Dead Poets Society: Final Script

original screenplay by Tom Schulman, film directed by Peter Weir

This is the final script of the theatrical release of Dead Poets Society. It was obtained from Simply Scripts and initially contained only the dialog from the film. (No descriptions, actions, locations, anything...) I went through the script and added in descriptive text. As I have not had a chance to double check everything, I am sure there are a few errors, typos, or bits of incorrect dialog still. I'll try to verify it all shortly.


INT. WELTON ACADEMY HALLWAY - DAY

A young boy, dressed in a school uniform and cap, fidgets as his mother
adjusts his tie.

                              MOTHER
               Now remember, keep your shoulders back.

A student opens up a case and removes a set of bagpipes. The young
boy and his brother line up for a photograph

                              PHOTOGRAPHER
               Okay, put your arm around your brother.
               That's it. And breathe in.

The young boy blinks as the flash goes off.

                              PHOTOGRAPHR
               Okay, one more.

An old man lights a single candle. A teacher goes over the old
man's duties.

                              TEACHER
               Now just to review, you're going to
               follow along the procession until you
               get to the headmaster. At that point
               he will indicate to you to light the
               candles of the boys.

                              MAN
               All right boys, let's settle down.

The various boys, including NEIL, KNOX, and CAMERON, line up holding
banners. Ahead of them is the old man, followed by the boy with the
bagpipes with the two youngest boys at the front.

                              MAN
               Banners up.

The boys hoist the banners and the bagpipes begin to play loudly. The
small group marches out of the room and down a set of stairs into a
church. The pews are filled with students and parents while the
teachers, all dressed in robes, are seated at the front of the church
behind the headmaster.

The boys break off to either side at the front of the church. The
bagpipes cease and the headmaster, MR. NOLAN, walks over to the old
man carrying the candle.

                              MR NOLAN
               Ladies and gentlemen, boys, the light
               of knowledge.

An organ begins to play as the old man goes forward with shaking hands
to the young boys in the front pew. Each boy is holding a candle and
he bends over to light the first one. Each boy in turn lights the
candle of the boy next to him.

                              MR NOLAN
               One hundred years ago, in 1859, 41 boys sat in this
               room and were asked the same question that greets
               you at the start of each semester. Gentlemen, what
               are the four pillars?

All throughout the pews, uniformed boys rise to their feet. TODD, who
is not wearing a uniform, is urged by his father to stand with them.

                              BOYS
               Tradition, honor, discipline, excellence.

The boys quickly return to their seats.

                              MR NOLAN
               In her first year, Welton Academy graduated five
               students. Last year we graduated fifty-one. And
               more than seventy-five percent of those went on to
               the Ivy League. This, this kind of accomplishment is
               the result of fervent dedication to the principles taught
               here. This is why you parents have been sending us
               your sons. This is why we are the best preparatory
               school in the United States.

Mr. Nolan soaks up the applause from the audience.

                              MR NOLAN
               As you know, our beloved Mr. Portius of the English
               department retired last term. You will have the
               opportunity later to meet his replacement, Mr. John
               Keating, himself a graduate of this school. And who,
               for the past several years, has been teaching at the
               highly regarded Chester School in London.

The crowd applauds once again.

EXT. SCHOOL GROUNDS - DAY

The school lawn is a filled with luggage, students, and parents mulling
about in every direction.

INT CHURCH ENTRANCE - DAY

Mr Nolan stands by the entrance, speaking with each family as they leave.

                              MR NOLAN
               Glad you could come by.

                              MR ANDERSON
               Thrilling ceremony as usual Dr. Nolan.

                              MR NOLAN
               You've been away too long.

                              MRS ANDERSON
               Hello Dr. Nolan.

                              MR NOLAN
               Good to have you back.

                              MRS ANDERSON
               This is our youngest, Todd.

                              MR NOLAN
               Mr. Anderson.You have some big shoes to fill,
               young man. Your brother was one of our finest.

                              TODD
               Thank you.

Todd and his parents leave while others file past Mr. Nolan.

                              WOMAN
               Lovely ceremony.

                              MR NOLAN
               Thank you. So glad you liked it.

MR PERRY approaches with his son Neil. He shakes Mr. Nolan's hand.

                              MR PERRY
               Gale

                              MR NOLAN
               Tom

                              MR PERRY
               Good to see you again.

                              NEIL
               Hello Mr. Nolan.

                              MR NOLAN
               Neil. We expect great things from you this year.

                              NEIL
               Thank you, sir.

                              MR PERRY
               Well he won't disappoint us. Right Neil?

                              NEIL
               I'll do my best sir.

EXT SCHOOL GROUNDS - DAY

A bell tolls. Parents begin wishing their boys farewell.

                              FATHER
               Hey, come on son.

                              MOTHER
               Chin up.

                              FATHER
               No tears now.

                              BOY
               Okay.

                              MOTHER
               Chin up.

Another boy hugs his mother.

                              BOY
               I don't want to go here.

                              MOTHER
               You be a good boy and do your lessons.

EXT SCHOOL GROUNDS - DAY

Neil emerges from a building and sees Todd.

                              NEIL
               Hey, I hear we're gonna be roommates.

He shakes Todd's hand.

                              NEIL
               I'm Neil Perry.

                              TODD
               Todd Anderson.

                              NEIL
               Why'd you leave Balincrest?

                              TODD
               My brother went here.

                              NEIL
               Oh, so you're that Anderson.

INT DORMATORY - DAY

DR. HAGER is standing in his room doorway while SPAZ and his father are
going over some last minute precautions over the boy's allergies. Spaz's
father hands Hager various bottles.

                              FATHER
               This is for sinuses. Oh, and if he can't swallow you
               give him one of these. And if he had trouble breathing
               you can give him some of those.

                              HAGER
               All right fine.

Dr. Hager takes the bottles and quickly backs into his room, shutting
the door.

                              FATHER
                        (to son)
               Did you remember your vaporizer?

                              SPAZ
               Yes, I put it in my room.

Spaz's father tries to say something else to Dr. Hager but realizes he
has already gone.

INT HALLWAY - DAY

Neil pushes his way through a crowd of boys, carrying two suitcases. As
he enters his room, Knox quickly passes by.

                              KNOX
               Hey, how's it going Neil?

                              NEIL
               Hey Knox.

Cameron comes by and leans against the doorway.

                              CAMERON
               Neil, study group tonight?

                              NEIL
               Yeah, sure.

                              CAMERON
               Business as usual, huh? Hey, I hear you got the new
               kid. Looks like a stiff!

He begins laughing when he notices Todd coming into the room.

                              CAMERON
               Oops!

Cameron quickly leaves. Neil tries to keep from laughing as Todd enters
the room and sets his luggage down on his bed.

                              NEIL
               Listen, don't mind Cameron. He was born with his
               foot in his mouth. You know what I mean?

He pulls some papers from his blazer pocket and playfully whacks Todd 
across the back with it.

CHARLIE comes to the door with a smug expression on his face. Knox and
MEEKS are close behind him. He points at Neil

                              CHARLIE
               Rumor has it, you did summer school.

                              NEIL
               Yep. Chemistry. My father thought I should get ahead.
               How was your summer Slick?

                              CHARLIE
               Keen.

The boys enter the room. Charlie turns around and looks at Meeks who is
just entering. 

                              CHARLIE
               Meeks. Door. Closed.

                              MEEKS
               Yes sir.

                              NEIL
               Gentlemen, what are the four pillars?

                              BOYS
               Travesty. Horror. Decadence. Excrement.

Charlie makes himself comfortable on Neil's bed and lights up a cigarette.
Meanwhile, Todd is by his bed unpacking his luggage.

                              CHARLIE
               Okay, study group. Meeks aced Latin. I didn't quite
               flunk English. So, if you want, we've got our study
               group.

                              NEIL
               Sure. Cameron asked me too. Anyone mind
               including him?

                              CHARLIE
               Hmm, what's his specialty, boot-licking?

                              NEIL
               Come on, he's your roommate.

                              CHARLIE
               That's not my fault.

Meeks seems to notice Todd for the first time.

                              MEEKS
               Oh, I'm sorry, my name is Steven Meeks.

Neil quickly gets up from his spot by the window.

                              NEIL
               Oh, this is Todd Anderson.

Todd turns around and shakes hands with Meeks.

                              MEEKS
               Nice to meet you.

                              TODD
               Nice to meet you.

                              CHARLIE
               Charlie Dalton.

Charlie continues to lay on the bed, looking smug. Knox extends a hand.

                              KNOX
               Knox Overstreet.

                              NEIL
               Todd's brother was Jeffrey Anderson.

                              CHARLIE
               Oh yeah, sure. Valedictorian. National merit scholar. 

                              MEEKS
               Oh well, welcome to Hell-ton.

                              CHARLIE
               It's every bit as tough as they say, unless you're a
               genius like Meeks.

                              MEEKS
               He flatters me. That's why I help him with Latin.

                              CHARLIE
               And English, and Trig.

Charlie begins coughing. There is a knock at the door. Charlie quickly
stamps out his cigarette on the floor and Neil tries to wave the smoke
from the air.

                              NEIL
               It's open.

The door opens and Mr. Perry walks into the room. Neil quickly rises from
the window.

                              NEIL
               Father, I thought you'd gone.

The other boys stand up when he enters.

                              BOYS
               Mr. Perry.

                              MR PERRY
               Keep your seats fellows, keep your seats. Neil, I've
               just spoken to Mr. Nolan. I think that you're taking
               too many extra curricular activities this semester, and
               I've decided that you should drop the school annual.

                              NEIL
               But I'm the assistant editor this year.

                              MR PERRY
               Well I'm sorry Neil.

                              NEIL
               But Father, I can't. It wouldn't be fair.

                              MR PERRY
               Fellas, would you excuse us for a moment?

Mr. Perry walks towards the door and Neil hesitantly follows. Mr. Perry
pauses by the door and smiles to the other boys.

INT. HALLWAY - DAY

The smile has gone from Mr. Perry's face. He grabs a hold of Neil's arm.

                              MR PERRY
               Don't you ever dispute me in public. Do you
               understand?

                              NEIL
               Father, I wasn't disputing-

                              MR PERRY
After you've finished medical school and you're on your own, then you
can do as you damn well please. But until then, you do as I tell you.
Is that clear?

                              NEIL
               Yes sir. I'm sorry.

                              MR PERRY
               You know how much this means to your mother,
               don't you?

                              NEIL
               Yes sir. You know me, always taking on too much.

                              MR PERRY
               Well, that's my boy. Now listen, you need anything,
               you let us know, huh?

                              NEIL
               Yes sir.

Mr. Perry slaps his son on the shoulder and leaves. Neil leans his head
back against the wall as the other boys emerge from the room.

                              CHARLIE
               Why doesn't he let you do what you want?

                              KNOX
               Yeah Neil, tell him off. It couldn't get any worse.

                              NEIL
               Oh, that's rich. Like you guys tell your parents off, Mr.
               Future Lawyer and Mr. Future Banker.

                              CHARLIE
               Okay, so I don't like it any more than you do.

                              NEIL
               Well just don't tell me how to talk to my father. You
               guys are the same way.

                              KNOX
               All right, all right, Jesus. So what are you going to do?

                              NEIL
               What I have to do. Drop the annual.

                              CHARLIE
               Well I wouldn't lose much sleep over it. It's just a
               bunch of jerks trying to impress Nolan.

                              NEIL
               I don't care. I don't give a damn about any of it.

                              MEEKS
               Well, uh, Latin, eight o' clock in my room?

                              NEIL
               Yes.

                              MEEKS
               Todd, you're welcome to join us.

                              KNOX
               Yeah, come along pal.

Todd looks up from his desk where he is setting his alarm clock.

                              TODD
               Thanks.

EXT. FIELDS - DAY

A clock bell chimes five o'clock. Enormous flocks of birds, apparently
disturbed by the noise, take to the sky.

INT. STAIRCASE - DAY

The sound of squawking birds merges into the sound of noisy boys as they
descend the stairs in a long spiralling line.

MR. MCALLISTER tries to make it upstairs against the steady stream.

                              MCALLISTER
               Slow down boys, slow down you horrible
               phalanx of pubescense.

INT CHEMISTRY LAB - DAY

A teacher walks up and down the aisles, handing out books.

                              TEACHER
               Pick three laboratory experiments from
               the project list and report on them every
               five weeks. The first twenty questions at
               the end of chapter one are due tomorrow.

The students let out a collective groan.

INT. LATIN CLASSROOM - DAY

Mr. McAllister paces back and forth in front of the blackboard and gets
the students to repeat everything he says.

                              MCALLISTER
                        (students repeat after each word.)
               Agricolam. Agricola. Agricolae.
               Agricolarum. Agricolis. Agricolas.
               Agrilcolis.

               Again, please.
               Agricola.

INT. MATH CLASSROOM - DAY

Dr. Hager walks up the classroom aisles with his arms behind his back.

                              HAGER
               Your study of trigonometry requires absolute precision.
               Anyone failing to turn in any homework assignment will
               be penalized one point off their final grade. Let me urge
               you now not to test me on this point.

INT. KEATING'S CLASSROOM - DAY

Students enter Keating's classroom, talking and acting up. Keating
glances out from his room off to one side.

                              KNOX
               Hey Spaz, Spaz.

Spaz turns around in time to be hit by a ball of crumpled up paper
while Cameron smacks him on the shoulder.

                              CAMERON
               Brain damage.

The students quickly quiet down as Keating emerges from the other room,
whistling the 1812 Overture. He walks up the length of the classroom and
out the door without a word. The students look around at one another,
uncertain of what to do. Keating pokes his head back in the doorway.

                              KEATING
               Well come on.

He gestures them to follow and the students, after some hesitation, grab
their books and follow Keating out into the main entranceway. 

INT. ENTRANCEWAY - DAY

Keating stands before the school's trophy cabinets and waits until all
the boys arrive.

                              KEATING
               "Oh Captain, My Captain" who knows where
               that comes from?

Todd looks up as if he knows the answer, but says nothing. Spaz blows his
nose a little too close to Meeks for his liking.

                              KEATING
               Not a clue? It's from a poem by Walt
               Whitman about Mr. Abraham Lincoln. Now in
               this class you can call me Mr. Keating. Or,
               if you're slightly more daring, Oh Captain,
               My Captain.

The students laugh slightly.

                              KEATING
               Now let me dispel a few rumors so they
               don't fester into facts. Yes, I too
               attended Hell-ton and survived. And no,
               at that time I was not the mental giant
               you see before you. I was the intellectual
               equivalent of a ninety-eight pound
               weakling. I would go to the beach and
               people would kick copies of Byron in my
               face.

The boys laugh once again, while Cameron, obviously trying to write all
this down, looks around confusedly. Keating looks down at papers in his
hand.

                              KEATING
               Now, Mr… Pitts. That's a rather
               unfortunate name. Mr. Pitts, where are
               you?

Pitts raises his hand while everyone around him snickers.

                              KEATING
Mr. Pitts, would you open your hymnal to page 542 and read the first
stanza of the poem you find there?

                              PITTS
               "To the virgins, to make much of time"?

                              KEATING
               Yes, that's the one. Somewhat appropriate,
               isn't it.

                              PITTS
               "Gather ye rosebuds while ye may, old
               time is still a flying, and this same
               flower that smiles today, tomorrow will
               be dying."

                              KEATING
               Thank you Mr. Pitts. "Gather ye rosebuds
               while ye may." The Latin term for that
               sentiment is Carpe Diem. Now who knows
               what that means?

Meeks immediately puts his hand up.

                              MEEKS
               Carpe Diem. That's "seize the day."

                              KEATING
               Very good, Mr.-

                              MEEKS
               Meeks.

                              KEATING
               Meeks. Another unusual name. Seize the
               day. Gather ye rosebuds while ye may.
               Why does the writer use these lines?

                              CHARLIE
               Because he's in a hurry.

                              KEATING
               No, ding!

Keating slams his hand down on an imaginary buzzer.

                              KEATING
               Thank you for playing anyway. Because we
               are food for worms lads. Because, believe
               it or not, each and every one of us in
               this room is one day going to stop
               breathing, turn cold, and die. 

