must say I'm sorry to be losing 
	your business. I hope you'll enjoy 
	living abroad. 

				ANDY 
		Thank you. I'm sure I will. 

				TELLER 
		Here's your cashier's check, sir. 
		Will there be anything else? 

				ANDY 
		Please. Would you add this to your 
		outgoing mail? 

	He hands her a package, stamped and addressed. Gives them a 
	pleasant smile. Turns and strolls from the bank. 

				RED (V.O.) 
		Mr. Stevens visited nearly a dozen 
		banks in the Portland area that 
		morning. All told, he blew town 
		with better than 370 thousand 
		dollars of Warden Norton's money. 
		Severance pay for nineteen years. 

255	INT -- OFFICE -- DAY (1966) 255

	A MAN in shirtsleeves is going through the mail on his desk. 
	He finds Andy's package, rips it open. Pulls out the black 
	ledger and files. Scans a cover letter. Holy shit. He dashes 
	to his door and yanks it open, revealing the words on the 
	glass: "PORTLAND DAILY BUGLE -- Editor In Chief." 

				MAN 
		Hal! Dave! Get your butts in here! 

256	INT -- SHAWSHANK PRISON -- DAY (1966) 256

	Norton walks slowly toward his office. Dazed. The morning 
	paper in his hand. He goes wordlessly past the DUTY GUARD into 
	his office. Shuts the door. Lays the paper on his desk. 

	The headline reads: "CORRUPTION AND MURDER AT SHAWSHANK." 
	Below that, the sub-headline: "D.A. Has Ledger. Indictments 
	Expected." Norton looks up as SIRENS SWELL in the distance.

257	EXT -- SHAWSHANK PRISON -- WIDE SHOT -- DAY (1966) 257

	For the second time, State Police cruisers go rocketing up the
	road with SIRENS AND LIGHTS. 

258	INT -- NORTON'S OFFICE -- DAY (1966) 258

	Norton opens his safe and pulls out the "ledger" -- it's 
	Andy's Bible. The title page is inscribed by hand: "Dear 
	Warden. You were right. Salvation lay within." Norton flips to
	the center of the book -- and finds the pages hollowed out in
	the shape of a rock-hammer. 

259	EXT -- PRISON -- DAY (1966) 259

	Police cruisers everywhere. A media circus. REPORTERS jostle
	for position. A colorless DISTRICT ATTORNEY steps forward into
	CLOSEUP, flanked by a contingent of S.ATE TROOPERS. 

				D.A. 
		Byron Hadley? 

	ANGLE SHIFTS to reveal Captain Hadley. Staring. Waiting. 

				D.A. 
		You have the right to remain 
		silent. If you give up that 
		right, anything you say will be 
		used against you in court... 

	TROOPERS move in, cuffing Hadley's hands behind his back. The
	D.A. drones on. FLASHBULBS POP. Hadley says nothing. His face
	scrunches up. He begins to cry. 

				RED (V.O.) 
		I wasn't there to see it, but I hear 
		Byron Hadley was sobbing like a 
		little girl when they took him away. 

	Hadley sobs all the way to the car. The D.A. snaps a gaze up
	toward Norton's window, motions his men to follow. 

260	INT -- NORTON'S OFFICE -- DAY (1966) 260

	Norton is staring out the window as they approach the 
	building. He goes to his desk, opens a drawer. Inside lies a
	revolver and a box of shells. 

				RED (V.O.) 
		Norton had no intention of goin' 
		that quietly. 

261	INT -- PRISON CORRIDORS -- DAY (1966) 261

	The D.A. marches along amidst a phalanx of TROOPERS. 

262	INT -- NORTON'S OFFICE -- DAY (1966) 262

	Norton sits blankly at his desk, revolver before him. The 
	doorknob rattles, a VOICE is heard: 

				D.A. (O.S.) 
		Samuel Norton? We have a warrant 
		for your arrest! Open up! 

	The POUNDING starts. Norton dumps the box of bullets out on thr
	desk. He starts sorting them to see which ones he likes. 

