“Physicists propose that two alternate histories, two equally
valid realities, could exist side by side: the one you know, and
the one in which you don’t exist. Time itself may have many
potential dimensions, despite the fact that we are condemned to
experience only one of them.”
---Carl Sagan
“Hey, kids, what time is it?”
--Buffalo Bob Smith “The Howdy Doody Show”
FADE IN:
EXT. OUTER SPACE
The MOTHER SHIP rises above Devil’s Tower and sails off into
space to the strains of John Williams. In a moment we realize
that we’re watching the end titles of “Close Encounters”, and
then we
PULL BACK TO REVEAL
that the image is on a TV monitor...as we continue PULLING BACK,
we discover a bank of video equipment, and “Close Encounters” is
being pirated, from 3/4” cassette to VHS and Beta.
INT. VIDEO WORK AREA - LABORATORY - DAY
The video pirate operating this equipment is MARTY McFLY, 17, a
good looking kid who has an air of confidence just shy of
cockiness. He’s wearing a silver Porsche jacket, and like most
typical modern day kids, not a stitch of his clothing is without
some brand name or form of advertising. He’s looking at an ad
for a guitar amp in ROLLING STONE.
With the movie over, Marty shuts down the equipment, ejects the
cassettes, and writes on them, “Close Encounters, Original
Edition.”
He puts the master tape back in a drawer, and we catch a glimpse
of a few other titles---”Empire Strikes Back,” “Stir Crazy,”
“Superman II.”
MARTY
packs up his cassettes with his school books and takes us into
ANOTHER PART OF THE LABORATORY. The lab is a huge room, and
workbenches are all over, covered with chemical and electronic
3
equipment. The place is old and dusty and has the air of a mad
scientist lab of the 50’s.
An ELDERLY MAN is hunched over an experiment on one side of the
lab. Marty calls to him.
MARTY
Professor Brown! It’s almost
8:30---I’m outta here!
PROF. BROWN
Ssshhhh!
PROFESSOR EMMETT BROWN, late 60’s, is tinkering with a device
that looks like a Solar Cell, positioning it under a skylight to
catch the sun’s rays. He is eccentric, moody, but basically
kindly. And very involved in his work.
Marty has a closer look at what the Professor is working on. The
device is easily 30 years old, and Brown pours a chemical
solution into a compartment in the cell. He plugs a patch cord
from the Cell into a Voltmeter. An incandescent bulb on the
panel glows dimly, and the meter needles move slightly.
PROF. BROWN
Blast it!! 24 measly volts!
He throws an Erlenmeyer Flask across the room---it shatters
against the wall.
PROF. BROWN
(points to the sun)
The power of a million hydrogen
bombs...
(points to his experiment)
...and we get 24 measly volts.
It’s not fair! I’ve been working
on this Power Converter since 1949,
and you’d think in all that time,
I could find the right chemicals
that would efficiently convert
radiation into electrical energy!
But no! 33 years of dedication and
research, and all I’ve got to show
for it is a bootleg video
operation!
4
MARTY
That reminds me, if we could
scrape up enough for a 35 film
chain, I’ve got a connection with a
projectionist in a first run
house---we could be sellin’ new
movies on the street before they’re
even in the theater.
PROF. BROWN
A 35mm film chain...I’ll see what I
can do....
The Professor ponders his Power Converter.
Marty is on his way out. He pauses at a door with 5 locks on it
and tries it. Of course it doesn’t open.
PROF. BROWN
Won’t give up, will you, Marty?
Professor Brown asks without turning around. Marty grins.
MARTY
(grins)
One of these days you’re gonna
leave this door open and I’ll find
out what’s in there.
PROF. BROWN
Did you ever consider that some
doors are locked for a reason?
MARTY
Nope. The way I figure it, doors
are made to be opened. See you
after school.
PROF. BROWN
Oh---Marty---what time did you say
it was?
MARTY
8:30.
PROF. BROWN
A.M. or P.M.?
5
MARTY
Pro, the sun’s out!
PROF. BROWN
Oh, right, right.
MARTY
Jeez, for a guy with a ton of
clocks, you sure don’t pay much
attention to time.
Indeed there are a number of clocks all over the lab.
PROF. BROWN
On the contrary. I may not pay much
attention to the measurement of
time, but I’m very aware of Time
itself.
As he talks, Brown walks toward Marty
PROF. BROWN (CONT’D)
I believe time to be its own
dimension...to be contained...to be
controlled...
Marty has had enough of the Professor’s rambling. He’s heading
down the stairway.
MARTY
Catch you later!
Marty is gone.
PROF. BROWN (CONT’D)
...to be travelled through.
Professor Brown unlocks the door and enters.
INT. LOCKED ROOM
The center of attention here is a morass of equipment of 1940’s
and 50’s vintage that looks like something out of “Amazing
Stories” or “Weird Science.” A series of lenses is the final end
to the maze, indicating that a ray of some sort is to be beamed
down on...whatever.
Professor Brown admires his invention.
6
PROF. BROWN
If only I could harness enough
power!
INT. STAIRWAY - MARTY
Marty comes down the stairs to street level and goes out the
door.
EXT. ORPHEUM THEATER BUILDING - DAY
Marty steps out onto the street from the ORPHEUM THEATER
BUILDING, the 3rd floor of which houses the lab.
The theater is old and abandoned; on the marquee are the words,
“Assembly of Christ.” From outside, the two stories of offices
above the theater look just as destitute, with weathered, soot
covered walls and an occasional boarded up window.
Most of the neighboring businesses are boarded up as well. We
get the feeling that this was once a thriving business
district...but those days are long gone.
A black van is parked a little ways down the street; on its side
we see the letters “N.R.C” TWO MEN are putting samples of gutter
water into test tubes. They pay no attention to Marty.
Marty goes next door into one of the only operating businesses
in sight: WILSON’S CAFE, a lunch counter joint on its last legs.
INT. WILSON’S CAFE
Marty enters. The proprieter, DICK WILSON, 35, is behind the
counter. Dick is quite overweight...and he’s munching on a Baby
Ruth candy bar.
MARTY
Morning, Dick.
DICK
Marty. What’s for breakfast?
MARTY
Gimme some Chili, fries, and a Tab.
Marty glances at the sports page of a discarded paper on the
counter as Dick brings him the Tab.
7
DICK
Hot tip: Rubber Biscuit in the 3rd
race at Arlington.
MARTY
Dick, what’s with those guys out
there in the gutter?
DICK
(shrugs)
3rd time they’ve been out there
this week.
Marty watches them for a moment.
MARTY
What’s N.R.C.?
DICK
(shrugs)
I don’t know. National Cash
Register?
CUT TO:
INSERT - SCIENCE TEXTBOOK
A PHOTOGRAPH OF A MUSHROOM CLOUD, with the caption, “Last above
ground atomic test, March 18, 1952, Atkins, Nevada.” A HAND
writes the initials “M.M. + S.P.” in the cloud, draws an arrow
through it like a valentine, and then writes, “How about the
Dance Saturday? We’ll have a BLAST!”
INT. SCIENCE CLASSROOM - ON MARTY
The hand belongs to Marty, who fakes attention to the lecture
being given by MR. ARKY, a frustrated, embittered teacher of 55.
MR. ARKY
There were only 3 above ground
Atomic Tests in the United States,
so the government took every
opportunity to study the effects
of radiation. Actual single family
tract homes were constructed on
the test site, totally furnished
with refrigerators, TV’s,
furniture...
(MORE)
8
MR. ARKY (CONT’D)
...anything you could find in a
typical home...just so scientists
could learn what kind of damage an
atomic bomb would do to a typical
town. They even put mannequins in
the houses, just like in auto
crash tests...
Marty tears the page out of his textbook and winks at SUZY
PARKER, the cute girl across the aisle and behind him. They
exchange a smile, and Marty tosses the folded page to her.
MR. ARKY
But the fact remains that today,
30 years after those early nuclear
tests, the threat of nuclear
annihilation is as great as it
ever was. Certainly, nuclear
annhiliation is something you all
must have thought about. Any
questions, comments, ideas?
Anyone?
No reaction at all from the class. No one has a hand up, no one
seems interested.