Keating turns towards the trophy cases, filled with trophies, footballs,
and team pictures.

                              KEATING
               Now I would like you to step forward over
               here and peruse some of the faces from
               the past. You've walked past them many
               times. I don't think you've really looked
               at them.

The students slowly gather round the cases and Keating moves behind them.

                              KEATING
               They're not that different from you, are
               they? Same haircuts. Full of hormones,
               just like you. Invincible, just like you
               feel. The world is their oyster. They
               believe they're destined for great things,
               just like many of you. Their eyes are full
               of hope, just like you. Did they wait until
               it was too late to make from their lives
               even one iota of what they were capable?
               Because you see gentlmen, these boys are
               now fertilizing daffodils. But if you listen
               real close, you can hear them whisper their
               legacy to you. Go on, lean in.

The boys lean in and Keating hovers over Cameron's shoulder.

                              KEATING
                        (whispering in a gruff voice)
               Carpe.

Cameron looks over his shoulder with an aggravated expression on his face. 

                              KEATING
               Hear it?
                        (whispering again)
               Carpe. Carpe Diem. Seize the day boys,
               make your lives extraordinary.

The boys stare at the faces in the cabinet in silence.

EXT. SCHOOL STEPS - DAY

The boys emerge from the school, loaded down with numerous books.

                              PITTS
               That was weird.

                              NEIL
               But different.

                              KNOX
               Spooky if you ask me.

                              CAMERON
               Think he'll test us on that stuff?

                              CHARLIE
               Come on Cameron, don't you get anything?

                              CAMERON
               What? What?

INT. LOCKER ROOM - EVENING

A coach sticks his head around the corner into the room.

                              COACH
               Let's go boys, hustle up in here. That
               means you Dalton.

Meeks emerges from the showers, drying himself off.

                              MEEKS
               Okay, who's up for a trig study group
               tonight guys?

                              PITTS
               Me.

                              NEIL
               Me.

                              CHARLIE
                    (still annoyed by what the coach said)
               What?

                              KNOX
               I can't make it guys. I have to have
               dinner at the Danburry's house.

                              PITTS
               The Danburry's? Who are the Danburry's?

                              CAMERON
               Big alumns. How'd you swing that?

                              KNOX
               Friends of my Dad's. They're probably in
               their nineties or something.

                              CHARLIE
               Ooh!

                              NEIL
               Anything's better than Hell-ton hash.

                              CHARLIE
               I'll second that.

                              KNOX
               Yeah we'll see.

Neil approaches Todd, who's been sitting by the window staring down at the
floor. Neil snaps his fingers to get Todd's attention. 

                              NEIL
               Hey, you coming to the study group tonight?

                              TODD
               Uh, no, no I, uh, I've got some history I
               wanna do.

                              NEIL
               Suit yourself.

INT. TODD'S ROOM - EVENING

Todd is seated at his desk. He scrawls "CARPE DIEM" across a blank page
of his notebook. He looks at it for a few moments before crumpling it up
and opening up his Chemistry book.

INT. ENTRANCEWAY - NIGHT

Hager comes down the stairs. Knox is looking at one of the old class photos
on the walls.

                              HAGER
               Ready Overstreet?

Knox reluctantly follows after Dr. Hager.

                              KNOX
               Ready to go sir.

EXT. ROAD - NIGHT

The car leaves Welton and drives towards the Danburry's house.

INT / EXT DANBURRY'S HOUSE - NIGHT

The doorbell rings.

                              MRS DANBURRY (O.S.)
               Chet, can you get that?

                              CHET (O.S.)
               I can't, Mom.

                              CHRIS (O.S.)
               I'll get it.

The door opens and Knox is awe-struck by the beautiful girl (CHRIS) who
has answered the door.

                              CHRIS
               Can I help you?

Knox manages to break out of his daze.

                              KNOX
               Hi. Knox Overstreet. Uh, Dr. Hager.

                              CHRIS
               Hi.

                              KNOX
               This is the Danburry's, right?

                              CHRIS
               Are you here to see Chet?

                              KNOX
               Mrs. Danburry?

Chris begins to laugh as Mrs. Danburry arrives behind her.

                              CHRIS
               No.

                              MRS DANBURRY
               Sorry. Thank you Chris. I'm Mrs. Danburry.
               You must be Knox.

                              KNOX
               Yes.

                              MRS DANBURRY
                        (to Dr. Hager)
               Back by nine.
                        (to Knox)
               Please come in.

                              CHET (O.S.)
               Chris, come on, what are you doing?

                              CHRIS
               Chet, I'm coming.

Knox enters the house, his mind still hung up on Chris as MR DANBURRY
comes out of the living room to meet him.

                              MR DANBURRY
               Knox. How are you? Joe Danburry.

                              KNOX
               Nice to meet you sir.

                              MR DANBURRY
               Well he's the spitting image of his father,
               isn't he. How is he? Come on in.

                              CHET (O.S.)
               Chris!

                              KNOX
               He's great. He just did a big case for GM.

                              CHRIS (O.S.)
               I'm coming.

                              MR DANBURRY
               I know where you're headed, like father
               like son, huh?

INT. STUDENT LOUNGE - NIGHT

Several students are throwing darts at a small rubber skeleton hanging
from the bulletin board. Various students are studying and playing games.
Meeks and Pitts are sitting at one table working on their "hi-fi system".
Meeks is waving an antenna around with no luck. Pitts points out to him
that he forgot to plug it in. Neil, Cameron, and Charlie are working on
their trig homework.

                              CAMERON
               Just replace these numbers here with "x",
               for "x" and "y".

                              NEIL
               Of course.

                              CAMERON
               Of course, so what's the problem?

Charlie enters the room and closes the door behind him, leaning up
against it heavily.

                              CHARLIE
               How was dinner?

                              KNOX
               Huh?

                              CHARLIE
               How was dinner?

                              KNOX
               Terrible. Awful.

He leaves the door and sits down with the other boys.

                              CHARLIE
               Why? What happened?

                              KNOX
               Tonight, I met the most beautiful girl
               in my entire life.

                              NEIL
               Are you crazy? What's wrong with that?

                              KNOX
               She's practically engaged. To Chet Danburry.

                              CHARLIE
               That guy could eat a football.

                              PITTS
               That's too bad.

                              KNOX
               Too bad? It's worse than too bad Pitsie,
               it's a tragedy. A girl this beautiful in
               love with such a jerk.

                              PITTS
               All the good ones go for jerks, you
               know that.

                              CAMERON
               Ahh, forget her. Open your trig book and
               try and figure out problem five.

                              KNOX
               I can't just forget her Cameron. And I
               can't think about trig.

The radio Meeks and Pitts were working on begins letting out a high
pitched hum.

                              PITTS
               We got it.

                              MEEKS
               Holy cow.

Mr. Hager walks into the room.

                              HAGER
               All right gentlemen, five minutes. Let's
               go.

The students quickly pack up their gear and prepare to leave. Pitts tries
to hide the radio in his lap. Charlie leans in close to Knox.

                              CHARLIE
               Did you see her naked?

                              KNOX
               Very funny Dalton.

                              HAGER
               That wouldn't be a radio in your lap,
               would it Mr. Pitts?

                              PITTS
               No sir. Science experiment, radar.

Meeks holds up the antenna as if demonstrating it.

INT. KEATING'S CLASSROOM - DAY

Keating sits at his desk at the front of the classroom and opens up one
of his books.

                              KEATING
               Gentlemen, open your text to page
               twenty-one of the introduction. Mr.
               Perry, will you read the opening
               paragraph of the preface, entitled
               "Understanding Poetry"?

                              NEIL
               Understanding Poetry, by Dr. J. Evans
               Pritchard, Ph.D. To fully understand
               poetry, we must first be fluent with
               its meter, rhyme, and figures of speech.
               Then ask two questions: One, how artfully
               has the objective of the poem been
               rendered, and two, how important is that
               objective. Question one rates the poem's
               perfection, question two rates its
               importance. And once these questions have
               been answered, determining a poem's
               greatest becomes a relatively simple
               matter.

Keating gets up from his desk and prepares to draw on the chalk board.

                              NEIL
               If the poem's score for perfection is
               plotted along the horizontal of a graph,
               and its importance is plotted on the
               vertical, then calculating the total
               area of the poem yields the measure of
               its greatness.

Keating draws a corresponding graph on the board and the students
dutifully copy it down.

                              NEIL
               A sonnet by Byron may score high on the
               vertical, but only average on the
               horizontal. A Shakespearean sonnet, on
               the other hand, would score high both
               horizontally and vertically, yielding a
               massive total area, thereby revealing the
               poem to be truly great. As you proceed
               through the poetry in this book, practice
               this rating method. As your ability to
               evaluate poems in this matter grows, so
               will - so will your enjoyment and
               understanding of poetry.

Neil sets the book down and takes off his glasses. The student sitting
across from him is discretely trying to eat. Keating turns away from
the chalkboard with a smile.

                              KEATING
               Excrement. That's what I think of Mr. J.
               Evans Pritchard. We're not laying pipe,
               we're talking about poetry.

Cameron looks down at the graph he copied into his notes and quickly
scribbles it out.

                              KEATING
               I mean, how can you describe poetry like
               American Bandstand? I like Byron, I give
               him a 42, but I can't dance to it.

Charlie suddenly appear to become interested in the class.

                              KEATING
               Now I want you to rip out that page.

The students look at Keating as if he has just gone mad.

                              KEATING
               Go on, rip out the entire page. You heard
               me, rip it out. Rip it out!

Charlie looks around at the others. He then looks down at his own notes,
which consists of drawing breasts.

                              KEATING
               Go on, rip it out.

Charlie rips the page out and holds it up.

                              KEATING
               Thank you Mr. Dalton. Gentlemen, tell you
               what, don't just tear out that page, tear
               out the entire introduction. I want it
               gone, history. Leave nothing of it. Rip
               it out. Rip! Begone J. Evans Pritchard,
               Ph.D. Rip, shred, tear. Rip it out. I
               want to hear nothing but ripping of Mr.
               Pritchard.

Meeks looks around reluctantly and then finally begins tearing out pages.

                              KEATING
               We'll perforate it, put it on a roll.

Keating sees Cameron still hesitating.

                              KEATING
               It's not the bible, you're not going to
               go to hell for this. Go on, make a clean
               tear, I want nothing left of it.

Keating goes over to his room. Cameron turns around to Neil.

                              CAMERON
               We shouldn't be doing this.

                              NEIL
               Rip, rip, rip!

Neil makes Cameron turn back around.

                              KEATING (O.S.)
               Rip it out, rip!

From outside the classroom, Mr. McAllister hears all the noise and sees
all the students ripping out the pages. He bursts into the room.

                              MCALLISTER
               What the hell is going on here?

The boys all turn around in shock. Charlie stuffs a crumpled page into his
mouth. Keating emerges from his room with a waste paper basket.

                              KEATING
               I don't hear enough rips.

                              MCALLISTER
               Mr. Keating.

                              KEATING
               Mr. McAllister.

                              MCALLISTER
               I'm sorry, I- I didn't know you were
               here.

                              KEATING
               I am.

                              MCALLISTER
               Ahh, so you are. Excuse me.

Mr. McAllister slowly backs out of the classroom.

                              KEATING
               Keep ripping gentlemen. This is a battle,
               a war. And the casualties could be your
               hearts and souls. 

Keating holds out the basket to Charlie who spits out a wad of paper.

                              KEATING
               Thank you Mr. Dalton. Armies of academics
               going forward, measuring poetry. No, we
               will not have that here. No more of Mr.
               J. Evans Pritchard. Now in my class you
               will learn to think for yourselves again.
               You will learn to savor words and language.
               No matter what anybody tells you, words and
               ideas can change the world. I see that look
               in Mr. Pitt's eye, like nineteenth century
               literature has nothing to do with going to
               business school or medical school. Right?
               Maybe. Mr. Hopkins, you may agree with him, 
               thinking "Yes, we should simply study our
               Mr. Pritchard and learn our rhyme and meter
               and go quietly about the business of
               achieving other ambitions." I have a little
               secret for ya. Huddle up. Huddle up! 

The boys get up from their seats and gather around Keating in the center
of the class.

                              KEATING
               We don't read and write poetry because
               it's cute. We read and write poetry
               because we are members of the human race.
               And the human race is filled with passion.
               Medicine, law, business, engineering,
               these are all noble pursuits, and necessary
               to sustain life. But poetry, beauty,
               romance, love, these are what we stay alive
               for. To quote from Whitman: "O me, o life
               of the questions of these recurring, of the
               endless trains of the faithless, of cities
               filled with the foolish. What good amid
               these, o me, o life? Answer: that you are
               here. That life exists, and identity.
               That the powerful play goes on, and you
               may contribute a verse. That the powerful
               play goes on and you may contribute a verse.

Keating looks up at Todd.

                              Keating
               What will your verse be?

INT. HEAD OF CAFETERIA - DAY

The cafeteria is filled with students and teachers standing before the tables saying grace.

                              ALL
               For what we are about to receive, may the
               Lord make us truly grateful. Amen.

Mr. Keating and Mr. McAllister are seated next to one another at the table.

                              MCALLISTER
               Quite an interesting class you gave today,
               Mr. Keating.

                              KEATING
               I'm sorry if I shocked you, Mr. McAllister.

                              MCALLISTER
               Oh, there's no need to apologize. It was
               very fascinating, misguided though it was.

                              KEATING
               You think so?

                              MCALLISTER
               You take a big risk by encouraging them to
               be artists John. When they realize they're
               not Rembrandts, Shakespeares or Mozarts,
               they'll hate you for it.

                              KEATING
               We're not talking artists George, we're
               talking free thinkers.

                              MCALLISTER
               Free thinkers at seventeen?

                              KEATING
               Funny, I never pegged you as a cynic.

                              MCALLISTER
                      (taken aback by the comment)
               Not a cynic, a realist. Show me the heart
               unfettered by foolish dreams, and I'll
               show you a happy man.

                              KEATING
               But only in their dreams can man be truly
               free. 'Twas always thus, and always thus
               will be.

                              MCALLISTER
               Tennyson?

                              KEATING
               No, Keating.

Keating winks and Mr. McAllister can't help but laugh.

INT. CAFETERIA TABLE - DAY

Neil joins the others at the table. He pulls out a yearbook.

                              NEIL
               Hey, I found his senior annual in the
               library.

He hands the annual over to Cameron who laughs at the younger picture of Keating.

                              NEIL
               Listen to this, captain of the soccer team,
               editor of the school annual, Cambridge
               bound, Thigh man, and the Dead Poets Society.

                              CAMERON
                        (reading from the annual)
               Man most likely to do anything.

                              CHARLIE
               Thigh man. Mr. K was a hell-raiser.

                              KNOX
               What's the Dead Poets Society?

                              NEIL
               I don't know.

                              MEEKS
               Is there a picture in the annual?

                              NEIL
               Nothing. No other mention of it.

                              MR. NOLAN (O.S.)
               That boy there, see me after lunch.

Cameron quickly puts the annual away and the others all return to their meal.

EXT. WELTON GROUNDS - DAY

Keating is walking down towards the lake, whistling the same tune as before.
The boys emerge from the building and chase after him.

                              NEIL
               Mr. Keating? Mr. Keating? Sir? Oh Captain,
               My Captain?

Keating immediately turns around.

                              KEATING
               Gentlemen.

                              NEIL
               We were just looking in your old annual.

He hands Keating the annual and Keating looks at his old photograph.

                              KEATING
               Oh my God. No, that's not me. Stanley
               "The Tool" Wilson-

Keating crouches down and continues looking through the book.

                              KEATING
               God.

Neil crouches down next to Keating.

                              NEIL
               What was the Dead Poets Society?

                              KEATING
               I doubt the present administration would
               look too favorably upon that.

                              NEIL
               Why? What was it?

                              KEATING
               Gentlemen, can you keep a secret?

                              NEIL
               Sure.

The other boys crouch down around Keating.

                              KEATING
               The Dead Poets were dedicated to sucking
               the marrow out of life. That's a phrase
               from Thoreau that we'd invoke at the
               beginning of each meeting. You see we'd
               gather at the old Indian cave and take
               turns reading from Thoreau, Whitman,
               Shelley; the biggies. Even some of our
               own verse. And in the enchantment of the
               moment we'd let poetry work its magic.

