BACK TO THE FUTURE

Written by

Robert Zemeckis * Bob Gale

Fouxzh Dza€t
Oc€obex 12, 19 8 4

Rev. 2/28/85

Al INT. BRONN'S GARAGE (1985) - DAY A1

CLOSE ON A TICKING CLOCK, showing 2 minutes to 0.
CAMERA MOVES, exploring, revealing MORE c&ocKs, of all varieties---cuckoo clocks,
digital clocks, a
grandfather clock, Felix the Cat with moving eyes...and all of them are ticking
away in DEAD SYNC.
We continue exploring the garage, notlng (in no particular order) a jet engine, a
stack of unpaid
bills addressed to "Dr. E. Brown" marked "OVERDUE," automotive tools, olec9ronlc e
para a, di
scarded Burger Klnq wrappars, a
vídeo camera, an unnade army com.
We go past a CLOCK RADIO---it lights up and comes on.
RADIO ANNOUNCER (V.O.)
..weather for Hlll Valley and vicinity for today, Friday, October 25: partly
cloudy with a chance
of drizzles...
Now we come to a COFFEE MAKER with a built in clock timer. It too turns on---only
there is no
coffee pot! Boiling coffee drips onto an already wzt hot plate.
Another timer triggers a TV set---an A.M. NEWSCAST is in progress, and the
ANCHORWOMAN talks
against a slide: "Plutonium Theft?" with the yellow and purple radiation ’symbol.
ANCHORWOMAN (ON TV)
.offícials at the Pacific Nuclear Research Facility have denied the rumor that a
casa of missing
plutonium
wao in fact stolen from their storehouse two weeks ago. A Libyan Terrorist group
had claimed
responsíbílity for the allaged theft. Officials now attribute the discrepancy to
a simplo
clerical error. The FBI, whích is still investigating the matter, had no
comment...
We pass a TOASTER attached to a timer. Two pieces of black toast sit on it, and as
the timer
clicks on, the ashen toast drops into the toaster...again. Clearly, we are seeing
a morning
routine for someone who hasn't beer. home for awhile.

CONTINUED

A1 CONTINUED
Rev. 2/28/85

Pg. 2*
On the floor, a timer cli«ks on an electric can opener with an empty can of dog
food. The empty
can goes around. Below it, in a dog dish labeled "Einstein" is dog food that's been
sitting for
awhile.
Now we hear a key turning in the service door. A pair of feet in Nike tennis shoes
enters.
MARTY (O.S.)
Doc? Doctor Brown? Hello? Anybody home?
A skateóoard is dropped onto the floor and rol1s...under the army cot, coming to
rest against a
yellow case with purple radloact.vity symbols, stamped "PLUTONIUM. Property of
Pacific Nuclear
Research Facility."
SERIES OF SHOTS - CLOSE IMAGES
Hands connect wires to terminals.
Fingers flip switches, illuminating "Power On" lights on consoles.
Hands twist rheostats.
Needles on gauges jump to life.
A hand poses in readiness over a set of GUITAR STRINGS, about to play...
Fingers turn a calibrated knob from "3" to "10."
A2 WIDER
as we see a HIGH SCHOOL AGED KID (we can't see his face) ready to play his electric
quitar. It's
connected throuqia a battery of amplifying equipment into a HUGE SPEAKER, 10

The kid híts it and there is a TREMENDOUS EXPLOSION from the speaker which
literally blasts the kld
off his f*zt and into a set of shelv4s whích collapse, coverlng him with books,
tooLs, and junk!
The blown speaker smokes.

CONTINUED
#.2

A3 ON THE RUBBLE
Rev. 2/28/85

Pg. 3*
as mo szunne‹t ltld reqains hie senses and 1.ooks aeound.
Re's MARTY McFLY, 17, dressed in jeans and a jean jacket.
MARTY
Nhoa! Now that's what I call music!
As Marty picks himself up, a huge ALARM BELL on the wall c cs. Marty runs over
to the PHONE and
answers it.
MARTY
Yo!
BRONN (V.O. phone)
Marty! Thank God I found you there!
WARTY
Doc! Nhero've you been all week?
BRONN (V.O. phone) Never mind than nos. Lt st:an, can you meet me
at Twin Plnes
Mail tonight at 1:15?

1:15 in the morning•

BROWN (Y.O. phone) Ríoõt. I've made a major breakthrough an‹:1 I ' 11. need
your
assiseanco .

Okay, Doc, but what's going on?

BRONN (V.O. phone) I'll give you all the details at the appropriate time. Don't
forget now,
tOmOrrOW mO int, l:15 A.d.

Yemh. Uh, Doc, about your amplifier...

BRONN (V.O. phone)
-Oh, that's right---whatever you do, don't use the amp. Therm'c a alíght possibl
2It:y o
ovor1oa‹:1.
I was just thinking that...
Suddenly all of the clocks strike 8:00 at once: chimes, cuckoos, and digital beeps
all toll in a
bizarro cacophany.

CONTINUED

Rev. 2/28/85

A3 CONZ I HUED

BRONN (V.O. phone) Are those my clocks I hear?

Yep. It's 8:00.

BRONN (V.O. phone)
Perfect! My experiment worked! They're all exactly 25 minutes slow!
MARTY
(suddenly alarmed)
25 minutes slow? Doc, are you telling me it's almost 8:30?
BRONN ( V . O . phone )
Preci -ely .

Damn! I'm late for school!

Marty hangs up. He puts hi9 WALKMAN headphones on, grabs
hi e bac kpack and reaches down t:o ret:r1eva h1s SKATEBOARD .
Once again we see the Plutonium case...but Marty doãsn't.

A4 EXT . BROWS ' S tSARAGE - DAY

The door opens, Marty throws his skateboard down and hops on. He hits "PLAY" on
the Walkman, and
hot rock music kicks in as MAlN TITLES BEGIN.
Marty skateboards past the garage---an archítectural gem that has sven far better
days---and past a
BURGER KING.
A TRUCK i e pulllnq out---Mart:y qrabe t:he back ox i c and hi
t:ches a
wow down lhe s creek .
A5 EX'f. ANOTHER STREET - DAY

A5
Marty is towed down another street, on his way toward Town Squafs and school. As
the truzk he's on
continues forward, marty lets go and turns down an intersecting

w6 EXT. SERIES OF SHOTS - TONN SQUARE - DAY A6

TITLES CONTINUE as Marty skateboards through a town square that has seen better
days. We will
particularly note:

CONT I NUED

Rev. 2/28/95
CONTINUED

The Essex Adult MOVIE THEATER, featuring "Wet Teenage Sluts," all seats $5.00.
The modern self-serve TEXACO STATION, where an old :ady
qet:s no help as she pumps her om qas .
Lou's Aerobic FITNESS CENTER, where 15 or 20 motley women
are exercising in the window.
The BANK OF AMERICA, where customers wait in line at the
VERSATELLER.
"ASK NR . FOSTER TRAVEL" advercls ing " lO days iii Hara i i . "
A dilapidated "*elcome to Hill Valley" SIGN on the corner.
The MAIN SQUARE in front of the old COURTAOUSE, a parking lot for the Department of
Social
Services.
And the abandoned TOwN THEATER, all boarded up, with "Assembly of Christ" on the
marquee.
harry hooks up on anot:her vehic le and 1e eooed alonq.

CONTINUED

A7 EX'f . HI 6L VALLEY HI GH SCHOOL

Rav. 3/29/85

Pq. 6

A7
Th‹s front of the school has chipped paint and graffíti on
che mal l s .
MARTY arrives, hops off the skateboard, kicks it up and runs up the stairs. An
ATTRACTIVE GIRL
rushes out
toward him. She's JENNIFER PARKER, 17. The two of them
are " an ü cera .
Jennifer!
MARTY

JENNI FER
Píart:y--- you ' re lat:e! Don' e go in
this way! Strickland's looking for you!
Two mnre tardies and you'll get detenticn!

wa INT. SCHOOL HALLWAY

Jennifer peeks around the corner down the hall.
JENNIFER
I think we're safe.
MARTY
This time it wasn't my fault. • The Doc set all his clocks 25
minutes slow.
VO I CE ( O . S . )
The Doc? Am I zo underst:and chan you' re sei 11. hanqlnq around
ci t:h Dr.
Elet:t: Brown, HcF1.y?
They turn : 1t:' e NR . STRICKLAND , lhe evern, no-nonsens e
dÍ
se1plir.ar1an .
sJMRIcKLAND
(handc each of them a tardy slip)
l tardy slip for you, Miss Parker, •
and another for you, RcFly. f
believe that makes four in a row. •
Now let me give you a nickel's worth of ’fred advice, young man. That so-called
Dr. Brown is
dangerous. Hs's a real nut case. You fool around with hia
and you're going to end up in big trouble.
MARTY
(smiles)
Yes, sir.
Charly, Marty's looking forward to that kind of trouble.

CONT I HUED

CONTINUED

STRICKLAND
Rev . 2/28/85

Pq. 7. •

You've got a real attitude problem, McFly. You're a slacker. You remind me of
your father when he
went here---he was a slacker, too.
MARTY
(bored with this)
Can I go now, Mr. Strickland?
STRICKLAND
I notice you're on the roster for the dance auditions after school. Why even
bother, McFly? You
don't have a chance. You'rr too much like your old man.
No McFly ever amounted to anything in the history of Hill Valley.
MARTY
Yeah? Hell, history's gonna chame.

A9 INT. SCHOOL GYM - DAY

CUT TO:
A9
CLOSE on a sign reading "AUDITIONS - Battle of the Bands."
JENNIFER PARKER, 17, stands at the side of the stage and gesturas with crossed
fingers and a
hopeful expression.
The object of her attention is MARTY, on stage with his band, "The Pínhoadx."
Marty acknowledges
her.
Then he steps forward to address the dance comnittee.

All right, we're the Pinheads, and we're gonna rock 'n roll!
They kick into a red hot number. Marty's fingers dan:e across the strings and
frets in a
complicated Lead line. Ha' e terri €1c , and lhe band soundg great:.
They gol only about: 25 seconds int:o t:ho numbec when a FO
SZ
caí le out .
DANCE CO UI I TTEEHAH
That' e enouqh. Thank you.

Marty and the grouP 9top playing, exchanging bewildered glances.

CUT TO: CONTINUED

10 EXT . TOW SQUARE - DAY

Rev . 2/2S/8S

Pg. 8.
10
AN ELECTI OH SOUND ml CLE ui pes t:he screen, wÍ t:
red chi ze
and blue bunting, proclaiming "RE-ELECT MAYOR 'GOLDIE'
WILSON. HONESTY, DECENCY, INTEGRITY” and a picture of the *
incumbent. Mayor Wilson is black, about 50, with a coLD FRo T TooTH. The
Vruck
broadcasp•s a canpal qu speech by cl•.e iayor .

MARTY and JENNIFER are walking together. She carries her schoolbooks, he has the
skateboard. And
he's depressed.
JENNIFER
Marty, one rejection isn't the end of the world.
MARTY
I don t know. Maybe I'm just not cut

JENNIFER
But you're good, Marty. You're really good. AnB this audition tape of yours is
great...
(she gives him back a
CASSETTE TAPE)
You've got to send it in to that record company.

Yeah, chat.' s what: Doc Brown keeps

*
telling me: "Confidence. If you put
your mind to it, you can do anything." *
JENNIFER
That's good advice, Marty. *

Yeeh, but what if I send it in and they hate it? Nhat if they tell me I'm no Pood°
Nhat if they
9ay
"get outta here, kid, you
got no future?" Nhy should I put myself through all that anxlety?
( he s i qhs )
Jeez, I'm starting to sound like my old man.
JENNIFER
w*ii, hey say all of our emotional
annlocl os como di rect:by from our

CONT I NUED

IO CONTI NIJED

MARTY
Rev. 2J2 5Z85

Pg.9.
In that case, you can kiss me off right now.
JENN I FER
Come on, Marty, your father's not that bad.

I think deep down inside he means well, but the man just can't get it together.

JENNIFER
At least he's letting you borrow the
car socorros ni one . That:' g a msjor
in lhe ri qht: direct:Íou.
step
Marty spots a tricked-out 4 x 4 truck on display in * the town square
parking lot.
•
Hey, check out that 4 x 4. wouldn't it ba great to take that up to the lake
tomorrow night? We
could put our sleeping bags in the back...make out under the stars...
(slghs, admiring lt longlngly) Someday, Jennifer, someday...
JENNIFER
mae about your eot:her? Doos she

Are you kiddlng? She thinks I'm going camping with the guys. If she found out I
was going camping
with you, she d €reak .
And I ' d qee t:he et:andard 1.ec€ure about: hoo she neuer behaved
t:hal ray
when she was in high schoo1. . stu
mtigt: have been a real qoody t:so
-shoes.
They pause across from the former courthouse building.
JENNIFER
(flirting)
She's just trying to keep you respectable.

(flirting back)
She's not doing a very good job, is she?
They move closer..
CONT I NUED

Terrible...
They're about to kiss...

JENNIFER
Rev. 2/25/85

Eg. 10.

CLOCK WOMAN (O.S.)

Save the Clock Tower!
Marty and Jennifer turn. A middle-aged CHURCH GROUI' TYPE WOMAN has a donation can
and an armful
of printed FLYERS.
CLOCK WOMAN
Mayor Wilson is sponsoring an init- iative to repair that clock...
She points to the stopped cLock on the old courthouse
building.
CLOCK WOMAN (contínuing) 3Ô years ago, lightning struck
that clock tower, and the •
clock hasn't run since. *
We at the Hill Valley Preservation *
Society think it should be preserved *
exactly the way it is, as part of •
our history and heritage. *

All right, lady. Here's a quarter.

Marty drops a parter into her can and turns toward Jennifer again---but bafore he
can move closer,
the Clock Homan sticks a flyer in front of his face.
CLOCK WOMAN
Don ' z €ovqec zo lake a €1yez . t t ce11s che vhole scozy o€
the c lock
tower.

Marty grabs the flyer out of her hand.

MARTY
(trying to contain his anger)

She moves'along to bother someone else.

(to Jennifer) Now...where were we?

JENNIFER
Right about here.
They move closer again as before, about to kiss. -
CONTINUED

Rev . 2/25/85

A CAR HORN HONKs &o &Y. Jennifer turns away.

JENNIFER
That's my Dad. I've gotta go.
MARTY
This is not my day.
(a beat)
I'll call you tonight.
JENNIFER
I'll be at my grandma's. Here's
lhe nunber ...
She writes something down on the back on the clock flyer handout and gives it to
him.
Marty takes it and she hops into the waiting car. Marty

Pq. Il .
watches lt go. Then, looks at the paper Jennifer just gave

10-A INSERT - NOTE

Along with the phone number, she's written "I love you".
10-B MARTY
smiles, then looks at the back of it---a reprint of a newspaper article about the
clock tower.
Me folds it up and puts it in his pocket, and hops on ’his skateboard.

i0-A

:o-
CUT TO:
IS EX7. A ROAD - DVSK
A PICK-UP TRUCK cruises down the road with MARTY towed
bahind Ív on h1s skacebo ard .
As the truck passes an intersecting street, Marty lets go---t:hat:' e there he'
s goEng .
A pai r of: dt t apldazed looking lfon statues indicate the entrance to a
subdlvl ston. "lyon' s Eswat:es . " The L ione are someone '
failed idea of "class," and they're chlpped, weathered, and covered with grafitti.
Marty
disappears behind them, and we HOLD a beat.

12 OMITTED
13

CONTINUED

Rev . 2/7 85

14 EXT. MC LY HOME - DUSK

Pg. 12-15
14
A WRECKER is in the McFly driveway with a 1979 Plymouth Reliant in tow: its front
end is
completely smashed, as lf someone rammed it into a brick wall. The truck driver is
unhitching it.
MARTY skateboarts up to the scene and is shocked.
i'tnnTY
Ny God! The car í e orecked!
Narzy rushes indo lhe house.
1 @-A I NT . Ic FLY UV l NG ROO l
Marty enters and sees SIFF TANNEN, an intimidating lout of * 48, lambasting
”arty's father,
GEORGE McFLY, a timid man of 47.
BIFF
I can't believe you did this, McFly, you Irish bug. I can't believe you
loaned me your car without telling me it had a bt Ind spoc. I could
have been
killed!
GEORGE
Biff, f never notlced any blind spot before.
BIFF
What, are you blind, McFly? *
It's there! How else can you *
explain that wreck out there? *
GEORGE
Can I assume that your insurance •
will pay for the damage? •
BIFF
My insurance? It's YOUR car. Your insurance should pay for it. I wanna know
who's gonna pay for
THIS!
(indicates his stained suit) l spllled beer all over it when that car hit mQ.
Who's gonna pay the
cleaning bill?
George hesitates, then meekly pulls out his wallet.
CONT I NUED

14-A CONT I NUED

GEORGE
Rev. 2/7/85

Pg. 16.
Do you think 20 dollars'll cover it?
Biff snatches the 20 dollar bill out of George's hand.
BIFF
It's a start. And hey...
where ' e my report e?
GEORGE
Well, I haven' t finished them yet. I fiqured since they weren' t due till
Monday...
B I FF
( know ks on George ' s head)
He flo* Anybody home? Thl nk, NcF 2y, think! I've gotta have time
to get 'em r
typed. lf I turn in my reporcs In your handout ming, I ' 1.1 get fired.

GEORGE
o ap, I'l1 finish them tonight and run them over first thing in the morning.
BIFF
Not too early---I sleep in on Saturday.
(about to leave)
Oh, hey, Mcrly: your shoe's untied.
GEORGE
(falling for it)

He looks down and Biff hits him in the chin. Biff Laughs Loudly.
BIFF
Don't be so gullible, McFlyl
Blff heads toward the door and notlces Marty staring at him.
BIFF
What're you lookin' at, butthead?
Biff exlts, Marty shakes his head and steps over to his father, outraged. He's
about to say
something, but George raises his hands and cuts him off.

CONTINUED

14-A CONTINUED

GEORGE
I know what you're going to say, son, and you're right.
right. But he happens to be my
Rev. 2/7/85
Pq . 17.
supervisor, and I'm afraid I'm just not very good at confrontations.
NARTY
But: Dad, he prec ked your car ! He
totalled it! I was counting
on using it tomorrow night. Do you have any idea how important this was to me,
Dad? Do you have
any idea at all?
GEORGE
I kno« son, and al.1 I can say i e
I'm sorry.
MARTY
Dad, did it ever occur to you to say
"no?" To j ust: onee try saylnq "no?"
GEORGE
Son, I know it's hard for you to understand, but the fact is, I'm just not a
fighter.
MARTY
Try it once, Dad. Just one time, say "no." "N-O." "No."
Now there's a rap on the screen door as HOWARD, the pot * bellied next-door
neighbor steps in
with his DAUGHTER, 11, * wmaring a LITTLE LEAGUE uniform.
*
HOWARD
Hey, hcFly! My kid's selling peanut brittle for her team! It's 5 dollars a box.
I ' rir
put:king you down for a case, okay, NcFl y?
hardy snakea hi e heart . Geo rqe hes i t:abe e, qu1.pe ...
GEORGE HOWARD
(to his daughter)
See, Michelle? I told you we'd only have to go to one housa.

NarVy shakes hi e head hopse 1e s

ly .

CUT TO:

CONTINUED

Rev . 2/7/85

Pq. 18

íMI. AT McFLY DINNER TABLE NIcHT

The McFly family is dining on meat loaf, Kraft macaroni and cheese, Bird's Eye
mixed vegetables,
and French's instant mashed potatoes.
Marty's mother, LORRAINE, 47, was once very attractive. Now she's OVERWEIGHT, in a
rut, a victim of
suburban stagnation. She has more food on her plate than anyone else, and a glass
of vodka.
GEORGE has papers in front of him instead of food: he's doing the work Biff gave
him. He's also
glancing at the TV which is tuned to a "Honeymooners" rerun.
Sister LINDA, 19, is cute but wears too much eye makeup; brot:her DAVE , 2* ,
no ars a
NeDONALD S UNI FORN and i s no L * i nq down his food.
CONTINUED

15 CONTINUED

GEORGE
(to Marty)
Rev. 11/21/84

Pg. 19.
Believe me, son, you're better off not having the aggravation of dealing with that
YMCA dance.
You'd have to worry about getting all your equipment there, making contingency
plans in case
someone got sick, making sure you got paid correctly, settling with the Musician's
union...and what
if you were so good that other people wanted to hire you? You ' d have co
worry about
schedul ing your joba around school. . Believe me, son, you're better off
withort those
headaches.
DAVE
He's right, Marty. If there's one
thing you don't need, it's headaches. •
Marty nods unenthusiastically. *
Lorraine brings in a cake which says "Helcome Home
Uncle Joey" with a black bird flying out of a barred * prison window.