MR. ARKY
I’m talking about the complete and
total destruction of the entire
world. Doesn’t anybody have
anything to say about it?
No, no one does.
Arky is becoming angered and frustrated.
MR. ARKY
How about you, Mr. Jackson? Would
you like to share some of your
wisdom with the class?
Jackson clearly wouldn’t.
Now Suzy writes something on Marty’s note, folds it, and tosses
it back. It lands on the floor near Marty, and he picks it up.
9
MR. ARKY
(frustration rising)
Mr. Gomez? Any thoughts? Miss
Parker? Mr. Crump, any reaction?
Marty unfolds the note.
INSERT - THE NOTE
Next to the mushroom cloud has been written, “That’s sick.” On
the back has been written, “Yes.”
BACK TO SHOT
Marty smiles.
MR. ARKY
How about you, Mr. McFly?
Marty quickly folds the note and shoves it in his pocket.
MR. ARKY
Did you even hear the question, Mr.
McFly?
Marty looked up, facing the inevitable. He might as well give
his honest opinion.
MARTY
Yeah. You want to know what I
think about atomic bombs. Well,
I’d kinda like to see one.
MR. ARKY
You’d like to see a nuclear
holocaust?
MARTY
Not a holocaust-----
MR. ARKY
(to the class)
Mr. McFly here wants to nuke it
all, just so he can see it!
MARTY
You know damn well that’s not what
I meant.
10
MR. ARKY
(isn’t interested)
All I can say is, that’s one
helluvan attitude, Mr. McFly.
“Let’s explode a 100 megaton
Geothermal nuclear device, just to
see it.”
MARTY
(pissed, under his breath)
Yeah, explode it up your ass.
MR. ARKY (continuing)
Unfortunately, the way things are
going, you may get your wish. You
may see the entire annhiliation of
the world. If not, you’ll
certainly see the destruction of
all our natural resources. We can
already see the air we breathe,
not to mention the pollution in
our rivers and lakes. We’ll see
all of our oil reserves depleted,
in fact, all of our energy
sources. Yes, you people have a
lot to look forward to---a lot to
see.
MARTY
Hey, Mr. Arky, gimme a break! I’m
17 years old! I’m not responsible
for all these problems!
Mr. Arky sobers up and sighs.
MR. ARKY
No, of course you’re not. Not for
the problems, no. But for the
solutions...yes.
The bell rings. There is a rush to the door.
MR. ARKY
See you tomorrow.
EXT. HIGH SCHOOL - DAY
STUDENTS pour out of the school. It’s a typically middle-
American school, brick, idyllic, flanked by oak trees. There is
11
some graffiti and a boarded up window or two.
Students begin their after school rituals of smoking, drinking,
loitering, eyeing girls or guys as the case may be, showing off
their cars.
Marty is among a group of kids, surreptitiously exchanging video
tapes for cash. RAFE NEWTON approaches him.
NEWTON
Hey Marty, spot me 50 till the
weekend, would ya? I’m down to my
last 20.
MARTY
Can’t, man. I’m savin’ up for that
new amp.
NEWTON
Well, when you’re a big rock star,
how about loanin’ me a grand?
MARTY
You got it!
(checks his watch)
I gotta go.
Next to Marty is his friend DONALDSON.
DONALDSON
Hey man, what happened to your
digital quartz?
MARTY
In the shop. So I’m sporting this
antique. Check out this wind-up
action.
Marty shows him a gold wind-up wrist watch. Marty stuffs a wad
of cash in his pocket as he and Donaldson descend the steps.
DONALDSON
Hey, you wanna come over? Get
high?
MARTY
Maybe tomorrow. I gotta dupe some
more tapes.
12
DONALDSON
Hey, that reminds me: my brother’s
gettin’ married next week and I’m
throwin’ a party for him. Can you
provide some entertainment?
MARTY
Yeah, I can run something off this
afternoon.
INT. LAB - ON MARTY - DAY
as we hear sounds of HEAVY BREATHING, ORGIASTIC PANTING and
other Porno sound effects. Marty shakes his head at what he’s
seeing (we can’t see it) and turns down the volume. He’s of
course copying a porno film.
Marty puts a big wad of cash into a cigar box on the bench, then
walks over to another area of the lab.
INT. LAB - PROF. BROWN’S QUARTERS
Professor Brown is sleeping on an army cot, covered with a horse
blanket. Nearby is an old refrigerator, a hot plate, and some
clothes hanging from an exposed pipe.
Marty opens the refrigerator and pulls out a bottle of Coke. He
inadvertently knocks an orange out, and it rolls across the
floor, under the cot.
Marty stoops down to get the orange. He moves the blanket and
reacts with astonishment at what he sees:
A CRATE
with purple radioactivity emblems labeled: EXTREME DANGER!
RADIOACTIVE PLUTONIUM! AUTHORIZED PERSONNEL ONLY! DO NOT HANDLE
WITHOUT RADIATION SUIT! And further down, “Property of San
Onofre Nuclear Power Plant, San Onofre, California.” The orange
is resting right up against it.
MARTY
takes a deep breath, then uses his foot to roll the orange away
from the crate. He cautiously backs away from the cot and tosses
the orange into a trash can. Professor Brown continues sleeping
soundly.
Marty twists off the Coke cap, takes a swig, and walks over to a
13
cage with an ORGAN GRINDER MONKEY in it.
MARTY
Hey Shemp, how ya doin’?
Shemp is wearing a red coat and hat. Marty opens the cage and
lets Shemp climb on him.
Now Marty walks over to where the Power Converter is set up.
Nearby is a stack of blueprints, very old. Marty has a look.
THE BLUEPRINTS
include on top, the “Photo-Electric Chemical Power Converter,”
which is the invention on the bench; the “15 Tube Mechanical
Home Butler,” which is a robot; the “Aero-Mobile,” (a flying
car); and something called a “Write-O-Matic,” which resembles a
pen with a wire-attached suction cup.
MARTY
studies the Power Converter itself. The last rays of the
afternoon sun shine through the skylight and fall on the Photocell.
A funnel is sticking out of the chemical chamber, and it
becomes just too much for Marty to resist: he pours some Coca-
Cola in it. Suddenly, a blinding spark crackles from the other
end of the device! Marty jumps back!
PROFESSOR BROWN
awakens with a start! He looks around, then rushes over to the
power converter.
PROF. BROWN
What happened?!?
MARTY
Well, I’m not sure exactly---I
accidentally spilled some Coke in
here---just a drop!
Brown hooks up the voltmeter and light bulb.
PROF. BROWN
Give me that!
He takes the Coke from Marty and pours a little into the funnel.
The light bulb glows brilliantly, the voltmeter needle jumps,
and the equipment hums!
14
Brown pours in more Coke---the bulb glows with increasing
intensity, then explodes! The voltmeter needle goes off the
scale! The Power Converter vibrates and falls off the bench!
The Professor stares in disbelief; his hands begin to tremble.
His reaction would be no different if Jesus Christ himself
walked into the room! He checks the ingredients on the bottle.
PROF. BROWN
What’s in this stuff?
MARTY
Nobody knows the formula for Coca-
Cola. It’s the most closely
guarded secret in the world!
The Professor ponders the discovery, then gathers up the Power
Converter and goes to the Locked Door. He begins unlocking it,
then looks at Marty.
PROF. BROWN
I’ll see you tomorrow.
Professor Brown takes the device into the room and locks the
door behind him.
INT. MARTY’S BEDROOM - NIGHT
Marty, wearing headphones, is playing his Electric Guitar along
with a record on his stereo. His bedroom walls have posters of
rock stars; a second bed and bedroom set are testament to an
older brother no longer living at home.
As Marty plays he walks around using the top of the guitar neck
to move objects and lift magazines on the desk and bureaus. He’s
looking for something. He moves a Rolling Stone---under it are
some tools. He moves an issue of Heavy Metal and the Lampoon---
under it, some homework.
The record ends; Mart takes off the headphones and yells out the
door.
MARTY
Who stole the drill?
He is answered by a WOMAN’S VOICE.
15
WOMAN (O.S.)
Dinner’s ready!