263 	OUTSIDE HIS OFFICE 263

	Troopers hustle the hapless duty guard to Norton's door as he
	fumbles nervously with a huge key ring. 

				DUTY GUARD 
		I'm not sure which one it is... 

	He starts trying keys in the lock. And as the keys go sliding
	in one after another... 

264	INT -- NORTON'S OFFICE -- DAY (1966) 264

	...so do the bullets. Norton is riveted to the door. For every
	key, he loads another bullet. Methodical and grim. He gets the
	final bullet in just as the right key slams home. The door 
	bursts open. Men muscle in. Somebody SHOUTS. Troopers dive in
	all directions as Norton raises the gun -- 

	-- and jams it under his chin. his head snaps back as the wall
	goes red. His swivel chair does a slow half-turn and creaks to
	a final stop. Troopers rise slowly, gazing in horror. 

				RED (V.O.) 
		I like to think the last thing that 
		went through his head...other than 
		that bullet...was to wonder how the 
		hell Andy Dufresne ever got the 
		best of him. 

	PUSH SLOWLY to the wall to reveal Mrs. Norton's framed sampler
	trickling blood and brains...and we get our final Bible lesson
	for today: "HIS JUDGMENT COMETH AND THAT RIGHT SOON." 

265	EXT -- PRISON YARD -- DAY (1966) 265

	Mail call. Red hears his name. They pass him a postcard. 

				RED (V.O.) 
		Not long after the warden deprived 
		us of his company, I got a postcard 
		in the mail. It was blank. But the 
		postmark said, "McNary, Texas." 

266	INT -- LIBRARY -- DAY (1966) 266

	Red sits with an atlas, tracing his finger down the page. 

				RED (V.O.) 
		McNary. Right on the border. That's 
		where Andy crossed. 
			(shuts the book) 
		When I picture him heading south in 
		his own car with the top down, it 
		makes me laugh all over again... 

267	EXT -- MEXICO -- HIGHWAY -- DAY (1966) 267

	A red convertible rips along with Andy at the wheel, cigar 
	jutting from his grin, warm wind fluttering his tie. 

				RED (V.O.) 
		Andy Dufresne, who crawled through 
		a river of shit and came out clean 
		on the other side. Andy Dufresne, 
		headed for the Pacific. 

268	INT -- MESS HALL -- DAY (1966) 268

	Heywood is regaling the table with some anecdote about Andy. 

				RED (V.O.) 
		Those of us who knew him best talk 
		about him often. I swear, the stuff 
		he pulled. It always makes us laugh. 

	A wild burst of laughter. PUSH IN on Red. Feeling melancholy.

				RED (V.O.) 
		Sometimes it makes me sad, though, 
		Andy being gone. I have to remind 
		myself that some birds aren't meant 
		to be caged, that's all. Their 
		feathers are just too bright... 

269	EXT -- FIELDS -- LATE DAY (1966) 269

	Convicts hoe the fields. Guards patrol on horseback. 

				RED (V.O.) 
		...and when they fly away, the part 
		of you that knows it was a sin to 
		lock them up does rejoice...but still, 
		the place you live is that much more 
		drab and empty that they're gone. 

	A DISTANT RUMBLE OF THUNDER. Red pauses, gazes off. Storm 
	clouds coming in, backlit by the sun. A light drizzle begins. 

				RED (V.O.) 
		I guess I just miss my friend. 

270	INT -- PRISON CELL -- NIGHT (1966) 270

	Red is sleeping. He wakes with a start. 

				RED (V.O.) 
		But there are times I curse him for 
		the dreams he left behind... 

	He senses a presence, looks over his shoulder. There's a Rita 
	Hayworth poster on his wall. He gets out of bed. Rita just 

	keeps smiling, inscrutable. As Red watches, a brilliant 
	round glow builds behind the poster, shining from the 
	tunnel. The poster rips free, charred to ash in the blink 
	of an eye as a shaft of holy white light stabs into the 
	cell. Sunlight. Red staggers back against the glare. 