*
LORRAINE
Kids, I guess we're gonna have to
eat this cake by ourselves. your • Uncle Joey didn't make parole
again.
I think it would be nice if you all dropped him a line.
MARTY
Uncle "Jailbird Joey"?
DAVE
He ' e your bro zher, Nom .

Yeah. I think it's a major embarrassment having an Uncle in ’prison.

LoeRAINE
we all make mistakes in life, children.
DAVE
(checks watch)

CONTINUED

15 CONTINUED
He wipes his mouth and hurries off.
LORRAINE
Rev. 11/21/84
Pg. 19-A.*
Please watch your language, David.
LINDA
(to Marty)
Jennifer Parker called...wants you to call her back.
CONFI NUED

15 CONTINUED

LORRA I NE
I don't like her, Marty. Any girl who calls up a bOy is looking for trouble.
Pass the mashed potatoes, please.
Pq . 20 .
Marty passes them and Lorraine takes a big helping.
LINDA
Oh, Mother, there's nothing wrong with calling a boy.
LORRAINE
Well, I think it's terrible, girls chasinq boys . I never chasod a
boy when T das
your age . 1 never cal ted a boy, or as ked a boy on a
dave , or aah
1 a parked cac w1t:h a boy.
Because when you behave like that,
boys von' t: re specü you, Llnda.
They' t t think you' ro cheap .
Linda rolls her eyes. She's heard this a million times.

Then how are you ever supposed to meet anybody?

I
It'Ll just happen. Like the way I met yzzr father.
LINDA
Bud khan nas so seupld! Grandpa hh
him ci th h1e Car .
LORRAINE
It was meant to be.

I still don't understand what Dad was doing in the middle of the street.
LORRAINE
What was it, George? Birdwatching?
GEORGE
(ãbsorbed in his work) Huh? Did you say something,

CONTINUED

15 CONTINUED

LORRAINE
(to Linda and Marty)
Rev. 11/21,84

Pq. 21.
Anyway, Grandpa hit him with the car and brought him into the house. He seemed so
heLpless...like
a little
lost puppy. And my heart just went * out to him.

Yeah, Mom, you've told us a million times: "Florence Nightingale to the rescue."

Marty and
LORRAINE
(thoughtfully, remembering) The next weekend, we went on our first date: the
"Enchantment Under
the S•a" school dance. I'll never forget it---it was the night of that tarribl*
thunderstorm.
Remember, George?
GEORt3E
Mac ' s that , dear?
LORRAINE
(ignores him; to Marty and Linda)
Your father kissed me for the very first time on the dance floor...and that was
when I realized I
was going to spend the rest of my life with him.
Ainda exchange a look and shake their heads.
L I NDA
I can' t: be1i eve Dad act:nal. ly qofi up enouqh nerve t:o k1
ss you in
puf›1 ic .
LORRAINE
Wall, I may have encouraged him a little...

t ' t l bet: you had t:o pracelcaí by j ucip on hi s bones .

Marty gets up, finished eating, and exits.
Lorraine looks at George, then smiles demurely to herself.
LORRAINE
Thinking back on it, I did. '
C\ 'Z DO :
CONTINUED

16 UT . NARTY ' S BEDROOlfl - II I GHT

Rev. 11/21/84

Pq. 22.
16
Marty's walls are covered with posters of rock stars and cars ---particulary Toyota
4X4's
There is also a portable home synthesizer, a tape recorder, and a stack of lead
sheets.
Mar:y sits at his desk, with an submission form that has an
R & t • RECORDS" 1.ect:erhead, an enve hope , and lhe c as se
t.ze
tape Jennifer Parker gave him. There's also a picture of * Jennifer there.

*
He signs the form and puts it in the envelope, along with the cassette tape. He is
about to seal
it---then he hesita-es, and ponders a moment. He stares at the envelope---it's
addressed to the "R
& G REco S, NEw TALENT DIVISION". He sighs, shakes his head, pulls the tape out
and ch'cks the
envelope and application into the

Nact:y si qhs, then lxi cks back on t:he bed and spcawl. s
out: .
* 8e cl.oses h1 s eyes .

•
CUT TO:

16-A INT. MARTY'S BEDROOM - CLOCK ON MARTY'S NIGHTSTAND

It's almost 12:30. CAMERA PANS to pick up Marty lying asleep on the bed fully
clothed.
Now Marty's CORDLESS PHONE beeps. Marty stirs and answers it.
16-A

Hello?
(into phone)

BROW ( V . O . PHONE )
You didn't fall asleep, did you?
NARTY
Uh, no , o f c our se not:.

BROWN (V.O. PHONE)

Uh huh. Listen. I forgot my video camera.
Could you scop by my pt ace an‹:1 pick ic
up on your way co fihe mat Z?
*

No prob tem, Doc .

CONTINUED

16-A CONTINUED
Rev. 2/25/85

Pq. 22-A
16-A
Narty hangs up. He looks at the clock, then shoves pil- boas under h1e cover
s t:o make
i c look l i ke he' s as1.eeq . He eakes hi s Hatknan, hi s
orange down
vesc, hi s swat:eboard,
and opens the bedroom window. He climbs out.

16-D OMITTED
16-3
16-C

CONTINUED
17 EXT . T¥t IN P INES NALL PARK I NG LOT - x Icirr
Rev. 11/7/84
Pg. 22-B.*
17
c ANS from the lit entrance sign, deplcting 2 PINE TREES IN A ROW with “THIN
PINES MALL“ in
lettering below (along with a digital clock at 1.18) to pick up MARTY on his
skateboard with
WALKMAN AND VIDEO CAMERA. Marty skateboards around a corner of the mail and sees
AN OVERSIZED STEP-VAN with a drop down tailgate (like a ramp) ’all by ítself on the
vast, sodium
vapor lit parking lot. It's beat up, and has lettered on th* sid*, "DR. E. BROWN
ENTERPRISES - 24
HOUR SCIENTIFtC SERVICE."
A 1.arqe DOt r ei os pafilend1y bee1de IV . The animal. has
a battery
operated digital clock attached to lts collar. There are a fez boxes ,
some
oqulpmonV and a sui Vcase nearsy .
MARTY skateboards over to the truck and the dog.

(to the dog, petting him)

Hiya, Einstein. Where's the Doc? Where's the Doc, boy?
We hear an ENGINE REV UP---the truck engine?
The rear truck doors suddenly opon and a SLEEK STAINLESS STEEL DELOREAN drives down
the drop down
gate, onto the parking lot. It's been modifíed with coils and some wicked looking
units on the
rear engine.
Narvy s t:ares as it: in amazement: .
The Delorean pulls up to him and stops. The gull wing driver's door ópens and out
steps DR. EMMETT
BRONN, 65.
Hs's clad in a white radiation suit, hood off. His kair is wild, his eyes are full
of life and
energy.
BRONN
Good evening, Marty. Welcome to my latest experiment. This ia the big ’bne---the
onu I'vo been
waiting for all my life.
Marty ogles the vehicle.
ttARTY
I fi' s a DeLo rean---bud what: dvd you do
to it? And what's with the Davo

CONTINUED

17 CONTINUED
BROW
Rev. 11/7/84

Pg. 23.*
Bear wi Ah me , Mart:y, al 1. o € your questions will be answered.
Roll tape
and we ' 1. l pcoceed.

Marty raises the camera. Brown clears his throat and addresses the camera.
BROWN
Good evening, I'm Dr. Emmett Brown. I'm standing here on the parking lot at Twin
Pines Mall.
It's Saturday morning, October 26, 1985, 1:19 a.m., and this is temporal eaperiment
number one.
(to the dog)
Come on Einstein. Get in, boy.

The dog obediently jumps in and sits in the driver's seat. Brown buckles him in
with the shoulder
harness.
BROWN
(to Marty and video camera) Please note that Einstein's clock here is in precise
synchronization
with my control watch.

Brown holds up a digital watch next to Einstein's clock; indeed, the two are in
dead sync.

CONTINUED

17 CONTINUED

BROWN
(to the dog)
Cood 1.uck, Ei n1e .
Pg. 24.

Brown reaches in and starts the ignition. The DeLorean engine ROARS to life.
Brown turns on the
headlights and lowers the gull wing door, sealing Einstein in.
He cteps back and picks up a REMOTE CONTROL UNIT, similar to one for a radio
controlled toy car.
There are buttons labeled "Accelerator" and "Brake", a joystick, and an
L.E.D. digital readout labeled "Miles Per Hour". Brown
fl lcks lhe power swit:ch on and, uslnq che accel.era cor
button and joystick for steering, sends the DeLorean down to the far, far end of
the parking lot.
He turns the car around so that it's polnting toward them, idling.
BROWN
Here we go, Marty. If my
ca le luazione are corracV, when che car hi es 88 mi tes an
hour, you'
re gonna see some serious shin.

Brown ealtes a deep breat , t:hen pushes

bt@ton.
t:ho accelerator

The DeLorean takes off, shifting gears automatically.

The L. E . D . speedoaieeer passes 30.
The stainless steel vehicle zooms faster...past 4O... Marty is gettíng it all on
tape.
Brown watchms intently. The speedometor climbs past 60.
IN TRE CAR, Einstein renalns calmly in che driver' s seat:. Gauqes
and
insurument: L iqht:e mount:e‹:í behlnd him beqin

Brown's finger holds the accelerator button down.

The meter passes 75.
The DeLorean keeps accelerating, approaching Marty and Brown. The coils mounted
around the car
begin glowing.

18 EXT. MALL, DELOREAN - NIGHT

The speedometer hits 85...86...87...aa...
The automobile is suddenly engulfed by a BLINDING WHITE

18 CONTINUED
Rev. 11/2/84

Pg. 25.
GL0W---then, BLAM! It's gone, a TRAIL or rIRE left in its
wake.
19 Brown and Marty are hit by a sharp blast of air.
Marty blinks in disbelief: it's as if the car never existed. Only the LICENSE
PlATE is left
behind---a vanity p 1 ate : ”NO T INE . ”

(elated)
BRONN
What'd I tell you? 88 miles per
hour! Temporal displacement occurred
(checks watch)
exact?y 1:02 a.m. and zero seconds.
(shocked)
Chrlst Almighty! You disintegrated Einstein!

CaLm down, Marty. I d1dn't disintegrate anything. The molecular structure of both
Einstein and
tha car are completely intact.
MARTY
Then where the hell are they?
BRONN
The appropriate question is: MAN the hell are they. You see, Einstein has just
become the world's
fírgt time traveller. I sent him into the future---one minute into tha future, to
be exact. And
at
exactly 1:03 a.m. and zero seconds, '
we shall catch zp to him...and the
Elmo machl ne .
NARTY
‘Time machi ne? Are you t:ry1nq do
cel l no you but lV a time machlne out
of a DeLorean?
BROWN
(smiles, modestly)
gonna bui Id a t ime maehlno Int:o a car, why not do it with soma
style. Besldzs, the
stainless steel

CONTINUED

Pg. 26.

BROWN (continued) consome t i on made the f lux dispersal---

(his digital watch BEEPS) Ten seconds! Roll tape---and brace yourself for a sudden
displacement of
air.
Marty aims the camera right where the Delorean disappeared. Brown grips the remote
control unit
tightly and :ounts down.
BRONN
5 ... 4... 3... 2... 1...
Their hair stands up on end, charged up with static electricity...

20 Suddenly, a SHARP BLAST OF WIND comes up out of nowhmre, 20

along with a DEAFENING SONIC BOOM---and the DELOREAN REAPPEARS right where it
vanished, still going
88 m.p.h. !
21 Brown hi es t:he brake but:don.

21
The car wheels lock up and the DeLorean comes to a SCREECHING HALT, smoke pouring
off the body.
Brown and harry rush over t:o t:he car . Brown approaches
caut:íons1.y and
re ache s for t:he door handle . He couche s . - and recoi 1s
in pai n.
MARTY

BROWN
It's cold. Damned cold.
Brown raises the driver's side door: there sits Einstein. none the worse for wear.
Brown again
compares his wat:h with Einstein's
22 INSERT - WATCHES

22
ElnsVein' e reads ° : 20 : lO Brown' e 1 s l: 21 : 10 .
23 BACK TO SHOT Z3
BROWN
Exactly one minute difference and
still ticking!
MARTY
Is Einstein all right?

CONTINUED

23 COM'T'ENVED
Rev . ll/2?8s

Pq. 2 7.
Brown unbuckles lhe shoulder harness, and Einstein bounds
out, happy and playful. Brown gives the dog a milk bone

cood boy, Eínie!

BROWN
He's fine. And he's completely unaware that anything happened. As far as he's
concerned, the trip
was instantaneous. Th* ' why his watch
i e a minnie behind ailne---he
"skipped ovsr" that minute to instantly arrive at this moment in time. Come here,
let me show you
how i* works...
Marty is still • bit skeptical, uneasy. Brown waves him over, like a kid who wants
to show off a
new toy. Marty approaches cautiously.
BROWN
First, you turn the time cir«uits on...
Brown flips the labellad switch. An array of indicator
lights go on inside.
BROWN
(continuing)
This readout tells you where you're going, this one tslls you where you are, this
one tells you
where you

The three readouts are respectively lahelled "DESTINATION TIME," "PRESEHT TIME" and
"LAST TIME
DEPARTED."
BROWN
(contlnuing)
You input your dzstination time on this kxypad. ant to see the signing of the
Declaratlon of
’Independence?
Ne punches 7-4-1776. The "DESTINATION TIME" readout up with the date.
BROWN
(continuing)
or witness the birth of Christ?
He punehos in 22-25-O .

CONTINUED

23 CONT I NUED
Rev. 11/21/84

Pq. 28.

(continuing)
Here's a red letter date in the
history of science: November 5, 1955...

He pauses, realizing something---as if something makes sense to him.

suddenly

BRO\UN
Yes , o6 coucse ... Novembec 5, 1955 ...
MARTY
Nhat happened then?
BROW
That vas che day I lnuenced t:inie trave'. I remember it vividly: I
standing on the
edge of my toilet,
hanqlncq a 1.ock. The poree1aln nas
wet; I slipped and hit my head on the sink and when I cama to, I had
a revelation---a vision---a picture in my head. A picture of TRIS...
Brown po inês t:o a parbl cul ar cenberplece umt: mount:ed i.nside
che DeLorean.

Harfiy a iris lhe vídeo camera and gem *9 on tape. He

continue e haplnq
as Dr. Brown expt ains.
BROWN
This is what makes tim* travel possible: the Flux Capacitor.

Flux Capaci for, huh?

BROWN
It's taken me almost 30 years and my entire family fortuna to fwlflll
the vision of that day.... hy God, has it besn that long? l've been working on
this...
(pulls out a pocket abacus and calculatas)
...29 years, 11 monthc, and 355 days,
excluding vacations, of course. Almost *
30 yaars . Amaz i ng . Thl nqs have cert:ain ty
*
changed. This all used to be farmland here,
as far as the eye could see... *

(admiring the Tima Bachine) • This is heavy duty, Doc. And it runs
on, •
like, regular unleaded gasoline?
CONTINUED
23 CON7 INVED
Rev . 11/21/84

Pg. 29.

Vnfortunately, no. It requires something with a little more kick...

Brown indicates a container with purple radioactivity symbols on it.

MARTY
(reads the label) Plutonium?! You mean this sucker's nuclear?
BROWN
Electrical. But I need a nuclear reaction to generais the 1.21. jigowatts of
electricity I nerd.
The flux capacitor stores it, then díscharges it all at once, like a gigantic bolt
of lightning.

Hold the phone, Doc---plutonium's

BROWN
Of coursa---from a group of Libyan nationalísts. They wanted me to build them a
bomb. I took
their pluconium and in turn gave t:hem a shiny bomb casing full of used
pinball machine
parts. Let's get Einstein
in the truck---we must prepare to reload.

23-A CLOSE OH PhtfTON I UNI COt'iTAI NER

cUT To:

23 -A

23 -B
as Brown's gloved hands remove a 4 inch cylinder with plutonium rod wíthin (it's
surrounded by
water).
WID

2u-B
Marty is now dressed in a yellow radiation suit; both he and
Brown have there hoods up.
The DeLorean has been moved close to the truck. Marty vídeotapea as Brown steps
over to the rear
of the DeLorean
ana pi acos t:ha p1ut:onÍum cylinder int:o t:he toadlnq hoppe r .
lhe
pincomum rod dropa down int:o t:ho roacbor, whlch t:hen seal.e
shu9 .
BRONN
(remover his hood)
It's safe now. Everything 1s lead lined.
CONTINUED

23-B CONTINUED
Rev. 11/21/84

Pg. 30.
Marty removes his hood. Einstein watches from the truck. ‹
BROWN
Oh---I muszn't forget my luggage...
Brown grabs his suitcase and puts it in the trunk (it's in
the front).
BROWN
Nho knows if they'll have cotton underwear in the future? I'm allergic to all
synthetics.
Brown slams the trunk shut.
NARTY
The lii t:ure? I s fihae where you' re got.ng?
BROWN
That's right. 25 years into the future. I've always dresmed of seeing the
future---looking beyond
my years , observlnq t:he progress of mankind.
(pauses, then smiles wryly) I ' 1. 1 al so be ahhe t:o filnd out: who
wins the next
25 World Series.

Well, be sure to look me up when you

get there and I'l1 full you in on what's * been happening.

*
BROWN
Indeod I will.
(clears throat, addressed camera)
I, Dr. Emmett Brown am about to embark
on an hi sl:o rte j ourney---
Suddenly, Einstein starts BARKING at something.
BROW
Hhae i e i c , Zinie?
Brown turns, and reacts with horror to an APPROACHING ?A.R or HE LIsHTs. iz's an
ominous VAN.
BROWN
Oh, no---they found me. I don't know how, but they found me.
MARTY

CONTINUED

23- B CONTINUED

BROW
The Llbyans I ripped off!
Rev. 11/21/84

Pq. 3 1.

The van side door slides open and a SWARTHY CHARACTER who resemb1.e s Yas ser
Ara€at:
le ans out: w1ch an AK 47 gu)Omachino 9un . Na OPENS FI
RE .
BROWN
Run for it, Marty: I'll draw their fire!
Brown runs into his truck, rummages around, and comes
out with a .45 revolver. He tries to fire at the van, but * the gun won't work.
He then breaks
for the mall, a good *
500 yards away.
Einstein watches from Brown's truck. *
The terrorist von SCREECHES around sharply and gives
chase. The terrorist FIRES a machine gun blast.

Doc---no! Wait!
But Brown keeps running ---and the van closes the * distance. No way
can Brown outrun
it to the mail.
The 'ferrori só qunner ac reans a Llbyan cursa, t:hen FI RES a bursc
as Brown.
The bullets rip into Brown'a chest and the scientist goes

, harry st:an‹:1s firozon in horror, vídeo eameca

sei t 1. in
hand .

Doc! Oh my God!
(at the terrorista)
You basvards !
As II hearlnq t4arVy, che van makos a U- turn: i V ' s
comi r.q

Marty looks around. He's out in the opzn, and has onl/ :-e
chance: The DeLorean.
Marty dashes for it.
The Libyan gunner takes aim and pulls the trigger, but :-e
weapon jams. Hs jerks the mechanism trying to unjam it.
He swears in Libyan. '

CONTINUED

24 INT. DELOREAN
Rev. 11/2/84
Pg. 32.
24*
Narty swings the door shut, then looks over the array of switches and buttons on
the console with
frightened bewilderment: how do you start this thing?

2S
25 -A
Then he spots the keys in the ignition on the column, just like any other car. He
turns it shifts
into first. He floors it.

The DeLorean roars off! The van gives chase.

I NT . DELOREAN - INSERT
The speedometer approaches 40.
steering
over and

25

25-A

25-B EXT . PIALL PARK ING LOT - ON VAN

The Terrorist Gunner leans out of the van and takes aim.
25-C INT. MOVING DELOREAN
MARTY looks into the side view mirror.
25-D ATY's P.o.v. u slD v Ew m oe
of the Libyan gunner taking aim.
25-5

25 -C

2S-D

25 -E

25 -F
INT. DELOREAN - INSERT
The speedometer climbs past 50.
EXT. MALL PARKING LOT - THE MOVING VAN
The gunner FIRES.
2 5- E
25-C EXT. NALL PARK I NF LOT _ THE NOV ING
DELOREAN

Bullets rip into the parking lot just behind the speedíng DeLorean.