INT. McFLY HOME - NIGHT
Marty goes downstairs into the living room. The furnishings are
Montgomery Ward/Sears. GEORGE McFLY, 47, is absorbed in a BOXING
MATCH on TV. He’s balding, bored, uninspired; a man who lost at
the game of life.
MARTY
Anybody seen the drill?
His father doesn’t react. His mother, EILEEN, 47, sticks her
head out of the kitchen. Once she was very attractive. Now she’s
in a rut.
EILEEN
I’ve been calling you for 5
minutes! Didn’t you hear me?
MARTY
I was practicing. I’ve got an
audition next week---I gotta
practice. How am I gonna get
famous if I don’t practice?
EILEEN
You won’t get famous if you don’t
eat, either.
She goes back in the kitchen.
MARTY
Dad, you seen the drill?
GEORGE
What drill?
MARTY
The drill! The power drill I
bought you for Christmas. I was
using it last night.
GEORGE
It’ll turn up.
Marty sits down in the kitchen where his mother is putting food
on the table.
16
EILEEN
George, dinner’s ready!
GEORGE
Coming, Eileen.
George just sits there. watching the Boxing Match.
EILEEN
Now, George. Dinner’s ready now.
GEORGE
Coming, Eileen.
A commercial comes on; George gets up and rolls the TV stand
over to where he’ll be able to watch from the dinner table.
EILEEN
(to Marty)
How was school today?
MARTY
Fine.
EILEEN
Learn anything?
MARTY
Oh yeah.
EILEEN
That’s good.
Now George sits down.
GEORGE
(to Marty)
How was school today?
MARTY
Fine.
GEORGE
Learn anything?
17
MARTY
Oh yeah.
GEORGE
Good.
George turns his attention totally on the TV.
Marty looks at the newspaper.
Eileen stares off into space.
20 seconds of lively, family dinner conversation...by the
sportscaster giving the blow-by-blow on TV.
Finally, Eileen opens her mouth again.
EILEEN
By the way, that reminds me,
Saturday night we’re taking
Grandma Stella out for Chinese
food.
GEORGE
Eileen, Chinese food again?
EILEEN
George, if you don’t want Chinese
food, pick a place you want to go
and make a reservation.
MARTY
That means he’ll have to pick up
the phone, Ma.
GEORGE
No, Chinese food is fine.
MARTY
Saturday night’s the “Springtime in
Paris” Dance. I’m taking Suzy
Parker.
EILEEN
The “Springtime in Paris” Dance.
You hear that, George? They’re
still having the “Springtime in
Paris” Dance.
(MORE)
18
EILEEN
(to Marty)
That was our first date. Remember
George? I remember everything
about that night. Remember the
first time we kissed? It was
during the last dance. They were
playing that Eddie Fisher song,
“Turn Back The Hands Of Time.” I
even remember how you asked me
out. We were in the cafeteria. You
were so scared, you spilled your
creamed corn.
George just stares at the TV, oblivious to his wife.
MARTY
And I probably won’t be here when
you wake up Sunday morning. Suzy
and I are gonna go down to the
lake and watch the sun rise.
GEORGE
The sun rise? What for?
MARTY
To see it.
George doesn’t get it. He turns his attention back to the TV.
EILEEN
You mean you’re going to stay up
all night?
MARTY
Mom, how else are we gonna see the
sunrise?
EILEEN
I don’t think I like the idea of
you staying out all night with a
girl.
MARTY
Hey, Ma, gimme a break.
There is a sudden pounding on the back door. No one moves to
answer it. Pounding again.
19
EILEEN
Would you answer that, George?
George ignores her. Finally, Marty gets it.
AT THE BACK DOOR
Marty opens the door and there is BIFF TANNEN, 47, an
intimidating lout whose pot belly portrudes from his security
guard uniform. His tie is undone, shirt tail out; obviously home
from work. His should patch reads “Special Security Officer.”
Marty isn’t happy to see Biff, and the feeling is mutual.
BIFF
Well, well, if it isn’t the
neighborhood bootlegger, Al Capone
McFly!
MARTY
What do you want, Biff?
BIFF
Show me some respect, you little
A-hole. It’s Special Officer
Tannen to you.
MARTY
What’s the matter, Biff, they’re
not showing you any respect down
at the golf course? Don’t they
realize what a tough job it is
keeping the criminal element away
from the country club?
BIFF
Listen, you little A-hole, I
oughta---
MARTY
What do you want, Biff?
BIFF
Where’s your old man?
Marty gestures into the kitchen. Biff now reveals he has a
broken power drill and a set of bits.
20
INT. KITCHEN
Biff approaches George.
BIFF
Hey, McFly, what’s with this
cheap-ass drill you’re giving me?
Thing burned up first time I used
it! Almost ruined my whole engine
block!
Marty shakes his head.
GEORGE
Uh---Biff---these are wood bits.
Says so right here. You’re not
supposed to use them on your
engine block.
BIFF
Look, McFly, I know a lot about
tools. This is a cheep-ass drill!
You’re just lucky I didn’t ruin my
engine block. Next time you buy
tools, let me know. I’ll help you
pick out some good ones.
(gives George the drill)
Oh--and one more thing: my kid’s
selling girl scout cookies. I told
her you were good for 4 boxes.
Don’t make me a liar!
George nods timidly as Biff exits. He turns and faces his wife
and son who meet his gaze with knowing looks.
GEORGE
How do you like that guy, using
wood bits on an engine block?
Marty gets up from the table and storms out, into the living
room.
EILEEN
Where are you going?
In reply we hear the SLAM of the front door!
21
EXT. McFLY HOME - MARTY - NIGHT
Marty puts on his silver Porsche jacket as he stomps across the
front lawn. He punches the beat up old mailbox which has the
address: 777; then kicks the family car.
EXT. A RESIDENTIAL STREET - NIGHT
Marty is taking a walk with Suzy Parker. Marty’s been talking,
and although still frustrated, he’s now much more at ease.
MARTY
...He just lets himself get pushed
around all the time. People walk
all over him and he never fights
back, never stands up for himself.
SUZY
No self-confidence, I guess. At
least you don’t take after him.
MARTY
Yeah....Jesus! I wonder how he ever
got up enough nerve to marry my
mom.
They walk a bit in silence.
SUZY
Can you imagine your parents in bed
together?
MARTY
No way!
SUZY
Me neither. I’ve always wondered
whether they slept together before
they got married. You think yours
did?
MARTY
Hell, no! The way my Mom carries
on about sex---you even say the
word and she goes into cardiac
arrest. You shoulda seen her face
when I told her we were gonna stay
up all night Saturday. Always
afraid something’s gonna happen.
22
SUZY
(flirting)
Is something gonna happen Saturday
night?
Before Marty can answer, he gets hit in the leg by a runaway
SKATEBOARD. TWO KIDS down the street have been running an
obstacle course, and the loser is picking himself up off the
pavement.
Marty hops on the skateboard and whizzes over to the kid. He
can’t resist showing off---he manuevers smoothly through the
obstacles, jumps over the last one and lands perfectly on the
board, then hops off, flipping the board into the air and
catching it. He hands it back to the kid.
KID
Wow! You’re good!
Marty grins and rejoins Suzy. She too is impressed.
MARTY
Just like riding a bike---you never
forget how to do it.
They’re standing in front of a house. Suzy looks at it, then at
Marty. Obviously, it’s her house.
SUZY
Well...here we are....
They look at each other for a moment.
MARTY
Thanks.
He kisses her.
SUZY
See you later.
She goes into her house. Marty watches her, then continues down
the street, alone with his thoughts. As he walks, a black sedan
approaches slowly from in front of him and passes by. There
appears to be some sort of receiving apparatus on the roof. Now
we see the sedan make a U-turn in the street behind Marty and
come up right behind him.
23
Marty becomes aware of the headlights behind him. He looks at
the car and steps over to the side of the street. The car pulls
up alongside of him, and TWO GOVERNMENT TYPES get out. There are
N.R.C. markings on the car.
REESE
Good evening. Agents Reese and
Foley from the Nuclear Regulatory
Commission.
(Reese displays his ID)
Mind stepping over here?
Marty cautiously steps over.