	A whirlwind kicks up, whipping everything into the air. The 
	hole in the wall is like a giant vacuum cleaner -- papers, 
	book, toiletries, bedding -- if it ain't nailed down, it gets 
	sucked down the hole toward the light. Red fights it, but the 
	suction drags him closer and closer... 

271 	RED'S POV 271

	...and CAMERA rockets into the hole, getting sucked down an 
	endless tunnel at impossible speed, the ROAR of air mixing 
	with his drawn-out SCREAM, closer and closer to the light... 

	...and erupting out the other side into total silence and a 
	beautiful white beach. The Pacific Ocean before us. Enormous. 
	Mind-blowing. Beautiful beyond description. All we hear now 
	are the gentle sound of waves. 

				RED (V.O.) 
		...dreams where I am lost in a warm 
		place with no memory. 

	A lone figure stands at water's edge. CAMERA KEEPS MOVING, 
	coming up behind him and TRACKING AROUND to reveal -- Red. 

				RED (V.O.) 
		An ocean so big it strikes me dumb. 
		Waves so quiet they strike me deaf. 
		Sunshine so bright it strikes me 
		blind. It is a place that is blue 
		beyond reason. Bluer than can 
		possibly exist. Bluer than my mind 
		can possibly grasp. 

272 	AERIAL SHOT 272

	Nothing for a million miles but beach, sky, and water. Red is 
	a tiny speck at water's edge. Just another grain of sand. 

				RED (V.O.) 
		I am terrified. There is no way home. 

273	INT -- RED'S CELL -- NIGHT (1966) 273

	Red wakes from the nightmare. He gets out of bed. Moves to the 
	barred window of his cell. Peers up at the stars. 

				RED (V.O.) 
		Andy. I know you're in that place. 
		Look at the stars for me just after 
		sunset. Touch the sand...wade in 
		the water...and feel free. 

	FADE TO BLACK 

274 	AN IRON-BARRED DOOR 274

	slides open with an enormous CLANG. A stark room beyond. 
	CAMERA PUSHES through. SIX MEN AND ONE WOMAN sit at a long 
	table. An empty chair faces them. We are again in: 

	INT -- SHAWSHANK HEARINGS ROOM -- DAY (1967) 

	Red enters, sits. 20 years older than when we first saw him.

				MAN #1 
		Your file says you've served forty 
		years of a life sentence. You feel 
		you've been rehabilitated? 

	Red doesn't answer. Just stares off. Seconds tick by. The 
	parole board exchanges glances. Somebody clears his throat. 

				MAN #1 
		Shall I repeat the question? 

				RED 
		I heard you. Rehabilitated. Let's 
		see now. You know, come to think of 
		it, I have no idea what that means. 

				MAN #2 
		Well, it means you're ready to 
		rejoin society as a-- 

				RED 
		I know what you think it means. Me, 
		I think it's a made-up word, a poli- 
		tician's word. A word so young fellas 
		like you can wear a suit and tie and 
		have a job. What do you really want 
		to know? Am I sorry for what I did? 

	- ----- 

				MAN g2 
		Well...are you? 

				RED 
		Not a day goes by I don't feel 
		regret, and not because I'm in here 
		or because you think I should. I 
		look back on myself the way I 
		was...stupid kid who did that 
		terrible crime...wish I could talk 
		sense to him. Tell him how things 
		are. But I can't. That kid's long 
		gone, this old man is all that's 
		left, and I have to live with that. 
			(beat) 
		Rehabilitated? That's a bullshit 
		word, so you just go on ahead and 
		stamp that form there, sonny, and 
		stop wasting my damn time. Truth 
		is, I don't give a shit. 

	The parole board just stares. Red sits drumming his fingers. 

	CLOSEUP -- PAROLE FORM 

	A big rubber stamp SLAMS down -- and lifts away to reveal the 
	word "APPROVED" in red ink. 