25-H

25-J
2S-K
25 - E•
INT. MOVIDA DELOREAN
Marty has tha pedal to the medal. INSERT - The speedometer hits 75.
ON MARTY - Marty again checks the side view mirror. MARTY's P.O.V. THRU SIDE VIEW
MIRROR
The van is still keeping up.
CONTINUED

25-M IFfT . PíOV I NG DELOREAN

Rev. 11/7/84

Pq. 3 2 -A.
25-»

MARTY
Let's see if you bastardo can do 90...
25-N EXT. MALL PARKING LOT
The DeLorean continues accelerating.
25-P The van continues pursuit, but begins to lose ground.

25-N

25-P

25 -Q
I NT . NOV I NF DELOREAN
INSERT - The «peedometer passes 85!
25-Q

25-R OH MARTY - Gau es and indicators light up behlnd Marty's head, just as they
did befora
Einstein travelled through time---the flux capacitor is about to kick in!
25-S INSERT - The speedometer climbs...86...87...8ã---
25-0

25-s

26 I NT . NOV INI DELOREAN, BEHI ND PARTE THRU

THE W I NDSH I
ELD 26
The mail parking lot is suddenly changed into an OPEN FIELD with a SCARECROW in the
middle of it!
Marty is speeding toward it at 8B miles an hour---he hits it! The scarecrow's face
is hideously
smashed against the windshield.

26-A INT. MOVING DELOREAN - MARTY

can't see. Ha's completely disoriented.

26-R INT. MOVING DELOREAN - (PROCESS)

Tha scarecrow head falls off the DeLorean, revealing that Marty's heading toward an
open bam.
27 EXT. FAR i PIELD BARN - NI GST
The DeLoroan speods ri qh€ Int:o t:de oPEtl BAR í.
We ho1.d on Nho bam exterior---na hear a CRASH; hay and
dust are kicked up out the door...then a CRACK OF WOOD---and A LARGE SECTION OF TBE
BARN ROOF CAVES
IN!
Re hold on che bam. He hear a DOS se:art BARK I IG.

CONTINUED

26-A

26-g

27

28 EXT. NEARBY FARMHOUSE - NIGHT

Rev. 11/2/84
Pq. 33
A light goes on in the nearby FA oUsE. N , FARMER PA PEABODY, 45, comes out in
his red
flannelz, carrying a 1antorn. Behind him i s hi e ul fe , NA;
t:hei r buxom
14 year old DAUGHTER, and 1íve 1. y 11 year o1.d son
SHERMAN.
They approach lhe bam and cauViousl.y ent:er t:hrouqh t:he rear
doors .
29 INT. BARN - NIGHT
The Peabodys stare in open-mouthed astonishment:
The stainless steel vehicle faces them head on, headlight besms shining through ’de
dust. With its
wheels buried in the straw and amber hazard lights blinking, it looks like a SPACE
SHIP!
Tha cows in th* barn don't seem to care much, but Ma and Pa look up as che
ho te where
the root caved in, t:han exchanqe an uneauy took.

What is it, Pa?

Looks t ihe an ai rp1. ano . . w1 thoufi winqs ...

SRERNAN
Airpl.ane? I V ' s a x1y1ng saucer ,
Pa ! From ou ser space !

The driver's gull wing door rises slowly...just like a hatch.

Pa motlons them all back. They watch expectantly, uneasily, with expressions of
curlosity mixed
with fear.
Now Marty steps out, dazed---he's in the radiation suit,
ana eua xoon is DOW, qivinq him che appoaranco of an

PA
Run, children! Run for your livas!
Thay all run like hell out of the bam!
Plarry caltes a dos szeps , t:hen removes t2te hoo‹:1.
NARTY
Mey! Hello? Nhere am I?
Marty looks around. The cows in the barn just chew their cud.
CONTINUED

Rev. 11/2xa4
29 CONT IND

Marty shakes his head, then steps out the barn door.
29-A EXT. BARNYARD - NIGHT
Narty steps out into the barnyard.
rinsrv
üxcuse me ! Anybody here?

29-**

3 O EXT. FARMHOUSE - NIGHT 30

PA busts out of the farmhouse with a double-barrelled shotgun. He's scared.
Sherman comes running out right behind him, with something
rolled up in his hand. *
SHERMAN
Shoot it, Pa---it's already mutated into human form! Shoot it!

Pa raises his shotgun---he's nervous and unsteady. He • FIRES!

*
Buckshot cracks into the barn wall behind Marty.

Take hat, you---you mutated * son-of-a-bitch!

He squeezes off the second barrel!
Shot explodes in the dirt near Rarty's feet! He dashes back into the barn!
Pa beeaas lho gun and rei.o ads .
SHERMAN
Be careful, Pa---don't get too close
or he'll take over your brain! *

Hhat: che he11 are you t:atkin' , boy?

*
SHER IA t
Read chi g ! I t:' e al l In here!

*
Sherman shows him his "TALES FROR SPACE" COMIC BOOK. On :he cov*r is a space ship
that resembles a
50's version of ike 0aLorean. Ali allen i s sceppi ng out who
looka somechi ng
t i de Narcy in t:he radi anzon sul V, and ho appoars do have
ens l a .•ed
several human females. The title Of the story is "Space
Zoatbles From PI.ut:o . "

CONTINUED

30 CONTINUED
Pa gulps.
Rev . 2/ 25/85

Pg. 35.
Now the DELOREAN TNUWDERS OUT of the barn! Pa Peabody jumps back!
The car sp1ns around in che barnyard. and smashes through
a white picket
fence surrounding 2 NEWLY PLANTED PINE TREES IN A LINE, just like on the sign at
"TWIN PINES MALL."
The DeLorean takes out one of the small trees, then finds the dirt access road and
ROARS AWAY.

You space basVard! Ypu ki 11.ed one of my pinee !

Pa FIRES both barrels at the departing vehicle---and blows *
h1s own mai lbox co shreds .
He runs over to h1e "pine grove . "

( ext:reme ly upse€ )
Now I only got one.

31 EXT . FARO D I RT ROAD - NORN I NF

CUT TO:
31

The DeLorean fiear e al.onq tha dl ra road, past an encranc e

siqn readlng
"Telri P1nes Ranch, " and cume ont:o che mai ri ( PAVED ) road .
31-A INT. MOVING DELOREAN - DAY

31-A*
Narty is driving. He's out of breath, scared, disorien:ed. *

CONTINUED

31-A CONTINUED
MARTY
Rev. 4/16/85

Pg. 36.
oaay, bart:y, qec a hold of yourso J2.
There' s got:t:a be an explanablon
for this. It's probably all a dream--- one very intense dream. It's all gonna
resolve itself.

A32-
A4l
OMITTED
A32-

B32 INSERT - DELOREAN FLOORBOARDS

Narzy' s Root: e1ans on the beake .
B3 2“

B33

B3 4

B35
EXT. ROAD - DAY
The DeLoroan burns t:o a seroochi.ng hall . The enqlne di es .

EXT. FARMLAND - CRANE SHOT

Marty gets out of the DeLorean and takes us to the LION'S GATES of "Lyon Estates,"
standíng alone
on a dirt road, surrounded by col.ored pennant:e and a largo slqn
pronoci ng the
development. The gates are brand new. We CRANE UP, revealing empty farmland
beyond.

xARn
is totally astonished. Now we hear.the sound of an approaching car. MARTY turns.
A 1947 Hudson 1e contl ng down t:he road. NarVy naves hi s
arms aí t:ha car .
BJ3*

B34*
@35*

B36 NOVINHO P . O . V. OF NARTY FRON HUDSON

A bizarro image---Marty in the yellow radiation suit,
nome do fita Deúorean.

CONTINUED
:36*

B07 ON NARTY AND THE HUDSOt4

The driver of t:ha hudson react:e
speods paet: Piarry . Narry jul.pe .
Rev. 4/16/85
Pg. B7-37A*
B37*
ci €h bear---he honks and

It can't be. It can't ba!

Me rushes back to the Delorean and looks in.

BB8
I NT . DELOREAN

338*

The time displays show "Present Time. Nov. 5, 1955, 6:?3 a.m." "Destination Tlme:
Nov. 5, 1955,
6:00 a.m." and "Last Time Departed: Oct. 26, 1985, 1:35 a.m."
Suddenly the displays blank out as the car dies. The
PIncomum chramb • qauqe reada "Empty.

Marty turns the ignition key, but the engine won't start. He tries it again, and
again---each time
the starter sounds worse. Finally it completely dies. Marty hits the steering
wheel in
frustratlon.
MARTY

B39

EXT. BEHIND
LYON ' S B I LLBOARD - DAY
CUT TO:

»39“
Marty, in his regular street clothes, pushes the DeLorean bzhind the blllboard,
hidlng it from view
of the main r-at.
Marty takes a deep breath, then walks around the sign down lhe main roa‹:1.
Up ahead
i e a mi 1.e age markor chan says "Slll Valley - 2."

CUT TO:

CONTINUED

Rev. 2/25/8s

A42 EXT. HILL VALLEY TONN SQUARE - DAY

Marty arrives in Hill Valley Town Squ r*, 1955. It's vibrant, bustling, alive.
Marty is amazed at
what he sees. He walks across the street, staring at the town square .
He no et ces:
THE MOVlE THEATER is now playing "Cattle Queen oE Montana" starring Barbara
Stanwyck and Ronald
Reagan.

A RECORD STORE, with Pazti Page and Eydie Gorme albums on display.
w41

B42
MARTY
walks toward the center of town square and reacts to the clock chiming 8:30.
He moves along, pausing to stare at the Studebaker dealership.
As he reaches the corner, he sees the travel agency promoting vacations in Cuba,
and the realty
office advertising bomb shelters.
Now he looks up and reacts to:
342*

C42 a sonirzcan souxo nucx

heading around lho co rner , promo king "Rect" Thomas do r
D42

shakes h1e head, t:hen spot:e a dl scarde‹:1 nowspaper in

i•.e firash .
He pleks i t: up and Looks aí t:ho dat:o .

E42 INSERT - NEYfSPAPER

The data is Saturday, November 5, 1955.
ii2*

CONTINUED

F92 MARTY
nos spoz e a WOFIAN na lki ng howard him.
MARTY
Rev. 2/25/85

Pq. 38-A^ F42•

Uh, excuse me, ma'am, but could you
pinch me?
WOMAN
I beq your pardon? ! ?
MARTY
Pinch me! Pinch me!
The woman SLAPS Marty across the face and walks off in a
huff.

This ’s dofinitely not a dream.

(calls to the woman) Thanks a lot!
Now he notices something across the street.

G42 MARTY'S P.O.V. OF

the PUBLIC TELEPHONE SIGN in Lou's Cafe.

H42 MARTY
has an idea. He runs across the street, into the cafe.
CONTINUED
G42*

H42*

43 INT . CAFE - DAY

R v . 2J25 85

Pg. 39-39A
A vyplcal calemsoda founcain o€ t:he periodi 2 or 3
CUSTOHERS are at: t:he coun8er .

Marty stares at the signs: Coffee - 5 cents; Ice Cream - * lO cents. A

calendar displays the
date. November 5, 1955.
LOU, the counterman, spots Marty in his orange down vest.

What'd you do, kid, jump ship? •

LOU
Mat's with the life preserver? *

I just want to use the phone. •

LOU
In the back.
Lou points it out: a phone booth.

goes int:o t:he phone boo'ch and ütlpa through lho

directory.

INSERT - DIRECTORY 45
Narty's finger comes to rest at "Brown, Emmett L. (Scientist)". 1640 Riverside Dr.
KLondike
5-4385.

46 46
Salles---5#°t what he was hoping for.

‘Thank God you ' re sei 11 around.

Marty puts in a dime and dials the number. It rings...a-d rings...and rings. No
answer. Hs hangs
up.

Not: my day .
Ho rips t:de page out: and shoves 1t: In h1 e pockac.

CONTINUED

Rev . 2/25/85
Pq. xo.
47 47
Narty saunters out of the phone booth and takes a seat at the count:er. A
NERDY LOOK I
NG KID i.s seazed nearby, sipp i ng a soda and readinq a contl c
book.
Marty looks at Lou, indicating the address on the phone book
page .

Can you tell me where 1650 Riverside---

LOU
You gonna order something, kid?
MARTY
Uh, sure. Gimme a Tab.

I can't give you the tab unless you order something.

MARTY
Oh, uh, lemme have a Pepsi Free.
LoU
xiB, if you want a Pepsi, you gotta

NARTY
Uh, well, just give me something to drink that doesn't have sugar in it.
Lou gives him a look, then puts a cup of coffee in f-ont of him. Marty looks at
the bowl of sugar
cubes in f-ont of him.

Have you got any Sweet 'N Low?

LOU
sweet and what?
(eyeing him suspiciously)
•Sgy, kid, you'd better pay for this
right now.

okay.
Fiaruy put:e ‹:lown a nécke l .
MARTY
NarVy rai se e h1s co f fee cup and j ned as he ' e about
co - a ise a
slp ...

CONTINUED

47 CONTINUED

VOICE (O.S.) MARTY

Rev . 2 25 85
Pq. 41.
Ne spins around on his stool.
The voice came from a PUNK, 17; behind him are 3 OTHZR PUNKS. The lead punk is
coming right
toward Marty...no, he's stepping over to the NERDY KID next to him.
NERDY KID
Uh, hi, Biff, how's it going?

Yes, the punk in BIFF TANNEN, aged 17! is GEORGE McFLY, also 17.
And lhe nerdy kid
BlfZ ' e boys buy ci qarot:t:ca ac the count:or . They are
NATCH,
porpecuall.y chewinq a wooden ma9chst:text; SK INHEAD, who has
a crowcuu just: t 1e si de of: baÍnq band; an‹:1 3-D, who atways
wears red-
green 3-D q1. as ses .

Marty watches the exchange between Bíff and George with utter amazement.

GEORGE
Uh, hi, Biff. Hi guys.
BIFF
You got my homework finished, McFly,
you Irish bug? *
GEORGE
Wall, no. 1 fígured since it's not due till Monday...
Biff knocks on George's head.
BIFF
Hello? Anybody home? Think, McFly, think! I've gotta have time to rocopy it. Do
you realize
what would happen if I turned in MY homework in YOUR handwriting? I'd get klcked
out of school!
You wouldn't want that to happen, would
you? WOULD YOU?

*
GEORCrE
No , Bill, of courae nos.
*
BI FF
( noz i c es harry scarlnq ac him )
Hhac are you 1oo kin ' ac, burt:head?
CONT IHUED

97 CONTINUED

SKINHEAD
Rav. 2/25/85

Pg. 82.
Bíff---get a load of his life preserver.
This dork thinks he's gonna drown!
t'lATCH
faz happened? Did you gem shi pwrecked?
3-D
Naw, he's just getting ready for flood
season.
They all laugh. Biff turns back to George.
BIFF
So how about my homework, McFly?
GEORGE
Uh, okay, Biff, f'll do it tonight and bring it over first thing tomorrow.
BI FF
Not t:oo early--- I eteop Un on Sundays . Oh, hey, NcFly---
your shoo ' e
unt:ied.

GEORGE
(looks down, falls for it)

Biff hits him in the chin. He laughs loudly, as do his

$ar<y. se:11 in dl sbeliel, numa fio George .

I don't believe it. You're George

GEORGE

NARTY
Your b1rt: day ' e August 18t ,
mot:her ' e name i s Syl.v1a?
GEORGE
Uh huh. Nho are you?
Rarty doasn't know what to say. * A BLACK BUSBOY has
been sweeping up
in the background, im
has mada hi e ray over . He looks aí George . As he
t:al.ks ••
see ho has a gold f rony too Ah--- i ü ' e GOLD IE H ILSON, aged
J '
CONTINUED

47 CONT I NUED

GOLDfE
Rev. 2/25/BS

Pg. 43
Say, what do let that boy push you around for?
GEORGE
Well, uh, he's bigger than me...

coMIE
Stand tall, boy. Have some respect for yourself. You let people walk over you
now, they'll be
walkin'
, over you for the rest of your life.
Look at me. You think I'm gonna
' spend the rest of my life in this
slophcuse?

, (has heard the remark)

Watch it, Goldie.
GOLDIE
(he's on a roll)
No, sir! I'm gonna make something of myself! I'm going to night school---I'm
gonna be somebody!
MARTY
That's right---he's gonna be Mayor someday.
This is an idea that's never occured to Goldie.
COLDIE
Xayox? Than s a good 1dea! I could z zzz :gos mayo !
George sllps out as the conversation contínuos.
LOU
Ral A colored mayor! That'll be the day!
* coLDIE
You wai t: and seo , Nr. Carut:hees .
I ' m gonna be mayor . I ' lt be t:he

•
most powerful man in Hlll Valley.
I ' m gonna c jean up t:his down.

Well, you can start by sweeping the °

flOOE.

CONTINUED

47 CONTINUED

OOLDIE
(to himself)
Rev. 2/25y85

Pq. 43-A
"Mayor Goldie Wilson." I like the sound of that.
Now Marty notices that George has left. He sees George * bicycling past the
windows. Marty
runs out after him. *

Hey, George---wait up! I want to * talk to you!

CONTINUED

aa EXT. HILL VALLEY TOWN SQUARE 48

darcy 1.ooks around and sees GEORGE blcyc king down t:he
street .
MARTY
George! Hey, George! I want to
talk to you!
' But George doesn' t hear him. He disappears around a comer.
Marty runs after him.
49 EXT. - A RESIDENCIAL STREET - DAY 49
The homes evoke pleasant nostalgia: front porches and white picket fences.
NARTY comes fro•i around che comer and sees GEORGE ' S a I K parked
underneat:h a
free . Nart:y 1.ooks around, when spo zs
GEORGE
up in the tree, precariously out on a branch overhanging t:he s t:reed, about
t2 feet:
up. George has a PAIR OE BINOCULARS trainedon a socond szory
ulndow in
fihe lou se across lho etrees .

can't figure it out. He moves closor for a better view.

GEORGE focuses the binoculars.
50 GEORGE'S P.O.V. THRU BINOCULARS
50
' of a NAKED GIRL in
lhe 2nd
erory bedroom w1ndow, dres si r.f .
S1 MARTY 51
nat:chos su dlsboZ i cf as he real1zen what: George 1e do z r.q .
He's a peeping tom!
52 GEORGE'S P.O.V. 52
as the girl moves closer to the window.

CONT I NUED
53 GEORGE
trees to move closer, but loses his ba1afl€e---ho tümbles into the street!
WIDER
MAJTY watches as George groans, then slowly tries to get up. Now a CAR comes from
around the
corner.
George doesn't see it, but Marty can see that it's going to hit George.

Dad ! Look out:!

But George is still dazed. Marty dashes into the street, and in a spectavular
flying leap, knocks
him out of the path of the oncoming car.
Aa Nact:y moves t:o avo 1d ttio car, the cae swervos in t:he
SAFtE DIRECT I
ON--- t:here ' e a se reeeh of brakeu , and che car h1t:e l9pVy!
t3eorqe, never one Vo qau invo lved, grabs h1s blke and
pedals off, having Marty lying in the street, unconscious.
"
, DISSOLVE TO:
s» INT. DARKENED BEDROOM - NIGWT 54
MARTY is lying in bsd, lit by ambient light from a
doorway. PEMALE HAMDS place a cold compress on the bruise
, on his forehead. Marty groans and stirs.

WONAN
ssehhh. Everything' s goIng no be alrlqhe .
It sounds like his mother. He opens his eyes. All he
see is he silhouette.

Go‹:1, what a horr ib t o ni qht rare .

I dreamt I went way back in time...
He starts to sit up.

CONTINUED

54 CONTINUED
Rev. 11/21/84

2g. 46.

Take it easy, now,..you've been asleep for almost 9 hours.

It was terrible. It was a terrible place to be. The music was awful---
they didn't have Huey Lewis. Our * neighborhood hadn't been built
yet,
and everything was so rei rd lookinq.

Well, you're safe and sound, back where you belong, in good old 1955.

1955 !
She turns on the bedside lamp. It's the same girl George was spying on, and Marty
recognizes her
just as we do...

Oh my God. You're---you're my---my

LoRRAtus
ly name e Lorraine . Lorraine Barnes .
Marty stares at her for a long moment.

But---but you're so thin!

LORRAINE
Just: reZ az , Catvlri. You qoV qui ce a
brul se on your head.

(looks under the blankets)

Uh... where are my pants?
LORRAINE
(points)
-Dver there on the chair.
(notices the color of his underwear)
I've never seen purple underpants
before, Calvin.
Marty covers himself up.
MARTY
ca vin• Why are you calling me
Calvin?