                              KNOX
               You mean it was a bunch of guys sitting
               around reading poetry?

                              KEATING
               No Mr. Overstreet, it wasn't just "guys",
               we weren't a Greek organization, we were
               romantics. We didn't just read poetry,
               we let it drip from our tongues like honey.
               Spirits soared, women swooned, and gods
               were created, gentlemen, not a bad way to
               spend an evening eh? Thank you Mr. Perry
               for this trip down amnesia lane. Burn that,
               especially my picture.

Keating hands the annual back and walks away, whistling once again. Neil
remains crouched.

                              NEIL
               Dead Poets Society.

                              CAMERON
               What?

The school bells begin ringing and everyone heads back towards the school.
Neil stands up.

                              NEIL
               I say we go tonight.

                              CHARLIE
               Tonight?

                              CAMERON
               Wait a minute.

                              PITTS
               Where's this cave he's talking about?

                              NEIL
               It's beyond the stream. I know where it
               is.

                              PITTS
               That's miles.

                              CAMERON
               Sounds boring to me.

                              CHARLIE
               Don't go.

                              CAMERON
               You know how many de-merits we're talking
               Dalton

                              CHARLIE
               So don't come, please.

                              CAMERON
               Look, all I'm saying is that we have to
               be careful, we can't get caught.

                              CHARLIE
               No shit, Sherlock.

                              HAGER
                         (yelling)
               You boys there, hurry up.

Neil turns around and faces the other boys.

                              NEIL
               All right, who's in?

                              CAMERON
               Come on Neil, Hager's right-

                              NEIL
               Forget Hager, no. Who's in?

                              CHARLIE
               I'm in.

                              HAGER (O.S.)
               I'm warning you, move.

                              CAMERON
               Me too.

                              PITTS
               I don't know Neil

                              NEIL
               What? Pitts-

                              CHARLIE
               Pitsie, come on.

                              MEEKS
               His grades are hurting Charlie.

                              NEIL
               You can help him Meeks.

                              PITTS
               What is this, a midnight study group?

                              NEIL
               Forget it Pitts, you're coming. Meeks,
               are your grades hurting too?

                              MEEKS
               I'll try anything once.

                              CHARLIE
               Except sex.

                              MEEKS
               Ha ha ha.

                              CAMERON
               I mean as long as we're careful.

The boys run into the building.

                              CHARLIE
               What about you Knox?

                              KNOX
               I don't know Charlie.

                              CHARLIE
               Come on Knox, it'll help you get Chris.

                              KNOX
               Yeah? How?

                              CHARLIE
               Women swoon.

Charlie laughs and runs inside. Knox chases after him.

                              KNOX
               But why do they swoon? Charlie, tell me
               why they swoon. Charlie!

INT LIBRARY - DAY

The boys are all gathered around one of the tables with a map laid out
on it.

                              NEIL
                        (whispering)
               Okay, follow the stream to the waterfall.
               It's right there. It's got to be on the
               banks.

                              CAMERON
               I don't know, it's starting to sound
               dangerous.

                              CHARLIE
               Well, why don't you stay home?

                              MCALLISTER
               For God's sake stop chattering and
               sit down.

The boys take their seats once again and Neil goes over and sits next to
Todd, who is sitting by himself.

                              NEIL
               Todd, are you coming tonight?

                              TODD
               No.

                              NEIL
               Why not? God, you were there. You heard
               Keating. Don't you want to do something
               about it?

                              TODD
               Yes, but-

                              NEIL
               But? But what?

                              TODD
               Keating said that everybody took turns
               reading and I don't want to do that.

                              NEIL
               Gosh, you really have a problem with
               that, don't you?

                              TODD
               N- no, I don't have a problem. Neil,
               I just- I just don't want to do it,
               okay?

                              NEIL
               All right. What if you didn't have to
               read? What if you just came and
               listened?

                              TODD
               That's not how it works.

                              NEIL
               Forget how it works. What if - what if
               they said it was okay?

                              TODD
               What? What are you gonna do, go up and
               ask them?

Neil shrugs.

                              TODD
               No. No, Neil.

                              NEIL
               I'll be right back.

                              TODD
               Neil, Neil!

Neil gets up and rejoins the others. McAllister hears the boys whispering
again.

                              MCALLISTER
               Oh shut up, will you.

INT BATHROOM - NIGHT

Various boys are crowded around the sinks getting ready for bed. Someone
is playing snake charmer music on a kazoo while someone else is bothering
Spaz with a red sock puppet acting like a snake.

                              SPAZ
               That's my- that's for my asthma, okay.
               Could you give that back please? Could
               you give that back?

                              BOY
               What's the matter? Don't you like snakes?

Neil enters and taps Todd on the shoulder.

                              NEIL
               You're in.

                              SPAZ
               Get away from me, okay?

                              BOY
               Spaz, why don't you check your pocket,
               huh? Come on Spaz I have to brush my
               teeth

                              SPAZ
               Get a- get off, 

Hager walks past the bathroom and into his room.

                              HAGER
               Cut out that racket in there.

The kazoo player lets out a rude squeek before finally stopping. Hager
glares at them for a moment.

INT NEIL'S BEDROOM - NIGHT

Neil stands in his doorway. He looks across the hall to the other room
where Cameron and Charlie are standing. Cameron gives a thumbs up. Neil
closes his room door and takes out his cloak and a flashlight. Setting
the flashlight down on the desk, he notices a worn book, "Five
Centuries of Verse", sitting there. Opening it up, he sees John Keating's
name at the top followed by "Dead Poets". Below the title of the book,
is written: "To Be Read At The Opening of D.P.S. Meetings." Along with
several lines from Thoreau, beginning with "I went to the woods because
I wanted to live deliberately…"

INT STAIRWAY - NIGHT

The shadows of hooded figures can be seen moving throughout the darkened
halls.

INT HAGER'S ROOM - NIGHT

Hager hears a dog barking.

INT HALLWAY - NIGHT

Someone drops a number of dog biscuits by the dog's feet. He stops
barking and immediately begins gobbling them down. Hager looks out
into the hallway with his flashlight but sees nothing.

EXT SCHOOL GROUNDS - NIGHT

The boys quietly leave the building and set off running across the
fields towards the woods.

EXT WOODS - NIGHT

The boys search about the trees trying to find the cave. Meeks is
searching around when Charlie leaps up behind Meeks in the dark
shining the flashlight up at his own face and grabs Meeks by the
shoulder.

                              CHARLIE
               Arrr, I'm a dead poet.

                              MEEKS
               Aww, Charlie.

                              CHARLIE
                        (laughing)
               Guys, over here.

                              MEEKS
               You're funny. You're real funny.

INT CAVE - NIGHT

The boys are trying to start a fire. The cave is quickly filling up with
smoke.

                              MEEKS
               It's too wet.

CHARLIE
               God, are you trying to smoke us out of
               here?

                              MEEKS
               No, no, the smoke's going right up this
               opening.

Pitts tries to stand up and slams his head into the low rock ceiling. He
lets out a yell while the others laugh.

                              NEIL
               You okay?

                              PITTS
               Oh God. Clowns.

                              NEIL
               All right, all right, forget the fire.
               Let's go gentlemen.

Neil stands before the others with the book in hand, and takes a drag
on a cigarette.

                              NEIL
               I hereby reconvene the Dead Poets
               Society.

The boys cheer.

                              NEIL
               Welton chapter. The meetings will be
               conducted by myself and the other new
               initiates now present. Todd Anderson,
               because he prefers not to read, will
               keep minutes of the meetings. I'll now
               read the traditional opening message by
               society member Henry David Thoreau. "I
               went to the woods because I wanted to
               live deliberately. I wanted to live deep
               and suck out all the marrow of life."

                              CHARLIE
               I'll second that.

                              NEIL
               "To put to rout all that was not life,
               and not, when I had come to die,
               discover that I had not lived.

Several boys whistle softly in reaction to the poem.

                              NEIL
               And Keating's marked a bunch of other
               pages.

Neil begins flipping through the book.

                              CHARLIE
               All right, intermission. Dig deep right
               here. Right here, lay it down

                              CAMERON
               On the mud? We're gonna put our food on
               the mud?

                              CHARLIE
               Meeks, put your coat down. Picnic blanket.

                              MEEKS
               Yes sir, use Meeks' coat.

                              CHARLIE
               Don't keep anything back either. You
               guys are always bumming my smokes.

Meeks lays his coat down and everyone dumps their food on it. Amongst
the pile are chocolate chip cookies, a box of raisins, a few apples, an
orange, and half a roll.

                              NEIL
               Raisins?

                              KNOX
               Yuck.

                              CHARLIE
               Wait a minute, who gave us half a roll?

                              PITTS
                      (talking with his mouth full)
               I'm eating the other half.

                              CHARLIE
               Come on.

                              PITTS
               You want me to put it back?

INT CAVE - NIGHT

Neil, lit up by a flashlight, begins to tell everyone a story.

                              NEIL
               It was a dark and rainy night, and this
               old lady, who had a passion for jigsaw
               puzzles, sat by herself in her house at
               her table to complete a new jigsaw puzzle.
               But as she pieced the puzzle together, she
               realized, to her astonishment, that the
               image that was formed was her very own
               room. And the figure in the center of the
               puzzle, as she completed it, was herself.
               And with trembling hands, she placed the
               last four pieces and stared in horror at
               the face of a demented madman at the
               window. The last thing that this old lady
               ever heard was the sound of breaking glass.

                              BOYS
               Ohhh… no…

                              NEIL
               This is true, this is true.

                              CAMERON
               I've got one that's even better than
               that.

                              CHARLIE
               Ha!

                              CAMERON
               I do. There's a young, married couple,
               and they're driving through the forest
               at night on a long trip. And they run
               out of gas, and there's a madman on the-

                              CHARLIE
               The thing with the hand-

All the boys react, recalling the story and miming the scraping on the
roof of the car.

                              CAMERON
               I love that story.

                              CHARLIE
               I told you that one.

                              CAMERON
               You did not. I got that in camp in
               sixth grade.

                              CHARLIE
               When were you in six, last year?

As everyone's voices begin to calm down, Pitts begins reading from the
book.

                              PITTS
               "In a mean abode in the shanking road,
               lived a man named William Bloat. Now,
               he had a wife, the plague of his life,
               who continually got his goat. And one
               day at dawn, with her nightshift on,
               he slit her bloody throat."

The boys laugh.

                              PITTS
               Oh, and it gets worse.

                              CHARLIE
               You want to hear a real poem?

Meeks hands Charlie the book but he shoves it away.

                              CHARLIE
               All right? No, I don't need it. You take 
               it. 

                              MEEKS
               What, did you bring one? 

                              NEIL
               You memorized a poem? 

                              CHARLIE
               I didn't memorize a poem. Move up.

Neil moves to the side as Charlie stands and takes his spot.

                              MEEKS
               An original piece by Charlie Dalton. 

                              KNOX
               An original piece. 

                              PITTS
               Take center stage. 

                              NEIL
               You know this is history. Right? This is 
               history.

Charlie clears his throat and pulls out a page from a magazine and 
slowly unfolds it, revealing a Playboy centerfold (Elaine Reynolds,
Miss October, 1959)

                              MEEKS
               Oh, wow. 

                              CAMERON
               Where did you get that? 

                              CHARLIE

               Teach me to love? Go teach thyself more 
               wit.
               I, chief professor, am of it.

Neil gets up and looks over Charlie's shoulder to see what he is
reading.

                              CHARLIE
               The god of love, if such a thing there 
               be, may learn to love from me.

Charlie winks at the guys and they clap and cheer.

                              NEIL
               Wow! Did you write that?

Charlie turns over the centerfold to show where he had written down
the poem.

                              CHARLIE
               Abraham Cowley. Okay, who's next? 

Neil sits reading from the book by flashlight.

                              NEIL
               Alfred Lord Tennyson. 
               Come my friends, 
               'Tis not too late to seek a newer world 
               for my purpose holds to sail beyond the 
               sunset. 
               And though we are not now that strength 
               which in old days 
               Moved earth and heaven; that which we 
               are, we are;-- 
               One equal temper of heroic hearts, 
               Made weak by time and fate, but strong 
               in will. 
               To strive, to seek, to find, and not to 
               yield. 

Meeks takes center stage and begins reading a poem like he is 
performing a chant.

                              MEEKS
               Then I had religion, then I had a 
               vision. 
               I could not turn from their revel in 
               derision. 
               Then I saw the Congo creeping through 
               the black, 
               cutting through the forest with a golden 
               track. 
               Then I saw the Congo creeping through 
               the black- 

                              CHARLIE
               Meeks, Meeks. 

                              MEEKS

               ...cutting through the forest with a 
               golden track.
               Then I saw the Congo creeping through 
               the black, 
               cutting through the forest with a golden 
               track.

Knox picks up a metal container and begins using it as a drum. The
other boys stand and begin going in a circle, making music with
sticks of wood, combs, etc.

               Then I saw the Congo creeping through 
               the black, 
               cutting through the forest with a golden 
               track. 
               Then I saw the Congo creeping through 
               the black, 
               cutting through the forest with a golden 
               track. 

                              BOYS

               Then I saw the Congo creeping through 
               the black, 
               cutting through the forest with...

The boys continue to chant the chorus as they emerge from the
cave.

EXT. CAMPUS - NIGHT
The clock tolls two as the boys silently run back to their dorm.

INT. KEATING'S CLASSROOM - DAY

Keating is walking to the front of the classroom filled with students.

                              KEATING
               A man is not very tire, he is exhausted.
               And don't use very sad, use-

He points to the back of the classroom.

                              KEATING
               Come on, Mr. Overstreet, you twerp, 
                              KNOX
               Morose? 

                              KEATING
               Exactly! Morose. Now, language was 
               developed for one endeavor, and that is? 
               Mr. Anderson? Come on! Are you a man or 
               an amoeba?

Keating stands before Todd's desk. Todd looks up nervously but
says nothing. Keating paused for a moment before looking away.

                              KEATING
               Mr. Perry? 

                              NEIL
               Uh, to communicate. 

                              KEATING
               No! To woo women. Today we're going to 
               be talking about William Shakespeare. 

The class lets out a collective sigh.
                              BOY
               Oh, God! 

                              KEATING
               I know. A lot of you looked forward to 
               this about as much as you look forward 
               to root canal work. We're gonna talk 
               about Shakespeare as someone who writes 
               something very interesting. Now, many of 
               you have seen Shakespeare done very much 
               like this:

Keating holds out his right arm dramtically and begins to
speak in an exaggerated British accent.

               "O Titus, bring your friend hither." But
               if any of you have seen Mr. Marlon Brando,
               you know, Shakespeare can be different. 
               "Friend, Romans, countrymen, lend me your
               ears." You can also imagine, maybe, John
               Wayne as Macbeth going, "Well, is this a 
               dagger I see before me?"

INT. KEATING'S CLASSROOM - DAY

The students are all seated together near the front of the room as
Keating reads from a book.

                              KEATING
               "Dogs, sir? Oh, not just now. I do enjoy 
               a good dog once in a while, sir. You can 
               have yourself a three-course meal from 
               one dog. Start with your canine 
               crudites, go to your Fido flambe for 
               main course and for dessert, a Pekingese 
               parfait. And you can pick your teeth 
               with a little paw."

INT. KEATING'S CLASSROOM - DAY

The students are all back in their normal seats and Keating leaps
up onto his desk.

                              KEATING
               Why do I stand up here? Anybody? 

                              CHARLIE
               To feel taller. 

                              KEATING
               No!
Keating rings the bell on his desk with his foot

                              KEATING
               Thank you for playing, Mr. Dalton. I 
               stand upon my desk to remind yourself 
               that we must constantly look at things 
               in a different way. 

Keating glances around the classroom from atop the desk.

                              KEATING
               You see, the world looks very different 
               from up here. You don't believe me? Come 
               see for yourself. Come on. Come on! 

Charlie and Neil quickly rise from their seats to go to the front
of the classroom. The rest of the class follows them. While Keating
continues speaking, Neil and Charlie join him on the desk and then
Keating jumps down.