275	EXT -- SHAWSHANK PRISON -- DAY 275 

	TWO SHORT SIREN BLASTS herald the opening of the main gate. It 
	swings hugely open, revealing Red standing in his cheap suit, 
	carrying a cheap bag, wearing a cheap hat. He walks out, still 
	looking stunned. 

276	INT -- BUS -- DAY 276 

	Red rides the bus, clutching the seat before him, gripped by 
	terror of speed and motion. 

277	EXT -- BREWSTER HOTEL -- LATE AFTERNOON 277 

	Red arrives at the Brewster, three stories high and even less 
	to look at than it used to be. 

27B	INT -- BREWSTER -- LATE DAY 278 

	A BLACK WOMAN leads Red up the stairs toward the top floor. 

279	INT -- RED'S ROOM -- LATE DAY 279 

	Small, old, dingy. An arched window with a view of Congress
	Street. Traffic noise floats up. Red enters and pauses, 
	staring up at the ceiling beam. Carved into the wood are the
	words: "Brooks Hatlen was here." 

280	INT -- FOODWAY MARKET -- DAY 280

	Loud. Jangling with PEOPLE and NOISE. We find Red bagging 
	groceries. Registers are humming, kids are shrieking. Red 
	calls to the STORE MANAGER: 

				RED 
		Sir? Restroom break sir? 

				MANAGER 
			(motions him over) 
		You don't need to ask me every 
		time you go take a piss. Just go. 
		Understand? 

28l	INT -- EMPLOYEE RESTROOM -- DAY 281

	Red steps to the urinal, stares at himself in the wall mirror. 

				RED (V.O.) 
		Thirty years I've been asking 
		permission to piss. I can't squeeze 
		a drop without say-so. 

	A strange east Indian guitar-whine begins. The Beatles. George 
	Harrison's "Within You Without You..." 

282	EXT -- STREET -- DAY 282

	...which carries through as Red walks. People and traffic. He 
	keeps looking at the women. An alien species. 

				RED (V.O.) 
		Women, too, that's the other thing. 
		I forgot they were half the human 
		race. There's women everywhere, 
		every shape and size. I find myself 
		semi-hard most of the time, cursing 
		myself for a dirty old man. 

	TWO YOUNG WOMEN stroll by in cut-offs and t-shirts. 

				RED (V.O.) 
		Not a brassiere to be seen, nipples 
		poking out at the world. Jeezus, 
		pleeze-us. Back in my day, a woman 
		out in public like that would have 
		been arrested and given a sanity 
		hearing. 

283	EXT -- PARK -- DUSK 283

	Red finds the park filled with HIPPIES. Hanging out. 
	Happening. Here's the source of the music: a radio. A HIPPIE 
	GIRL gyrates to the Beatles, stoned, in her own world. 

				RED (V.O.) 
		They're calling this the Summer of 
		Love. Summer of Loonies, you ask me. 

284	INT -- PAROLE OFFICE -- DAY 284

	Red sits across from his PAROLE OFFICER. The P.O. is filling
	out his report. 

				P.O. 
		You staying out of the bars, Red? 

				RED 
		Yes sir. That I am. 

				P.O. 
		How you doing otherwise? Adjusting 
		okay? 

				RED 
		Things got different out here. 

				P.O. 
		Tell me about it. Young punks 
		protesting the war. You imagine? 
		Even my own kid. Oughtta bust his 
		fuckin' skull. 

				RED 
		Guess the world moved on. 

285	INT -- FOODWAY -- DAY 285

	Bagging groceries. CHILDREN underfoot. One points a toy gun at
	Red, pumping the trigger. Red focuses on the gun, listening to
	it CLICKETY-CLACK. Sparky wheel grinding. 

	The kids get swept off by MOM. Red starts bagging the next 
	customer. SLOW PUSH IN on Red. Surrounded by MOTION and NOISE.
	Feeling like the eye of a hurricane. People everywhere, 
	whipping around him like a gale. Strange. Loud. Dizzying. It
	gets distorted and weird, slow and thick, pressing in on him
	from all sides. The noise level intensifies. The hollering of
	children deepens and distends into LOW EERIE HOWLS. 