54 CONF INUED

LORRAINE
Rev. 10/21ia4

Pg. 47.
Well, isn't tha your name---Calvin Klein° It's written in your underwear.
(suddenly realizing)
Oh--I guess people call you Cal.
MARTY
No, well, actually people call me
Marty.
LORRAINE
Well, I'm pleased to meet you, Marty.
She comes over nd sits on the bed right next to him.
Sha ' e very 1nzerested in hh .
LORRAINE
Mind if I sit here?

(gulps, nervous)
Uh...no...
Marty moves as far away as he can without falling off the bed. He holds the blanket
tlght around
his waist. She looks at him, fascinated.
LORRAINE
That is quite a bruise there...
. Sho qencly s9rokes hi e brul sed forehead... and when runs her hand
through his ham.
Marty moves even further---and falls off the bed! He covers himself with the
blankets.
SITUA (O.S. )

We hear FOOTSTEPS coming up the stairs.

LORRAINE
(to Marty)
It's my mother! Quick, put your
panes back on !
She throws him his pants. *

CUT TO:

CONT I NUED

Rev. 2/25/BS

55 IN'f . BA INES HOUSE - N1GH'f

5º
STELim BAImS , 4o and preqnarie, 1.eads Narcy and Lorraino
downsbal rs .
STELLA
So tell me, Marty, how long have you
been in port?

Ezcuse me?
MARTY

STELLA
I as sume you' re in lhe Navy . l en' e

• cha e why you rear t:pat: II fe preservar?

Uh, no , ac Qual1y I ' m in t:he CoasV Guard.

•

In the livlng room, SAM BAINES, a gruff man of 45, is fiddling with the rabbit ears
on a TV set.
STELLA (continuing) Sam, here's the young man you h1 with your car. Thank Cod he's
all

Sam givee Hart:y a took .

What were you doíng in the middle of the street, a kid your age?
. sT&L
Oh, don't mind him. Hs' just in onu of his m«
Sam, quit fiddling with that
thlng. It's time for dlnner.
Sam 1qnorea har as St:e11a leads NarVy €o t:he dining room
uhero t:he olhar
klds are.

STELLA
Now, you've already met Lorraine...
(making the íntroductions) That'o Milton, that's Sally, that's Toby...
MILTON, 12, waars a DAVEY CROCKETT COONSKIN CAP; SALLY is
6, TOBY i e 4.
STELLA
(continuing)
.and next to you there in the
çla/pen 1s litcle 9aby Joey.
CONTINUED

- ss COt4TI NUED
Rev. 2/25/85

Pq. 49.

ra link the bars of his Playpen.

(whispers to him) So you're my Uncle Joey.

zt 11-month old JOEY
Geo: used t:o those bars, kid.
STELLA
Oh, yes, little Joey loves being in his pen. He actually cries when we take him
out, so we leave
him in there all the time---it seems to
make him happy.
I hopo you like meat Road, Narzy.

Uh, listen, I really should be going... '

STELLA
Nos, Nam:y, I von' t: t:ake no for an
•
answer. You szo down and hans dinnar

Sit hare, Narty.

LORRAINE
Lorraine beckons him to the empty seat nent to hers. A plate of meat loaf is there
waiting for
him. lt looks like the same meat loaf he had for dinner in 1985...in fact, :ine
whole dínner is the
same!
STELLA
(calls into the othar room)
Sam, sou Cd you quis flddllnq with chan t:hing and cone in
here and eau?
SAM BAINES, 45, rolls in a brand new television, on a
plywood dolly of his own construction.
SAM
’Look at this: it rolls. Now we can watch Jackie Gleason

Oh boy!
MILTON
Sam Middle a with the rabb i t: e are and brings in a rache r
muddy imaqa ofi a c1 qarecce coriunerci aZ .

CONTINUED

5 b ON TV
Rev . 2/2S/ 85

Pq. 50.
56
a SURGEON steps out of an operating room, lights up a cigarette, and turns to do a
testim«n1al.
DOCTOR (on TV)
After facing the tension of doing 3
tung operat:1one in a ron, I like
to relax by lighting up a "Sir Randolph." I know its fine tobacco taste will
soothe my nerves and
improve my circulation...

57 BACK TO SHOT
57
SAN
Look ac chat pi cfuro: crysYal. c lear ! why wnuld anybody want to go to
the movies when
you can see this in your own home --- free!
LORRAINE
(to Marty, explaining)
Our fl rse Tel.evi slon ser. Dad
p1cked 1c up today. Do you bave a

NARTY
Uh...yeah...two of 'em.
MILTON
Wow! You must be rich!
STELLA
Milton, he's leasing you. Nobody has two television sets.
"The Roneymooners" has resumed --- the classic "Man From
Space” ep1sode.

MARTY
Hey, I've seen this one -- this is a good one. This is where Ralph dr*sses up as
"the man from
space."
• MILTON
that: do you me an, you ' ve sean it:?
Ic' e brand new .
MARTY
l saw it on a rerun.

CONTINUED
57 CONT I NUED

mac ' s a rerun?

MILTON
Rev . 2/25/ 85

Pq. 51.

MARTY
You'll find out.
SAM
Quiet! I want to hear this!
STELLA
Marty, there's something very familiar about you. Do t know your mother?
Marty glances at Lorraine, then smíles weakly.
MARTY
Uh, yeah, I think maybe you do.
STELLA
Well, I'd like to give her a call,
1.et: her know you' re all ri qhe.

Well, you can't---that is, no one's

bome---yet.
(pullS OUt th€ phone
book page)
Uh, could you tell me where Riverside Drive is?

SAM
Riverside? Sure, it's on the east end of town, a block past Naple.
NARTY
A b lock paso Nap le? Bud chat ' s John F.
Kennedy Drive.

Pardon me?
SAM

NARTY
“That' a John F. Kenne‹:íy Drive .
Nho the hell is John F. Kennedy? (realizes the problem)
You don't know him.

CONF'INUED

57 CON'I'INUED

LORRA I NE
Rev. 2/25/“85

Pg. 52.
Mother, with Marty's parents out of town, don't you think he should spend the night
here? After
all,
Dad almost killed him with ths car. •
She gives him a flírtatious smile.
STELLA
Marty, lorraine is right. You must spend the night. You're our responsibility.

MARTY
Uh, gee, I don't know...
LORRA I NE
And h . c an s keep in try room.

UNDER THE TABLE, Lorraine puts her hanB on Marty's leg.

Marty immediately jumps to his feet.
MARTY
Uh, actually, I've really gotta be

(he's backing out, toward the front door)

So, thank you for everything, and I'll see you all later. Ouch later.
He turns and hurries out of the house.
Lorraine aiqhs romant:kcal ly.
STELLA
(shaking her head)
A very strange young man.

Xe’ s an 1d1ot:. Cores boom upbr1nq1nq. His parente are probably ídiots,
too. ’Lorraine,
lf you ever have a kid who acts that way, I'll disown you.
(to the othar kids) That goes ror all of you.

58 OMITTED

5 9 ONI TTED
CUT TO:

S9
CONT I NUED

EXT. DR. BRONN'S HOUSE - NIGHT

Rev . 2/20/85

Pq. 53.
60
The house at 1640 Ríverside Drive is huge, beautiful. Marty checks the address
against the phone
book page: it matches.
He recoqni zes t:he qaraqe as t:he sane one as se san in
1985 , except in
much better shape. (In 1985, the house has been torn down and a fast food stand
put up.)
Marty rushes to the front door of the house.
61 EXT . BRONN ' 5 FRONT DOOR - CLOSER ANGLE

61
Marty runs up and pounds on the door knocker.
We hear a BARKIWG DOG from within; then YOUNG DOCTOR BROWN
opens t:mer ‹:loo . He ' s wearing an OUTRAGEOUS CONTRAPTI ON
on
his head, a biz rre conglomeration of vaccuum tubes,
rheo seats, qauqes , wi ring and anzennas ; bob there can be no doubc
chat: ic ' e
t:de samo Dr . Bro . somo 30 yearg younqer . Beside him is
another DOG.
Marty stares at Brown's weird head gear. Brown yanks him inside.
61-A INT . BROYfN ' S HOUSE - N I GHT

Don't say a word!

(to the barking dog)
Quiet, Copernicus! Down, boy!
Brown attaches a suction cup to Marty's forehead which is connected to a wlre into
Brown's
contraption.
IARTY
Dr. Brown. I really---
BROWN
No, don't tell me anything: I'm going to read your thoughts.
Marty indulgas him. Brown flips a switch on his "Brain Wav* Analyi*r." Tubes hum
to life, and
sparks jump from
antenna to antenna. Brown concentrates, as if he's picking up brain waves.

Let's see now...you've como here...

from a great distance....

CONTINUED

Rev. 2/20/85

61-A CONTINUED
Marty nods, wondering if maybe the thing does work.
BROWN (continuing)
.because you...want me...to buy a subscription to Saturday Evening

MARTY
No---
BROHH
Don't tell me!
( lake s anot:her atoment: )
Donal1ons ! You ' re col.1.ecV1nq donalions
•
for cl•e Co as c Guard YouVh Anti li ary!
•

No.
BROWN
Are you here because you want to use the bathroom?
MARTY
Dr. Brown, listen: I'm from the future. I came here in a time machine you
invented---and now I
desperately need you to help me get back to the year 1985.
Brown stares at him in utter amazement for a moment.
BRONN
My God. Do you know what this means?
He pausea dramat:t.caí t y, chen removes t:he conzrapcÍ on *re.v
h1 a head.

BROWN
That mean• that this damned thing
doesn't work at all!
(throws the machine down) b months labor for nothing! Nhere did I go wrong?

De . Boowrt, you ve gotta help me ! You're the only one in the

world who knows
hew your time machine works!
Broun km os hi e brow and subs a BANDAGE ON HI S FOREHEAD
.

CONTINUED

6 1-A CON’Z'INVED

BROWN
Rev. 2/20/85
T1mz machine? I haven't inventzd any time machine.

You will. Look, I'll prove it to (pulls out his wallet,

shows contents)
Look, here's my driver's license. Expires 1987. See my birthdate? I haven' t:
even been bom
yes !
( pu11e out a co 1.or snapsho c ) Here's a picture of me, my sister and my
brother. Look
at her sweatnhirt: it says "Class of '84."
Brown [ooks the items over.
BROH24
Pret:Vy medíocre pho coqraphlc
fakery---thay cut off your brother's head.

Please, Doc, you've gotta believe me! I'm tellihg the truth!
BROWN
Then tell me, "future boy," who's the President of the United States in 1985?
MARTY
Ronald Reagan.
BROWN
Ronald Reagan, the actor?
MartY nods. Brown rolls his eyas. *
BROWN
And who's the Vice President? •
Jerry Lewis? That's the most •
’insane thing I've ever haard. *
Brown picks up the Brainwave Analyzer blueprints and • rushes out tha back
door.
A beat, then Marty runs after him. •

CONTINUED

Rev . 2 l8/85

CUT TO:
62 EXT. BROWN'S HOUSE & GARAGE (PASADENA) - NIGHT
Brown runs across the lawn, toward the garage, with the Brainwave Analyzer
blueprints in hand.

Pg. 56

6a

Marty chases after him. Brown's Packard is parked in the driveway.

BROWN
1 suppose Jane Wyman is first laôy, and Jack Benny is Secretary of the Treasury.

63 EXT. BRONN'S GARAGE DOOR (STAGE) - NIGHT 63

Brown runs up t• the garage door and opens it. Marty comes up behind him.
NARTY
P1. e as e , Doc , 1i seen co me !
Brown turns around and faces him.
CONTINUED

63 CONTINUED

BRO 'H
I ' ve had enouqh of your for one evening. Good
Rev. o/16/ss
Pq. 56A-56ô

practical jokes night, "Future Boy."

Brown slams the door in his face. We hear it lock.
Marty stands there for a moment, then gets an idea. He yells at tho closed door.

MARTY
Dr . Brown--- r•hat: brul se on your head !
I know how you got it! It happened this morning! You fell off your toilet and
h1 t: your
head on t:he slnk! And chen
you cnme up with the idea of the Flux Capacitor, which is the heart of the Time
Machine!
After a moment, we hear the door unlock. Brown opens the door, looks at Marty with
new interest
and rubs his bandaged head.

64-A64

OMITTED
Doc, how else could I know that unless I was from the future?
BRONN
Take me to this time machine.

ó 4-.ã64

B64 EXT. 1955 LYON'S GATES - NIGHT

CNT TO.
B64*
Marty and Brown climb out of Doc's PACKARD with flashlights. Narty leads Doc
toward the hidden
DeLorean.

There's something wrong with the

scarcor, so l hid i e back here .
The abandon*d DoLorean is suddenly ílluminated by approa:hing FLASHLIGHT BEAMS.
Brown gasps upon seeing the vehicle. Hs looks it over with amazement. Now he
pulls a folded papar
out of his pocket.

CONTINUED

Rev. 4/16/85

Pq. 57.

B64 CONT I NUED

B6
BROWN
After I fell off my toilet, I drew this...

I c s a s ke heh oú *he FLUX CAP I C I TOR .

Marty raises the gull wing door and points out the real thing.
Brown stares: It matches his drawing perfectly. His eyes light up and he jumps and
shouts with
joy.
BROWN
Ha! It works! It works! I finally invent something that works!
Let's get this thing back to my laboratory. We've got to get you home.

65 INT. BRONN'S GARAGE - NIGHT 65

The DeLorean is now in the garage.
Marty is hooking the video camera to a TV set whilá 9rown is examining the contente
of the 1985
suitcase.
BROWN
So these are my personal belongings in here, huh?
(pulls out a portable
hair dryer)
Nhat's this thing?
MARTY
A hair dryer.
CONTINUED

65 CONI’I?TtJED

BRONN
* hair dryer? Don't they have towels in the future?
Rev. 2/18/85

Pg. 58
(pulls out some underwear) And this underwear---it's all made of cotton. I thought
for sure we'd
all be wearing disposable paper garments by 1985.
(pulls out a PLAYBOY MAGAZINE)
And what's this...?
Brown leafs through it and opens up the centerfold.
BROWN
Hey.. ! Suddenly the future's looking a whole lot better...!

Okay, Doc, take a look at this...

Brown steps over and Marty rolls the videotape he shot at the mail parking lot in
which Brown is
explaining the operation of th* time machine.
Brown is amazed to see himself as an old man.
BROWN
Why, that's me! Look at me, I'm an old man! Say, I don't look bad for an old
geezer. Thank God
I've still got my hair---baldness runs in my family, you know. But what on earth
am I wearing?
NARTY
A radlat:1on sul € .
BROWN
of course, because of all the fallout from the atomic wars. This is truly
amaz:ng---a portable
television scudio. No wonder your ’president has co be an actor---he's gotta look
good on
television.
MARTY
Watch this---this is the part coming up...

CONTINUED
66 ON TV
Rev. 2/18/85
Pq. 59-59-A.
66'
The part of the tape comes up about the plutonium. de see the image of the
plutonium container with
old Dr. Brown next: co i e .

MARTY (V.O. TV tape)

Plutonium? You mean this sucker's nuclear?
OLD SRONN (ON TV)
Electrical. But I need a nuclear reaction to generate the 1.21 jigowatts of elect-
icty I need...
67 ANGLE 1ÜC6UD ENC NAR7Y DROWN
BROWN
(taken aback) Nhat ’id I just say?
Marty rewinds it a bit and replays it.
OLD BROWN (ON TV)
. .I need a nuclear reactlon to generate the 1.21 jigowatts of electricity I
need...
Brown i e shocked.

BROWN
1.21 jigowatts? 1.21 jigowatts??
Great Scott! •
.Brown runs like hell out of there. Marty doesn't understand why.

Doc? Hey, Doc?

MARTY
67-A EXT. 8ROWN'S GARAGE (PASADENA) - NIGHT
Dr. Brown runs out of the garage and over to the house. A baat, tHén Marty follows.

68 INT. BROWNS'S HOUSE - NIGHT

Reu. 2 20/ 85

Pq . 60 .
68
Marty makes his ay into the house through the back door. He hears Brown talking to
someone in the
next room. He cautiously approaches.
Srown is seated in a chair.
BRO¥fN
How cou td I have been so care te e s?
1.21 jigowatts. Tom! How am I gonna generate that kinda power? It can't be done,
can it?
Brown is talking to a portrait of Thomas Edison.

P1.u com um, Doc . All ue need i e

p luc o ium .

BROWN
I'm sure that in 1985, plutonium is available in any comer drug store. But in 1955,
it's a little
hard to come by.
(sighs)
Marty, I'm afraid you're stuck here.
MARTY
But I can't be stuck here! Don't you understand, Doc? I have a Life in 1985 !
I ' ve
gorda gel back ! Ply
qi ré Fri end' s waiting for me--- look, here she i s ...
Marty pulls out his wallet and shows Brown a picture of Jennifer Parker.
BROWN
Say, she's not bad...

Not bad? She's great! And she's crazy about me. See this? See what she wrote
here? It's
poetry!
He has pulled out the clock tower flyer on which Jennifer wrote "I love you."
Brown looks at it.

CONTINUED

68 CONTINUED
Rev. 2/20/85

MARTY (continuing) Doo, you're my only hope! I know you can figure something out.
You've never Let me down in the past.
BROWN
You mean in the future.

Right. And you've always told

me that if you put your mind to it, you can accomplish anything.
BROWN
I said that? Say, that's pretty good advice.
(sighs)
I'm sorry, Marty, but 1.21 jigowatts is just too much power. Do you re- alise how
much power that
is? The only power source capable of trig- gering that kind of energy is a bolt of
lightning.

Pg. 61
NARTY
( suddenl y has an idea ) what did you j uso say?
BROWN
A bolt of lightning. Unfortunately, you never know when or where
lightning is going to
strike.

We do nos!
Marty turns over the note Jennifer wrote---it's the cLock tower flyer. He shows it
to Brown.
69 INSERT - NEWSPAP ER XEROX

69
The head1rzze 1 s "CLOCK COPAR SZRUCK BY L ICEtIIf ING. CLOCK
STOPPED A7 10 : 04. " 7he da ce 1 s Sunday, Xover«bec 13, 195 5 .
CONTINUED

70 BACK 70 SXOT
Brown snaps há s fr1nqe
Rav . 2/20/ 85

e . He ' s geet:Ing an idea .

BROWN

Pq . 62.
70
(very excited)
This is it! This is the answer. According to this, lightning is going to strike
the clock tower at
precisely 10:04 p.m. next Saturday night! If we could somehow harness this
Lightning...channel it
into the flux capacitor...it just might work!
(looks at tha portrait of Ben Franklin)
What do you think of that, Ben? Harness lightning? If you could do it, so can I!
It's brilliant!
(to Marty)
Next Safiurday night, se' re sendlnq
you back to the future.
Marty is delighted.

Next Saturday night. You know,

spending a week in 1955 won't be so bad. You could show me around, Doc.
BROWN
(serious again)
at'G Complet€l@ out Of the question, Marty. You must stay in this house. You
can't see anybody or
walk to anybody. Anything you do could haue ferious ropercusslons on fucure
event:e .
Do you understand?

uA...sure...

BRO¥tN
( c onee rned )
Xa cy, who e1 se did you 1nVexac c v1túz today . Bes1des me7'
MARTY
Well, nobody, really. I just sort
of bumped into my parents...
BROWN
Great Scott! Let me see that
c pt sure aqain, of your brother !
CONT I NUED

70 C0NT1NUED
Brown takes Marty's wallet
expre ss jon become s qrim .
Rev. 2/20/85

R lOOks at the picture. His

MARTY

Pq. 63

Nhat's the problem?

BROWN
It's happened. This proves my theory. Look at your brother
br. n shows it to him.
70 -A INSERT - PHOTOGRAPH
Mart:y ' s bro €her Dave has no head!
71 BACK TO SHOT

Hi s head' s gone ... 1.ike lt:' e been erased.

BRONN
Erased from existence...

CONT I NUED
70-à

71

71-A INT. BRONN'S GARAGE - DAY

Rev. 2/18/85
Pg. 63-A-63-D

71-A
Marty stepc in front of a mirror, dressed in his underwear.
His hair is sllcked down in a proper, conservative 50’s
style. As they talk, Brown hands Marty one article of 1955 * clothing at a time.
The tags are
still on the clothes. and the boxes the clothes came ln are scattered around.
MARTY
I don't know, Doc, this sounds really heavy. *
BROWN
Weight has nothing to do with it. It's •
a s Imp te qenet:ic-nat:hemat:leal extrapolation. It was your father who was
supposed to get
hit by that car, not you. Thus, you interfered in yorr parents' first meeting. If
they don't
meet, they won't fall in love, they won't get marrizd; if they don't get married,
they won't have
any kids. That's why your brother's disappearing from that photograph---he's first
since he's the
oldest. Your sister will follow, and unless you can rapair the damage, you'll be
next.
NARTY
Bum why do I gorda go €o school.?