                              KEATING
               Just when you think you know something, 
               you have to look at it in another way. 
               Even though it may seem silly or wrong, 
               you must try! Now, when you read, don't 
               just consider what the author thinks. 
               Consider what you think. 

                              KEATING
               Boys, you must strive to find your own 
               voice. Because the longer you wait to 
               begin, the less likely you are to find 
               it at all. Thoreau said, "Most men lead 
               lives of quiet desperation." Don't be 
               resigned to that. Break out!

Keating notices Spaz and another boy leaving the desk immediately.

                              KEATING
               Don't just walk off the edge like lemmings.
               Look around you. 

The school bell rings as the boys continue to climb onto the desk.
Keating begins to gather up his stuff. The clock begins to toll as
Keating walks to the back of the class.

                              KEATING
               There! There you go, Mr. Priske. Thank 
               you! Yes! Dare to strike out and find 
               new ground. Now, in addition to your 
               essays, I would like you to compose a 
               poem of your own, an original work.

The students begin to groan. Keating begins flickering the lights
off and on while chanting ominously.

                              KEATING
               That's right! You have to deliver it 
               aloud in front of the class on Monday. 
               Bonne chance, gentlemen. 

Keating steps out into the hall before quickly peeking back in once again.
Todd is the last one to stand on the desk and is about to jump off.

                              KEATING
               Mr. Anderson? Don't think that I don't 
               know that this assignment scares the 
               hell out of you, you mole.

Keating flicks the light off, leaving Todd to jump down in the darkness
as the students laugh.

EXT. RIVER - DAY

Cameron, Charlie, and several other boys are rowing while Mr. Nolan
shouts orders from a bullhorn.

                              MR. NOLAN
               Take a power train in two! Three! Keep 
               your eyes in the boat!

EXT. CAMPUS ROOFTOP - DAY

Noisy static is replaced by music as Pitts climbs down form the peak to
join Meeks at their makeshift radio.

                              MEEKS
               We got it, Pittsie. We got it! Radio 
               Free America! 


EXT CAMPUS - DAY

Several students are fencing on a grassy slope.

EXT. CAMPUS ROOFTOP - DAY

Meeks and Pitts perform a goofy dance together to the music.

INT. TODD'S ROOM - DAY

Todd is on his bed trying to write a poem. The door opens and Todd
turns his writing pad over. Neil enters the room laughing. He crouches
down next to Todd's bed and plunks a sheet of paper in Todd's lap.


                              NEIL
               I found it. 

                              TODD
               You found what? 

                              NEIL
               What I wanna do right now. What's 
               really, really inside me. 

                              TODD
               "A Midsummer Night's Dream"? 

                              NEIL
               This is it. 

                              TODD
               What is this? 

                              NEIL
               It's a play, dummy. 

                              TODD
               I know that. I-- Wh-Wh-What does it have 
               to do with you? 

                              NEIL
               Right. They're putting it on at Henley 
               Hall. Open tryouts. Open tryouts! 

                              TODD
               Yes, so?

Neil pounds on the bed and then pulls a blanket off his bed,
wearing it like a cloak.

                              NEIL
               So, I'm gonna act. Yes, yes! I'm gonna 
               be an actor! Ever since I can remember, 
               I've wanted to try this. I even tried to 
               go to summer stock auditions last year, 
               but, of course, my father wouldn't let 
               me. For the first time in my whole life 
               I know what I wanna do.

Neil grabs a handful of papers off Todd's bed and tosses them into
the air.

                              NEIL
               and for the first time I'm gonna do it 
               whether my father wants me to or not!
               Carpe diem! 

                              TODD
               Neil, Neil, hold on a minute. How are 
               you gonna be in a play if your father 
               won't let you? 

                              NEIL
               First I gotta get the part, then I can 
               worry about that. 

                              TODD
               Yeah, but won't he kill you if he finds 
               out you went to an audition and didn't 
               even tell him? 

                              NEIL
               No, no, no, no. As far as I'm concerned, 
               he won't have to know about any of this. 

                              TODD
               Well, that's impossible. 

                              NEIL
               Bullshit! Nothing's impossible. 

                              TODD
               Well, why don't you just call him and 
               ask him? And m-maybe he'll say yes. 

                              NEIL
               That's a laugh!

Neil tosses the blanket back onto his bed.

                              NEIL
               If I don't ask him, at least I won't
               be disobeying him. 

                              TODD
               Yeah, but if he said-- 

                              NEIL
                       (shouting angrily)
               Jesus, Todd! Whose side are you on?

Todd says nothing. Neil looks at him for a moment and then takes
the flyer back from Todd. He walks over to the window, his 
excitement gone.

                              NEIL
               I mean, I haven't even gotten the part 
               yet. Can't I even enjoy the idea for a 
               little while? 

Once again, Todd says nothing. After a moment, Neil sits on the
heater and Todd returns to his poem.

                              NEIL
               You're coming to the meeting this 
               afternoon? 

                              TODD
               I don't know. Maybe.

                              NEIL
               Nothing Mr. Keating has to say means 
               shit to you, does it, Todd? 

                              TODD
               W-What is that supposed to mean? 

                              NEIL
               You're in the club! Being in the club 
               means being stirred up by things. You 
               look about as stirred up as a cesspool. 

Neil gets up from the window and stands over Todd.

                              TODD
               So- You want me out? 

                              NEIL
               No! I want you in, but being in means 
               you gotta do something. Not just say 
               you're in. 

                              TODD
               Well, listen, Neil. I-I appreciate this 
               concern, but I-I'm not like you. All 
               right? You, you, you say thing and 
               people listen. I'm, I'm not like that. 

                              NEIL
               Don't you think you could be? 

                              TODD
               No! I--I, I don't know, but that's not 
               the point. The, the, the point is that 
               there's nothing you can do about it, so 
               you can just butt out. I can take care 
               of myself just fine. All right? 

                              NEIL
               No. 

                              TODD
               What do you mean, "no"? 

A smile comes to Neil's face.

                              NEIL
               No. 

Neil grabs Todd's notebook of poetry and runs across the room with 
it. Todd leaps up after him.

                              TODD
               Give me-- Neil. Neil, give that back. 

The two begin racing in circles around the room, jumping from
bed to bed as Todd tries to grab his poem back.

                              NEIL
               "We are dreaming of a--" Poetry! I'm 
               being chased by Walt Whitman! Okay, 
               okay.

Neil drops the notebook. Cameron walks into the room.

                              CAMERON
               What are you guys doing? I'm sure-- You 
               see this chemistry-

Cameron tries to hold up his book and Neil snatches it from his hands and
suddenly all three of them are racing around the room.

                              CAMERON
               Hey, give me-- Neil, give me-- Don't be
               immature. Come on. I need my- 

Charlie enters the room and begins waving his hands.

                              CHARLIE
               Give it to me! Give it to me! 

                              NEIL
               Charlie!

Neil tosses Cameron's book to Charlie.

                              CAMERON
               Let me have my book, I need my- 

The four boys continue racing around the cramped quarters, tossing
Cameron's book back and forth. Neil picks up a recorder and begins
blowing erratic notes on it while Charlie starts pounding on a set of
bongo drums. Outside the room a crowd of boys watch.

EXT. CAMPUS ENTRANCE - DAY

Knox is riding his bike around in circles near the entrance. Seeing no
one nearby, he races through the open gates and down the road. He comes
to the top of a hill and then goes downhill across the grass, shouting
as he sends an immense flock of geese flying into the air.

EXT. PARKING LOT - DAY

A number of vehicles drive up, filled with students dressed in bright red
cosyumes, playing trumpets and various other instruments as they pass.
Knox watches the growing crowd of students. They are all converging on
a bus. A football player, wearing a horned helmet, dances on the roof of
the bus. A band is playing while a group of cheerleaders are practising.
Knox spots Chris amongst the cheerleaders. He watches her until Chet
comes along and she grabs hold of his hand. Knox looks away in disgust.

                              COACH
               Okay, everybody on the bus. Let's go, 
               boys. Come on, let's go. On the bus, 
               boys. Now!

Chris jumps into Chet's arms as everyone begins to board the buses. Knox
turns his bike around and leaves.

EXT. SOCCER FIELD - DAY

Keating walks across the field, followed by his students. He kicks a ball
ahead of him while he carries a number of other balls in a net slung over
his shoulder.

                              KEATING
               Now, devotees may argue that one sport 
               or game is inherently better than 
               another. For me, sport is actually a 
               chance for us to have other human beings 
               push us to excel. I want you all to come 
               over here and take a slip of paper and 
               line up single file.

Keating reaches the stands. He tosses the balls aside and pulls sets
his briefcase down. As the boys line up he begins ripping off slips
of paper from a notepad and handing them out.

                              KEATING
               Mr. Meeks, time to inherit the earth. 
               Mr. Pitts, rise above your name.

He hands the notepad to another student.

                              KEATING
               I want you to hand these out to the boys,
               one apiece.

EXT. SOCCER FIELD - DAY

The students are all lined up in single file, each holding a slip
of paper. Keating blows his whistle.

                              KEATING
               You know what to do, Pitts. 

                              PITTS
               "Oh to struggle against great odds. To 
               meet enemies undaunted." 

                              KEATING
               Sounds to me like you're daunted. Say it 
               again like you're undaunted. 

                              PITTS
               "Oh to struggle against great odds. To 
               meet enemies undaunted." 

                              KEATING
               Now go on.

Pitts gives one of the soccer balls a good kick.

                              KEATING
               Yes! Next.

One of the students sets up the next ball as the line advances.

                              BOY 1
               "To be a sailor of the world, bound for 
               all ports." 

                              KEATING
               Next. Louder! 

                              BOY 2
               "Oh, I live to be the ruler of life, not 
               a slave." 

Keating walks away and starts up a record player.

                              BOY 3
               "To mount the scaffolds. To advance to 
               the muzzle of guns with perfect 
               nonchalance."

Classical music begins playing on the phonograph. Meeks goes to
read next but is confused by the music.

                              KEATING
               Come on, Meeks! Listen to the music. 

                              MEEKS
               "To dance, clap hands, exalt, shout, 
               skip, roll on, float on." 

                              KEATING
               Yes! 

                              HOPKINS
                         (without energy)
               "Oh, to have life henceforth the poem of 
               new joys." 

Hopkins crumples up his paper and then barely taps the soccer
ball with his foot.

Keating puts a look of disgust on his face.

                              KEATING
               Oh! Boo! Come on, Charlie, let it fill 
               your soul! 

Charlie raises his hands over his head.

                              CHARLIE
               "To indeed be a god!" 

INT. DORM HALLWAY - DAY

Neil is racing down the hallway, all excited.

                              NEIL
               Charlie, I got the part! I'm gonna play 
               Puck! I'm gonna play Puck!

He pounds on Charlie's door.

                              MEEKS
               What did he say? 

                              PITTS
               Puck? 

                              NEIL
               That's the main part. 

                              KNOX
               Great, Neil. 

                              NEIL
               Charlie, I got it! 

                              CHARLIE
               Congratulations. Good for you, Neil. 
               Good for you. 

Neil enters his room with Todd and sits down at his typewriter.

                              NEIL
               Okay, okay, okay, okay. 

                              TODD
               Neil, how are you gonna do this? 

                              NEIL
               They need a letter of permission from my 
               father and Mr. Nolan. 

                              TODD
               You're not gonna write it. 

                              NEIL
               Oh yes, I am. 

                              TODD
               Oh, Neil. Neil, you're crazy. 

 Neil begins typing.

                             NEIL
               Okay. "I am writing to you on behalf of 
               my son Neil Perry."

Neil begins laughing and stomping his feet up and down.

                             NEIL
               This is great.

EXT. CAMPUS - NIGHT

A lone bagpiper plays out on the dock.

INT. TODD'S ROOM - NIGHT

Todd is pacing circles about his room as he reads his poem. His
pacing slows and then he tears the poem up.

INT. KEATING'S CLASSROOM - DAY

Knox stands at the front of the room with his poem in hand.

                              KNOX
                         (quietly)
               "To Chris."

Charlie looks up from his desk with a grin.

                              BOY 1
               Who's Chris? 

                              BOY 2
               Mmm, Chris. 

                              KNOX
               I see a sweetness in her smile. 
               Blight light shines from her eyes. 
               But life is complete; contentment is 
               mine, 
               Just knowing that...

Several students begin to snicker.

                              KNOX
               just knowing that she's alive.

Knox crumples his poem and walks back to his desk.

                              KNOX
               Sorry, Captain. It's stupid. 

                              KEATING
               No, no. It's not stupid. It's a good 
               effort. It touched on one of the major 
               themes, love. A major theme not only in 
               poetry, but life. Mr. Hopkins, you were 
               laughing. You're up.

Hopkins slowly walks to the front of the class and unfolds
his piece of paper.

                              HOPKINS
               "The cat sat on the mat." 

                              KEATING
               Congratulations, Mr. Hopkins. Yours is 
               the first poem to ever have a negative 
               score on the Pritchard scale. We're not 
               laughing at you, we're laughing near 
               you. I don't mind that your poem had a 
               simple theme. Sometimes the most 
               beautiful poetry can be about simple 
               things, like a cat, or a flower or rain. 
               You see, poetry can come from anything 
               with the stuff of revelation in it. Just 
               don't let your poems be ordinary. Now, 
               who's next? 

Keating approaches Todd's desk.

                              KEATING
               Mr. Anderson, I see you sitting there in 
               agony. Come on, Todd, step up. Let's put 
               you out of your misery. 

                              TODD
               I, I didn't do it. I didn't write a 
               poem. 

                              KEATING
               Mr. Anderson thinks that everything 
               inside of him is worthless and 
               embarrassing. Isn't that right, Todd? 
               Isn't that your worst fear? Well, I 
               think you're wrong. I think you have 
               something inside of you that is worth a 
               great deal.

Keating walks up to the blackboard and begins to write.

                              KEATING
               "I sound my barbaric yawp over the 
               rooftops of the world." W. W. Uncle Walt 
               again. Now, for those of you who don't 
               know, a yawp is a loud cry or yell. Now, 
               Todd, I would like you to give us a 
               demonstration of a barbaric "yawp." Come 
               on. You can't yawp sitting down. Let's 
               go. Come on. Up.

Todd reluctantly stands and follows Keating to the front.

                              KEATING
               You gotta get in "yawping" stance. 

                              TODD
               A yawp?

                              KEATING
               No, not just a yawp. A barbaric yawp. 

                              TODD
                         (quietly)
               Yawp. 

                              KEATING
               Come on, louder. 

                              TODD
                         (quietly)
               Yawp. 

                              KEATING
               No, that's a mouse. Come on. Louder. 

                              TODD
               Yawp. 

                              KEATING
               Oh, good God, boy. Yell like a man! 

                              TODD
                         (shouting)
               Yawp! 

                              KEATING
               There it is. You see, you have a 
               barbarian in you, after all.

Todd goes to return to his seat but Keating stops him.

                              KEATING
               Now, you don't get away that easy.

Keating turns Todd around and points out a picture on the wall.

                              KEATING
               The picture of Uncle Walt up there. What 
               does he remind you of? Don't think. 
               Answer. Go on.

Keating begins to circle around Todd.

                              TODD
               A m-m-madman. 

                              KEATING
               What kind of madman? Don't think about 
               it. Just answer again. 

                              TODD
               A c-crazy madman. 

                              KEATING
               No, you can do better than that. Free up 
               your mind. Use your imagination. Say the 
               first thing that pops into your head, 
               even if it's total gibberish. Go on, go 
               on. 

                              TODD
               Uh, uh, a sweaty-toothed madman. 

                              KEATING
               Good God, boy, there's a poet in you, 
               after all. There, close your eyes. Close 
               your eyes. Close 'em. Now, describe what 
               you see. 

Keating puts his hands over Todd's eyes and they begin to slowly
spin around.

                              TODD
               Uh, I-I close my eyes. 

                              KEATING
               Yes? 

                              TODD
               Uh, and this image floats beside me. 

                              KEATING
               A sweaty-toothed madman? 

                              TODD
               A sweaty-toothed madman with a stare 
               that pounds my brain. 