MARTY
What’s this all about?
FOLEY
Routine radiation check.
Foley takes a Geiger Counter and checks Marty. Nothing unusual
happens until Foley checks Marty’s feet. Then there is some
noticeable clicking, especially on the foot that went nearest
the Plutonium. Reese and Foley exchange a look.
REESE
Have you got any identification?
Marty hesitantly hands Reese his wallet.
MARTY
What, am I radioactive or
something?
FOLEY
No, no, not beyond an acceptable
level.
REESE
Have you been X-rayed recently,
Martin?
FOLEY
Perhaps been in contact with some
luminous paint?
MARTY
No....
24
REESE
Been any place unusual in the past
12 hours?
MARTY
Home, school, here.
FOLEY
Been in the vicinity of 2980 Monroe
Avenue today?
MARTY
Where?
REESE
Over by the old Orpheum Theater.
Marty hesitates a moment.
MARTY
No.
Reese hands Marty back his wallet.
REESE
Okay, Martin. You have a good
evening now.
MARTY
Yeah. Right.
Reese and Foley get back in their car and drive off. Marty
thinks a moment, then runs like hell the other way down the
street!
EXT. ORPHEUM THEATER - NIGHT
Marty runs through the street to the Orpheum Theater. The only
thing on the street besides him is newspaper blowing along the
gutters. Marty tries the door to the upstairs. It’s locked.
Marty steps back and looks at the upper floor.
Suddenly, 3 upper floor windows are blown out by a tremendous
gush of air!
MARTY
Jesus!
He tries the door again. Marty has no other choice: he BREAKS
25
THE GLASS in the door and lets himself in!
Marty races up the stairs to the laboratory. The door with the
locks on it is unlocked, and LIGHT can be seen coming from the
crack under the door.
Marty rushes through the door into
INT. THE “LOCKED” ROOM
Professor Brown is standing next to a HOMEMADE NUCLEAR REACTOR,
made from an old furnace, a hot water heater, and boiler room
parts. He has one hand on a rope, and is adjusting some dials
and gauges.
SHEMP is sitting quietly on a stool directly under the focusing
lens of the Professor’s invention. He’s wearing his organ
grinder clothes, with a digital watch around his neck.
MARTY
Professor!
The Professor, although surprised to see Marty, is in command of
the situation.
PROF. BROWN
Get behind that lead shield!
He points to the shield at one side of the room.
MARTY
But Professor----
PROF. BROWN
Get behind the shield! I’m about to
release radiation!
Marty hurries behind the shield.
Professor Brown pulls the rope ever so slightly.
The Power Converter is activated! The low frequency hum of
vacuum tubes becomes more intense---the frequency begins to
rise, accompanied by the crackle of static electricity!
Shemp looks around, curious about all of these sounds...the
sounds grow in intensity...tension builds...and at exactly 9:00,
Professor Brown releases the rope. At that moment, a high
frequency tone is emitted, accompanied by a FOCUSED BEAM OF
26
BLINDING RED LIGHT---like a spotlight---which hits Shemp!
Shemp DISAPPEARS! And the top half of the stool disappears with
him, leaving the lower halves of the legs (which were not hit by
the beam) to topple to the floor!
Air rushes through the lab to fill the vacuum that was created
by Shemp’s disappearance!
The sound of the equipment dies down, and a stunned Marty McFly
steps out from behind the shield.
MARTY
Jesus!! Professor, you just
disintegrated Shemp!
Professor Brown shook his head, a smile playing around his lips.
PROF. BROWN
No, Marty. Shemp’s molecular
structure is completely intact.
MARTY
Then where is he?
PROF. BROWN
The appropriate question to ask is
when is he. You see, Shemp has
just become the world’s first time
traveller. I’ve sent Shemp into
the future---two minutes into
future, to be exact.
MARTY
The future? What are you talking
about? Where’s Shemp??
PROF. BROWN
Shemp is right here in this
room...two minutes from now. And at
exactly 9:02, we’ll catch up to
him.
MARTY
Now hold on a minute, Professor.
Hold the phone. Are you trying to
tell me that this---all of this
here---that this is---it’s a---a---
27
PROF. BROWN
A time machine.
Marty has to sit down to take this one in.
PROF. BROWN
I always knew it would work. I
knew it would work when I built it
33 years ago. But I was never able
to harness enough power to test
it. Power is the key. Massive
amounts of energy to accelerate
matter to the speed of light while
creating an intense gravitational
field. But generating that kind of
energy has never been
possible...until this afternoon.
MARTY
Because of that Coke.
PROF. BROWN
Precisely.
Brown takes on the characteristics of a tour guide as he
explains the machine.
PROF. BROWN
The Power Converter, now operating
at peak efficiency, thanks to the
chemical makeup of Coca-Cola,
channels energy into the Flux
Capacitor, which releases several
jigowatts in a fraction of a
millisecond. Electron acceleration
takes place here...and the result
is the temporal displacement beam
you saw a few moments ago. The
entire process is triggered when I
release the rope.
MARTY
I thought that Power Converter
thing operated on solar energy.
There’s no sun.
28
PROF. BROWN
Solar energy would have worked just
fine...if I could have placed the
Converter about a mile from the
surface of the sun. Instead, I’ve
created similar conditions in this
reactor here.
(indicating the rope)
The higher I raise the cadmium
rods, the more energy I release
from the Plutonium core, and the
further through time I can send an
object.
MARTY
The Plutonium! That’s what I came
over here for! Professor, where
did you get that stuff?
PROF. BROWN
Why?
MARTY
I just got stopped in the street
by Federal Agents checking me for
radiation! I figure they’re after
your plutonium!
Professor Brown glances at a digital clock in the lab. It’s
9:01:50.
PROF. BROWN
Ten seconds!!
He rushes toward the spot where Shemp vanished. Marty follows.
PROF. BROWN
Brace yourself for a sudden
displacement of air!
It’s 9:01:55...56...57...58...59...
There is a SUDDEN DISPLACEMENT OF AIR...and SHEMP REAPPEARS! The
legless stool reappears as well, and topples over. The startled
monkey jumps onto a nearby bank of equipment.
MARTY
Shemp!
29
Professor Brown picks up Shemp, looks him over and examines the
watch around his neck: 9:00:10. The lab clock says 9:02:10.
PROF. BROWN
Exactly two minutes
difference...and still ticking!
MARTY
Is Shemp all right?
PROF. BROWN
Of course. Shemp is unaware that
anything even happened, other than
his stool suddenly falling over.
We had to wait two minutes to
catch up to him, but for Shemp,
the trip was instantaneous.
Marty has a look on his face---the look of an idea.
MARTY
Professor, can this thing send
Shemp back in time?
PROF. BROWN
Theoretically, yes, if I were to
reverse the polarity.
Professor Brown indicates the POLARITY SWITCH on the Time
Machine, which is in the “+” position.
MARTY
(very excited)
Jeez, Professor, you’ve got a gold
mine here!
PROF. BROWN
A gold mine?
MARTY (CONT’D)
Sure! Listen---we take the racing
results from today’s paper...
Marty rips through a discarded newspaper and finds them.
30
MARTY
Here they are---we send ’em with
Shemp back to yesterday, we get
the information, put our money on
the winning horses, and become
billionaires!
PROF. BROWN
Marty, that would alter history.
MARTY
So what?
PROF. BROWN
Don’t you understand? The mere act
of sending matter back in time
would change the course of events,
and changing history is a
responsibility that I do not wish
to bear.
MARTY
All I know is you’re throwing away
an awful lot of money.
PROF. BROWN
The future, Marty, the future is
everything. I built this machine
to see the future. So I am going
to send Shemp 24 hours into the
future. You can assist me, if you
like.
MARTY
Sure.
The Professor exits the Time Machine room into his main
laboratory. Marty sees that he’s gone, so he tears the racing
results from the Sports Page, circles the date, and sticks the
clipping into Shemp’s pocket. Again making sure that the
Professor isn’t watching, Marty flips the polarity switch to “-
”.
INT. MAIN LABORATORY
Professor Brown is looking for something on a table near the
window. He finds it: a Micro-cassette recorder. He hurries back
into the Time Machine room.