*
BROWN
You're a kid. Kids go to school.
Your parents are kids. They Do to *
. school. You interfered in your. parents' relationship, therefore you
have to ge to
school to fix it.
marty is now fully dressed in 1955 style clothes. He looks at himself, touches his
hair, and
shakes his head.
MARTY
Well, if I'm gonna wear a disguise, at least I'm gonna look like Elvis.

BROWN
Elvis? What's Elvis?

You'Il find out.

CNT TO: CONTINUED

72 EXT. HILL VALLEY HIGH SCEOOL - DAY

Rev. 11/21/84
Pg. 64-65.
7°
Hill Valley High looks pretty much the same in 1955, but with no graffi 1. There
is not much
activity in
front---school is in session.
DR . BRONN and HARTY approach che schoo l ent:rance . darcy
i e
dre s sed in 1955 qars , wi t:h hi s hai rc sl i ked
ioack .

Marty.notices how much cleaner the school looks.

MARTY
How , they ' ue real by c leaned 9h1s
place up. It looks brand new.
BROW
Remen •er now, accordi.ng t:o my t:heory,
•
all you have to do is introduce them *
to ea-h other and nature will take * its course.
(a beat) •
I hope.
They go insxde .

73 P . O . V . THRU A CLASSROON DOOR

74 MARTY DR. BROWN 74

are watching from the hall.
MARTY
(points her out in the 2nd row)
That's her---in the 2nd row.
BROHH
A2i, yes . I see t:he re se th t ance .
NARTY
Ny Cod, she' s cheacinq!

CONTINUED

75 THEIR P.O.V. OF
Rev. 11/21/8d

Pg. 66.
75
LORRAINE, copying an answer from the boy sitting next to her.

76 THE SCHOOL BELL 76

RINGS in the hall. It's passing period.
ANOTHER CLASSROOM DOOR
opens and students head out for the next class. GEORGE McFLY is one of them. His
shirt tail is
out, his hair is poorly combed, and papers are practically falling out of his 3-
ring binder.
MARTY DR. BROWN
watch from down the hall.
BROWN
So which one's your father?

(points)
That' s h1m...
As GEORGE walks down the hall, students laugh at him óehind his back, and some of
the boys kick
him in the ass. A kid named DIXON takes particular glee in klcking George.
*
George turns. Hs has a "KICK ME" sign hooked on his copiar. DR. ãRONM shakes his
head at this
pathetic sight.
BROWN
(to Marty)
Maybe you're adopted... *
Now a hand yanks George by the arm: WR. STRICKLAND--- and
he 1ooks exacto1 y de same ! Nan1zy :ts amazed.
STRICKLAND
McFly! Shape up, man!
He pulls the sign off George's shirt and shows it to him.
STR I CKEA24D
You ' re a e tac ker ! Do you want: t:o be
a slacker for the rest of your life?
George shakes hi s head ar.c onvlncinqt y.

CONTINUED

76 CONT I NUED
ON MARTY BROWN
Marty can't believe what he's seeing.
MARTY
Rev. 2 25 85

Pg. 67.
It's Strickland! And he [ooks exactly * the same!
They watch a moment more.
BROHN
Looks 11 ke a mat:ch made in heaven .
MARTY
My mom always said it was meant to
be. I sure hope she's right...
Nardy takes a deep breaVh and acorde ualklnq howard Geo rqe .

George ! Hey, buddy, you ' re j uso t:de guy 1 wanted to see! You
remember me? I
saved your life.
GEORGE
Oh...yeah...
MARTY
L1 sten, there ' s somebody I vant you to meet . C ' mete . . .
He putls him down the hal 1. , around t:ho comer , she re
Lorraine 1e as
hee 1.ocker with BaVVy an‹:í Babs .
MARTY
Excuse me, Lorraine...
' Lorraine turns and reacts with delight.
LORRAINE
Calvln! I mean, Marty!
NARTY
Lorraine, -here s aomebody I nariz
you to meet. This is my good friend, • George McFly. George, this
is
Lorraine .

GEORGE
Hí. ft's really a pleasure to meet

CON'f I NIJED

76 CON7IMJED
Rev. 2/25/85

Pq. 68.

Lorraine doesn't pay George the slightest bit of

attention. She only has eyes for Marty.
LORRAINE
Oh, Marty, I was so worried about you running off like that the other night with
that bruise on
your head. Is it all right?
MARTY
Uh, yeeh...
The BELL RINGS.
LORRAINE
I'm late. See you later.
She hurries off down the hall, with her girl friends. *
They pas s by Dr . Brown.

LORRAINE
(to her friend) Isn't he a dream?
George has run olá in tho oppo si €e dleeceion.
Marty stands in the middle of the hall, completely bewildered.
Brown joíns him.
MARTY
She didn't even look at him!

Apparently your mother is Amorously infatuated with you instead of your father.

Are you trying to tall me my

BROHH
AY Tia ri slt o fi sounding crude , yee .
MARTY
Jeez, Doc, that's pretty heavy.
CONTINUED

76 CONTINUED
Rev. 2/25/85

There ' s t:hac Ford again... "heavy .

Nhy are things so heavy in the future? Is there a problem with the earth's
gravitatlonal pull?

Pq. 69

Huh?
(doesn't understand)

Brown snaps his fingers---he's got a new thought. •

BRONN
The only wey those two are going to succersfully mate is if they're alone
together. So you've got to arrange •
to ge’ your father and mother to interac¥ in some sort of social...
Brown can't think of the word.

You mean a dat:e?

•
BROWN
Right!

Nhat kind of date? I dont' know what kids do in the 50's.

,

BROHH
They' ro your pacenzs . You must: know cheat---chan are t:heir
conmon
int:ernst:e? Wafi do they 1.ike t:o do

Marty thinks a moment.

Nothing!
Brown notrces a hand-painted banner in the hall announci-q
the ’Enchantmznt Undzr The Sea Dance" this Saturday nigb:
BRONN
Look---there's a rhythmic ceremonial ritual coming up.
Narfiy sees t:ho eiqn and has a eovo1aV1on.

76 CONT I ifIJED
MARTY
Rev. 2/25/85

Pg. 70
7 's right! "Enchantment Under The Sea!" They're SUPPOSED to go to that dance---
that's where
they kiss for the first time!
BRONN
All right, kid: you stick to your * pop like glue and make sure he
takes
her to that dance. *

CUT TO:

CONTINUED

77 mT. SCEOOL CAFETERIA

GEORGE is seated at a table, having furiously. He has a copy of AMAZING FICTION
MAGAZINE with his
books.
Rev. 2/25/85

much and ari t:1nq

STOR I ES SC I ENCE
Pg. 71.
77

MARTY comes over and sits down acrOsS from him.

Hey, leo rqe . Remeniber t:hal q1r1 2 zncroduc ed you do?

Lorraine?
She---

(r*alizzs George isn't

What are you waiting, George?
GEORGE
paying attention)
Oh, it's a science fiction story...
about visitors from other planeta • coming to earth.

I never knew you did anything

creative. Could I read it? •
GEORGE
Oh, no . I never 1.et: anybody read my at:or1es .

GEORGE
What if they didn't like 'em? Nhat if they told me I was no good?
Nardy 1s having a bad case o€ deja vu.
GEORGE (continuing)
Os mu9t ba prett haEd fOr you

No, George, it's not that hart at

There 1e a“ 1.onq mo toni aa íarVJ IOOka aí Geo rqe in a

nem
llqhe... and seus hlmse1f .
FIARTY
Li shen, George , af›out Lorralno. She
really likes you, and shh wanted
me to tell you that she'd really like
Under the Sea" dance.

CONTINUED

77 CON'IINUED

Really?

GEORGE

MARTY
Rev. 2/25/85
Pg. 72.

Yep. All you gotta do over there and ask her.

is go right

Marty points out where she's sitting.

GEORGE
Now? Right here, in the cafeteria?
What if she says "no?" I couldn't • take that kind of rejection.
Marty is starting to get exasperated.
MARTY
Georg•. I'm telling you, if you don't ask Lorraine to that dance,
I'm gonna regret it for the rest * of my life.
GEORGE
Well, I've just got a feeling that *
she'd rather go with somebody esse.

(QOiRt9)
GEORGE

Nancy Looks and react:e with horror

AT ANOTHER TABLE

BIFF is trying to put his hands on LORRAINE. She's trying to push him away.

LORRAINE
Quít pawing me, Biff! Leave me
alona.

Come on, Lorraine, You want it, you know you want it, and you know you want me to
give it to you.
LORRAINE
Shut your filthy mouth! I'm not
that kinda girl!

77 coNTlMUED
Rev . 2/25/85

Pg. 73.

BIFF
nayi›a you are and you Just: don' t: know 1 t: yet:.

LORRAINE
cet your meathooks off me!
But Biff persiste.
MARTY (O.S.)
she said to get your hands off her.
Biff turns to find himself facing Marty.
BIFF
What'• it to you, butthead? You
know, you've been hooking for---
MR. STRICKLAHD approaches behind Marty. Biff sees him and

slneo you’ re nos homo, fiworp, I ' at cucclnq you a break today.
So why
don't you just make like a trce... and get outta here.
Blff walks off.
Lorraine looks at T* VY *nd sighs with infatuation.
LORRA 2Hfi
oh, bart:y, that nas uondorful !

SU ck1and puts h1s hand ozt Nancy’ s sltou14ev.

sTIcKLAND
Young man, let me give you a nickel's ' worth of free advice: don't
slack off in my school. •
C\II’ 70:

Rev. 4/3/85

78 EXT. STREET AND McFLY HOUSE, 1955 - DAY

Pg. 74-76
78
MARTY is walking along the tree-lined street with GEOROE, on his way home from
school.

George, I'm telling you, if you aon't

take Lorraine to.that dance, I'm
gonna regret it for the rest of my life.
' GEORGE
But I can't go. I'll miss my favorite * television program: "Science
Fictlon Theatre.

Come on, George, Lorraine really wants to go out with you. She's hooking forward
to it. You
wouldn't want: •.o dl sappolnu her, would you?
They're now in front of George's house.
GEORGE
Look, I'm just not ready to ask Lorraine out. And not you or anybody else on this
planet is going
to make me changa my mind.
George storma into his housa, leaving Marty speechless.
harry caxes out: che Mami 1.y snapeho c and 1.ooks aí i c .
79 INSERT - SNAPSHOT 79
All that's left of Dave are is feet!

79A
MARTY
gulps. Now the PAPER BOY bicycles past and throws the evening paper onto
t:ne NcFly
1awn, bem de Nart:y. Narc y has a Poole ac the open front
pago.
79A
80 INSERT - NEWSPAPER HEADLINE 80
"FARHER SEES FLY ING SAUCER. OU e Peabody Under Observar i on Az
county
-Aaylum. " A phozo shoes farmer Peabody in a
81 81
smilos. He's gmtting an idea.

82- OMITTED
84D
82-
84D
COXT INVSD

85 EXT. GEORGE'S HOUSE - NIGHT

All is quiet; the house is dark.
86 UT . GEORGE ' S BEDROOM
Rev. 2/25/85

Pg. 76-A*
g;

86
Close ON A CLOCK on the nightstand. It's almost 1:30. He PAN OVER to GEORGE'S
FACE. Ne's sleeping
soundly, in
bed.
Nova a PAIR OF GhOVED HANDS place FEATRERHE IGHT HEADPHONES
on George ' s eare . George doeen' t: sair .
THE SAME HANDS now insert a cassette tape labelled "EDWARD VAN HALEN" into a
walkman. A finger
dials the volume level to "10", then pres•es "PLAY."
GEORGE ARAKENS ?GREA íING! He openn hi e eyes and react:s in
furt:her t:error: He sees ...

86 CONTINUED
Rev. 11/7/84
Pg. 77.*
' A FR I t3HTENING YELLOW TOASTER... Nar9y,
in full
radl ali on suit:... at: t:he foot: of h1s be‹:1!
WIDER
Marty turns uff the music. When he talks, his voice is distorted through the mouth
filter in the
hood. An open window indicates how Marty got in.

Silence, Earthling!
sEoR E
Who---who are you?

(imitating Darth Vader) by me i s Dark:h Vader. I aai ari extra-

terrestrial from
tha planet Vulcan.
CONTINUED

86 CONTINUED

GEoRsE I must be dreaming...

MARTY
This is no dream! You are having a Close Encounter of the 3rd Kind!
You have reached the Outer Limits of the Twilight Zone!
GEORGE
Pg. 78.
Mom! Dad!
George throws off the covers, but Marty pulls the portable hair dryer (from Brown's
suitcase) out
of his belt [ike a gun. He fíres • blast of heat at George.
MARTY
Silence! My heat ray will vaporize you if you do not obey me!
‹3eorqe rai ses h1s hands in surrender .
GEoRsE
All right! I surrender! Turn it off!
Marty lowers it. Now his digitlal watch alarm begins 9EEPING. Marty raises his
wrist as if it
were a radio.

Sllence! I am receiving a transmíssíon from the Ba tlestar Galactica!

(after several more beeps) You, George McFly, have created a rift in the space-time
continuum. The
Supreme Klingon hereby commands you to take the female earth-person called "Baines
Lorraine" to the
location known to you as Hill Valley Rígh School exactly 4 earth cycles
„from now---Saturday night in your

GEORGE
You mean, take Lorraine to the dance?
MARTY
Affirmative.
GEORGE
But 1 don't know if I'll be able
Narry fiurns on t:he na 1'mv.an aqa in . Geo rqe SCREANS !
CONTINUED

86 CONTINUED

GEORGE
Rev. 10/21/84

Pq. 79.
Turn if off! Please, turn it off!
Marty turns it off.
MARTY
Insolent Earthling! Do you wish me to melt your brain?

GEORGE
No! Plaase! I'm sorry, I'11 do
it! I'll take her to the
dance---but please don't turn that noise on again.

NARTY
Very ood, Earthling. You will tell no one of this visit. Now, close your eyes,
and see mo
no more...
GEORGE
Okay, Okay.
George closes his eyes.
Marty holds a vial under George's nose and George passes out. Marty removes the
featherweight
headphones from George's head, takes off his hood, and goes back out the window.

87 EXT. GEORGE'S HOUSE - NIGHT 87

Marty climbs down a trellis and jumps down into Dr. Brown's waiting Packard
convertible.
BROHN

tsreae ! That chl.oro €ornt suco pum hh ora--- t hope I didn '
t: ovecdo it:
.

ss EXT. TONN SQUARE - DAY

CNT TO.
as
MARTY is loitering in the grassy town square. Now GEOR€E comes running up from the
street. He's
disheveled and wild-eyed.

CONTINUED

88 coNTINUED
Rev . 2/25/8S
Pg. 80.
George runs frantically through the town square, then spots Marty at the Pepsi
machine at the
TEXACO STATION.

Marty is trying to twist off the bottle cap. Of course, * he can't.

George! You weren't at school! Where've you been all day?

GEORGE
I just woke up---I overslept. Look, you've gotta help me! I want to ask Lorraine
to the dance,
bud I don't know how to do it.

All right, keep your pants on. She's over there in the cafe. How do you open this
thing?
George takes the Pepsi bottle from him and opens it with the church key on top of
the machine.

88-A ON MARTY GEORGE

as they walk past the record store, toward Lou's.

So, George, what made you change

our mind?
sa-A
GEORGE
Last night, Darth Vader came down from Planet Vulcan and told me if I didn't tak*
Lorraine out,
he'd melt my brain.

Uh, George. .why don't we keep this ’brain melting stuff between you and
(points toward the cafe window) Look---there she is...

CONT I NUED

89 THEIR P.O.V. THaU THE WINDOW OF

Rev. 2/25/85

Pg. 80-A
89
' LORRAINE, seated with 2 GIRLFRIENDS (BETTY and BABS) in a booth,
sipping ice cream
sodas and talking.

, 90 BACK TO SHOT

90
MARTY
It's simple, George. You just go in
' and invite her.

rAl. l
GEORGE
i qht: ... bud what: do I say?
MARTY
Say wkatever feels
natural---whatever comes to your mind.
George thinks about this a moment, then shrugs.
GEORGE
Nothing's coming to my mind.

'

CONTINUED

90 CONT IHtJED
Rev. 11/21/84

cAri•t, it's a miracle I was even

bom.
GEORGE

MARTY
Nothing. Just tell her destiny has brought you to her and you think she's the most
beautiful girl
you've ever seen. 01r1s 1.ike co hear
mae---chan are you doinq, George?
George has taken out pencil and paper and is writing.
GEORGE
I'm w-iting it down. This is good stuff.

91 INT. CAFE - DAY 91

The place is really jumping---it's full of kids. A JUKE3OX
' Nart:y ent:ors cit:h George .

There sha is. Just go and ask her.

Marty points George in the right direction, and sneaks Sack *

George looks at his "script" and mouths the words to

hlmaelf. He got:e up hi e nerve and approaches Lorrai ne,
r*.e.ri

Gímme a milk. Chocolate.

Lou serva a htm a qt ass . Georqa taken a al.uq.

Dzspltz his awkwardnesc and fear, there'z zom*thíng

endearinq about him, 1 i de a lo em dog.
GEORGE
Uh, Lorraine...
(reads)
"Ny density has brought ma to you."

CONTINUED

Pq . 8í
91 CONTINUED

LORRA I NE
I beq your pardon?
GEORGE
Oh---what I mean to say is...
LORRA I NE
( looks at: him curaously ) Haven ' c I seen you somewhere?
GEORGE
(big smile)
Yes! I'm George. George McFly. I'm your density---I mean, destiny.

We hear the sound of the door being thrown open and a familiar VOICE calls to
George.

McFly, I thought I told you never to come in here!

George turns and sees Biff and his gang standing there. :He shudders.
Marty drops his head in his hands and sighs.

Hall, it's gonna cost you, McFly. How much money you got on you?
GEORGE
(quickly pulls out his wallet) How much do you want, Biff?
As Biff starts to walk toward George, Marty sticks out leg and TRIPS HIM! Everyone
in the malt
shop laughs, ku: Blff doesn't think it's very funny. Now Biff sees who tripped
him.
BIFF
(getting up)
All right, wise ass, it's fat lip time...

CONT I NUED

91 CON'f INUED
Rev. 10/21/84

Pq. 83 .
Marty jumps off his stool, ready for action. Biff th « * a punch which Marty
easily aVoids; then
Marty delivers a left * jab to 9iff's gut, ana slams a right into his face,
sending Biff reeling
backward into a table.
Match, "3-D" and Skinhead rush Marty.
Marty doesn't like the odds. He bolts out.

The 3 guys pull Biff to his feet and they all run out after Marty.
LORRAINE
(to her girlfriends)
That'• Calvin Klein! Oh, Cod, he's a dream!

92 EXT. CAFE STREET 92

Marty dashes down the street, followed by Biff and the boys. Most of the kids in
the Cafe hurry
outside to watch,
i.ne tudinq LORRA I HE and her Ari ends .
Marty looks behind him---Bíff and company are gaining.
Then one of the kids on the scooters comes by. Thinkinq quickly, Marty yanks the
scooter out from
under him, kicks off the orange craee and creazes a homemade
SKATEBOARD !
Marty hops on it and sails off down the sidewalk!
Biff and the boys have never sean anything like it nor
has the kid whose scooter it wast Everyone stares as Mar-y whizzes down the
sidewalk.

Wow! Look at him go!

ANOTHER KID
Nhat is that thing?
BIFF
(to his boys) In the car!

Biff and the gang jump into Biff's convertible parked nearby. Biff peels out after
Marty.

COFfT I NUED
93 PURTHER DOWN THE STREET
Rev. 11/21/84

Pq. 84. *
93
Marty looks over his shoulder and sees the convertible
closing in. He cuts a Sharp turn into the street, crossing
right in front of Riff's car, and heads back in the opposite direction.

93A INT. BIFF'S MOVING CONVERTIBLE

Biff and the boys are stunned!

94 EXT. STREET
Another car comes up from behind Marty. As it passes, Marty grabs onto the back
and hooks a ride!
Biff cuts a U-T'rn.

95 EXT. CAFE
Marty, towed by the car, zooms past the Cafe. The spectators are truly amazed.
Lorraine stares in
open-mouthed awe.
93à

94

9õ

LORRAINE
He's an absolute dream...!
Biff's convertlble continuem the pursuit.
96 EXT. TOWN SQUARE
’The car towing Marty turns right and heads'up the street toward th* courthouse.
Biff screeches around the corner and speeds after him.

looks over his shoulder. BIFF

is closing in.
WIDER
The tow car is approaching the court house. Blff is movlng right onto Marty's ass.