                              KEATING
               Oh, that's excellent. Now, give him 
               action. Make him do something. 

                              TODD
               H-His hands reach out and choke me. 

                              KEATING
               That's it. Wonderful. Wonderful.

Keating removes his hands from Todd but Todd keeps his eyes
closed.

                              TODD
               And, and all the time he's mumbling. 

                              KEATING
               What's he mumbling? 

                              TODD
               M-Mumbling, "Truth. Truth is like, like 
               a blanket that always leaves your feet 
               cold." 

The students begin to laugh and Todd opens his eyes. Keating
quickly gestures for him to close them again.

                              KEATING
               Forget them, forget them. Stay with the 
               blanket. Tell me about that blanket. 

                              TODD
               Y-Y-Y-You push it, stretch it, it'll 
               never be enough. You kick at it, beat 
               it, it'll never cover any of us. From 
               the moment we enter crying to the moment 
               we leave dying, it will just cover your 
               face as you wail and cry and scream. 

Todd opens his eyes. The class is silent. Then they begin to clap
and cheer.

                              KEATING
                       (whispering to Todd)
               Don't you forget this.

EXT. SOCCER FIELD - DAY

Keating's students are playing a soccer game. After they score the
winning goal they hoist Keating onto their shoulders and carry him
away.

INT. CAVE - DAY

The boys are all sitting around the cave lighting their pipes.
                              CHARLIE
               Attaboy, Pittsie, inhale deeply. 

                              MEEKS
               My dad collects a lot of pipes. 

                              CHARLIE
               Really? Mine's got thirty. 

                              PITTS
               Your parents collect pipes? Oh, that's 
               really interesting. 

                              CHARLIE
               Come on, Knox. Join in. 

                              MEEKS
               Yeah, Knox, we're from the government. 
               We're here to help, man. 

                              CHARLIE
               What's wrong? 

                              PITTS
               It's Chris. Here's a picture of Chris 
               for you.

Pitts holds up a centerfold.

                              MEEKS
               Smoke that. Put that in your pipe and 
               smoke it. 

                              KNOX
               That's not funny. 

                              CHARLIE
               Knock it off. Smoke your pipes. 

                              MEEKS
               Neil!

Neil enters the cave carrying a beat up light stand.

                              NEIL
               Friend, scholar, Welton men. 

                              MEEKS
               What is that, Neil? 

                              PITTS
               Duh. It's a lamp, Meeks.

Neil removes the shade from the lamp, revealing the shape of a man
as the base of the lamp.

                              NEIL
               No. This is the god of the cave. 

                              MEEKS
               The god of the cave.

Charlie begins making loud noises with his saxophone.

                              PITTS
               Charlie, what are you doing? 

                              CHARLIE
               What do you say we start this meeting? 

                              BOY 1
               Y-Yeah, just-- I need a light. I just 
               gotta- 

                              BOY 2
               Got my earplugs?

Charlie stands up and clears his throat.

                              CHARLIE
               Gentlemen, "Poetrusic" by Charles 
               Dalton.

Charlie begins playing erratic notes on the sexophone.

                              MEEKS
               Oh, no. 

                              CHARLIE
               Laughing, crying, tumbling, mumbling. 
               Gotta do more. Gotta be more. 

Charlie plays more erratic sounds.

                              CHARLIE
               Chaos screaming, chaos dreaming. Gotta 
               do more! Gotta be more!

Charlie starts to play a real tune on the saxophone.

                              MEEKS
               Wow! 

                              PITTS
               That was nice. That was great. Where did 
               you learn to play like that? 

                              CHARLIE
               My parents made me take the clarinet for 
               years. 

                              CAMERON
               I love the clarinet. 

                              CHARLIE
               I hated it. The saxophone. The saxophone 
               is more sonorous. 

                              CAMERON
               Ooh. 

                              MEEKS
               Vocabulary. 

Knox jumps up.
                              KNOX
               I can't take it anymore. If I don't have 
               Chris, I'm gonna kill myself. 

                              CHARLIE
               Knoxious, you've gotta calm down. 

                              KNOX
               No, Charlie. That's just my problem. 
               I've been calm all my life. I'll do 
               something about that. 

                              NEIL
               Where are you going? 

                              CHARLIE
               What are you gonna do? 

                              KNOX
               I'm gonna call her.

Knox begins to chuckle as he leaves the cave. The others
quickly grab their coats to follow him. Charlie goes back to
playing noise on his saxophone again.

INT. HALLWAY - DAY

Knox is making a call from the payphone.

                              CHRIS (O.S.)
               Hello?

Knox immediately hangs up and looks at the other boys who are
all gathered around him.

                              KNOX
               She's gonna hate me. The Danburrys will 
               hate me. My parents will kill me. 
               All right, goddamn it. You're right. 
               "Carpe diem." Even if it kills me. 

Knox puts in another coin and calls again.

                              CHRIS (O.S.)
               Hello? 

                              KNOX
               Hello, Chris? 

                              CHRIS (O.S.)
               Yes. 

                              KNOX
               Hi. This is Knox Overstreet. 

                              CHRIS (O.S.)
               Oh, yes. Knox. Glad you called. 

                              KNOX
               She's glad I called. 

                              CHRIS (O.S.)
               Listen, Chet's parents are going out of 
               town this weekend, so he's having a 
               party. Would you like to come? 

                              KNOX
               Would I like to come to a party? 

                              CHARLIE
               Yes. Say, yes. 

                              CHRIS (O.S.)
               Friday? Um- 

                              KNOX
               Well, sure. 

                              CHRIS (O.S.)
               About seven? 

                              KNOX
               Okay, great. I-I'll be there, Chris. 

                              CHRIS (O.S.)
               Okay. 

                              KNOX
               Friday night at the Danburrys'. O-Okay. 
               Thank you. 

                              CHRIS (O.S.)
               Okay. Bye. 

                              KNOX
               Thank you. I'll see you. Bye. 

                              KNOX
               Yawp! Can you believe it? She was gonna 
               call me. She invited me to a party with 
               her. 

                              CHARLIE
               At Chet Danburry's house. 

                              KNOX
               Yeah. 

                              CHARLIE
               Well? 

                              KNOX
               So? 

                              CHARLIE
               So, you don't really think she means 
               you're going with her? 

                              KNOX
               Well, of course not, Charlie. But that's 
               not the point. That's not the point at 
               all. 

                              CHARLIE
               What is the point? 

                              KNOX
               The point, Charlie, is, uh-- 

                              CHARLIE
               Yeah? 

                              KNOX
               that she was thinking about me. I've 
               only met her once, and already she's 
               thinking about me. Damn it. It's gonna 
               happen, guys. I feel it. She is going to 
               be mine. Carpe. Carpe!

Knox flips his scarf dramatically around his neck as he walks away
and climbs the stairs.

EXT. COURTYARD - DAY

The students are standing in a line while Cameron, Pitts, and Knox
are walking in a circle. Keating watches as they go around.

                              KEATING
               No grades at stake, gentlemen. Just take 
               a stroll.

After a few moments, the three boys begin to march to the same beat.

                              KEATING
               There it is. 

The other boys start clapping to the rhythm of their steps.

                              KEATING
               I don't know, but I've been told-- 

                              BOYS
               I don't know, but I've been told-- 

                              KEATING
               Doing poetry is old-- 

                              BOYS
               Doing poetry is old-- 

Mr. Nolan looks out at them from his office as Keating joins the
boys and begins marching with them.

                              KEATING
               Left, left, left-right-left. Left, left, 
               left-right-left. Left, halt! 

The boys come to a halt.

                              KEATING
               Thank you, gentlemen. If you noticed, 
               everyone started off with their own 
               stride, their own pace.

Keating begins walking very slowly.

                              KEATING
               Mr. Pitts, taking his time. He knew he'll
               get there one day. Mr. Cameron, you could
               see him thinking, "Is this right? It might
               be right. It might be right. I know that. 
               Maybe not. I don't know."

Keating begins walking with his groin pushed forward.

                              KEATING
               Mr. Overstreet, driven by deeper force.
               Yes. We know that. All right. Now, I
               didn't bring them up here to ridicule
               them. I brought them up here to illustrate
               the point of conformity: the difficulty in 
               maintaining your own beliefs in the face 
               of others. Now, those of you -- I see 
               the look in your eyes like, "I would've 
               walked differently." Well, ask 
               yourselves why you were clapping. Now, 
               we all have a great need for acceptance. 
               But you must trust that your beliefs are 
               unique, your own, even though others may 
               think them odd or unpopular, even though 
               the herd may go, "That's baaaaad." Robert 
               Frost said, "Two roads diverged in a 
               wood and I, I took the one less traveled 
               by, and that has made all the 
               difference." Now, I want you to find 
               your own walk right now. Your own way of 
               striding, pacing. Any direction. 
               Anything you want. Whether it's proud, 
               whether it's silly, anything. Gentlemen, 
               the courtyard is yours.

The students begin walking about, some walking casually, others
making up silly walks. Keating notices that Charlie is still
leaning up against one of the pillars.

                              KEATING
               You don't have to perform. Just make it 
               for yourself. Mr. Dalton? You be joining 
               us? 

                              CHARLIE
               Exercising the right not to walk. 

                              KEATING
               Thank you, Mr. Dalton. You just 
               illustrated the point. Swim against the 
               stream.

Nolan moves away from the window where he had been watching them.

EXT. CAMPUS - NIGHT

Neil is walking by with the notes for the play when he notices Todd
sitting off by himself on one of the walkways.

                              NEIL
               Todd? Hey. 

                              TODD
               Hey. 

                              NEIL
               What's going on?

                              TODD
               Nothing. Today's my birthday. 

                              NEIL
               Is today your birthday? Happy birthday. 

                              TODD
               Thanks. 

                              NEIL
               What's you get? 

                              TODD
               My parents gave me this. 

Neil looks down at a deskset sitting next to Todd, still in
its wrappings.

                              NEIL
               Isn't this the same desk set- 

                              TODD
               Yeah, yeah. They gave me the same thing 
               as last year. 

                              NEIL
               Oh. 

                              TODD
               Oh. 

                              NEIL
                          (laughing)
               Maybe they thought you needed another 
               one. 

                              TODD
               Maybe they weren't thinking about 
               anything at all. Uh, the funny thing is 
               about this is I, I didn't even like it 
               the first time. 

                              NEIL
               Todd, I think you're underestimating the 
               value of this desk set.

Neil picks up the desk set and begins examining it more closely.

                              NEIL
               I mean, who would want a football or
               a baseball, or-

                              TODD
               Or a car. 

                              NEIL
               Or a car if they could have a desk set 
               as wonderful as this one? I mean, if, if 
               I were ever going to buy a, a desk set 
               twice, I would probably buy this one 
               both times. In fact, its, its shape is, 
               it's rather aerodynamic, isn't it? I can 
               feel it. This desk set wants to fly.

Neil tosses the desk set lightly in the air. Todd stands up
and Neil hands him the desk set.

                              NEIL
               Todd? The world's first unmanned flying 
               desk set.

Todd flings the desk set over the side of the walkway and it
falls to pieces down below.

                              TODD
               Oh, my! 

                              NEIL
               Well, I wouldn't worry. You'll get 
               another one next year.

INT. CAVE - NIGHT

All the boys but Knox and Charlie are gathered in the cave.

                              BOYS
               "To live deep and suck out all the 
               marrow of life. To put to rout all that 
               was not life"

The boys stop as they hear the sound of female laughter outside.

                              CAMERON
               Oh, my God! 

                              GLORIA
               Is this it? 

                              CHARLIE
               Yeah, this is it. Go ahead, go on in. 
               It's my cave. Watch your step. 

                              TINA
               We're not gonna slip, are we? 

                              GLORIA
               Uh-oh.

Gloria hops into the cave wearing a bright red shirt. The lights from
the boys' flashlights play conspicously over Gloria's chest. Tina
enters right behind her.

                              GLORIA
               Hi.

Meeks stands up and slams his head into the low ceiling.

                              MEEKS
               Hello. 

                              GLORIA
               Hello. 

                              CHARLIE
               Hi, you guys. Meet, uh, Gloria and-- 

                              TINA
               Tina. 

                              CHARLIE
               Tina. This is the pledge class of the 
               Dead Poets Society.
 
                              BOYS
               Hello. How do you do? 

                              NEIL
               Hello. 

                              GLORIA
               Hi. Hi. 

                              CHARLIE
               Guys, move. Move. Come on, folks. It's 
               Friday night. Let's get on with the 
               meeting.

The boys move aside to let the girls in.

                              BOYS
               Sorry. Excuse- Excuse me. 

                              CHARLIE
               Guys, I have an announcement to make. In 
               keeping with the spirit of passionate 
               experimentation of the Dead Poets, I'm 
               giving up the name Charlie Dalton. From 
               now on, call me Nuwanda. 

                              PITTS
                         (laughing)
               Nuwanda? 

                              NEIL
               Nuwanda? 

Tina takes out a tube of red lipstick. Charlie takes it from her
and puts red marks on each of his cheeks.

INT. CHET'S HOUSE - NIGHT

Knox enters the house and looks anxiously about.

                              KNOX
               Hello? Hello, Chris?

Knox stops and combs his hair in the hallway mirror. Chris comes
running out from one of the rooms.

                              CHRIS
               Knox! 

                              KNOX
               Hi. 

                              CHRIS
               You made it. Great! Bring anybody? 

                              KNOX
               No. 

Chris grabs Knox by his jackets and pulls him forward as she walks
toward the stairs.

                              CHRIS
               No. Ginny Danburry's here. Wait. I have 
               to go find Chet. Why don't you go 
               downstairs where everybody is?

Chris runs up the stairs as Knox stares after her.

                              CHRIS
               Make yourself at home. 

                              KNOX
               But I--

INT. CHET'S BASEMENT - NIGHT

Knox stares at a couple kissing passionately. Across the room he sees
Chet and Chris dancing. He walks away.

INT. CHET'S KITCHEN - NIGHT

Knox enters the kitchen, walking between several football players
to fill up a mug of beer from a keg.

                              STEVE
               Hey, you Mutt Sanders' brother? Bubba, 
               this guy look like Mutt Sanders to you 
               or what? 

Bubba spits ice cubes into the sink.

                              BUBBA
               You're his brother? 

                              KNOX
               No relation. Never heard of him. Sorry, 
               guys. 

                              BUBBA
                      (obviously drunk)
               Where's your manners Steve? Mutt Sanders' 
               brother, we don't even offer him a 
               drink. Here. Go have some whiskey, pal. 

Bubba hands Knox a glass and fills it up.

                              STEVE
               Yeah. 

                              KNOX
               Whoa, I, uh, I don't really drink-- 

                              BUBBA
               To Mutt. 

                              STEVE
               To Mutt.

The two guys raise their glasses in a toast and Knox reluctantly
joins them.

                              KNOX
               To Mutt.

They each take a big drink. Knox rolls his eyes and gasps,
loosening his tie to try and breathe.

                              BUBBA
               Now, how the hell is old Mutt, anyway? 

                              STEVE
               Yeah. What's ol' Mutter been up to, huh? 

                              KNOX
               I don't really know Mutt. 

                              BUBBA
               To Mighty Mutt. 

                              GUY 1
               To Mighty Mutt. 

                              KNOX
               To Mighty Mutt.

They raise their glasses again for a toast and down the rest
of their glasses.

                              BUBBA
               Well, listen, I gotta go find Patsy. Say 
               hello to Mutt for me, okay? 

                              KNOX
               Will do.

Bubba puts on a horned football helmet and walks away.

                              STEVE
               Yeah. Hell of a guy, your brother Mutt.

INT. CAVE - NIGHT

                              CHARLIE
               We gonna have a meeting or what? 

                              GLORIA
               Yeah. If you guys don't have a meeting, 
               how do we know if we wanna join? 

                              NEIL
               Join? 

Charlie leans over to Tina.

                              CHARLIE
               "Shall I compare thee to a summer's day? 
               Thou art more lovely and more 
               temperate." 

                              TINA
               That's so sweet. 

                              CHARLIE
               I made that up just for you. 

                              TINA
               You did?