	He's in the grip of a major anxiety attack. Tries to shake
	himself out of it. Can't. Fumbles the final items into the
	bag. Walks away. Trying not to panic. Trying not to run. 

	He makes his way through the store. Blinking sweat. He bumps
	into a lady's cart, mumbles an apology, keeps going. Breaks 
	into a trot. Down the aisle, cut to the left, through the door
	into the back rooms, faster and faster, running now, slamming
	through a door marked "Employees Only" into -- 

286	INT -- EMPLOYEE RESTROOM -- DAY 286

	-- where he slams the door and leans heavily against it, 
	shutting everything out, breathing heavily. Alone now. 

	He goes to the sink, splashes his face, tries to calm down. 
	He can still hear them out there. They won't go away. He 
	glances around the restroom. Small. Not small enough. 

	He enters a stall. Locks the door. Puts the toilet lid down 
	and sits on the john. Better. He can actually reach out and 
	touch the walls now. They're close. Safe. Almost small enough. 
	He draws his feet up so he can't be seen if somebody walks in. 

	He'll just sit here for a while. Until he calms down. 

287	EXT -- STREET -- DUSK 287

	Red is walking home. 

				RED (V.O.) 
		There is a harsh truth to face. 
		No way I'm gonna make it on the 
		outside. 

	He pauses at a pawnshop window. An array of handguns. 

				RED (V.O.) 
		All I do anymore is think of ways 
		to break my parole. 

	The SHOPKEEPER appears at the glass, locking the door and 
	flipping the sign: CLOSED. 

288	INT -- RED'S ROOM -- NIGHT 288

	Red lies smoking in bed. Unable to sleep. 

				RED (V.O.) 
		Terrible thing, to live in fear. 
		Brooks Hatlen knew it. Knew it all 
		too well. All I want is to be back 
		where things make sense. Where I 
		won't have to be afraid all the time. 

	He glances up at the ceiling beam. "Brooks Hatlen was here." 

				RED (V.O.) 
		Only one thing stops me. A promise 
		I made to Andy. 

289	EXT -- COUNTRY ROAD -- MORNING 289

	A pickup truck rattles up the road trailing dust and pulls to 
	a stop. Red hops off the back, waves his thanks. The truck 

	drives on. Red starts walking. PAN TO a roadside sign: BUXTON. 

290	EXT -- MAINE COUNTRYSIDE -- DAY 290

	High white clouds in a blazing blue sky. The trees fiery with 
	autumn color. Red walks the fields and back-roads, cheap 
	compass in hand. Looking for a certain hayfield. 

291	EXT -- COUNTRYSIDE -- DAY 291

	Walking. Searching. The day turning late. Red finds himself 
	staring at a distant field. There's a long rock wall, like 
	something out o f a Robert Frost poem. Big oak tree. Red checks 
	his compass. North end. He crosses a dirt road into the field. 

292	EXT -- HAYFIELD -- DAY 292

	Red walks the long rock wall, nearing the tree. A squirrel 
	scolds him from a low branch, scurries up higher. Red studies
	the base of the wall. Nothing unusual here. Just a bunch of
	rocks set in stone. He sighs. Fool's errand. Turns to go. 

	Something catches his eye. He walks back, squats, peering 
	closer. Wets a fingertip and rubs a stone. A layer of dust comes 
	off. Volcanic glass. Gleaming black. He tries to get the rock 
	out, anticipation growing. It won't come; it's too smooth. He 
	pulls a pocketknife and levers the rock free. It tumbles at his 
	feet, leaving a ragged hole. 

	Red leans down and solves the mystery at last, staring at the 
	object buried under the rock. Stunned. It's an envelope wrapped 
	in plastic. Written on it is a single word: "Red." 

