Last Minute Changes:
Dead Poets Society the Movie vs. Dead Poets Society the Script

        Now I know, the first thing that everyone is going to ask me is "How can I get a copy of the script?" Unfortunately, I have not found a download of it available on the internet and I certainly do not have the time to type or scan the entire script in. I managed to get my copy of the script through an auction on eBay. You may wish to perform a search there and see if there are any copies currently up for bidding.

        The novelization (by N. H. Kleinbaum) and the original screenplay (by Tom Schulman) are pretty similar as far as the content goes. It appears as if the novelization was based on this version of the screenplay (revised third draft, September 29th, 1988) or something close to it. If you have the option of reading the script or the novelization, please read the script. Neither of them can hold a candle to the final film, but the novelization is very poorly written. This scares me considering the fact that the novelization is now part of the English curriculum in many US schools. (The used copy I have came from Greenfield Jr. High in Bakersfield CA.) If anything, I would use the novelization as an example of how not to write a story.

        In this draft, numerous changes were already made. (Numerous scene numbers  simply have the word "omitted" next to them in this version.) One of the first changes that Peter Weir desired was to remove the entire element of plot that had John Keating dying. Weir felt that it was an unnecessary element that actually took away from Keating's teachings since it was suddenly obvious why Keating would want to seize the day.

        What follows is a brief run through the script, pointing out the various differences between the words on the page and the images on the screen.


KEATING
Creeds and schools in abeyance... I permit to speak at every hazard, nature without check, with original energy. -- Walt Whitman. Ah, but the difficulty of ignoring those creeds and schools, conditioned as we are by our parents, our traditions, by the modern age. How do we, like Whitman, permit our own true natures to speak? How do we strip ourselves of prejudices, habits, influences? The answer, my dear lads, is that we must constantly endeavor to find a new point of view.
KEATING
Answer "present," please. Chapman?

STUDENT (CHAPMAN)

Present.

KEATING

Perry? (no answer) Neil Perry?

Keating glances at Todd. Todd doesn't know what to say.

KEATING

Hmmm. Watson? (no answer) Richard Watson? Absent too, eh?

SOMEONE

Watson's sick, sir.

KEATING

Hmmm. Sick indeed. I suppose I should give Watson demerits. But if I give Watson demerits, I will have to give Perry demerits... and I like Perry.

He crumples the roll up and tosses it away.

KEATING

Boys, you don't have to be here if you don't want to. Anyone who wants to play, follow me.
TODD
You know what dad called me when I was growing up? "Five ninety-eight." That's what all the chemicals in the human body would be worth if you bottled them raw and sold them. He told me that was all I'd ever be worth unless I worked every day to improve myself. "Five ninety-eight."

Neil shakes his head.

TODD

When I was little, I thought all parents automatically loved their kids. That's what my teachers told me. That's what I read in the books they gave me. That's what I believed. Well, my parents might have loved my brother but they did not love me.
NEIL
Charlie...

CHARLIE

It's Nuwanda.

NEIL

Nuwanda, what's going on?

CHARLIE

Nothing, unless you object to having girls here.

PITTS

Well of course not. It's just that... You could have warned us.

CHARLIE

I thought I'd be spontaneous. I mean, that's the point of this whole thing, isn't it?

NEIL

Where'd you find them?

CHARLIE

They were walking along the fence past the soccer field. Said they were curious about the school so I invited them to the meeting.

CAMERON

Do they go to Henley Hall?

CHARLIE

I don't think they're in school.

CAMERON

They're townies?

CHARLIE

Cameron, what is the matter with you? You act like they're your mother or something. You afraid of them?

CAMERON

Hell no, I'm not afraid of them! It's just, if we get caught with them, we're dead.

Gloria (O.S.)

Say, what's going on out there?

CHARLIE

Just gathering wood.
(low; to Cameron)
You just keep your mouth shut, jerkoff, and there's nothing to worry about.

CAMERON

Watch who you call jerkoff.

NEIL

Oh calm down, Cameron.
MCALLISTER
I wouldn't worry about the boys being too conformist if I were you.

KEATING

Why is that?

MCALLISTER

Well, you yourself graduated from these hallowed halls, did you not?

KEATING

Yes?

MCALLISTER

So if you want to raise a confirmed atheist, give him a rigid religious upbringing. Works every time.
KEATING
Gentlemen, today we will consider a skill which I consider indispensable for getting the most out of college... analyzing books you haven't read. College will probably destroy your love for poetry. Hours of boring analysis, dissection and criticism will see to that. College will also expose you to all manner of literature -- much of it transcendent works of magic which you must devour; some of it utter drek which you must avoid like the plague.