The boys laugh and Cameron shakes his head. Charlie moves over
to sit next to Gloria.

                              CHARLIE
               I'll write one for you too, Gloria. 
               She walks in beauty like the night. 
               She walks in beauty like the night. 
               Of cloudless climes and starry skies. 
               All that's best, dark and bright, 
               Meet in her aspect and her eyes. 

                              GLORIA
               That's beautiful. 

                              CHARLIE
               There's plenty more where that came 
               from.

INT. CHET'S BASEMENT - NIGHT

The room is whirling as Knox belches and staggers across the room. He
passes Chet and several of his friends. He steps over several couples
kissing on the floor and slump down on the couch, only to be crowded
in by another couple who seem oblivious to him. He is about to get up
again when he notices Chris sleeping next to him on the couch.

                              KNOX
               God help me.

Knox looks about and then looks back down at Chris.

                              KNOX
               Carpe diem.

Knox takes a last swig of his drink  and then begins to softly run his
fingers over Chris' hair. He then leans over and kisses her forehead.
Across the room, Bubba looks over and sees what's going on.

                              BUBBA
               Chet! Chet! Look! 

                              CHET
               What? 

                              BUBBA
               It's Mutt Sanders' brother. 

                              CHET
               Huh? 

Chris rises up from the couch and looks at Knox in surprise.

                              CHRIS
               Knox, what-- 

                              BUBBA
               And he's feeling up your girl! 

                              CHRIS
               What are you doing? 

Chet gets up from his chair.

                              CHET
               What the hell are you doing? 

                              CHRIS
               Chet! Chet, don't. 

                              KNOX
               Now, Chet, I know this looks bad, but 
               you've gotta-

Chet throws himself at Knox, hurling them both to the floor. He
then straddles Knox and begins to punch at him as Knox simply
tries to protect himself.

                              CHRIS
               Chet, no! You'll hurt him! No! No! Stop 
               it! Leave him alone! 

                              CHET
               Goddamn! 

                              CHRIS
               Chet, stop it!

Chris manages to haul Chet away from Knox.

                              CHET
               Bastard!

Knox takes his hands away from his face and feels at his bloody
nose. Chris tries to help him up.

                              CHRIS
               Knox, are you all right? 

                              CHET
               Chris, get the hell away from him! 

                              CHRIS
               Chet, you hurt him! 

                              CHET
               Good! 

                              KNOX
               I'm sorry. I'm so sorry. 

                              CHRIS
               It's okay. It-It's okay.

Chet hauls Chris away from Knox and then points at him.

                              CHET
               Next time I see you, you die. 

INT. CAVE - NIGHT

Tina passes a bottle of alcohol to Neil.

                              TINA
               Go ahead, pass it around. 

Cameron motions for Neil not to take it but Neil takes a swig anyway.
There is a moment of awkward silence.

                              MEEKS
               Me and Pitts are working on a hi-fi 
               system. It shouldn't be that hard to, 
               uh, to put together. 

                              PITTS
               Yeah. Uh, I might be going to Yale. Uh, 
               uh, but, I, I might not. 

                              GLORIA
               Don't you guys miss having girls around 
               here? 

                              MEEKS AND PITTS
                           (smiling)
               Yeah.

                              CHARLIE
               That's part of what this club is about. 
               In fact, I'd like to announce I 
               published an article in the school 
               paper, in the name of the Dead Poets. 

                              CAMERON
               What? 

                              CHARLIE
               Demanding girls be admitted to Welton. 

                              PITTS
               You didn't. 

                              CHARLIE
                        (whispering to Meeks)
               So we can all stop beating off. 

                              NEIL
               How did you do that? 

                              CHARLIE
               I'm one of the proofers. I slipped the 
               article in. 

                              MEEKS
               Look, uh, it's, it's over now. 

                              CHARLIE
               Why? Nobody knows who we are. 

                              CAMERON
               Well, don't you think they're gonna 
               figure out who wrote it? They're gonna 
               come to you and ask to know what the 
               Dead Poets Society is. Charlie, you had 
               no right to do something like that. 

                              CHARLIE
               It's Nuwanda, Cameron. 

                              GLORIA
               That's right. It's Nuwanda. 

                              CHARLIE
               Are we just playing around out here, or 
               do we mean what we say? For all we do is 
               come together and reach a bunch of poems 
               to each other. What the hell are we 
               doing? 

                              NEIL
               All right, but you still shouldn't have 
               done it, Charlie. This could mean 
               trouble. You don't speak for the club. 

                              CHARLIE
               Hey, would you not worry about your 
               precious little neck? If they catch me, 
               I'll tell them I made it up. 


INT. ASSEMBLY HALL - DAY

The professors hurry down the steps, lead by an obviously agitated
Mr. Nolan. Several are carrying newspapers in their hands. The
students all rise as they enter. After all the professors have
taken their places, Mr. Nolan addresses the students.

                              MR. NOLAN
               Sit.

The students all sit.

                              MR. NOLAN
               In this week of Welton's Honor there 
               appeared a profane and unauthorized 
               article. Rather than spend my valuable 
               time ferreting out the guilty persons -- 
               and let me assure you I will find them -
               - I'm asking any and all students who 
               knows anything about this article to 
               make themselves known here and now. 
               Whoever the guilty persons are, this is 
               your only chance to avoid expulsion from 
               this school.

The sound of a phone ringing can be heard. The professors look
about for its source. Charlie picks up a telephone receiver.

                              CHARLIE
               Welton Academy. Hello. Yes, he is. Just 
               a moment.

Charlie stands up, holding a phone and bell in his hands.

                              CHARLIE
               Mr. Nolan, it's for you. It's 
               God. He says we should have girls at 
               Welton.

Most of the students laugh while the boys from the cave all shake
their heads in disbelief.

INT. NOLAN'S OFFICE - DAY

Charlie stands with his back to the door as Mr. Nolan shuts it. Mr. 
Nolan then walks around to face Charlie.

                              MR. NOLAN
               Wipe that smirk off your face. If you 
               think, Mr. Dalton, that you're the first 
               to try to get thrown out of this school, 
               think again. Others have had similar 
               notions and have failed just as surely 
               as you will fail. Assume the position.

Charlie sighs and bends over, resting his hands on the desk. Mr.
Nolan hefts a flat wooden paddle in his hands.

                              MR. NOLAN
               Count aloud, Mr. Dalton.

Mr. Nolan begins to strike Charlie with the paddle.

                              CHARLIE
               One. Two. Three. Four. Five. 

                              MR. NOLAN
               What is this Dead Poets Society? I want 
               names.

INT. HALLWAY - DAY

A crowd of students is gathered about as Charlie stiffly walks back to his room.

                              NEIL
               You kicked out? 

                              CHARLIE
               No. 

                              NEIL
               So what happened? 

                              CHARLIE
               I'm to turn everybody in, apologize to 
               the school and all will be forgiven. 

                              NEIL
               So, what are you gonna do? Charlie! 

                              CHARLIE
               Damn it, Neil. The name is Nuwanda.

Charlie smiles and then shuts his door.

INT. KEATING'S CLASSROOM - DAY

Keating and McAllister are enjoying tea in the small room off the
classroom. Mr. Nolan knocks on the door and enters.

                              MR. NOLAN
               Excuse me. May we have a word, Mr. 
               Keating? 

                              KEATING
               Certainly.

Keating fixes his tie and follows Mr. Nolan into the classroom.

                              MR. NOLAN
               This was my first classroom, John. Did 
               you know that? My first desk. 

                              KEATING
               Didn't know you taught, Mr. Nolan. 

                              MR. NOLAN
               English. Oh, long before your time. It 
               was hard giving it up, I can tell you. 
               I'm hearing rumors, John, about some 
               unorthodox teaching methods in your 
               classroom. I'm not saying they've 
               anything to do with the Dalton boy's 
               outburst. But I don't think I have to 
               warn you boys his age are very 
               impressionable. 

                              KEATING
               Well, your reprimand made quite an 
               impression, I'm sure. 

                              MR. NOLAN
               What was going on in the courtyard the 
               other day? 

                              KEATING
               Courtyard? 

                              MR. NOLAN
               Yeah. Boys marching, clapping in unison. 

                              KEATING
               Oh, that. That was an exercise to prove 
               a point. Dangers of conformity. 

                              MR. NOLAN
               Well, John, the curriculum here is set. 
               It's proven it works. If you question, 
               what's to prevent them from doing the 
               same? 

                              KEATING
               I always thought the idea of educating 
               was to learn to think for yourself. 

                              MR. NOLAN
               At these boys' ages? Not on your life! 
               Tradition, John. Discipline. Prepare 
               them for college, and the rest will take 
               care of itself.

INT. STUDY ROOM - DAY

Charlie sits with his bongos as the other boys are all crowded
around him. He hits the bongoes as he mimes Nolan's footsteps.

                              CHARLIE
               Creak. He started walking around towards 
               my left. Creak. Creak. "Assume the 
               position, Mr. Dalton."

The door opens and Keating walks in. Many of the boys get up from
their seats.

                              KEATING
               It's all right, gentlemen. 

                              CHARLIE
               Mr. Keating. 

                              KEATING
               Mr. Dalton. That was a pretty lame stunt 
               you pulled today. 

                              CHARLIE
               You're siding with Mr. Nolan? What about 
               Carpe diem and sucking all the marrow 
               out of life and all that? 

                              KEATING
               Sucking the marrow out of life doesn't 
               mean choking on the bone. Sure there's a 
               time for daring and there's a time for 
               caution, and a wise man understands 
               which is called for. 

                              CHARLIE
               But I thought you'd like that. 

                              KEATING
               No. You being expelled from school is 
               not daring to me. It's stupid, 'cause 
               you'll miss some golden opportunities. 

                              CHARLIE
               Yeah. Like what? 

                              KEATING
               Like, if nothing else, the opportunity 
               to attend my classes. Got it, Ace? 

                              CHARLIE
               Aye, aye, Captain. 

                              KEATING
               Keep your head about you. That goes for 
               the lot of you. 

                              BOYS
               Yes, Captain. 

                              KEATING
               Phone call from God. If it had been 
               collect, it wouldn't been daring.

Keating leaves and the boys gather around Charlie once again.

                              CHARLIE
               All right. Go on.

EXT. CAMPUS - DAY

Neil bikes away as the clock bell tolls.

INT. THEATER - DAY

Neil walks into the back of the theater and watches various
actors rehearsing on stage. A smile fills his face.

                              DIRECTOR
               We're trying to rehearse, okay? Start. 

                              LYSANDER
               A good persuasion, therefore hear me, 
               Hermia. 

                              DIRECTOR
               Wait, please. Excitement. I don't hear 
               any excitement about this play. And take 
               her hand. Bring her down the stage and 
               stop. And "There, gentle Hermia." Okay? 
               Try again.

INT. HALLWAY - DAY

The bell rings and students rush down the hall.

                              BOY
               What's for dinner? 

                              PITTS
               Spaghetti and meatballs!

Neil comes up the stairs as everyone else swarms down to the cafeteria.

                              NEIL
               Save some for me. "But, room, Fairy! 
               Here comes Oberon."

Neil opens the door to his room and sees his father sitting at his desk.

                              NEIL
               Father. 

                              MR. PERRY
               Neil. 

                              NEIL
               Wait a minute. Before you say anything, 
               please let me ex-

Mr. Perry rises from the desk.

                              MR. PERRY
               Don't you dare talk back to me! It's bad 
               enough that you've wasted your time with 
               this, this absurd acting business. But 
               you deliberately deceived me! How, how, 
               how did you expect to get away with 
               this? Answer me. Who put you up to it? 
               Was it this new man? This, uh, Mr. 
               Keating? 

                              NEIL
               No. Nobody-- I thought I'd surprise you. 
               I've gotten all A's in every class. 

                              MR. PERRY
               Did you think I wasn't going to find 
               out? "Oh, my niece is in a play with 
               your son," says Mrs. Marks. "No, no, 
               no," I say, "you must be mistaken. My 
               son's not in a play." You made me a liar 
               of me, Neil! Now, tomorrow you go to 
               them and you tell them that you're 
               quitting. 

                              NEIL
               No, I can't. I have the main part. The 
               performance is tomorrow night. 

                              MR. PERRY
               I don't care if the world comes to an 
               end tomorrow night. You are through with 
               that play. Is that clear? Is that clear? 

                              NEIL
               Yes, sir. 

Mr. Perry goes to leave and then turns around.

                              MR. PERRY
               I made a great many sacrifices to get 
               you here, Neil, and you will not let me 
               down. 

                              NEIL
               No, sir. 

INT. KEATING'S OFFICE - NIGHT

Keating is seated at his desk. He is writing a letter and occasionally
looks up at the framed photo on his desk of a woman playing the cello.
There is a knock at the door.

                              KEATING
               It's open.

Neil enters and closes the door behind him. He appears to be nervous.

                              KEATING
               Neil, what's up? 

                              NEIL
               Can I speak to you a minute? 

                              KEATING
               Certainly. Sit down.

Neil goes to take a seat but notices the chair is piled up with books.
Neil picks them up and Keating gets up from his seat to help him.

                              NEIL
               I'm sorry. Here. 

                              KEATING
               Excuse me. Get you some tea? 

                              NEIL
               Tea. Sure.

Keating goes to a table in the corner and begins pouring several cups.

                              KEATING
               Like some milk or sugar in that? 

                              NEIL
               No, thanks. 

                              NEIL
               Gosh, they don't give you much room 
               around here. 

                              KEATING
               No, it's part of the monastic oath. They 
               don't want worldly things distracting me 
               from my teaching.

Keating gives Neil a cup of tea and they return to their seats. Neil
looks at the photo on the desk.

                              NEIL
               She's pretty. 

                              KEATING
               She's also in London. Makes it a little 
               difficult. 

                              NEIL
               How can you stand it? 

                              KEATING
               Stand what? 

                              NEIL
               You can go anywhere. You can do 
               anything. How can you stand being here? 

                              KEATING
               'Cause I love teaching. I don't wanna be 
               anywhere else. 

                              KEATING
               What's up? 

                              NEIL
               I just talked to my father. He's making 
               me quit the play at Henley Hall. 
               Acting's everything to me. I-- But he 
               doesn't know. He-- I can see his point. 
               We're not a rich family like Charlie's, 
               and we-- But he's planning the rest of 
               my life for me, and I-- H-He's never 
               asked me what I want. 

                              KEATING
               Have you ever told your father what you 
               just told me? About your passion for 
               acting. You ever show him that? 

                              NEIL
               I can't. 

                              KEATING
               Why not? 

                              NEIL
               I can't talk to him this way. 

                              KEATING
               Then you're acting for him, too. You're 
               playing the part of the dutiful son. I 
               know this sounds impossible, but you 
               have to talk to him. You have to show 
               him who you are, what your heart is. 

                              NEIL
               I know what he'll say. He'll tell me 
               that acting's a whim, and I should 
               forget it. That how they're counting on 
               me. He'll just tell me to put it out of 
               my mind, "for my own good." 

                              KEATING
               You are not an indentured servant. If 
               it's not a whim for you, you prove it to 
               him by your conviction and your passion. 
               You show him that And if he still 
               doesn't believe you, well, by then 
               you'll be out of school and you can do 
               anything you want. 

A tear falls down Neil's cheek and he wipes it away.

                              NEIL
               No. What about the play? The show's 
               tomorrow night. 

                              KEATING
               Well, you have to talk to him before 
               tomorrow night. 

                              NEIL
               Isn't there an easier way? 

                              KEATING
               No. 

                              NEIL
               I'm trapped. 

                              KEATING
               No, you're not.

EXT. CAMPUS - DAY

Knox exits one of the doors. The ground is covered with a thick
layer of snow. He looks around to see if anyone is about and then
hurries over to the bike rack. grabbing one of the bikes, he hurries
off.

INT. SCHOOL HALLWAY - DAY

A crowd of students come in from the cold. Knox pushes his way through
them, carrying a handful of wildflowers. He begins searching for Chris.

                              KNOX
               Chris!

He approaches a girl with hair similar to Chris' and turns her around,
only to realize that it's not her.

                              KNOX
               Chris Noel. Do you know where she is? 

                              GIRL
               Um, I think she's in room 111.