31
INT. TIME MACHINE ROOM
Professor Brown locks the door behind him and then gives the
Micro-cassette recorder to Marty.
PROF. BROWN
Take this, stand at the panel, and
read off the radiation levels. I
want to have a record of what
happens here. Be sure to tell me
when we reach 85 rads.
Marty takes his position at the appropriate panel.
Brown sets up the stool and again places Shemp upon it.
PROF. BROWN
Come on, Shemp, this won’t hurt a
bit.
The Professor takes his place at the reactor. Shemp is between
him and Marty. He doesn’t notice the polarity switch.
PROF. BROWN
Here we go.
He throws a few switches...equipment hums to life. Now he
cautiously begins pulling the reactor rope. Marty begins reading
off meters into the recorder.
MARTY
Radiation level, 10 rads.
Stabilization coefficient, .43. 16
rads; coefficient .44. 37 rads,
.46. 51 rads, .46. 73 rads, .47.
Suddenly the door is kicked open by N.R.C. AGENTS REESE and
FOLEY, along with POLICE and OTHER AGENTS! They leap into the
room with drawn .38’s!
REESE
Everybody freeze! N.R.C.!
PROF. BROWN
Get back!!
FOLEY
Jesus Christ---it’s a goddamn
reactor!
32
Reese pointed his gun at Professor Brown.
REESE
(to Prof. Brown)
You!! Shut it down!! Now!!
PROF. BROWN
No! Get out!! I’m in the middle of
an experiment!!
Brown makes no effort to move away from the reactor---rather, he
pulls the rope a slight bit more!
Foley FIRES at the Professor!
The noise startles Shemp, who jumps off his stool.
Professor Brown takes the bullet in the upper chest! He staggers
back, still holding the rope, and as he falls, he pulls the rope
as far as it will go!
MARTY
Professor!
(glances at meter)
Oh, my God!! Release the rope! It’s
4200 rads!!
REESE
(can’t hear him)
What??
MARTY
Release the rope!!
The incredible din of the equipment makes the screaming
virtually inaudible! Marty rushes toward the Professor, but
Foley immediately levels his gun at him!
FOLEY
Freeze!!
Marty freezes---he’s standing right under the focusing lens! He
raises his hands!
Professor Brown is lying on the floor, his hand still on the
rope. His grip relaxes, and the rope is released!
The Time Beam engulfs Marty! This time, it’s BRIGHT WHITE!
33
Reese and Foley are dumbfounded!
Marty looks up.
MARTY’S P.O.V. OF
an intense WHITE LIGHT. Then, suddenly, everything goes BLACK!
And with the blackness comes dead quiet.
MARTY’S VOICE
Professor?? Hello??
A match is struck, and Marty looks around and finds himself in
what appears to be a STOREROOM.
INT. STOREROOM - MARTY - NIGHT
Marty cautiously looks and walks around, almost tripping over an
old chair. There is some dusty furniture and crates in the room.
Marty lights another match and makes his way to the door---it’s
in the same place as the door in the Time Machine room, because
this is the Time Machine room...as it was once. Marty tries the
door: locked.
MARTY
Damn!
He goes to the window and opens it. We can hear the sound of
muffled traffic. Marty climbs out the window.
EXT. REAR OF ORPHEUM THEATER BUILDING - NIGHT
Marty comes out of the third story window onto a fire escape,
and descends. Just as he drops into the alley below, he’s hit by
a pair of headlights: A LARGE TRUCK is barreling toward him!
Marty presses himself up against the wall and the speeding truck
passes, narrowly avoiding him!
Marty sighs relief, then notices the sign on the door he’s
standing next to: “Wilson’s Cafe, Rear Entrance.” Marty tries
the door---it opens. Marty is surprised at this; nevertheless,
he enters.
INT. WILSON’S CAFE - NIGHT
Marty walks in; yes, this is Wilson’s Cafe, all right.
MARTY
Hey, since when are you open at...
34
Marty stops short. Things are NOT the same. Dick isn’t behind
the counter. Instead, there’s a WAITRESS about 30. Everything is
shining clean; the fixtures look newer, but older. The prices
are different, too: Roast Beef Sandwich, 30¢. Ice Cream Sundae,
15¢. And the customers---men in double-breasted suits...and
hats! Women with long skirts---not one female in pants...and
hairstyles like Marty has never seen!
Marty stares open mouthed, walking around, taking it all in. A
chubby little BOY of 5 in pajamas, is playing on the floor with
toy trucks.
Now Marty notices the WAITRESS is staring at him with curiosity
and suspicion.
WAITRESS
You want something, kid?
Marty decides to sit down at the counter and act like he belongs
here.
MARTY
Uh, yeah...gimme a Tab.
WAITRESS
What?
MARTY
A Tab.
WAITRESS
Kid, I can’t give you the tab
until you order something.
People at the counter are looking at him, especially at his
silver Porsche jacket. Marty notices that the MAN next to him is
drinking coffee.
MARTY
Uh, coffee.
She pours a cup and serves him.
WAITRESS
Did something happen to you, kid? I
mean, you been lost in the woods or
something?
35
MARTY
Huh?
Marty looks at the bowl of sugar cubes on the counter.
MARTY
Say, have you got any Sweet ‘N low?
WAITRESS
Sweet and what?
Her suspicions aroused, she takes the coffee away.
WAITRESS
Maybe you’d better pay for this
first.
MARTY
Sure.
Marty pulls out his wallet and hands the woman a 20 dollar bill.
Her eyes nearly fall out of her head.
WAITRESS
A 20? What do you think this is, a
bank? I can’t break a 20!
(suddenly suspicious)
Say, what’s a kid your age doing
with all this money?
Marty takes the bill back.
MARTY
Look, maybe I’d better talk to
Dick. Is he around?
WAITRESS
Dick? Dick who?
MARTY
The guy who runs this place.
WAITRESS
I run this place!
MARTY
What happened to Dick Wilson?
36
WAITRESS
Dick Wilson---Dickie Wilson?
(laughs)
Dickie Wilson runs this place?
That’s a laugh!
Everybody at the counter starts laughing.
MARTY
(paranoid)
What are you trying to do? Freak me
out, or something?
The MAN sitting next to him reacts.
MAN
Freak? Are you from some circus? Is
that what all that writing on your
clothes means?
Now the little BOY runs up to the counter.
BOY
Mommy, I’m hungry!
WAITRESS
Just take a candy bar, then go to
bed, Dickie.
Marty reacts and stares at the 5 year old.
MARTY
Dickie? That’s Dick Wilson?
WAITRESS
That’s Dick Wilson.
Marty looks at him as he grabs a Baby Ruth from the candy
counter. Then Marty spots the calendar behind the cash register.
In big black numbers, it clearly reads, “1952!”
MARTY
1952?? This is 1952?!? Holy Shit!!
You know what this means?? I’ve
gone back in time 30 years! 30
goddamn years!!! I haven’t even
been born yet!!!!
37
WAITRESS
I’m calling the cops.
But even as she goes to the phone, Marty bolts out the front
door!
EXT. STREET - NIGHT
Marty stares in astonishment at the sight before him: the rundown
Monroe Avenue that he knew is now a bustling, thriving
business district! Traffic of 1940’s and 50’s cars pulses
through the street, and pedestrians wander about. The
storefronts that were boarded up are now shops doing profitable
business.
Pedestrians eye Marty curiously as they walk past, but Marty is
too panic-stricken to notice them.
Now he sees the Orpheum Theater. The marquee is lit up, and the
place is obviously a first class movie house. The flashing
marquee advertises, “John Wayne, Maureen O’Hara, The Quiet Man.
In Full Color.”
MARTY
Dammit!
Marty sees a pedestrian with a newspaper. He grabs it away from
him and looks at the date.
MARTY
1952! Dammit!
He throws the paper down in disgust and runs down the street.
ON THE STREET
Marty stops and looks at the licence plate on a parked car. Once
again, there’s the year.
MARTY
1952! Dammit!
Marty runs off.
EXT. TELEPHONE BOOTH - STREET - NIGHT
Marty is in a phone booth, frantically tearing through the phone
book. He finds the page he’s looking for.