96*

Rev. 11/21/a4
96 CONTINUED
Suddenly, Marty lets go of the car and cuts a hard night turn onto the sidewalk in
front of the
court house.
Biff is going too fast---he overshoots it.
97 MARTY
freewheels down the sidewalk, around startled pedestrians.
BIFF
backs up, shifts into first, cuts right and roars right down the sidewalk after
Marty!
'T THE SIDEWALK,
pedest:r i ans dlvo out of lho ray, onto lhe square , or up
she courchou se
scep« .
Marty reaches the intersecting street, and Biff is ready to
nail him.
98 ANOTHER ANGLE
As Marty makes his turn, Blff cuts over---Marty does a quick 180 on his board and
ends up holding
the front end of Biff's convertible.
Biff's car pushes Marty backward down the street. BIFF
smiles sadlstically at Marty.

Alps. He has no choice but to hang on. BIFF

jerks the wheel back and forth, weaving, trying to knock Marty off.

hangs on, weaul ng wi Ah him.

Marty looks over his shoulder---ahead in the same traffi: lane is an open MANURE
TRUCK.
IN BIFF ' S CAR
Blfifi' s boys ezchanqe to oks.

CONTINUED

97*

98*

_ 98 COX7SNUZD
BIFF
Match, knock him off of there.
Rev. 11/21/84
Pg. 86.•

Match picks up a beer bottle and gets ready to throw it.

MARTY
looks. around ---he doesn't know what to do!
IN BI FF ' S CAR
Match stands, ready to let fly---
99 WIDE ANGLE
I n an amazlnq manuaver, Nart:y leaps up, ( sondinq lho board

99'
forward, under the car) and lands on the hood of Biff's car!
Marty jumps over the windshleld, bounds over the seat, onto the rear deck and off
the car, just in
time to catch his "skateboard" as the car passes over it.
BIFF AND HIS BOYS
are stunned! They turn their heads in disbelief to watch
Marty.

as he skateboards away from Biff. We hear an OFFSCREEN CRASH.

Marty turns.
99-A MARTY'S P.O.V. OF
BIFF'S CAR upended against the rear of the manure truck. Now the car falls back
down, revealinç
that Biff and his boys have leon t:hrown indo lhe manure !
NARw
smiles.
BIFF
shakes his fist.

91-A*
BIFF
I'm gonna get you, you son of a bitch!
The truck continues along, taking Biff and his gang away
CONTINUED

Rev. 2/18/BS

99-B
rt&ew
watches a moment, then spots the KID whose scooter he swiped along with his friend.
The two have
witnessed the entire thing.
99-P’
MARTY
Thanks a lot, kid.
Marty hops off the board and sends it back to the kid. Marty takes off down the
street.
The kid immediately tries out his new "skateboard". And his friend kicks off his
orange crate and
makes his scooter into a skateboard too.
CUT TO:

lOO
INT. BROWN'S GARAGE - DAY
The service door opens from outside and Marty steps in. He notíces that Brown is
absorbed in the TV
as he fiddles with the video camera.
100*

100-A ON TV lC0

The end of the tape is coming up---old Brown is reacting to the terrorista.

101

xAsw
OLD BROWN (on TV)
Oh, no---they found me! I don't know how, but they found me! Run for it Marty.
a a ends abru ti
reacts with pain, remembering what followed. He clears his throat.
Brown turns around i n surprl se , Mika he ' e been cauqhc vi.t:h
hi e hand
in lhe cookl e j ar.
BROWN
Oh, hl, Marty, I didn't hear you come * in. Fascinating device, this
"video unit."

Doc, there's something I haven't told you about what happens

(gulps)
.on the night we make that tape...
CONTINUED

101 CONTINUED
BRONN
Please, Marty, don't tell me.
Rev. 2/18/85
No man should know too much about his own
destiny. *

But, Doc, you don't understand. •

BROWN
I do understand, and if
I know too much about the future, I could endanger my own existence, just like
you ' ve
endanqere‹:i yours .
MARTY
(sighs uneasily)
Yeah, maybe you're right. *
BROWN
Now let me show you y plan for * sending you home...
Brown takes him over to a tabletop model of Hill
Valley town square which Brown has constructed himself. •
A wiro runs from the top of the clock tower, between two lamp posts across the
street.

BROWN
Forgive the crudenes0 of this model--- • I didn't have time to build it
to
scale or to paint it.
Now, we run soma industrial strongth electrical csble from the top of the clock
towar, suspending
it across the street between two
I dJg@ @ONtS •
Meanwhile, we've outfitted the
eixo cvohi 1e ux t:h a b1q po1.o and hook,
whlch connec t:e r i qhc indo lho flux capacl for ...
Brown indlcates a wind-up toy car with a wire sticking straight up from the back
and a hook on the
top of
it. There is a similar rig on the real DeLoresn, visible in the background.

CONTINUED

l0l CONTINUED

BROWN
Rev. 2/18/85

Pg. 88-A*
At the calculated moment, you'll
Ez e off from down the street, driving right toward the cable, accelerating to 88.
Lightning will
strike the clo«k tower, electrifying the cable, just as the car's connecting hook
makes contact,
thereby sending 1.21
j i qowact:s int:o che €1.ux capac i t:or and
sendlng you back Vo 1985 .
Let me demonstrate. You release the car, and I'll simulate the lightning.
Marty winds up the toy car and releases it toward the cable. Brown touches a hlVE
WTRE to de top
of the clock tower.
The toy car's a•tenna snags the cable, SPARKS FLY, and
the toy car CATCHES FIRE! It flies off the table top, into some drapes, and they
CATCE FIRE as
well!
Brown grabs a FIRE EXTINGUtSRER and puts everything out. Marty shakes his head.
You're instilling mo with a lot of
confidence here, Doc.
BRONN
pon' b sorry. I' l.l. t:abe cara ofi lhe lightning. You just take
care of your pop.
Say---what happened today? Did he ask her out?
NARTY
I think so.
BRONN
Hhas nas her answor?

*
Thorn 1s a knock on t:he door. Brown and Hardy exchanqe a
1.ook, then Brown ql ances out t:he window.
BRONN
It's your mother! She tracked you down! Quick, let's cover the time machine.

CONTINUED

ioi coiniauxo
They pum1.

a tara over the DeLore*n.

Rev. 2/18/85
PP. 88-B-89.•

Now hart:y
opens the service door. Lorraine steps in.
LORRAINE
H1, Marty. •
MARTY
Mom---Lorraine...! How did you find
me here? *

I followed you.
LORRAINE
*

Oh, ub, this is my Uncle---Uncle

Brown. *
LORRAINE
(to Brown)
Marty, this may seem a little
fo rward, but: I was hopinq you miqhu eake se co t:he
Enchant:mona Under
the Sea Dance on Sacurday.

Uh, me? But what about George McFly?

Dldn ' V he ask you?
LoRRAlxs
Yeah, bud I t:urned htm down.
*

She moves
o f: hancl!
102 ONI TTED
103 OU I TTED
You dvd WRAT? *
LoRRAINE
George isn't exactly my type. He's
sort of cute and all, but he's...well, • (moving closer to him)
I think a man should be strong...so he can stand up for hlmself and protect the
woman he lovms.
Don't you?
closer. Marty gulps. This is REALLY getting out

102

103

CONTINUED

104 EXT. GE0RGE'S BACK YARD - DAY

Rev . 2/25/85

Pg. 89-*
104
GEOROE seems very bewildered about what MARTY has been trying to explain to him.
GEORGE
I still don't understand. How can I go to the dance with her if she's going with
YOU?

MARTY
She pants to go with YOU
George---she just doesn't know it
yet. That's why we've gotta * make you look like a fighter,
somebody who'll stand up for * hlmself, somebody who'll protzCt
her.
GEORGE
But I've never picked a fight in my life!

You're not picking a fight, Dad---

Daddy-oh---you're coming to her rescue. Maybe w*'d bet:ter go over the
ptan
Nhere are you gonna bm at a
GEORGE
At: t:ho dance.

And where am I gonna be?

GEORCE
In t:ho parklng 1.os, nizh her.

Okay. So right around 9:00, she's gonna got very angry with me---
GEORGE

by what?
MARTY

GEORGE
Why is she gonna get angry with you?

CONTINUED

104 CONTINUED
fev. 2/2S/8S

Pg. 90

(it's hard for him to say) Well...because...well. nice girls get angry at guys
who...who try to
take advantage of 'em.
GEORGE
You mean you're gonna...like... touch her on her---
MARTY
George, it's just gonna be an act. Don't worry about it.
Just remember that at 9 o'clock, you'l0 be strolling through the parking lot and
you'll see us...
(gulps)
.struggling in the car, you'll run
over, open Che door , and say... ?
George doesn' c say any9hi ng .
RARTY
Your 1.ine, George .
GEORGE
Oh. Uh..."Hey, you! Get your damn hands off her."
You really think I should swear?

Yes, definitely, George, swear. Then you hit me in the stomach, I go down for the
count, and you
and Lorraine live happily ever after.
GEORGE
You make it sound so easy. I wish I wasn't so scared.

There's nothing to be scared of.

’All it takes is a little self-confidence. You can do :t, George. If you put your
mind to it you
can do anythinz. Now
give me a shot, right here. •
Marty indicates that George should punch him in the sto-a:z
George t:ake e a deep bre aah and t:hrows a fl imsy punch- i
r. z

CONTINUED

104 CONTINUED

MARTY
Rev. 2/25/85

Fg. 91.
No, George, put some confidence behind that punch. Some emotion. Some anger. You
can do it.
George tries to get himself angry. He makes some faces and throws another punch.
It's not much
better.
MARTY
Anger, George, anger.
GEORGE
Maybe if I used my left...

No, G•orge. Just gimme some anger. You can do it.

George throws another punch. This one is slightly better

GEORGE
That was good! She'll believe that! *
Marty isn't so sure. *

I'll tell you what, George: *

why don't you practice on this... * (he hangs the duffle
*
bag on the T-bar of the
clothesline) *
and I'll check up on you later.
Just remember to concentrate on the anger.
Marty walks off, leaving George with the body bag. Ke stares at it, trying to make
himself mad.
GEORGE
Anger. Anger.
He hlts lt. H* hits et again, harder...again.. harder...again---he hits the tree!
George howls in
pam'
GEORGE
Yeeeowuvf! ! Goddaruni u! !
CONTINUED

104 CONTINUED
Rev. 2/25/85

Pg. 92.
He's really angry now, and he socks the bag with his
left--- and KNOCKS IT CLEAR OFF THE POLE, and through •
a window!
George is astonished. Then, realizing the possible consequences. he runs away.

105 EXT. TONN SQUARE CLOCK TOHER - NIGHT It's a few minutes before 8 o'clock.
We hear a RAD I O WEATHER FORECAST aS t:ho CAFtERA jakes us
f rom lhe
l i qhzninq rod acop fihe c 1.ock t:owar, along lhe cable scrunq
down across
t:he square , to t:he STREET she re Brown' s P ac kard i s
parked
nearby---lhe oeacher report enanacos leon c*o c ar radlo .

CONTINUED
105

105 CONTINUED
Rev. 11/2l;84
Pq. 93.

BROW i s on a 1adde r ; he ' e connoc zi ng che padd to plug

of che c tock tower cabLe co t:he sockeu on an exzens jon
c abte t:ied around a lamp ÇO SP .
The DeLo rean i s nearby c overed vi ch a earp .
YARTY arrives, dressed up for the dance.
FORECASTER
(V.O. radio)
Area weather on this Saturday night:
end
mostly clear with some scattered *
clouds.... *
Brown reacts to the weather report.
BRONN
Are y u sure about this storm?

Doc , si nee when can a weacherman predict the weather---let alone the
future?
Brown smiles. He plugs in the cables, then descends the ladder.

Right.

( a beat )
BRONN
You know, Marty, I...well, I'm gonna be sad to see you go. You've really made a
difference in my
life---you ve given me something to shoot for. Just knowing that I'm gonna live to
see 1985...
that I'll succeed in this...that I'l1 get a chance to travel through time...well,
it's just gonna
be hard
for me to wait 30 ysars before we can talk about everything that s happened in the
past few days.
I'm gonna really miss you.
Marty is particularly uncomfortable, knowing the fate of Dr. Brown.

Yealt. . .
uh, Doc, about the future...

CONTINUED

105 CONTINUED

BROWN
Rev. 11/21/84
Pg. 94 - 94-B.
No, Marty. We've already agreed that having knowledge of the future can be
extremely dangerous.
Even if
your intentions are good, it could backfire drastically. Nhatever it is you want
to tell me, I'11
find out through the natural course of time.

This is not what Marty wanted to hear, but he there's no arguing with Brown.
MARTY
Yeah...Listen, I'm gonna get a candy
Can soe
bar or something. You want anything?
BRONN

No thanks.

CUT TO:

106 INT. CAFE - INSERT - ON A LETTER as a with a pen writes.

107 INT. CAFE - WIDE ANGLE - NIGHT
MARTY is sitting at a booth writing. He reads it over.
106

107
MARTY
"Dr. Brown, on October 26, 1985, at about 1:30 a.m., you will be shot by
terrorista. Please take
whatever precautions are nacessary to prevent this terrible disaster. Your friend,
Marty.
November 12, 1955."
Satisfied, Marty folds the letter, puts it in an envelope. and writes something on
it.

108 INSERT - ENVELOPE

"Dr. Brown: do not open until October 1, 1985."
CNT TO:
108
108-A OMITTED

CONTINUED

109 EXT. ON THE STREET - NIGHT

Rev. 10/21/84

Pg. 95.
109
Brown is on the laddor strlnging electrical cable across tho street, between the
two lamp eo•ts.
MARTY returns with a candy bar. Brown's trenchcoat is laying on the tarped
DeLorean. Making sure
that Brown isn' t watching, Marty surreptitiously places the ENVELOPE into a
pocket.
Now a COP me anders over and wat:ches .
COP
Evening, Dr. Brown. What's with the wire?
BRONN
Oh, I'm just doing a little weather exper'ment.
COP
(notices the tarped DeLorean)
And what's under here?
BRONN
Some new spec i aLxzed weat:her seuslnq
equipnienb .
Brown comes down from the ladder.
COP
You got a permit for this?
BRONN
(smiles)
Of course I do ... ré qhh here .
He takes out his wallet and gives the cop a 20 dollar bill.
COP
(hesitant)
You're...not going to set anything on fire this time, are you, Dr.
Brown?
Brown looks to Marty for guidance. Marty shakes his head.
BRONN

Naw.
(to cop)

CoP
I n t:chat: ase , good Luck .

CONTINUED

109 CONTINUED
He continues down the street.
BRONN
Thank you, o ffi cer .
(to Marty)
Rev. 1l/21/8ç

Pg. 96.
Say, kld, you ' d bet:t:er pico up your
mom and get going.
N.ARTE
( nervou s
Uh, yeah, I quees ...
BRO\YN
You 1ooX a 1zVV1e pala . Ave you okay?
Marty is uneasy. a bit distant...scared.

I don't know, Doc. This whole thing with my mother---I don't know if I san go
through with it.
Hitting on her, I mean.

BRONN
her . You' re just gonna lake a lew
liberties with her.
MARTY
Than ' e chan I sean! I ' m gonna actually have to cop a feel! This
is the kinda
thing that could permanently screw me up. What if I get back to the futura and I
end up being gay?

BROWN
Nha shouldn't you be happy? LOOK you'd better get going. Just be back here before
10.
Marty is ãbout to get into the Packard. He hesitates and pulls the snapshot out of
his pocket.
110 INSERT - SNAPSROT
Linda is gone except for her feet.
lll BACK TO SHOT
Marty etaree at it, then puts it back in his pockot.

CONTINUED

111

111
Rev. 2/25/85
Pq. 97.

Doc, if this thing at the dance doesn't work out and my folkz 4on't get back
together...when do you
think I'd fade out?
BROWN
Beats the hell out of me.

112 w7. scxoo& c s - D c - s

cUT To:

112
"Enchantment Under The Sea" is well underway.
On stage is the band: Marvin Berry and the Midnighters
They're all black. Marvin plays lead guitar and s1nqs ;

t:here i s al so a dra.er, pt ano p1 ayer, sax

They're playing "3 Coins In The Fountain."
and bass.

The gym has been decorated in an undersea motif: seaweed, Ei sh on t:he wall
e, a paper
mache sunken shlp, a "€reasuce chest," and a single school locker labelled
"Davey Jones.
T7tere is a1so a B\JBBLE MACRINE, a ta Lawrence WeLk.
As usual at school dances, there are teachers acting as chaperones (including Mr.
Strickland), a
busy refreshment table (including a cake in the shape of a fish), and wallflowers
on the sidelinas.

GEORGE is on the sidelines, bopping out of time to the music. He's quite nervous.

113 EXT. SCHOOL PARKING LOT

Brown’ s Packavd pu11s 1ztco lhe 1oc and packs .

114 INT. PACKARD - MARTY, LORRAINE

Marty, at the wheel, is very uneasy, Lorraine next to him looks beautiful in her
best party dress.
Marty glances az the clocktn tha dashboard. It's 8 minutes before 9.
MARTY
Uh, you don't mind if wz, uh, park for a few minutes...?
LORRAINE

111

114
That ' s a qre at: idea . 1 ' d love co park.

114 CONTINUED
Rev. 2/25/85

Pg. 98.

Huh?
LORRAINE
Marty, I'm almost 18 years old. It's not like I've never parked before.

Nhat?!?
MARTY

She scoots over, very close to him. marty fidgets. Boy,

is he nervous!
LORRAINE
You scem nervous , l4art:y . I e anyVhinq wrong?

Uh, no...
MARTY
She pulls a pint bottle of sloe gin out of her purse.
Narcy i s shocked.

Nhat are you doing with that?

LORRAINE
I swiped it from the old lady's liquor cabinet.
She lakes a nlp .

Lorraine, you shouldn't drink!

LORRAINE
Why not?
MARTY
Well, you might regret it---later * on in life.
LORRAINE
Don't be so square, Marty. Everybody who's anybody doas it.

Maybe I could use a hit... *

He takes the bottle.Just as he takes a swig, she pulls ou: a pack of cigarettes and
lights up.
Marty spits out the qin in surprise.

CONTINUED

114 CONTINUED
Rev . 2J25/85

MARTY
Jesus---you smoke, too?
LORRAINE
Now, Marty, you're not going to tell me that smoking is unhealthy.
Everyone knows that it calms your nerves and it'9 good for the circulation.

2g. 99.

MARTY
It'll give you cancer! Look, it says
so ré qhe here---
Marty takes the pack and looks at the síde panel.
114-A INSERT - CIGAA'TTE PACK
I t says "Thi e fino zobacco blend calma t:he nerves and
lnprovea the ci rcutat:íon.
114-B BACK 'IO SHOT

LORRAItTE
You know, you sound just like my mother. Nhen I have kids. I'm gonna let them do
anything they
want.
Anything.

I'd sure like to have that in

ritin .
The coranona goes réqhc paat Lo rraino .
LORRAI NE
6o what: are your parent:e llke?

114-i
114-i

Lorraine, lately I've com* to the • tonclusion that I dont't know

anything
about 'em.
CUT TO:

CONTINUED

115 INT. SCHOOL GYMNASIUM - THE DANCE

Rev. 11/7/@4
Pg. 99-A.•
11$
Marvin Moon and the Starlighters finish up a number. Everyone applauds. Marvin
steps up to the
microphone.
MARVIN
We're gonna take a break now, but we'll be back in just a [itt[o who to , so
don' e go
away .
The band members leave their instruments on the stage and
head oufi a si de door .

GEORGE now glances at the clock in the gym..

"8:59." Alarmad, he checks his own watch.
It says
CONTINUED

Rev. 11/13/8s

116 INSERT - GEORGE'S WATCR which reads "8:55."

By. 100.
l1E

117 GEORGE
is even more alarmed. He runs over to a nearby STUDENT.
GEORGE
Nhat time do you have?

Five after nine.

George is panic stricken! He runs like hell out of the gym!
llJ

118 OMITTED (Now cnmbined into Sc. 120)

119 INT. SCHOOL HALE - NIGHT
118*

George runs indo a PHONE BOOTH, and a COt4AN answers .

and dials a number. It r:ngs *

(V.O. phone)
At the tone, the time wlll be nine o'clock, exactly.
A KID named DIXON (class prankster type) sticks a broom through the phone booth
door handle.
George tries to gec out, but he's trapped.
Dixon LAUGHS loudly.
George jerks the door frantlcally, and Dixon just laughs louder.
120 iirr. e cxnno - unnw. nonnnim - =ciir
Marty fidgets and looks at the clock again.
LORRAINE
Marty, why are you so nervous?
Nart:y takes a deep breat:h.