The girl points down the hallway and Knox sets off in that direction.

                              KNOX
               Thanks.

Chris is at her locker talking to a friend. She just closes her locker
as she notices Knox coming towards her. She turns away.

                              KNOX
               Excuse me. Chris. 

                              CHRIS
               Knox, what are you doing here? 

                              KNOX
               I came to apologize for the other night. 
               I brought you these and a poem I wrote 
               for you.

Chris pulls him aside, out of the main hallway.

                              CHRIS
               Knox, don't you know that, if Chet finds 
               you here he'll kill you? 

                              KNOX
               I can't care. I love you, Chris. 

                              CHRIS
               Knox, you're crazy. 

                              KNOX
               Look, I acted like a jerk and I know it. 
               Please, accept these. Please. 

                              CHRIS
               No. No-- I, I can't. Forget it.

Chris walks away. The school bell rings and she enters her
classroom, closing the door behind her. Undaunted, Knox follows,
opening the door and standing before her desk.

                              CHRIS
               Knox, I don't believe this. 

                              KNOX
               All I'm asking you to do is listen.

As Knox begins to read his poem, the classroom grows quiet as
everyone stops to listen.

                              KNOX
               The heavens made a girl named Chris 
               With hair and skin of gold. 
               To touch her would be paradise.

Chris holds her head in her hands in embarrassment.

INT. CAMPUS KITCHEN - DAY

Knox sneaks in through a side door. He snatches a slice of toast
from the counter and motions to one of the staff to keep secret.
He then begins to eat the toast as he hurries away.

INT. STAIRWAY - DAY

The school bell rings and Knox pushes his way up the stairs past
the slower students. At the top he joins the other boys where they
are grabbing their books.

                              CHARLIE
               Get out of here. Cameron, you fool.

Charlie notices Knox and grabs his jacket.

                              CHARLIE
               Hey, how'd it go? Did you read it to
               her? 

                              KNOX
               Yeah.

The boys begin to get all excited but Charlie shushes them.

                              PITTS
               What'd she say? 

                              KNOX
               Nothing. 

                              CHARLIE
               Nothing. What do you mean, nothing? 

                              KNOX
               Nothing. But I did it.

Knox walks away down the hall and the others chase after him.

                              CHARLIE
               What did she say? I know she had to say 
               something. 

                              PITTS
               Come here, Knox. 

                              KNOX
               Seize the day!

INT. KEATING'S CLASSROOM - DAY

Keating walks from the front of the classroom to Neil's desk. Neil
is the only student remaining in the class.

                              KEATING
               Did you talk to your father? 

                              NEIL
               Uh, he didn't like it one bit, but at 
               least he's letting me stay in the play. 
               He won't be able to make, make it. He's 
               in Chicago. But, uh, I think he's gonna 
               let me stay with acting. 

                              KEATING
               Really? You told him what you told me? 

                              NEIL
               Yeah. He wasn't happy. But he'll be gone 
               at least four days. I don't think he'll 
               make the show, but I think he'll let me 
               stay with it. "Keep up the school work." 
               Thanks.

Neil picks up his books and leaves.

INT. BATHROOM - NIGHT

The boys are grooming themselves in front of the mirrors.

                              PITTS
               Beautiful baby. 

                              MEEKS
               Beautiful baby. Henley Hall, here I 
               come. 

                              CAMERON
               Excuse me, just a moment. Yes. You're so 
               cute.

Cameron runs a comb through his hair and Todd tries to mess it up.

                              CAMERON
               Come on, Todd. I'm trying to fix 
               this. 

                              TODD
               Come on, Nuwanda. You're gonna miss 
               Neil's entrance. 

                              PITTS
               He said something about getting red 
               before we left. 

                              CAMERON
               Getting red? What does that mean? 

                              PITTS
               I, uh-- Well, you know Charlie.

One of the stalls opens and Charlie's hand emerges, holding a small
brush and a bottle of red paint.

                              CAMERON
               So, Charlie, what's this "getting red" 
               bit?

Charlie opens his unbuttoned shirt to show a large red lightning bolt
painted down his chest.

                              TODD
               W-What is that? 

                              CHARLIE
               It's an Indian warrior symbol for 
               virility. Makes me feel potent, like it 
               can drive girls crazy.

Charlie buttons up his shirt as everyone prepares to leave.

                              TODD
               Oh, come on, Charlie. The girls are 
               waiting.

INT. HALLWAY - NIGHT

The boys are walking down the hall to leave. Cameron stops and stares.
The other boys notice and stop as well. Charlie softly whistles at Chris
standing by the door. Knox stares at her in surprise

                              KNOX
               Chris.

Knox leaves the other boys to join her.

                              KNOX
               What are you doing here? 

                              KEATING (O.S.)
               Gentlemen, let's go. 

                              KNOX
               Go ahead, guys. I'll catch up. 

                              CHARLIE
               Yeah, come on, guys.

Charlie hustles the boys away. Meeks remains staring at her. Charlie
returns to drag him away.

                              KNOX
               Chris, you can't be in here. I-If they 
               catch you, we're both gonna be in big 
               trouble. 

                              CHRIS
               Oh, but it's fine--

Knox shushes her and leads her out the door.

EXT. CAMPUS - NIGHT

Snow is lightly falling as Chris and Knox walk outside.

                              CHRIS
               It's fine for you to come barging into 
               my school and make a complete fool out 
               of me? 

                              KNOX
               I didn't mean to make a fool out of you. 

                              CHRIS
               Well, you did. Chet found out. And it 
               took everything I could do to keep him 
               from coming here and killing you. Knox, 
               you have got to stop this stuff. 

                              KNOX
               I can't, Chris. I love you. 

                              CHRIS
               Knox, you say that over and over. You 
               don't, you don't even know me. 

Keating calls out from a nearby car.

                              KEATING
               Will you be joining us, Mr. Overstreet?

                              KNOX
               Go ahead, Captain. I'll walk. 

                              CHRIS
               Knox, Knox, it just so happens that I 
               could care less about you? 

                              KNOX
               Then you wouldn't be here warning me 
               about Chet. 

                              CHRIS
               I have to go. I'm gonna be late for the 
               play. 

                              KNOX
               Are you going with him? 

                              CHRIS
                            (laughs)
               Chet? To a play? Are you kidding? 

                              KNOX
               Then come with me. 

                              CHRIS
               Knox, you are so infuriating. 

                              KNOX
               Come on, Chris. Just give me one chance. 
               If you don't like me after tonight, I'll 
               stay away forever. 

                              CHRIS
               Uh-huh. 

                              KNOX
               I promise. Dead Poets Honor. You come 
               with me tonight. And then, if you don't 
               want to see me again, I swear I'll bow 
               out. 
               
                              CHRIS
               You know what would happen if Chet found 
               out? 

                              KNOX
               He won't know anything. We'll sit in the 
               back and sneak away as soon as it's 
               over. 

                              CHRIS
               And I suppose you would promise that 
               this would be the end of it. 

                              KNOX
               Dead Poets Honor. 

                              CHRIS
               What is that? 

                              KNOX
               My word.

Chris walks away from him and then turns to face him.

                              CHRIS
               You are so infuriating.

Chris gestures for Knox to follow her. Charlie does a little 
twirl as he joins her and puts his arm around her. They walk away.

INT. THEATER - NIGHT

The audience is packed. The stage is set up to resemble a forest and
lights dance about it. From behind a bush, Neil emerges, wearing a
crown of twigs and berries and twigs on his hands. In the audience,
Charlie emerges from his seat, all excited.

                              CHARLIE
               Hey, there he is! Hey, hey.

Cameron shoves him back into his seat.

                              KEATING
               Shh, boys.

On stage, Neil hides behind a tree as a girl emerges, similarly clad,
but with flowers in her hair. Neil sneaks over to the girl.

                              FAIRY

               Either I mistake your shape and making 
               quite, 
               Or else you are that shrewd and knavish 
               sprite 
               Call'd Robin Goodfellow: 

                              PUCK

               Thou speak'st aright;

In the audience, Chris and Knox enter and are shown to seats.

                              PUCK
               I am that merry wanderer of the night. 
               I jest to Oberon and make him smile 
               When I a fat and bean-fed horse beguile,

Puck makes horse sounds and the audience laughs.

                              PUCK
               Neighing in likeness of a filly foal: 
               And sometime lurk I in a gossip's bowl, 
               In very likeness of a roasted crab, 
               And when she drinks, against her lips I 
               bob 
               And on her wither'd dewlap pour the ale. 
               The wisest aunt, telling the saddest 
               tale,

In the audience, Charlie leans over towards Keating.

                              CHARLIE
                           (whispering)
               He's good. He's really good.

Keating gives a thumbs up.

                              PUCK

               Sometime for three-foot stool mistaketh 
               me; 
               Then slip I from her bum, down topples 
               she, 
               And "tailor" cries, and falls into a 
               cough; 
               And then the whole quire hold their hips 
               and laugh, 
               And waxen in their mirth and neeze and 
               swear 
               A merrier hour was never wasted there. 
               But, room, Fairy! here comes Oberon. 

                              FAIRY

               And here my mistress. Would that he were 
               gone!

The two actors hide behind the trees, lifting their twig covered
hands to hide themselves.

INT. THEATER - NIGHT

Two other actors are onstage. 

                              LYSANDER

               Then by your side no bed-room me deny; 
               For lying so, Hermia, I do not lie 

                              HERMIA

               Lysander riddles very prettily: 
               Now much beshrew my manners and my 
               pride, 
               If Hermia meant to say Lysander lied. 
               But, gentle friend, for love and 
               courtesy 
               Lie further off; in human modesty, 
               Such separation as may well be said 
               Becomes a virtuous bachelor and a maid, 
               and, good night, sweet friend: 
               Thy love ne'er alter till thy sweet life 
               end!

Neil is watching the actors from the wing. He glances out at the audience
and sees his father enter the back of the theater. Neil backs away into
the shadows.

                              LYSANDER

               Amen, amen, to that fair prayer, say I;

The director breaks Neil out of his thoughts.

                              DIRECTOR
               Neil. That's your cue, Neil. Come on, 
               Neil. Here's your crown. Let's go.

Neil reluctantly replaces his crown and follows her.

INT. THEATER - NIGHT

On stage, Neil collects dew in a leaf and holds it over his head while
fairies dance about. In the audience, Knox takes Chris' hand in his.

INT. THEATER - NIGHT

The stage is dark. A spotlight comes on to reveal Neil with his back to
the audience. He slowly turns around to face the audience and his father.

                              PUCK

               If we shadows have offended,

Neil directs his eyes at his father, who stills stands at the back
of the theater.

                              PUCK
               Think but this, and all is mended, 
               That you have but slumber'd here 
               While these visions did appear. 
               And this weak and idle theme, 
               No more yielding but a dream, 
               Gentles, do not reprehend: 
               If you pardon, we will mend: 
               And, as I am an honest Puck, 
               If we have unearned luck 
               Now to 'scape the serpent's tongue, 
               We will make amends ere long; 
               Else the Puck a liar call; 
               So, good night unto you all. 
               Give me your hands, if we be friends, 
               And Robin shall restore amends.

Neil backs away and the curtains close as the audience begins to
applaud enthusiastically. Behind the curtain numerous people
congratulate Neil as they line up for the curtain call. The curtains
open. Charlie and the other boys rise to their feet, followed quickly
by the rest of the audience. The actors bow to continued applause. The
actors push Neil forward and he takes a second bow.

                              BOYS
               Yawp! 

                              KNOX
               Yeah, Neil!

The curtain closes again and Neil turns around, letting out an
excited sigh. Various actors continue to congratulate him. Neil
lets out a yell as he walks offstage. In the audience, while others
are leaving, Mr. Perry approaches a woman.

                              MR. PERRY
               Excuse me, I'm Neil's father. I need to 
               see him.

Backstage, the woman approaches Neil.

                              WOMAN
               Neil, Your father. He's-

Neil nods in agreement.

                              ACTOR
               What did you think?

                              WOMAN
               Really I thought you were all just 
               wonderful!

Neil emerges from the curtains, carrying his costume. The theater is
nearly empty now, except for Mr. Perry standing at the back. Neil
smiles at him but the smile quickly disappears.

EXT. THEATER - NIGHT

Mr. Perry pushes his way through the crowd of people, with Neil close
behind.

                              MR. PERRY
               Excuse me. Excuse me. Excuse me.

The boys notice Neil and try to dtop him to talk.

                              CHARLIE
               Neil, Neil, you were great. 

                              NEIL
               I can't, guys. 

                              TODD
               Neil! Neil!

Outside of the crowd, Keating manages to catch up to Neil. He takes
hold of Neil's coat.

                              KEATING
               Neil. Neil. You have the gift. What a 
               performance You left even me speechless. 
               You have to stay with-

Mr. Perry returns from his car and shoves Neil aside.

                              MR. PERRY
               Get in the car. Keating, you stay away 
               from my son. 

                              CHARLIE
               Neil! Neil! Mr. Perry, come on. 

                              KEATING
               Don't make it any worse than it is.

Neil and Mr. Perry get into their car and drive away. Keating
stares after them.

                              CHARLIE
               Is it okay if we walk back? Captain?

Charlie motions Todd to follow.

                              CHARLIE
               Knox.

The boys leave and Keating continues to stare after the car, wiping
the falling snow from his face.

INT. MR. PERRY'S STUDY - NIGHT

A photo of Neil standing stiffly with his parents sits on a table
between a glass of alcohol and a half filled ashtray. Mrs. Perry
watches through the window as her husband and son arrive and then
takes a nervous puff on her cigarette before sitting down. Mr.
Perry walks in with Neil close behind him. Neil sits down beside the
desk while Mr. Perry remains standing.

                              MR. PERRY
               We're trying very hard to understand why 
               it is that you insist on defying us. 
               Whatever the reason, we're not gonna let 
               you ruin your life. Tomorrow I'm 
               withdrawing you from Welton and 
               enrolling you in Braden Military School. 
               You're going to Harvard and you're gonna 
               be a doctor. 

                              NEIL
               But that's ten more years. Father, 
               that's a lifetime! 

                              MR. PERRY
               Oh, stop it. Don't be so dramatic. You 
               make it sound like a prison term. You 
               don't understand, Neil. You have 
               opportunities that I never even dreamt 
               of and I am not going to let you waste 
               them.

Neil rises to his feet.

                              NEIL
               I've got to tell you what I feel.

Mrs. Perry stands up.

                              MRS. PERRY
               We've been so worried about-- 

                              MR. PERRY
               What? What? Tell me what you feel. What 
               is it?

Neil looks to his mother and then back to his father but says
nothing.

                              MR. PERRY
               Is it more of this, this acting 
               business? Because you can forget that. 
               What? 

                              NEIL
               Nothing.

Neil sits back down dejectedly.

                              MR. PERRY
               Nothing? Well, then, let's go to bed.

Mr. Perry leaves. Mrs. Perry pauses on her way out and kneels
behind Neil.

                              NEIL
               I was good. I was really good.

Mrs. Perry nods slightly.
                              MRS. PERRY
               Go on, get some sleep.

INT. MR. PERRY'S BEDROOM - NIGHT

Mrs. Perry sits on the side of the bed with her back to her
husband. Mr. Perry removes his robe and slippers before
getting in to bed. Mrs. Perry begins to cry as he turns out
the light.

                              MR. PERRY
               It's all right. It's going to be all 
               right.

INT. NEIL'S BEDROOM - NIGHT

Neil's pyjamas, bathrobe, towel, and shaving kit are all neatly
laid out on his bed. Neil touches his pyjamas lightly and then
removes his coat and shirt. He walks over to the windows and
opens them, taking several deep breaths. He places the crown of
twigs on his head and then closes his eyes, slowly letting his head
fall to his chest.

INT. HALLWAY - NIGHT

A door opens and Neil emerges, slowly walking down the stairs as if
in a trance.

INT. MR. PERRY'S STUDY - NIGHT

Neil holds a key in his hands. He unlocks a drawer in his father's
desk and pulls out a pistol, wrapped in cloth.

INT. MR. PERRY'S BEDROOM - NIGHT

Mr. Perry jerks up out of bed, startled and breathing fast.