38
INSERT - PHONE BOOK
Marty’s finger goes down a list of “Browns,” coming to rest at,
“Brown, Emmett L., 788 W. Spruce. Madison 3489.” A BIC PEN
circles the name and number.
BACK TO SHOT
Marty reaches into his pocket. He has a nickel and 3 pennies.
MARTY
Dammit!
He picks up the receiver and pumps the switchhook.
OPERATOR (V.O.)
Operator.
MARTY
Operator! Listen, this is an
emergency! I have to make this
call, but I don’t have a dime---
all I got is a nickel---but you
gotta connect me---
OPERATOR (V.O.)
(interrupting)
Sir, it only costs a nickel.
MARTY
What?
OPERATOR (V.O.)
Local calls cost 5 cents. What
number do you want?
Marty sees the sign on the phone, “Local Calls 5¢.”
MARTY
Oh---right! Uh, Madison 3489.
OPERATOR (V.O.)
Five cents, please.
Marty deposits his nickel. The number rings several times.
OPERATOR (V.O.)
I’m sorry, there’s no answer.
39
MARTY
Operator, what’s today’s date?
OPERATOR (V.O.)
March 11.
MARTY
What year?
OPERATOR (V.O.)
Nineteen fifty---
MARTY
(interrupts)
Dammit!
He slams down the receiver, then tears the page out of the phone
book and runs down the street with it.
EXT. RESIDENTIAL STREET - MARTY - NIGHT
Marty runs down this residential street, tired, breathless,
exhausted. He leans against a mailbox to catch his breath, and
then notices the number on it: 777. He turns and looks at the
house.
MARTY
My house!
Indeed, it is Marty’s house---or rather, it will be. The trees
aren’t quite as tall as those we saw earlier, and the curtains
are different; there’s a 1949 Chevy in the driveway. But it’s
the same house.
Then, the front door opens, and a WOMAN opens the screen to let
out a dog. Unless we’re seeing things, it’s EILEEN, looking
nearly identical to when we saw her last, save her different
clothes and hair-do.
MARTY
is stunned!
MARTY
Mom!!
He runs toward the house!
40
EXT. HOUSE
As Marty runs toward the house, the WOMAN closes the door. Marty
runs up the steps and pounds on the door.
MARTY
Mom!! Open up! It’s me!
The door opens. Indeed, the woman appears to be Eileen. But she
doesn’t recognize Marty.
MARTY
Mom, thank God! Thank God you’re
here!
WOMAN
I beg your pardon, young man?
MARTY
Mom! It’s me! Marty! Don’t you know
your own son!
WOMAN
I think you have the wrong house.
Marty is very intense---sweating, breathing hard.
MARTY
No---no---it’s not! It’s not!
A MAN in his mid-40’s approaches the door. He’s smoking a pipe
and seems like a decent sort.
MAN
Who’s there, Stella?
MARTY
Stella?!? No! Don’t tell me you’re
Stella! Tell me you’re Eileen!!
Please tell me you’re Eileen!
Through the door, we can see a GIRL of 17 coming down the
staircase. She’s very attractive.
GIRL
I’m Eileen.
Marty locks eyes with his Mother, aged 17!
41
MARTY
How old are you?
EILEEN
Seventeen.
What does one do when he meets his mother in such circumstances?
Marty faints!
A HAND
holds smelling salts and brings them under Marty’s nose. Marty
is lying on a couch; he stirs and opens his eyes.
MARTY’S P.O.V. OF
PROFESSOR BROWN as a young man! He’s well dressed, less
eccentric in manner, and seems much more self confident than his
older self. It is Brown who is administering the salts.
WIDER ANGLE, INT. LIVING ROOM
The room is the same as in Marty’s house, with different
furniture (in the same basic arrangement) and a different color
scheme.
MARTY
Professor? Professor Brown?
PROF. BROWN
You know me?
MARTY
Professor, you time machine works!
It works! It sent me back in time!
I’m from 1982!
PROF. BROWN
Ssshhh!
Brown isn’t sure whether to believe him. Now the FAMILY
approaches---MR. BAINES, his wife Stella and daughter Eileen.
MR. BAINES
Is he all right?
The Professor straightened up.
42
PROF. BROWN
He will be. Simple inebriation, is
all. The young man must have a
rather low tolerance for
alcohol...something that runs in
the family. You see, he’s a second
cousin of mine on my mother’s
side. Came quite a distance to
visit me. His name’s Lewis.
MARTY
(correcting him)
Marty.
PROF. BROWN
Uh, Marty Lewis. I almost didn’t
recognize him---haven’t seen him
in years.
Young Eileen can’t take her eyes off Marty. Marty too is
fascinated by her.
STELLA
It’s a good thing he had your name
circled in the phone book. I would
have called the police.
PROF. BROWN
Well, Mrs. Baines, Mr. Baines,
thank you for your trouble. Both
Marty and I apologize for the
inconvenience. We’ll get him home
and as good as new.
Marty and Brown get ready to leave.
MR. BAINES
(to Marty)
Son, you watch yourself.
MARTY
Yes, sir.
Eileen gives Marty his Porsche jacket which was lying on a
nearby chair.
EILEEN
Oh---here’s your jacket.
43
MARTY
(nervous)
Uh, thanks...
EILEEN
What sort of material is this? I’ve
never seen anything like it.
MARTY
(matter-of-factly)
It’s polyester.
EILEEN
Poly-what?
PROF. BROWN
It’s an experimental invention of
mine. Sort of a rubberized silverfoil.
I just made up a name for
it. Come on, Marty, we’ve got a
lot to talk about.
The Professor goes out the front door. Marty is behind him, and
just as he steps into the doorway, Eileen speaks up.
EILEEN
Marty?
MARTY
Huh?
EILEEN
Have we ever met before?
Their eyes meet, but before Marty can answer, the Professor’s
arm reaches over and yanks him away!
EXT. VICTORIAN STYLE MANSION - NIGHT
A fabulous Victorian Mansion sits on a hill on the outskirts of
town. On the mailbox is the name “Brown, Emmett.”
A beautiful 1937 PACKARD pulls up to the mansion.
MARTY (V.O.)
...and the flux capacitor is
hooked into this thing that looks
like a condenser with a lens on
it...
44
Now Marty and the Professor get out of the car. Marty stares at
the incredible house, very impressed.
MARTY
Jeez---this is where you used to
live, huh? You must have been rich!
PROF. BROWN
Must have been? Used to live? I do
live here.
MARTY
Oh, yeah, well, there’s a mall here
now---I mean, there will be.
PROF. BROWN
A mall?
MARTY
Yeah, a shopping mall. You know, a
shopping mall?
They are walking toward the front door.
PROF. BROWN
Ssshhhh---don’t tell me these
things, Marty. I don’t want to
know about the future.
They enter the house.
INT. LIVING ROOM - MARTY, BROWN - NIGHT
A light goes on in the large living room.
BROWN
Do you see it here?
Marty looks around the room. The evidence of the Professor’s
eccentricity is just beginning---mechanical apparatus laying
haphazardly around on antique tables and furniture. There’s
something built out of the shell of an old vacuum cleaner, and
an old washing machine that might now be a still.
MARTY
No.
45
INT. ANOTHER ROOM - THE STUDY
Again a light goes on. Mostly, this is a library, but there are
some models of some of the professor’s ideas here, including the
Aero-mobile and the Mechanical Home Butler. Professor Brown
looks at Marty.
Again Marty shakes his head.
Now Professor Brown unlocks a door at one end of the room and
puts on a light. Marty approaches the doorway.
MARTY
This is it!!
MARTY’S P.O.V. OF
THE TIME MACHINE, looking almost exactly as we saw it in 1982,
except that it’s a lot cleaner and shinier.
ON MARTY AND THE PROFESSOR
PROF. BROWN
You’ve convinced me that you must
be who you say you are. No living
human has ever seen this machine.
(thinking)
But why? Why even in my twilight
years would I remotely consider
sending someone back in time?
MARTY
You didn’t, Professor. It was an
accident! You see, what happened--
--
PROF. BROWN
No! Don’t tell me! I don’t want to
know the future! My knowledge of
future events...your mere presence
here...could have devastating
effects on the course of history.