Hei1. , have you ever been in a situation where, well, you know you
have to act a
certain way, but when you get there, you don't know if you can go through with ito
LORRAINE
You mean like how you're supposed to act with someone on a first date?
CONTINUED

120 CONTINUED

Well, sort Of...

MARTY LORRAINE
Rev. 11/13/84

Pg. 101.
I think I know exactly what you mean.
MARTY
You do?
LORRAINE
And you know what: I do in zhoaa
situations?
Marty looks at her.
LORRAINE
I don't worry about it!
And with that, she throws herself on him, klssing him
passlonacely . harry 1s abno lueely shocked!
Lorraine abrupt:1y st:ops and pushes him away. She ' s very
con€used.

This isn't right.

I don't know what it is, but... when I kiss you, something's wrong. I almost feel
like...like I
waa
kissing my brother *
l que ns Vhaz dooan' € make .any sense , does 1e?

Believe me, it makes perfect sense.

We hear the sounds of APPROACNING FOOTSTEPS on gravel.
LORRA PNE
Sounds 1. ike s omebocly e comlnq.
Marty heais it too. He looks at the dashboard clock: 9:o0.
Hs sighs with defeat.

Yeah...I know...
MARTY

CONTINUED

120 CONTINUED
Rev. 11/21/84

Pq. 102
Suddenly the driver's door is opened, an arm reaches in, yanks Marty out, and Marty
finds himself
face to face with
BIFF!
Match, 3-D and Skinhead are with him.
BIFT
You caused S300 damage to my car, you
son-of-a-bitch. And I'm gonna take * it outta your ass... Hold him,
guys.
Biff shoves him roughly into the arms of Skinhead. Marty struggles, but Skinhead
and Match grab
him and restrain him
LORRA I NE
Let go of him! Leave him alone, Biff! You're drunk.
Biff takes a look at Lorraine in the car.
BI FF
Well, lookee what we have here.
Flaybe I ' 1 t make 1€ out of your as s ...
She lunges at her door to escape, but Biff grabs her and climbs into the car.
B I FF
Oh, no , you ' re scayln' right here ci zh nte .
Biff pulls her toward him.

c*z you hands off her, you bastard. * Biff leers at Marty.
BIFF
I'Il take care of you after I take care of her.
(to his boys)
/[ake him around back. I'll be there in a minute.
(a beat)
Go on! This ain't no peepshow!
They drag Marty away. Biff shuts the car door and tries :o kiss her. She
struggles, and in a
moment, all wo can see through the windshield are tussling arms and legs,
accompanied by Lorraine's
muffled screams.

CONTINUED

121 EXT. SIDE OF SCHOOL

Pg. 103.
12
Skinhead, Match and 3-D drag Marty around the corner to the side of the School
where a CADILLAC is
parked with its trunk open.
SKINHEAD
Hey---let's lock him in that trunk!
They throw Marty into the car trunk and slam the lid shut.
Then, the Cadillac's driver's door is thrown open and the DRUMMER from the band
steps out. He's
smoking a reefer.
ORUMMER
Say, what you messin' with my car

3-D
Beat it, spook, this don't concern

The other 3 car doors open, and MARVIN MOON and the OTHER BAND MEMBERS get out.
They look real
"bad" with their processed hair.
MARVIN
Nho you callin' "spook," peckerwood?
Bi €f ' s boys exchanqe morried 1.ooks as lhe band members
advance on them .

Hey, I don't want to mess with no reefer addicts!

Biff's boys take off (in the opposite direction from the Packard), but Marvin and
the band manage
to kick 'em aii in the ass aa they run away.
Now we hear bzatíng on the trunk from the inside, and
Nancy I s muC:g1 eó vo1ce .

AARTY S VOICE
’Lemme out! Lemme out!
NARVIX
Hey, Raginald, where's your keya?
The drummer checks his pockets, and inside the car. He can't find them.
MARTY'S VOICE
They're in here! The keys are in here!
CONTINUED

121 CONT I NUED

MARVIN
Rev. u/13/B4

Pg. 104.
Danoclv , boy, you left: their suc ker e
in che z runk!

l2a
INT.
PACKARD

122
Lorraine is trying to fight off Biff. It's a real struggle
for her .

123 EXT. PARKING LOT - ON PACKARD

Through the windshield we see arms and legs flailing about in a struggle. We hear
SCREAMING.
Now GEORGE arrives. Me spots the car and goes into his act. He adjusts his pants,
strides to th*
car like John Wayne, and opens the driver's door.
GEORGE
Hey, you! Get your damn hands--- uh, oh!
George reall zoe he' e f ac1ng Blff . Nos he ' a really scared .
BI FF
123

I t:h1nk you got: che wrcong

LORRAINE
George! Help me!
ar, Qte FL y.
George doesn't know what to do. He stares in dumbfounded amazement.

Just close the door, McFly and walk

George hesitates. He doesn't know what to do. He [ooks a: * Lorraine who looks
back at him with
pleading eyes. He looks • at Bíff.
•
BI FF
..Aro you deaf , Etc F by? Cio se t:he cloor

•
and bear 1 V !

*
Again George 1ooks at: Lorraino . She looks so help1.es s .
*
Geo rqa t:akes a ‹:leep breach .
GEORGE
No. You let her alona. •
BTFF
All right, McPly. You had your chance, now I'm gonna :each you a lesson.
CONTINUED

123 CONTINUED
Rev. 11/21/84
Pg. 105.
Biff gets out of the car and grabs €eorge's arm. George tries to fight back, but
his lame punch is
ineffectual. Biff twists George's arm. George grimaces.
124 EXT. AT THE CADILLAC 124
Marvin has his screwdriver in the lock. He gives it a hard jerk: the trunk pops
open, but he puts
a big gash in his hand.
MARVtN
Damnit---I sliced my hand!
Marty jumps out of the trunk.
MARTY
Thanks a 1.ot: !
He dashes back howard t:ho Packard.

125 EXT. PACKARD

Biff twists George's arm harder.
LORRAINE
Stop it, Biff! You'll braak his arm!
She t:sies t:o puL t him away . he pushoa her down.
Biff laughs.
Now Marty arrives just in time to witness...
George's expresslon immediately goes from pain to
rage---intensa rage... and George lets go with a TRENENECUS
LEFT HOOK, SHACK INTO B I FF ' S FACE !

Biff hits the ground, out cold!

George can't believe he did it! He looks at his fist, looks down at Blff, and
grins widely.
LORRAINE
oh, George , you were oonderfiul !
She looks at him with adoring eyes.
Marty can't believe it either.
George and Lorraine emki race . hart:y lteepa hi e dl se:ance ,
allowing them to have their moment.
Nearby, a fez KID BYSTANDERS Frade comnent:e .

'
BYS7ANDER g1
Hho 1s 1ztzal kid? Does he go co our suboo1* ”
CONTINUED

125 CONTINUED

BYSTANDER #2
Rev. 11/21/84

Pq. 106.
Yeah! That's George McFly. Ne's
been in our home room for 2 years.
BYSTANDER tt3
I never noticed him before.
George and Lorraine head for the school.

126 OMITTED (COMBINED INTO 124)

127 OMITTED (COMBINED INTO 125)
128 EXT. SCHOOL - 51DE ENTRANCE

George and Lorraine go up the front stairs. Marty watches from a safe distance
away. Just as
they're about to go tn, Lorraine turns -nd sees Marty. Sha smiles. He smiles
back.
Now Marty pulls out the snapshot and takes a look.
129 INSERT - SNAPSHOT
Linda's feet are now gone. Marty is the only one in the

In the background, we hear distant TRUNDER.

130 MARTY
is shocked. He considers the situation a moment, then
126
127
128

129
130
realizem the answer. Me runs back toward Marvin's Cadillac. *

131 AT CADILLAC
Narvln i e wrappl ng a handkerchi.ofi around hi e cm hand . The
ban‹:i
meaibers are all shaklnq t:herr heads .
Marty runs over to them

131*
MARTY
Hey, you guys, you've gotta get back
in there and finish the dance!
DRUMNER
Look at Marvin's hand! Me can't play with it like that. And we can't play without
Marvin.

CONT I NUED

131 CONT 1MJED

Rev. 11/l3/84

guy you’ ve gorda p1ay! IItaV s where they kiss for the first time---on
the dance floor!
If there's no music, they won't dance, they won't kiss, they won't fall in love...
and I'm a
goner!

Pg. 107.*

DRUMMER
Hey, man, the dance is over...unless
you know somebody who «an play

Marty looks at Marvin and smiles.

132 INT. SCHOOL GYN

CUT TO:

132
Marty is playing the guitar with the Mídnighters, in a version of "Earth Angel."
George and t.orraine are on t:he f loor, dancÍnq.

Marty looks at them, then looks at tha back of his’guitar where, attached with
chewing gum, i* the
snapshot. Nothing has changed. Marty watches his parents. He's gztting nervous.
GEORGE AND LORRAINE are hooking at aach other as they dance. George seems a little
unsure of
himself.

CONTINUED

132 cowzxwo

LORRAINE
Rev. 11/21/8$
Aren't you going to kiss me, George?
GEORGE
(uncertain) Well...I don't know...
Now DI XON but:he i n .

DIXON
Beat it, McFly, I'm cuttin' in.
He pushes George out of the way.
ON STAGE, Marty reacts with horror. Hs looks at the
snapshot.
133 INSERT - SNAPSHOT
Marty's own image is now beginning to fade!

133

iz4
›nsn
blinks his eyes and start hittlng wrong notes. He doesn't
seem t:o be ahh e t:o pl.ay t:he Unit:ar anyviore .
The DRUfOtER noVÍ ce e t:hi e.
134

DRUMMER
Hey, man...what's wrong?

I can't play! I don't know how to

play t:he quit:ar!
NARTY i e t:ucn1nq pat e . He can bare l y stand up.

I don' t: leo 1. so qoo‹:1...

134-A ixrnzus cLosz-w ox nnsw (s io, ooo mu sxoz
Hs holds his hand in front of his face. We are actually able to slightly see
through his hand, to
his face!
134-B INT. SCROOL
The band keeps playing while Marty getg woozy.

ISO-B*
GEORGE sees Dixon with Lorraine. He strides over to them * with determinatlon.
GEORGE
(to Dixon) Eacuse me.
CONTINUED

l34-B coircixuzo
Rev. 11/13/84

Pg. 109.
He yanks Dixon away from Lorraine; then takes Lorraine in his arms and kisses her!
ON STAGE, Marty immediately recover9! He jumps up, full of life, wired with
energy. The color
returns to his face, and he looks at the snapshot.

135 INSERT - SNAPSHOT

imaqo 1s nos sharp and c bear, and h1s si scer and
135
brother are f a‹:ling back in!

136 INT. TDE DANCE

Marty rejoins the band in "Earth Angel."
He sees that George and Lorraine are dancing very close.
136*
From the looks on their faces, there can be no doubt: they're
in love.
George makes eye contact with Marty. They smile. George
givea Nardy lhe "O . K. " hand si qu.
Marty takes anoth€E look ãt the 9nap9hot.

137 IXSER7 - SNAPSXO7

The photo is now as it was originally, with Marty, Linda and Dave all "back in
existence".
138 ON STAGE
qgygy {g qg§§ghtzd. The band finished "Earth Angel." The audience applauds.
137

138*
MARVIN
(to Marty)
Say, you’ re qoo‹:1, mau. Do anot:her one.

(checks his watch) No, I've gotta go.

DRUNHER
care on, 1.et:' s do soneehlnq chan

Marty thinks a moment, then smiles slyly.

CONTINUED

138 CONTINUED
Rev. il/21/84
Pg. 109-A.

Well...all right. You guys'll have to follow me on this one..

(steps up to the mike, addressas the dance)
j uso
We're gonna do one more. *
Nhere I come from, they call b1•... *
ROCK 'N ROLL!!

(to th* drummer) *

Dums---gimme a blues beat, to this *
Marty picks out the rhythmn. The drummer follows along. *

Bass---do t:mts . - -

•
Marty hums the bass line. The bass player joins in. *

Pi ano , jake t:ho bass llne and play

*
iV up 3 oct:aves .

•
The pt ano p t ayor does so.

*
NARTY
Sax! lmprovl se on tão 3 chord proqress íon .
*
. The saBophoni só does so---an‹:1 lfi sounds li.ke ROCK ' N
ROLL !
*
CO INUED

Rev. 2/25/85
3

Eg. 110.

SERIES OU SHOTS - DANCE NUN8ER

ON TBE DANCE FLOOR, heads turn. There are reactions of astonishment from
everyone---and the kids
start dancing.

Marty euphorically begins cavorting around like Little Richard!

The band is really getting into it.
And the kids all go nuts, jumping and screaming.
Mr. Strickland, however, just shakes his head with disgust.
Marty whips off his sport coat and throws it into the crowd!
As George and L rraínz dance, other couples mov* past George and talk to him.
GUY #1
George---I hear you laid out Bíff! Nice going!

GIRL #1
George, did yOu eVer iRÃ About
running for class president?
GUY #2
We could sure use you on the team, George.
GEORGE
well, I'11 have to think ãbout it.
Lorraine beams, proud to be seen with Georg*.
139 INT. BACK STAGE - PUBLIC TELEPHONE MARVIN BERRY is on the phone.
NARVIX
(into phone)
Chuck? This is Marvin! (pause)
Narvln Berry! Your con sim i You knoq
how you're lookin' for a now sound? Hell, listen to this!
He holds the phone toward the music.

CONTINUED
13 9

Rev. 2/25/85

140 INT . SCHOOL GYFí

The pandemonl um con€$nues .
Now xarty tears open his shirt and does some Elvis pelvis

Gi rl. s sc re am!
Marty's movements become Mick Jagger-esque, then take on a Michael Jackson style...
Finally he
drifts into pure HEAVY METAL, puts his guitar next to the amp, making FEEDBACK.
This goes a little too far for 1955 musical taste---the band stops playing, and the
kids stop
dancing. They all watch Marty, not sure what to think.

cowzxuxo

140 coirciiiuzo
Marty suddenly sheepishly and
Rev. 11/13/se

realizes he's Fone too far. He smiles steps up to the microphone.

Pg. lll

Uh, sorry, you guys aren't ready for that yet. But your kids are gonna love it.
He picks up the song again with the band. They do one more
chorus.
Marty wraps up the song with a final riff, and the students all go berserk with
aQQlagse!
NT To.
140-A INT. SCHOOL GYM - BACK STAGE - NIGDE 140-A
Start:y appeacs back stage, about fio exit:---he sees LoRRAI NE
approachinq, and
GEORGE boltlnd hey.

George asked if he could take ma home.

' Tnaz' s Elna,

Lorraine---that' e
qreac. I ' d 1.ike nothinq ba€zor. You know, I sOth Of had a
feelinq

LORRAINE
I know. I sort of hava a feeling, too.
I h1nk George could really make
me happy•
yarry gu1ps, jtnow1nq wlta€ s 1zt stone dos tú ese cwo .

Uh...yosh. Listen, I've gotta be leaving town. Tonight. And I just wanted to say
that it's
really been...
(trying to find the right word)
. .educational.
LORRAINE
Nart:y, w111 I ever soo you again?

on. ,aan, I ‹3xiaranbee ik.

t3eorqo steps howard, entendi.ng hi e hand.

CONTINUED

140-A CONT I NUED

GEORGE
GoodniqhV, Piart:y. 'EhanRs for
Rav. 11/21/84
your heip ... and até youc good aavico.
(they shake hands)
I hope I can do t:ho same Eor you someday.

Yeah, sure. I've gotta go. Cood

luck, both of you.
(starts to go, then hesitates) *
Uh, l1 st:en. if you guys over have
kids, and one of: ' em when he' e
•
8 years old accidentally sets fire to the living room rug...
(a beat)
Go easy on him. •

Marty runs
off, leaving George and Lorraine together.
LORRAINE
Nart:y. I € e such a nico nama. then I have klds, i ' ri
going t:o name
one
of them "Marty."
c oes
Aren't you rushing things a littloz
LORRAINE
Hell...maybe a little. I was thínklng I'd like to go to college next year.
GEORGE

CUT TO:

CONTINUED

141 EXT. CLOCK TONER - NIGHT It's 4 minutes before 10.00.

142 ON STREET
Rev. 11/13/84

Pg. 111-B

142
BROWN, wearing the trenchcoat, paces back and forth
anxiously. The wind is picking up, and we h ar DI iSTANT
TRUNDER. The em1 re " 1. i qhVnlnq rod set:up" i. e complete ,
with the cable strung across the street between the two
lampposts. Brown checks his wristwatch: 9:56.
BRONN
Daftifi! here i e t:hal kid?
Brown pulls out a pocket watch and checks it: 9:56.
BROWN

Bvovn cltecks a wz’1s6VaVC OTt /1 g p eq wx1s0 • 1 t:' s

9 : 5 6.
BRONN

At last, the PACKARD pulls up across the street from the tarped DeLorean. Marty
jrps out, dressed
in his 1985 clothes.
BROW
You' re 1.ace! Do you have no concept:

.Brown pulls the tarp off the DeLoresn and saises the
"trolley hookn on back to its full haight.

142 CONT I NUED

Rav. 11/21/84

Pq. 112 .

Take 19 easy, Doc ! I had co chanqe

my clothes. Everything's
cool---they re back together...and here's the proof.
Marty shows him the fully restored snapshot.
MARTY
Yeah, old George really came through. Laid out Biff with one punch...cold cocked
him...
1 never knew he had 1t:
in him. Hell, my old man's never stool up to Biff in his life.
Brown opens the DeLorean door.
BRONN
All right, let's set your destination time. This is tha exact time you left...
143 INSERT - L.E.D. READOUT
On a readout: 1. abe 1 ted "Last: Tlne of Doparcure" i s
"OCTOBER 26,
1985 , l: 3Z A . Fl. "

143

z44
BROWN
punches the appropriate keypad.
BRO¥fH
( cominuinq)
Let's send you back to exactly the same time.

144

144-A
INSERT
The readout labelled "Destination Tíma" lights up to read "OCTOBER 26, 1985, 1:31
A.M." We can 9ee
that the two

145 EXT. ON BROWN MARTY

BROWN
l4S
(continuing)
It'll be like you naver left. • Now, I've painted a white
line on the street up there---that's
where you start from.
(MORE)

CONTINUED

145 CONT I NUED

BROWN
(continuing)
I've calculated the precise distance, taking into account tha acceleration speed
and wind
resistance
retroactive from the moment the lightning will strike...
Pg. 113

Hce p i
ks up a NI ND- UT .hímRN CLOCK .
BROWN
(continuing)
When this alarm goes off, you hit the gas.

Brown gives it a wind, then sets it on the DeLorean dashboard.

9rovn looks around, then sighs.
BRONN
Well, I guess that's everything.
hart:y ext:ends h1s hand.
NARTY
Doc, thanks for everything.
They shake hands .
BROW
Thank YOU . I ' 11. see you in ahouc 3O
years .
Marty sighs, again thinking of Brown's deatiny and the letter.
MARTY
I...I hope so .
BROWN
Don't worry. As long as you hit that wire with this hook, overything'll be fine.
MARTY
Right...
Bcowzt putas h1 s hands i n hi s pockecs and w*tltdcaws the 1ecve
Nancy pum ttteca
. He Looka alô 1V cuc1oua1y. Nar- / 1 urns avay.