                              MR. PERRY
               What was that? 

                              MRS. PERRY
               What? 

                              MR. PERRY
               That sound. 

                              MRS. PERRY
               What sound? Tom?

Mr. Perry turns on the light and gets up out of bed, putting on his
robe and slippers.
                              MRS. PERRY
               What is it? What's wrong? 

Mr. Perry turns on the hallway light and knocks on Neil's door. He opens
the door and goes inside.

                              MR. PERRY
               Neil.

Mr. Perry notices the open window.

                              MRS. PERRY
               Tom, what is it? What's wrong? Neil?

Mr. Perry continues to look through the house, continuing downstairs.

                              MR. PERRY
               Neil?

Mr. Perry notices the door to his study is ajar.

                              MRS. PERRY
               I'll look outside. Neil?

Mr. Perry flicks the light on but sees nothing. Then he smells
something. Looking closer, he sees a thin cloud of smoke rising from
behind his desk. As he moves around the desk he sees his gun on the
floor and Neil's outstretched hand.

                              MR. PERRY
               No!

Mr. Perry crouches down by his son.

                              MR. PERRY
               Oh, Neil! Oh, my God!

Mrs. Perry enters the room and sees her son.

                              MRS. PERRY
               Oh! No! 

                              MR. PERRY
               Oh, my son! 

                              MRS. PERRY
               He's all right. 

                              MR. PERRY
               My son! My poor son! 

                              MRS. PERRY
                        (crying hysterically)
               He's all right! He's all right! He's all 
               right! He's all right! He's all right! 
               He's all right! 

                              MR. PERRY
               Stop it! Stop it! Stop it.

Mr. Perry holds his wife and tries to comfort her.

INT. TODD'S ROOM - NIGHT

Todd is sleeping. Charlie reaches across to wake him. Tears are
running down his face.

                              CHARLIE
               Todd? Todd.

Todd, still half asleep, tries to shrug him off.

                              TODD
               Oh, Charlie.

Todd opens his eyes and sees Charlie's face

                              TODD
               What is it?

Todd looks over to see Pitts, Meeks, and Knox by the door.

                              CHARLIE
               Neil's dead.

EXT. CAMPUS - DAY

It is a snowy, overcast morning. Todd walks through the snow. He
has his coat on over his pyjamas. The other boys follow closely
behind him as he walks down towards the water. He stops and stares
out at the snow-covered surroundings.

                              TODD
               It's so beautiful.

Todd begins to gag and then goes down on his knees, vomiting into
the snow. The other boys huddle around him, hugging him.

                              CHARLIE
               Todd. It's okay, Todd. 

                              PITTS
               Calm down. 

                              CHARLIE
               It's all right, Todd. 

                              PITTS
               Todd, it's okay. It's okay, Todd. 

                              CHARLIE
               It's all right. It's alright.

Charlie grabs a handful of snow and wipes Todd's mouth with it. 

                              TODD
               He wouldn't-- He wouldn't have done it. 

                              MEEKS
               You can't explain it, Todd. 

                              TODD
               It was his father! 

                              CHARLIE
               No! 

                              TODD
               He wouldn't have left us. It's because he-
               He wouldn't have. His dad was-- his, his 
               father did it. 

                              CHARLIE
               Todd. 

                              TODD
               His father killed him. He made him do it.

                              MEEKS
               You can't explain it, Todd.

Todd pushes himself away from the boys and stumbles down the hill,
slipping and falling in the snow.

                              MEEKS
               Todd! 

                              CHARLIE
               Leave him be.

The boys watch as Todd runs down towards the dock by the river,
yelling and crying. He finally seems to regain control of himself
and walks in silence out onto the dock.

INT. KEATING'S CLASSROOM - DAY

Keating sits by himself at his desk. After a moment he gets up
and walks over to Neil's desk. Opening it, he finds his copy
of "Five Centuries of Verse" and flips through the first few pages.
Sitting down at the desk, he returns to the opening page, reading
the opening verse written there. Keating begins to sob, then closes
the book.

INT. ASSEMBLY HALL - DAY

A church service is going on. The boys have joined in the other
students in a hymn. Charlie is the only one not singing. He stares
off into nothingness.

                              BOYS
                          (singing)
               All my life 
               Thy light shall surely follow me 
               And in God's house forevermore 
               My dwelling place shall be 
               Amen.

Mr. Nolan stands at the pulpit, with the rest of the professors
seated behind him.

                              MR. NOLAN
               The death of Neil Perry is a tragedy. He 
               was a fine student. One of Welton's 
               best. And he will be missed. We've 
               contacted each of your parents to 
               explain the situation. Naturally, 
               they're all quite concerned. At the 
               request of Neil's family, I intend to 
               conduct a thorough inquiry into this 
               matter. Your complete cooperation is 
               expected.

INT. CLOAKROOM - DAY

The boys (except Cameron) are sitting about the cluttered room
waiting. Charlie lights a cigarette.

                              CHARLIE
               You told him about this meeting? 

                              PITTS
               Twice. 

                              CHARLIE
               That's it, guys. We're all fried. 

                              PITTS
               How do you mean? 

                              CHARLIE
               Cameron's a fink. He's in Nolan's office 
               right now, finking. 

                              PITTS
               About what? 

                              CHARLIE
               The club, Pittsie. Think about it. The 
               board of directors, the trustees and Mr. 
               Nolan. Do you think for one moment 
               they're gonna let this thing just blow 
               over? Schools go down because of things 
               like this. They need a scapegoat.

The door opens. All the boys except Charlie hurry to put
their cigarettes out and wave the smoke away. A light comes on
and Cameron enters.

                              CAMERON
               What's going on, guys? 

                              CHARLIE
               You finked, didn't you, Cameron?

Charlie gets up and approaches Cameron, tossing his cigarette away.

                              CAMERON
               Finked? I didn't know what the hell 
               you're talking about. 

                              CHARLIE
               You told Nolan everything about the club 
               is what I'm talking about. 

                              CAMERON
               Look, in case you hadn't heard, Dalton, 
               there's something called an honor code 
               at this school, all right? If a teacher 
               asks you a question, you tell the truth 
               or you're expelled. 

                              CHARLIE
               You little-

Charlie lunges at Cameron but Knox and Meeks hold him back.

                              MEEKS
               Charlie! 

                              CHARLIE
               He's a rat! He's in it up to his eyes, 
               so he rattled to save himself. 

                              KNOX
               Don't touch him, Charlie. You do and 
               you're out. 

                              CHARLIE
               I'm out anyway! 

                              KNOX
               You don't know that, not yet. 

                              CAMERON
               He's right there, Charlie. And if you 
               guys are smart, you will do exactly what 
               I did and cooperate. They're not after 
               us. We're the victims. Us and Neil. 

                              CHARLIE
               What's that mean? Who are they after? 

                              CAMERON
               Why, Mr. Keating, of course. The 
               "Captain" himself. I mean, you guys 
               didn't really think he could avoid 
               responsibility, did you? 

                              CHARLIE
               Mr. Keating responsible for Neil? Is 
               that what they're saying? 

                              CAMERON
               Well, who else do you think, dumb ass? 
               The administration? Mr. Perry? Mr. 
               Keating put us up to all this crap, 
               didn't he? If he wasn't for Mr. Keating, 
               Neil would be cozied up in his room 
               right now, studying his chemistry and 
               dreaming of being called doctor. 

                              TODD
               That is not true, Cameron. You know 
               that. He didn't put us to anything. Neil 
               loved acting. 

                              CAMERON
               Believe what you want, but I say let 
               Keating fry. I mean, why ruin our lives?

Charlie lunges at Cameron again and punches him in the face.
Cameron falls to the floor as the boys pull Charlie away. Cameron
lifts a hand to his bloody nose.

                              CAMERON
               You just signed your expulsion papers, 
               Nuwanda.

Cameron rises to his feet.

                              CAMERON
               And if the rest of you are smart, you'll 
               do exactly what I did. They know 
               everything anyway. You can't save 
               Keating, but you can save yourselves.

Cameron walks away, closing the door behind him.

INT. TODD'S ROOM - DAY

Todd looks out the window and watches as Hager escorts Meeks back
to the dorm. Inside the room, Neil's bed has been stripped of all
its bedding.

INT. HALLWAY - DAY

Meeks walks slowly to his room. Hager remains standing at the end of
the hallway.

                              HAGER
               Knox Overstreet.

Knox emerges from his room and goes to joing Hager. He gives a thumbs
up to Todd as he passes his door. Once he leaves with Hager, Todd goes
over to Meeks' door.

                              TODD
               Meeks? 

                              MEEKS
               Go away. I have to study. 

                              TODD
               What happened to Nuwanda? 

                              MEEKS
               Expelled. 

                              TODD
               What'd you tell 'em? 

                              MEEKS
               Nothing they didn't already know. 

                              HAGER (O.S.)
               Todd Anderson.

INT. HALLWAY - DAY

Todd is lead up the steps to Mr. Nolan's office by Hager.

INT. NOLAN'S OFFICE - DAY

Todd enters the room to see his mother and father seated opposite
Mr. Nolan's desk.

                              MR. ANDERSON
               Hello, son. 

                              MRS. ANDERSON
               Hello, darling. 

                              TODD
               Mom.

THe door closes behind Todd. He remains standing, not knowing
what to do.

                              MR. NOLAN
               Have a seat, Mr. Anderson.

Todd sits down next to his parents.

                              MR. NOLAN
               Mr. Anderson, I think we've pretty well 
               put together what's happened here. You 
               do admit to being a part of this Dead 
               Poets Society?

Todd says nothing.

                              MR. ANDERSON
               Answer him, Todd. 

                              TODD
               Yes, sir.

Mr. Nolan puts his glasses on and glances at a paper before him
before removing his glasses once more.

                              MR. NOLAN
               I have here a detailed description of 
               what occurred at your meetings. It 
               describes how your teacher, Mr. Keating, 
               encouraged you boys to organize this 
               club and to use it as a source of 
               inspiration for reckless and self-
               indulgent behavior. It describes how Mr. 
               Keating, both in and out of the 
               classroom, encouraged Neil Perry to 
               follow his obsession with acting when he 
               knew all along it was against the 
               explicit order of Neil's parents. It was 
               Mr. Keating's blatant abuse of his 
               position as teacher that led directly to 
               Neil Perry's death. 

Mr. Nolan motions to Todd's father, who passes along a sheet of
paper to Todd.

                              MR. NOLAN
               Read that document carefully, Todd. Very 
               carefully.

Todd looks at the paper, which already contains the signatures of
the other four boys.

                              MR. NOLAN
               If you've nothing to add or amend, sign 
               it. 

                              TODD
               What's gonna happen to Mr. Keating? 

                              MR. ANDERSON
               I've had enough. Sign the paper, Todd.

Mr. Nolan holds out a pen for Todd to take.

EXT. CAMPUS - DAY

Mr. McAllister leads his students, textbooks in hand, through the
snow outside the classrooms.

                              McALLISTER
               Grass is gramen or herba. Lapis is 
               stone. The entire building is 
               aedificium.

Keating looks out from his office window. McAllister pauses and looks
up at Keating, giving him a brief wave. Keating waves back.

INT. KEATING'S OFFICE - DAY

Keating laughs slightly as he watches McAllister from the window.
Inside, all his belongings have been packed up.

INT. KEATING'S CLASSROOM - DAY

The students are all seated at their desks in silence. Everyone looks
as the door opens. They quickly stand as Mr. Nolan enters the room.

                              MR. NOLAN
               Sit.

The students sit once again as Mr. Nolan walks to the front of the room.

                              MR. NOLAN
               I'll be teaching this class through 
               exams. We'll find a permanent English 
               teacher during the break. Who will tell 
               me where you are in the Pritchard 
               textbook? 

                              MR. NOLAN
               Mr. Anderson?

                              TODD
               Uh, in the, in the Pr- 

                              MR. NOLAN
               I can't hear you, Mr. Anderson. 

                              TODD
               In the, in the, in the Pritchard? 

                              MR. NOLAN
               Kindly inform me, Mr. Cameron. 

                              CAMERON
               We skipped around a lot, sir. We covered 
               the Romantics and some of the chapters 
               on Post Civil War literature. 

                              MR. NOLAN
               What about the Realists? 

                              CAMERON
               I believe we skipped most of that, sir. 

                              MR. NOLAN
               All right, then, we'll start over. What 
               is poetry?

There is a knock at the classroom door.

                              MR. NOLAN
               Come.

The students look back as the door opens. They quickly turn
away when hey see it is Keating.

                              KEATING
               Excuse me. I came for my personals. 
               Should I come back after class? 

                              MR. NOLAN
               Get them now, Mr. Keating. 

                              MR. NOLAN
               Gentlemen, turn to page 21 of the 
               introduction. Mr. Cameron, read aloud 
               the excellent essay by Dr. Pritchard on 
               "Understanding Poetry."

Todd slowly closes his book. Keating opens the door to the tiny
room off the classroom.

                              CAMERON
               That page has been ripped out, sir. 

                              MR. NOLAN
               Well, borrow somebody else's book. 

                              CAMERON
               They're all ripped out, sir. 

                              MR. NOLAN
               What do you mean, they're all ripped 
               out? 

                              CAMERON
               Sir, we, uh- 

                              MR. NOLAN
               Never mind.

Mr. Nolan takes his own book over to Cameron's desk and then
slaps the open page.

                              MR. NOLAN
               Read!

As Cameron begins to read, Keating looks out at Todd as he puts
his scarf on. Todd looks at him for a moment and then glances away.

                              CAMERON
               "Understanding Poetry by Dr. J Evans 
               Pritchard, Ph.D. To fully understand 
               poetry, we must first be fluent with its 
               meter, rhyme and figures of speech, then 
               ask two questions: 1) How artfully has 
               the objective of the poem been rendered 
               and 2)..."

The door squeaks as Keating shuts it behind him. Cameron pauses. 

                              CAMERON
               "... How important is that objective? 
               Question 1 rates the poem's perfection; 
               question 2 rates its importance. And 
               once these questions have been answered, 
               determining the poem's greatness becomes 
               a relatively simple matter. If the 
               poem's score for perfection is plotted 
               on the horizontal of a graph--"

Keating passes by Todd and the others and gets to the back of the
classroom before Todd leaps up from his seat and turns to face him.

                              TODD
               Mr. Keating! They made everybody sign 
               it. 

Mr. Nolan gets up from his desk and approaches Todd.

                              MR. NOLAN
               Quiet, Mr. Anderson. 

                              TODD
               You gotta believe me. It's true. 

                              KEATING
               I do believe you, Todd. 

                              MR. NOLAN
               Leave, Mr. Keating. 

                              TODD
               But it wasn't his fault! 

                              MR. NOLAN
               Sit down, Mr. Anderson!

Todd reluctantly returns to his seat.

                              MR. NOLAN
               One more outburst from you or anyone
               else, and you're out of this school!
               Leave, Mr. Keating.

Keating hesitates at the back of the classroom.

                              MR. NOLAN
               I said leave, Mr. Keating.

Keating slowly turns and heads to the door. As he opens
it, Todd, stands upon his desk and turns to Keating.

                              TODD
               O Captain! My Captain! 

                              MR. NOLAN
               Sit down, Mr. Anderson!

Keating pauses at the door and looks back at Todd on his desk.

                              MR. NOLAN
               Do you hear me? Sit down! Sit down! This 
               is your final warning, Anderson. How 
               dare you? Do you hear me?

After a moment of indecision, Knox climbs up onto his desk.

                              KNOX
               O Captain! My Captain! 

                              MR. NOLAN
               Mr. Overstreet, I warn you! Sit down!

Pitts climbs up onto his desk, followed by several others,
including Meeks.

                              MR. NOLAN
               Sit down! Sit down. All of you. I want 
               you seated. Sit down. Leave, Mr. 
               Keating.

More students stand on their desks until half the class is standing.

                              MR. NOLAN
               All of you, down. I want you seated. Do 
               you hear me? 

                              MR. NOLAN
               Sit down! 

Keating stands in the doorway, staring up at the boys in wonder. A
smile comes to his face.

                              KEATING
               Thank you, boys. Thank you. 
   

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