And altering history is a
responsibility that I do not wish
to bear. My immediate
responsibility is to send you back
to your own time.
46
MARTY
I can dig that.
PROF. BROWN
(not understanding)
Pardon me?
MARTY
I can get behind---I agree with
you.
The PHONE rings. Brown answers it in his study. Marty follows.
INT. BROWN’S STUDY - MARTY, BROWN
Marty examines the models of Brown’s inventions while the
Professor talks.
PROF. BROWN
Hello?
(pause)
Yes Charles, yes, I looked over the
offer.
(pause)
It’s very generous that they want
to make me a major stockholder. But
I’m just not interested in a
position with this little X-rox
corporation.
(pause)
If it’s pronounced “Zerox,” why
don’t they spell it with a Z?
(pause)
Look, I’m on the verge of a
breakthrough on my Power
Converter.
Marty reacts with a pained expression.
PROF. BROWN (CONT’D)
Well, any day now. And then I’ll
need people to work for Emmett
Brown Industries! I’ve got a lot
of ideas that are going to create
a lot of jobs.
(pause)
Very well, good night, Charles.
(MORE)
47
PROF. BROWN
(Hangs up)
The X-rox Corporation. How are
they going to sell a product if
you can’t even pronounce the name?
Brown turns his attention back to Marty.
PROF. BROWN
Now...the Time Machine works,
that’s obvious. As I’ve always
known, it’s a question of power.
Where did I---will I get enough
power to send a man 30 years
through time?
Marty is about to answer---the Professor holds up his hands.
PROF. BROWN
No---wait---don’t tell me!
(long pause as he thinks)
On second thought, there may be
some things you’ll have to tell
me.
MARTY
The Power Converter...
PROF. BROWN
Of course! The Power Converter! It
works!
(afterthought, to himself)
Of course, it works!
(to Marty, very excited)
What chemicals do we use?
Marty hesitates and takes a deep breath.
MARTY
Well, Professor, are you sure you
want me to tell you? You know,
changing the course of history and
all....
Professor Brown would plainly like to know, but his sense of
scientific responsibility gets the better of him.
48
PROF. BROWN
Blast it---no, I suppose you’re
right...You do know the proper
chemical formula?
MARTY
Sure, and there won’t be any
problem getting some---getting it.
Professor Brown goes to the bar and pours himself a Brandy.
PROF. BROWN
Coke?
MARTY
How did you know?
PROF. BROWN
Just a guess. I figured kids would
still be drinking Coke in 1982.
He throws Marty a bottle.
PROF. BROWN
All right, then it’s very simple.
Tomorrow, weather permitting,
you’ll get the chemicals, and
we’ll wire the Power Converter to
the Time Machine, point it at the
sun, and send you home.
MARTY
Well, not exactly, Professor. You
see, we don’t point it at the sun.
PROF. BROWN
We don’t....
MARTY
No. We need a Nuclear Reactor.
Professor Brown chokes on his drink.
PROF. BROWN
A Nuclear Reactor? How much energy
do we need?
CUT TO:
49
CLOSE ON MARTY’S MICRO-CASSETTE RECORDER
which is playing back the tape of the moments before Marty went
through time. All of the voices on the tape are muffled, except
Marty’s---and the gun shots sound fairly clear.
MARTY’S VOICE (ON TAPE)
Release the rope! It’s 4200 rads!!
WIDER ANGLE - INT. BROWN’S STUDY - MARTY, BROWN
Professor Brown is seated at his desk. He fumbles with the
recorder and shuts it off.
PROF. BROWN
4200 rads? Good God!
Marty is trying to twist open the bottle of Coca-Cola. He can’t-
--twist offs haven’t been invented yet.
PROF. BROWN
There’s something I still don’t
understand.
(rewinds tape)
Fascinating device...
(plays back gun shots)
These loud bangs...could those be
some sort of malfunction in the
time machine? Do you know what they
are?
Marty is of course quite uneasy.
MARTY
I wouldn’t worry about ’em,
Professor.
Again we hear the “4200 rads” portion of the tape. Professor
Brown shakes his head.
PROF. BROWN
4200 rads...That certainly can’t
be generated under controlled
conditions in this day and age.
MARTY
That’s just great.
50
PROF. BROWN
However...there’s a lot I don’t
know about Nuclear Physics. So
first think in the morning, I’ll
go to the University, see what I
can find out.
I want you to stay in the house.
It’s very important that you don’t
interfere in any way with the
outside world.
I’ve got plenty of food, there’s
the radio, books, magazines...I’ve
even got one of those new
television sets. There’s plenty to
do.
Professor Brown looks at Marty who is still trying to twist off
the Coke bottle. Brown stares incredulously.
PROF. BROWN
What are you doing?
MARTY
How do you open these?
The Professor takes the bottle from Marty and opens it with a
bottle opener. He hands it back, not sure what to think...but
afraid to ask.
MARTY
It doesn’t look good, does it,
Professor?
PROF. BROWN
(shakes his head)
At the moment, it looks like you’re
stuck here.
INT. BEDROOM - MARTY - DAY
Morning light streams in through a window. Marty is asleep on
the bed, still in his clothes. He awakens...and sighs as he
realizes that his surroundings are real, it wasn’t a dream...and
he’s stuck here.
He turns on the Cathedral Radio by the bed...no sound. He hits
it several times...not realizing that it simply has to warm up.
Finally, there’s music...Perry Como. Marty twists the dial and
picks up Dinah Shore, then Les Brown, Benny Goodman...swing
51
tunes, 50’s schmaltz...nothing that even resembles rock ‘n roll.
Disgusted, Marty shuts it off.
INT. KITCHEN - MARTY - DAY
Marty takes an old-fashioned drip coffee pot out of a cabinet.
He fumbles it and it breaks into its component parts. Marty
tries to put it back together.
CUT TO:
MARTY
pulling a BOTTLE OF MILK out of the refrigerator. He removes the
foil seal and tries to pour some into a glass. Nothing comes
out---the cardboard stopper is still in it. Marty tries to pull
it out---he can’t get the tab. Frustrated, he punches a hole in
it with his finger.
CUT TO:
MARTY
drinking a glass of milk, looking at the magazines and
newspapers on the kitchen table.
TIME has a cover story, “The Republicans: Who Will Win In ‘52?”
with photos of the top contenders.
MARTY
Eisenhower.
He looks at NEWSWEEK. Cover story: “Will We Have War With Russia
This Year?”
MARTY
No.
He tosses it aside. He tries the newspaper. “Crime Rate
Continues To Rise.” He shakes his head, looks at the Saturday
Evening Post which has a picture of some High School Students
with the question, “What’s Wrong With The Younger Generation?”
He laughs, turns it over and sees on the back cover the famous
Van Heusen Shirt Ad featuring Ronald Reagan.
MARTY
Jesus.
The DOORBELL RINGS. Marty reacts with uncertainty. He’s not sure
52
what to do.
It rings again.
Marty gets up and cautiously walks to the front door. He stares
at it, unable to make up his mind.
The bell RINGS again!
Finally Marty opens it. It’s PROFESSOR BROWN who immediately
points an accusing finger at him.
PROF. BROWN
Aha! You answered the door!
MARTY
You were ringing the doorbell!
Marty took a step back as the Professor walked inside.
PROF. BROWN
I told you not to interfere with
any of the events of this time!
Nobody’s supposed to see you here!
What if I was a mailman? Or a
salesman?
MARTY
What if you lost your keys?
PROF. BROWN
Then I would have figured out to
get back in through events in the
natural course of history! Don’t
you understand? The fabric of
history is very delicate. Anything
you do could have serious
consequences!
MARTY
Hey, look, gimme a break! All I
did was answer the door! How’s
that gonna change history?
53
PROF. BROWN
I don’t know, but I don’t want to
take any chances. Now you stay
here and don’t do anything. Don’t
answer the door, don’t answer the
phone, don’t go outside.
Understand?
Marty is fed up with the lecture.
MARTY
Hey, get off my case, would you? I
didn’t want to come here, and the
only reason I’m here in the first
place is because I was a nice guy,
helping you out. So don’t tell me
I gotta stay cooped up in here and
vege out, because none of this was
my fault!