Keating pauses.

KEATING

Suppose you are taking a course entitled "Modern Novels." All semester you have been reading masterpieces such as the touching Pere Goriot by Balzac and the moving Fathers and Sons by Turgenov, but when you receive your assignment for your final paper, you discover that you are to write an essay on the theme of parental love in The Doubtful Debutante, a novel -- and I use that term generously here -- by none other than the professor himself.

Keating looks at the boys with a raised eyebrow, then continues.

KEATING

After reading the first three pages of the book, you realize that you would rather volunteer for combat than waste your precious earthly time infecting your mind with this sewage, but do you despair? Take an "F"? Absolutely not because you are prepared.

Keating paces.

KEATING

Open The Doubtful Deb and learn from the jacket that the book is about Frank, a farm equipment salesman who sacrifices everything to provide his social climbing daughter Christine with the debut she so desperately desires. Begin your essay by disclaiming the need to restate the plot while at the same time regurgitating enough of it to convince the professor that you've read his book. Next shift to something pretentious and familiar. For instance, you might write, "What is remarkable to note are the similarities between the author's dire picture of parental love and modern Freudian theory. Christine is Electra, her father is a fallen Oedipus." Finally, skip to the obscure and elaborate like this:

Keating pauses, then:

KEATING

"What is most remarkable is the novel's uncanny connection with Hindu Indian philosopher Avesh Rahesh Non. Rahesh Non discussed in painful detail the discarding of parents by children for the three headed monster of ambition, money, and social success." Go on to discuss Rahesh Non's theories about what feeds the monster, how to behead it, etcetera etcetera. End by praising the professor's brilliant writing and consummate courage in introducing The Doubtful Deb to you.

Meeks raises his hand.

MEEKS

Oh Captain, My Captain... what if we don't know anything about someone like Rahesh Non?

KEATING

Rahesh Non never existed, Mr. Meeks. You make him or someone like him up. No self important college professor such as this one would dare admit ignorance of such an obviously important figure and you will probably receive a comment similar to the one I received:

Keating finds a paper on his desk and reads from it:

KEATING

"Your allusions to Rahesh Non were insightful and well presented. Glad to see that someone besides myself appreciates this great but forgotten Eastern master. A plus."

He drops the paper.

KEATING

Gentlemen, analyzing dreadful books you haven't read will be on your final exam so I suggest you practice on your own. Now for some traps of college exams. Take out a blue book and pencil. This is a pop quiz.

The boys obey. Keating passes out tests. He sets up a screen in the front of the room, then goes to the back of the room and sets up a slide projector.

KEATING

Big universities are crowded Sodoms and Gomorrahs filled with those delectable beasts we see so little of here: females. The level of distraction is dangerously high, but this quiz is designed to prepare you. Let me warn you, this test will count. Begin.

The boys begin their tests. Keating puts a slide in the projector. On the screen in the front of the room appears a blow-up of a beautiful girl, college age, leaning over to pick up a pencil. Her figure is quite remarkable, and, bending over as she is, you can see her panties. The boys glance up from their tests, then most do a double-take on the photo.

KEATING

Concentrate on your tests, boys. You have twenty minutes.

Keating changes the slide. This time we see a beautiful woman in scanty lingerie (an ad from Vogue or a similar magazine). The boys find it extremely difficult to concentrate on their tests. The slide show continues with slide after slide of beautiful women in revealing and provocative poses, tight blow-ups of naked female Greek statues, etc. The boys try in vain to take their tests. Knox writes "Chris, Chris, Chris" over and over on his paper.

"My darling Jessica. it's so lonely at times without you bla bla bla. All I can do to put myself at ease is study your beautiful picture or close my eyes and imagine your radiant smile -- but my poor imagination is a dim substitute for you. Oh, how I miss you and wish--"
The heavens made a girl named Chris,
With hair and skin of gold
To touch her would be paradise
To kiss her -- glory untold.

They made a goddess and called her Chris,
How? I'll never know.
But though my soul is far behind,
My love can only grow.

I see a sweetness in her smile,
Bright light shines from her eyes,
But life is complete -- contentment is mine,
Just knowing that she's alive.

KEATING
Now we mustn't be glum. Neil wouldn't want it that way. He did something special tonight and worth celebrating. Let us join with the howling night.

Keating exits the cave. The others follow. Chris and Ginny look at Knox and Charlie.

GINNY

Knox, what exactly is this?

CHARLIE

You'll see.