	Red pulls the envelope out and rises. He just stares at it for 
	a while, almost afraid to open it. But open it he does. Inside 
	is a smaller envelope and a letter. Red begins to read: 

				ANDY (V.O.) 
		Dear Red. If you're reading this, 
		you've gotten out. And if you've 
		come this far, maybe you're willing 
		to come a little further. You 
		remember the name of the town, 
		don't you? I could use a good man 
		to help me get my project on 
		wheels. I'll keep an eye out for 
		you and the chessboard ready. 
			(beat) 
		Remember, Red. Hope is a good 
		thing, maybe the best of things, 
		and no good thing ever dies. I will 
		be hoping that this letter finds 
		you, and finds you well. Your 
		friend. Andy. 

	By now, tears are spilling silently down Red's cheeks. He 
	opens the other envelope and fans out a stack of new fifty- 
	dollar bills. Twenty of them. A thousand dollars. 

293	INT -- RED'S ROOM -- DAY (1967) 293

	Red is dressed in his suit. He finishes knotting his tie, puts 
	his hat on. His bag is by the door. He takes one last look 
	around. Only one thing left to do. He pulls a wooden chair to 
	the center of the room and gazes up at the ceiling beam. 

				RED (V.O.) 
		Get busy living or get busy dying. 
		That is goddamn right. 

	He steps up on the chair. It wobbles under his weight. 

294	INT -- BREWSTER -- RED'S DOOR -- DAY (1967) 294

	The door opens. Red exits with his bag and heads down the 
	stairs, leaving the door open. CAMERA PUSHES through, BOOMING 
	UP to the ceiling beam which reads: "Brooks Hatlen was here." 

	A new message has been carved alongside the old: "So was Red." 

295	INT -- GREYHOUND BUS STATION -- DAY (1967) 295

	TRACKING SHOT reveals a long line of people at the counter. 

				RED (V.O.) 
		For the second time in my life, I 
		am guilty of committing a crime. 

	CAMERA brings us to Red, next in line, bag by his feet. 

				RED (V.O.) 
		Parole violation. I doubt they'll 
		toss up any roadblocks for that. 
		Not for an old crook like me. 

				RED 
			(steps up) 
		McNary, Texas? 

296	EXT -- TRAVELING SHOT -- DAY (1967) 296

	A gorgeous New England landscape whizzes by, fields and trees 
	a blur of motion. ANGLE SHIFTS to reveal a Greyhound Sceni- 
	Cruiser barreling up the road, pulling abreast of us. CAMERA 
	TRAVELS from window to window, passing faces. We finally come 
	to Red gazing out at the passing landscape. 

				RED (V.O.) 
		I find I am so excited I can barely 
		sit still or hold a thought in my 
		head. I think it is the excitement 
		only a free man can feel, a free 
		man at the start of a long journey 
		whose conclusion is uncertain... 
		297 THE BUS 297

	ROARS past camera, dwindling to a mere speck on the horizon. 

				RED (V.O.) 
		I hope I can make it across the 
		border. I hope to see my friend 
		and shake his hand. I hope the 
		Pacific is as blue as it has been 
		in my dreams. 
			(beat) 
		I hope. 

298	EXT -- BEACH -- WIDE PANORAMIC SHOT -- DAY (1967) 298

	A distant boat lies on its side in the sand like an old wreck 
	that's been left to rot in the sun. There's someone out there. 

299 	CLOSER ON BOAT 299

	A MAN is meticulously stripping the old paint and varnish by 
	hand, face hidden with goggles and kerchief mask. 

	Red appears b.g., a distant figure walking out across the 
	sand, wearing his cheap suit and carrying his cheap bag. 

	The man on the boat pauses. Turns slowly around. Red arrives 
	with a smile as wide as the horizon. The other man raises his 
	goggles and pulls down his mask. Andy, of course. 

				ANDY 
		You look like a man who knows how 
		to get things. 

				RED 
		I'm known to locate certain things 
		from time to time. 

	Red shrugs off his jacket and picks up a sander. Together, 
	they start sanding the hull as we 

	FADE OUT 

	THE END



Shawshank Redemption, The



Writers :   Frank Darabont
Genres :   Drama


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