PROF. BROWN
Let me put it on a level you can
understand. You don’t belong here.
You don’t know anything about this
world. You don’t know the customs,
you don’t know how to talk, how to
act---you don’t even look like you
belong here. And if you walked out
on the street, you wouldn’t get
100 yards without being arrested.
Then there would be a lot of
questions, and where would we come
up with the answers?
Marty signs.
MARTY
Okay, Professor, I get where
you’re coming from. The way I
look, the way I’m dressed, I’d
stick out like a sore thumb.
PROF. BROWN
I’m glad we finally got that
straightened out. I’ll see you
tonight.
He exits and slams the door behind him.
54
CUT TO:
EXT. PROF. BROWN’S HOUSE - DAY
A window opens, and MARTY climbs out! But now he’s wearing some
of the Professor’s clothes, and he’s got his hair slicked back
in Ronald Reagan style! He actually looks like a resident of
1952! Marty runs off down the hill, toward town.
EXT. BUSINESS STREET - MARTY, PEDESTRIANS - DAY
Marty walks down the sidewalk with the other pedestrians, trying
to act like he belongs here. He’s doing a good job of it, too,
because no one gives him a second glance.
Suddenly, a COP in front of him glances at Marty, then points an
accusing finger at him.
COP
Hey you! Where do you think you’re
going?
Panic fills Marty’s face as the cop approaches him---has he been
had? No---the cop walks right past him and collars a TRAMP
several yards behind Marty. Marty sighs relief.
MARTY
bops down the street, full of confidence, full of excitement,
full of curiosity. He’s a tourist in another time and he takes
in the sights, which include...
AN APPLIANCE STORE, selling “Giant 8 inch Televisions,” with “a
screen as big as life itself.”
A GAS STATION selling gas at 18.9¢ a gallon.
A TRAVEL AGENCY advertising “L.A. to New York in a mere 12
hours.”
A DANCE STUDIO, where through the window can be seen a Mambo
Class, and a big sign, “Everybody’s Doing the Mambo!”
A CLOTHING STORE, with a display of the latest fashions.
A STUDEBAKER SHOWROOM, with “The most modern car ever developed
in the entire history of man.”
55
EXT. A RECORD STORE - MARTY
Marty stares at the window display at the record store,
promoting America’s top recording artists: Sinatra, Guy
Combardo, Dinah Shore, Perry Como. Something is bothering Marty
about this so he goes in.
INT. RECORD STORE - MARTY
The Number One Single is prominently displayed on the counter:
“Papa Loves Mambo” by Perry Como. Marty can’t believe it. A
CLERK approaches him.
CLERK
Can I help you, sir?
MARTY
This is the number one record?
CLERK
Yes, sir!
MARTY
I don’t get it---how come there’s
no Rock ‘N Roll?
CLERK
I beg your pardon?
MARTY
This is 1952...?
CLERK
Uh, yes, sir...
MARTY
And you never heard of Rock ‘N
Roll?
CLERK
No.
MARTY
(big smile)
Well, maybe it’s time you did.
CUT TO:
56
EXT. PAWNSHOP
A PAWNBROKER pulls a Guitar out of the window, along with the
price tag: .00.
INT. PAWNSHOP - MARTY, PAWNBROKER
The Pawnbroker takes the guitar to the cash register; Marty
follows him.
PAWNBROKER
That’ll be 5 bucks.
Marty pulls out his wallet and hands the man a 20. The
Pawnbroker rings it up, then takes a closer look at the bill.
PAWNBROKER
Hey, what kinda funny money is
this?
MARTY
Huh?
PAWNBROKER
It says “1977” on it. What do you
take me for, an idiot?
He gives the bill back to Marty. Marty looks at it and realizes
his mistake.
MARTY
Oh---yeah---I can’t believe I did
that. That’s a joke. My friend had
these printed up---see, that’s his
name there...
(pointing to the name on the bill)
...Blumenthal.
The Pawnbroker is eyeing Marty suspiciously. Marty checks his
wallet.
MARTY
Gee---I don’t seem to have
anything on me...Hey, how about
this watch? It’s a genuine
antique!
Marty hands the man his watch. The broker examines it.
57
PAWNBROKER
Antique? They just came out with
this watch last month. But this
one looks like its been through a
war.
MARTY
Yeah, I’ve been doing a lotta
travelling.
PAWNBROKER
Okay, kid. You got a deal. The watch
for the guitar.
CUT TO:
INT. TALENT AGENT’S OFFICE
Marty is performing “Blue Suede Shoes” for an AGENT in an
office. Marty’s really cooking---jumping around like Elvis, and
really playing his heart out. He’s good, too.
The Agent, 45, sits stonefaced behind his messy desk, puffing on
a big cigar. The office has the same feeling as the Agent:
cheap. The walls are covered with 8 x 10’s of clients.
INT. OUTER OFFICE
The music can be heard coming from the frosted glass door with
the words “Midwest Talent Agency” on it here in the outer
office. The secretary listens, but doesn’t seem to care much for
it. But REGINALD WASHINGTON, 32, a black man with silk shirt,
processed hair and two-tone shoes, is very interested. He puts
his ear to the door and snaps his fingers in time to the tune.
He likes it.
INT. AGENT’S OFFICE
Marty finishes the number. The Agent is not impressed.
AGENT
Well, kid, it’s interesting, I’ll
say that. But it’s not commercial.
MARTY
Not commercial? Mister, don’t you
know what you’re listening to?
This is rock ’n roll!
58
AGENT
Call it what you want to kid, but
don’t call it music, ’cause it sure
ain’t that!
MARTY
But you don’t understand---
AGENT
No buts, kid. I’ve been in this
business my whole life and I know
what people want. The smooth
sound, that’s what sells. Como,
Crosby, Dinah Shore. Gimme a
melody, and a nice slow tempo. Now
beat it!
The agent shoves Marty out the door!
INT. OUTER OFFICE
Marty is stunned. In a moment, the door opens and his case is
thrown out too!
Reginald goes over to him.
REGINALD
That sound I just heard coming
through the door, that was like
nothing I ever heard before! I
mean, you got something there,
young man!
MARTY
Who are you?
REGINALD
Reginald Washington is my name; I
manage some of the local bands
around town, and I think you’ve
got something we can promote all
the way to the top! Now, I’ve got
a real important cat comin’ in
from a New York Record Company on
Monday the 18th, and I want you to
play that music for him. I think
the time has come for a sound like
that.
59
Marty grins. Reginald takes a business card and writes the
particulars on it.
REGINALD
That’s March 18th, Noon. Be at my
office. What’s your name?
MARTY
Marty Mc---Marty Lewis.
REGINALD
Marty Lewis. See you on the 18th.
Reginald gives him the card and they shake hands. Marty is
elated.
MARTY
Right on, brother!
Reginald has never heard that expression before.
REGINALD
I think you’re a little mixed up.
There is absolutely no way that I
could be your brother.
Reginald walks off. Marty looks at the card and smiles.
INT. MARTY’S BEDROOM AT BROWN’S HOUSE - NIGHT
Marty, dressed once again in his 1980’s clothes, is practicing
on the guitar in front of the mirror.
He hears the door opening downstairs, so he quickly puts the
guitar in the corner, messes up his hair, takes Reginald’s
business card from off the bed and sticks it in the pocket of
his Porsche jacket which is laying on a chair.
INT. BROWN’S HOUSE - FRONT ALCOVE - NIGHT
Marty comes running downstairs and finds a very sullen Professor
Brown pouring himself a drink. Brown looks at him.
PROF. BROWN
Well, I found an energy source that
can generate the 4200 rads that we
need...an atomic bomb.
60
MARTY
Professor, be serious, would you?
PROF. BROWN
I am serious. If we could get you,
the Time Machine, and the Power
Converter in the vicinity of an
atomic blast, we could send you
back to the future.
MARTY
You’re talking crazy! An Atomic
blast would melt me and the time
machine in a matter of seconds!
PROF. BROWN
You forget---time travel is
instantaneous. The time machine
would melt, but you would have
already trave