CHRIS

I have to go home. Chet might call.

KNOX

It's just for a little while. You promised.

Charlie leads Ginny off. Chris reluctantly follows Knox.

The moon is full, the stars are out, the night is clear and cold. Every tree is covered with icicles. A freeze has turned the otherwise barren forest into a wintertime marvel. Mother Nature has covered the world with sparkling diamonds. Keating leads the group up a wooded path to a spot on a cliff overlooking the creek. The boys and girls look around. It's an especially scenic place. All stand in silence for a moment, taking it in.

KEATING

We used to meet here on special occasions. Who would like to convene the meeting?

MEEKS

"We went to the woods because we wanted to suck all the marrow out of life." Anybody want to read?

Keating begins gathering up some firewood. Others help.

KEATING

Come on boys, don't be shy.

TODD

I have something.

CHARLIE

The thing you've been writing?

TODD

Yeah.

Todd's volunteering surprises everyone. Todd steps forward and takes out some papers from his pocket. He passes slips of paper to each of the others.

TODD

Everybody read this between verses.

Todd opens his poem and reads.

TODD

"We are dreaming of tomorrow and tomorrow isn't coming,
We are dreaming of a glory that we don't really want.
We are dreaming of a new day when the new day's here already.
We are running from the battle when it's one that must be fought."

Todd nods. All read:

ALL

"And still we sleep."

TODD

"We are listening for the calling but never really heeding,
Hoping for the future when the future's only plans.
Dreaming of the wisdom that we are dodging daily,
Praying for a savior when salvation's in our hands."

ALL

"And still we sleep."

TODD

"And still we dream.
And still we pray.
And still we fear.
        (pause)
And still we sleep."

Todd closes his poem. There is a big applause.

MEEKS

That was great!

Todd beams, taking it all in. As he steps down, he gets congratulatory slaps on the back. Keating smiles with great pride at his student's progress. He plucks a ball-shaped icicle from a tree.

KEATING

I hold in my hand a crystal ball. In it I see great things for Todd Anderson.

Todd faces Mr. Keating, then suddenly, powerfully, they hug. They break, then Keating strikes a match to light the fire.

KEATING
And now, "General William Booth Enters Into Heaven," by Vachel Lindsay. When I pause, you ask, "Are you washed in the blood of the Lamb?"
        (recites)
"Booth led boldly with his big brass drum..."

ALL

"Are you washed in the blood of the Lamb?"

Reciting loudly, Keating takes off trotting through the woods. All trot after him:

KEATING

"The Saints smiled gravely and they said, 'He's come.'..."

ALL

"Are you washed in the blood of the Lamb?"

The group follows Keating through the woods, past icy trees, over snow-covered hills, reciting Vachel Lindsay's poem.

KEATING

Walking lepers followed rank on rank,
Lurching bravos from the ditches dank,
Drabs from the alleyways and drug fiends pale--
Minds still passion ridden, soul-powers frail:"

ALL

"Are you washed in the blood of the Lamb?"

Keating stands before a towering, frozen waterfall. This gorgeous, icy sculpture seems to defy the laws of gravity. The night sky is incredibly clear. The people in the group are lit by moonlight off the snow.

KEATING

"Christ came gently with a robe and crown,
For Booth the soldier, while the throng knelt down.
He saw King Jesus. They were face to face,
And he knelt a-weeping in that holy place."

ALL

"Are you washed in the blood of the Lamb?"

Keating stops. He turns and looks at the fields, valley, and the magnificent sky that surrounds them. All are out of breath, but exhilarated.

KEATING

We may or may not be the stuff of eternity, people, but, while we are here, we are part of a vast, awesome magnificence.

He raises his hands to the heavens.

KEATING

Don't waste a second of it, people. Exalt in it.

He holds his head back and shouts to the heavens.

KEATING

ALIVE!! ALIVE!!

The others do the same. Shouts go up, cries of joy and ecstasy. Knox looks at Chris. Tears are streaming down both their faces. They turn to each other and kiss.

NOLAN
That's all right! We don't need his signature. Let him suffer the consequences.

Nolan walks around his desk to Todd.

NOLAN

You think you can save Mr. Keating? You saw it, boy, we have the signatures of all the others. But, if you don't sign, you're on disciplinary probation for the rest of the year. You'll do work duty every afternoon and every Saturday. And, if you set foot off campus, you'll be expelled.

And that is the bulk of it. I'd be very interested to hear people's thoughts regarding the various differences. Also, if anyone out there has other drafts of the script I would love to hear of any further changes. Just drop me a



BACK