1é5 CONTINUED

BROWN
What's the meaning of this?
f4ARI/f You'll find out in 30 years
BROWW
Rev. 10/21/84

Pg. 114.
It's about the future, isn't ito
Information about the future? * I warned you about this, kid.
The
consequences could be disastrous.
MARTY
You've gotta take that risk, Doc. Your life depends on it.
BROWN
(shakes his head)
No. I'm not going to accept the responsibility.
Brown tears up the envelope and shoves the pieces into the Packard ashtray.
MARTY
All right, Doc, in that case, I'll just have to tell you straight out---
But before Marty can get the words out, a TREMENDO&s c&S+ OF WIND comes up
accompanied by a loud
CRACK! They rarn: A TREE LIMB in the square has blown down right on top of the
cable between the
clock tower and the first lamp posz:
The paddle-plug attached to the lightning rod on the cl:c.‹ tower is yanked out,
and the cable
drops down from the clock tower!
BROWN
€reat Scott! Kid---find the end of that cable---I'll throw the rope

Brown grabs a big coil of rope and dashes into the

Marty gulps. He takes a look at the fallen tree branch :- the cable, then goes
hunzing for the end
of it.
The wind is picking up, and the sound of THUNDER approac-ea

CONTINUED

Rev. 11/13/â4

l#6
INT. CLOCK TOWER STAIRS - NIGHT
Brown charges up the several flights of stairs like a madman!
147 EXT. COURTHOUSE SQUARE
Marty pulls in the ca5le, hunting for the end of it. Az
last he finds it. He looks up at the clock tower.
147

147-A
INT. CLOCK TOWER
Brown rushes up a flight of rough hewn steps, into :he belfry. He is momentarily
silhouetted by
the cLock face as he slips between the giant gears and disappears behind the bell.
147-A*

148 EXT. ON THE CL*CK TOWER

A DOOR opons up, q1v1 ng access co t:he hedge be1.ow

ct:he

l oc n .
148
BROHN epepe out: as P I GEONS f 1ut:t:er away. x1s hai r
b1. ous
* w1 ldly in the ci nd, and 1i qhtninq ci ashes in t:he di
se:anc e .
He Longa up .

149 BROHN ' S P . O . V . OF

the CONNECTING SOCKET, dangling on its cable between the "1" and "2" on the huge
clock face. Its
other end is attached to the lightning rod on the tower above.
149

150

l5l

152

153

154
BRONN
looks down.
BROHN' S P . O. V. OF
NARTY, 5 seorÍes beLos, Davi ng with che paddle plug i n :-.ar.ü .
BROWN
fossas onu *nd of the rope down. The coil unravels. EXT. sgvxez
The rope drops to the ground.
Marty runs over, grabs it, and ties it to the paddle pí-q He waves back to Brown.
BROWN
nods and starts pulling the rope with the cable back up
COITP I NUED

IS 1

1a3

154

Rev. 11/13/84

155

watches anxiously as the cable goes back up. He yells up at Brown.

Doc! I gotta tell you about the future!

CONTINUED
150

156 I NTERCUT HI BH BROYfH

who can bare1. y hear him.

What??

MARTY
Bg. 116.
156

158
The future! On the night I travel back in time, the terrorists show up and you
get---
BONG! It's exactly 10:0O---and the CLOCK BELLS STRIKE TEN! 158
Marty can't be heard over the sound!
Brown almost loses his balance with the huge bells tolling so close! He regains
his footing, then
pulls the rope up the rest of the way. He's got the paddle plug in hand.
Brown yells at Marty, but he CAt't be heard over the bells. Brown gestures that
he's got the cable
and that Marty should go.

i59

160

161
xARw
hesitates, but Brown gestures adamantly. At last Marty
nods and runs t:o t:he DeLorean.
BROWN
unties the rope from the end of tha paddle plug and looks up at its socket mata
dangling on the
clock face. He reaches up for it, but he can't quite get it. He'll have to move
across the ledge
to get closer to it.
x&Rw
climbs into the DeLorean and closes the gull wing door.
159
160

161

162 INT. DELOREAN

163 EXT. STRERT - TOWN SQUARE the DeLorean takes off.

164 EXT. CLOCK TONER
Brown looks down and sees the DeLorean heading down the street.

CONTINUED
162

163

164

164 CONTINUED
Rev. 11/21/84

Pg. 117.

Brown moves along the ledge. He reaches up but he's

still
not close enough to grab t:he danql Ing soceez.

Lightning and thunder move ever closer.

165 EXT. STREET
The DeLorean passes a hand-painted white line on the street---Brown has also
painted the words
"START HERE" for Marty's benefit. Marty makes a U-turn and pulls up tO it, like a
starting line.
166 II . I DL I NG DELOREAN
Marty has an anxious expression on his face.
NARTY
Dammi , Doc, why'd you have to tear up that letter? If only there was a little
more time---
Marty glances down at thc 2 readouzs, "Destination Time,"
and "Last Time Departed."
167 INSERT - T¥IO READONTS

165
166

167
The "Destination Time" is set for "1:11 A.M.", identical to * the "Last Tlme
Departed."
*

168
x&sm
has an idea .

PARTY
168

Xove c1me ! 1 11 q1vo myself soma

more time!
He pushes the appropriate buttons on the keypad.
169 INSERT - TWO READOUTS
The ’minutes" indicator on the "Destination Time" begins counting backwards:
l:31...1:3O...1:29...
170 CI›OCK TOKfiR
Brown, with the cable in his left hand, moves a little further along the ledge.
Suddenly, the ledge CRACKS and CRUMBLES beneath his feet!
Brown drops lho cab1.e and grabs ont:o the CLOCK HANDS co save
house t f !

CONTINUED

169

170

170

The cable drops onto his left foot!

Rev. 11/21/84
Pg. 118.

Brown hangs precariously from the clock face

like Narold

Lloyd, wind blowing his hair, and lightning

sky!
cracking in the

Brown carefully moves his right foot toward the intact section of ledge while
trying to keep the
cable balanced on his left foot.
His right foot moves closer...at last it finds safe footing. Brown takes a deep
breath, then hops
over onto the ledge.
He kicks the cable up with his left foot and matches it in his hand.
He sighs relief. Everything is all right. He reaches up with his right "and and
is ablt tO gEab
the dangling socket.
171 INT. DELOREAN
Marty is still fiddling with dostination time.
172 INSERT - READONTS
The de st:1nat:i. on t:iate drops baclt t:o
1:26...1.25...1:24...1:23...1.22...1:21---
Suddenly the engine dies!

171

172

173
›Asw
tries to restart it but it won't turn over.
173

Come on, come on...!

174 EXT. CLOCK TOWER
Brown has the plug in his left hand, the socket in his right. Ha brings them
toward each other to
plug them
in---but they won't reach! Both ends are taut, but he' s about a foot short!
Brown looks down.
175 HIS P.O.V. OF
the tree limb caught on the cable---which is the reason there's no slack!
BROWN
jerks the end of the cable, trying to free it from the ..-c
CONTINUED

174

175

177 INTERCUT WITN THE CABLE

caught on the linüb as Brown tries to disengage it.
178 Brown can't free it. His face takes on intense
Pg. 119.
177

178

179
determination, enaggerated by the wind and lightning. He
gives t:he cab le a firemendous yank.
The cable jerks free from the tree---but THE PLUG AT THE 179
OTHER END IS WRENCHED OUT OF THE CONNECTING SOCKET ON THE LAMP POST!
180 BRONN roarts with horror. He now has a useless plug in his 180 hand.
Lightning cracks even
closer!

181 INT. DELOREAN

Marty is still trying to get the car restarted. Now the ALARM CLOCK rings!
Shit!
At last the engine roars to life! Marty switches TIME CIRCUITS ON! The various
indicators LIGHT UP!
Marty puts the car in gear.
Marty's FOOT hits the gas pedal.
182 EXT. STREET
The DeLorean peels out!
183 EXT. CLOCK TOWER
Brown looks at the two cables in his hand, and tha íoose e-d below: how can he get
everything
connected? Suddenly
he realizzs what he must do. He ties the two of them tlghtly together, then plugs
them in.
184 EXT. STREET
The DeLorean accelerates..
185 INSERT - SPEEDOMETER It passes 40 mph.

CONTINUED

181
\82

183

184

185

186 EXT. CLOCK TOWER

Brown tests the tied connected cable won't come apart: they're secure.
Pg. 120.
IP’
ends to make sure they

He takes a deep breath, then grips the line tightly. HE

JUMPS!
BRONN SLIDES DONN THE CABLE!
187 EXT. COURTHOUSE, SQUARE
Brown drops down to the ground!
He runs with the cable toward the lampost!
188 EXT. STREET
The DELOREAN ap-roach.es the square!
189 INT. MOVING DELOREAN
Marty drives with determination
190 SPEEDOFIETER passes 65.

im :mxzv's z.o.v. or
the approaching wire strung across the street.
192 EXT. STREET
-BROWN gets to the plug end of the cable! It's dislodged from the tree limb, so he
has enough
slack. He races to che taaip pose an‹:1 t:de danq1.inq sockec.
193 DESOREA8 cont:Nunes ace e Leracinq!

194 INT. MOVING DELOREAN

SPEEDOMETER passes 85!
The tHDICÃTOR LIGHTS behind MARTY begin rsglst*ring.

195 EXT. STREET

BROW qrakis lhe socke c cab1.o and PLUt S HI S CABLE IN!
196 IHT . DELOREA2J
TRE SPEEDOMETER HITS 88!

CONTINUED

187

168

189

190

192

192

184

195

197 EXT. CLOCK 7OYfER

Rev. 11/13/84

Pg. 121.
197

THE MOST SPECTACULAR BOLT OF LIGHTNING Ifl HISTORY OF

CINEMA STRIKES THE LIGHTNING ROD!
198 SERIES OF CUTS
The connec t:i ng cable beeomes e lee c ri fied . !
The DeLorean passes under the cable between the lamp posts.
The trolley hook on the DeLorean MAKES CONTACT with the electrified cable!
The Flux Capacitor GLOWS and DISCHARGES!
199 EXT. STREET
The DeLorean's "ime coils light up and the vehicle is sent
BACK TO THE FUTURE!
200 DR. BRONN
lola out a ohoop of del 1qhe and rel tal as ha' e drenche‹:t
by t:he deluqe
.
201 CABLE ACROSS STREET
has wrenched the trolley pole out of the rear of the DeLorean. It's left there,
swinging from the
cable.

198

199

2OC

201

202

203
BROWN
looks up at the clock tower.
CLocK
is stopped at 10:04
Lightníng cracks behind it and we

DISSOLVE TO:
202

202

204 CLOCK - OCTOBER 26, 1985 - NIGHT

The storm dissolves away into an ordinary night sky. The clock tower shows 30
years of additional
age...
CA2'tERA CRAVE8 DOW TO REVEAL

HILL VALLEY TOWN SQUARE, as we saw it in the beginning. All is quiet---it's lare.
204•
205 A RAGGEDY BUM
Rev. 11/21/84

Pq. 122.
205

is aaleep on a bench. Suddenly his hair begins to stand on end...

He ' e li c by an OFFSCREEN FLA5H OF LIGHT, accoaipani ed
by a SONIC
BOON and a SHARP BEST OF WIND.

He ho ld on him as se hear a SCREECH OF TI RES and an

OFFSCREEN CRASH
.
The BUN auakens and looks up t:o see ...
206 EXT. THE BOARDED UP MOVIE THEATER - BUM'S P.O.V
There i s a big ho te in t:ho fironz of what used co
be t:he
2heafier.
Suddenly, THE DELOREAN backs out and onto the street!
207
shakes his head.

Crazy drunk driver.

He goes back t:o e1.eep .
208 I HT . DELOREAN
MARTY looks ac che readout:e .
209 INSERT - READOUTS
"Present Time" now matches "Destination Time" at OCTOBER 2i, 1985, 1:24 A.M. "Last
Time Departed’
is now NOVEMBER 5, 1955; 10:04 P.M."

206

207

208
209

210 MARTY 2 0

’All right!

He turns on clhe
on .
ar raclio . A conceoporary ROCK TUNE com.e s

MARTY

Ho puts che car indo fo r'nard gear . THE ENci NE D IES !

CONTINUED

210 CONTINUED

MARTY
Rev. 10/21/84
Pq. 123.

He tries to start it again---but he can't get it to turn over.

NARTY
Come on, cone on---
He looks up and sees out the windshield...
211 MARTY'S P.O.V. THRU THE WINDSHIELD - NIGHT
THE TERROR I ST VAN, mmi sing down t:he sl:meet: anel around a
comer.

211

212
xARm
is horrified.

212

The terrorists!
(tries starting the car again)
Damn, it's frozen!
213 EXT . STREET IN FRONT OF THEAZER, DELOREAN - NI t
HT
Marty gets out of the DeLorean and runs like helL down :ke street after the
terrorist van.
213

CUT TO:

214
EXT. MALL - NIGHT
as MARTY arrives at the dali. He keeps on running, past
214
the enVranco glqri t:hat: reads "LONE P INE HALL" (ci ch an

* imaqe of a singho pino tree) , int:o t:de parking los,

jus- - -.
* time t:o seo, a good 150 yards away...

215 MARTY'S P.O.V. OF

The Terrorist van chasing down Dr. Brown---with Marty's
younqer sotf oauchinq f rozen i.ri horror .
216
is both horrified and amazed---horrified at being too la:e amazed at seeing
himself, and to be
seeing something he's already experienced from a 3rd p*rson point of view.
MARTY
Oh, God, no, I'm too late!

216
CONT I NUED

217 HIS P.O.V.

Rev. 11/13/84

Pg. 124.
217

21g
The Terrorist leans out of the van with the machine Jun.
He BLASTS Dr. Brown in the chest. Brown goes down. Everything is as it already
happened.
MARTY
MARTY

218
219 B IS P . O . V .
Oh, no!

219

220
The Terrorist van turns and goes after the younger Marty. Just as before, Marty
dives into the
DeLorean and roars off.
eAw
watches himself chased by the terrorists.

220

221 HIS P.O.V.

The DeLorean acce1.e rat:e e, even as It:' e be1ng shot at:, goi
nq faszer and
f ast:er unir1. 1t:' e enveloped *ri lhe BLI ND ING WHITE GLOW and
vanishes!
But the terrorist van drives into the white glow; we hear cursing as the blinded
driver loses
control of the van. ::
221
swerves and goes out of control, crashing into a "Foto-Mat” * type stand.

222
xARw
now runs toward the fallen Dr. Brown, lying face down in the parking lot.
He reaches him, along with EINSTEIN the faithful dog.
harry cume Brown over, t:ea rs in his eyes .

Doc, Doc...
Suddenly, BRONN OPENS HIS EYES and SMILES!

You're alive!

CONTINUED
222

222

Brown stands.
BROWN
Rev. 10/21/84

Pq . 125 .
Of course, I'm alive.
MARTY
But you were shot---I saw it! I saw
it twice!

Brown rips open his radiation suit revealing a BULLET PROOF VEST.
BROWN
It's the latest fashion in personal protectlon. It'll stop a slug from an elephant
rifle at 30
yards.

Brown smiles, reaches into his pocke and pulls out the LETTER THAT MARTY NROTE---
SCOTCH TAPED
TOGETHER! It's
yellow and brittle: 30 years old!

(smiles, shaking his haad) After all that l*cturing about screwing up futuro even s
and the
space-time contlnuum...
BROWN
. (shrugs)
Yeah, well, I figured, what the hell.
no haar APPROACMING POL ICE S I RENS .

CNT TO:

223 EX'f. 14ARTY ' S HOUSE - N I GHT

The DaLorean pulls up to the darkened house.
Tha gull wing passenger door opens and Marty gets out. Brown is driving and
Einstein takes Marty's
seat. Marty turns co matt do Brown .

CON7 INUED
223

223 CONT IMIED

INTERCUT W HH BROW IN THE DELOREAN
MARTY
So how das ahead ace you qo1nqy
BROWN
I figure I'll take it slow at
Re'v. 11/7/84

Pq. 126.
first...go about 30 years, just to get my feet wet; then maybe see what's shaking
in the 22nd or
23rd century.

MARTY
Well...good luck. And if you get a chance, look me up. I'Il be...47 years old.
BROWN
I will. Funny...I had to wait 30 years to catch up to you. Now
up to me. Ain't life weird.
Brown gives him a wink. Marty closes tho door.

22 4
MARTY'S HOUSE - NíGHT 2
Marty waves Brown off and heads around the side of the * house.

*
In the background, the DeLorean zooms off, and we see light ftom the offscreen TIME
TRAVEL GLOW.
Marty is hit by the sharp blast of wind.

225 INT. MARTY'S BEDROOM - DAY

CUR' 70 .
225
MARTY is on top of the bed, asleep in his clothes. Morning light streams in
through the bedroom
window; he stirs and opens his eyes. He blinks several times, as if getting his
bearings, ben
sits up and looks around.
Yes, it's his room all right, and everything seems the
same, from the SR-5 posters to his audio equipment. *
hardy t ooks as the c 1: .oc i< 8 : 3O . Re 1.ooks
at: the mal
1.
cal.endar • t:he f lrst: 25 days of Oct:ober are X' e‹:1
off---today is the 26th. Could it have all been a dream° •

CONTINUED

225 GONTINUED
He gens out of bed and
pinches hlmself to make

looks at himself
sure he s ea1.
Rev. 10/21/84
Pg. 126-A.

in che mi rroc , when •

ul qhVsVand 1e a €raned 5 x 7 verei on ofi the snapsho V
qizh
he and his siblings. It lOOk9 the sama.
He reaches int:o h1e east:e can and pull.s our che *u NISSÍON
FORM TO co
co ANY He looks at it, then decisively pum t s t:he CASSETTE TAPE out
of hi e
‹:lrazer, and put:e i t in the envelope with the form.

CONTINUED

226 INT. BEDROOM CORRIDOR - DAY

MARTY comes out of his room with the
th* hall and stops short as h4 enters
R•v. 2/28/85
Pq. 227.
226
envelope. He goes down

22 7
D IN I NF ROON - DAY

LINDA and DAVE are seated at the dining room table which
has been beaut:i ful ly ser for breakfasV . The 5 tal le
settings are eleganh, Dave is eating a half of grapefruit; Linda has strawberries
and a croissant.
Dave is wearing an expensive tailored suit and reads FORBES MAGAZINE.

DAVE
Hey, Linda, I m not your answering service. Somebody named €rez «» c z called
you a little while
ago.
227

Well, who was it? Greg or Craig? •

f don't know. I can't keep track of • all your boy friends.

What the hell is this?

LINDA
Breakfast. What happened, did
you sleep in your clothes again? *

Dave, what are you wearing?

DAVE
Sure, I always work on Saturday.
MARTY
Then what's with the suit?
DAVE
- ( confused, doesn' t: undara9and)
What else would I wear to the offlce? * Are you all right, Marty?

CONTINUED

227 COHZ INUED

AeV. 2/28/85

Pg. 128
Nos GEORGE and LORRAINE enter from ou9sldp . hey' ra t:anned and
healthy,
dressed in TASTEFUL CLOTHES. George carries hlntself with an am of
confidenco, and
Lorraine looks
terrific---thin and svelte, radiantly healthy and positive. This is a happy
marriage.
Marty can't believe how good his mother looks.

Mom! You look---so thin! I mean * you look great!

LORRAINE
Nhy, thank you , Marty. Say, tonight's the big night, right? Your hig date with
Jennifer Parker?
Such a nice girl, I sure like her.

( can' t: be t leva 1s' e h1g

mother talklng)
Pardon ma, Fia?

You're going up to the lake tonight, aren't you? Haven't you been planning it for
2 weeks?
WARTY
Mom, we went through this last night. How can I go if Dad's car is wrecked?
GEORGE
wr*« eü? There's nothing wrong with
my car . I ri fiaG V, Bi Of should be out:

228 EXT. Mcr X ovsm

BIFF is In tha driveway, waxing a naw BMW. Biff is vorlclnq deLx gonely;
hi e rough
edqos and arroqance are a L 1 gone.
228
GEORGE
Hey, BIff, don't forge€: twe coats
of wex this tim•.
BIFF
I'm finishing up the second coat now.

CONTINUED

228 CONTINUED

CEORCE
g1 €€, doo 'Iz Vz'y 'bo con me .
BIFF
Rev. 2/2B/â5

Pq. 129.
Uh, oh---1 mean I was just about to

229 INT . NeFLY HOUSE

harry 1 s abso1ut:ety as t:oui shed.
GEORGE
(sitting back down)
Nhat a character. Always trying to Ret away with something.
Some employees will get away with murde if you don't stay on 'em. I've had to keep
him in line
ever since high school.
LORRAINE
229
Now, George, you know if it wasn't * for Biff, yo and I never would
have
geet:en niarri ed.

Yeah, Com, ypu've told us a million

times: Dad beat him up when he was * bothering you and that's how the
two
of you fell in love at the "Fish
Under the Sea“ Dance.
Marty at last undeE9tands what's going on'here.
NAnrz
xc, le nas "Enchantzaen9 Under The Sea. "
*
LORRAINE
That' e réqhV . Your fat:her
*
literally came to my rescue. (sighs)
- I e was so romano:ic !
LINDA
(rolls her eyes)
Cornball city.
BIFF ENTERS and hands George a HARDBACK BOOK.

Oh, Mr. McFLy, this just came in: it's the cover artwork for your novel.

CONTINUED

230 1NSER7 - BOOK

Rev. 2/28/85

Pq. 130.
230

te ' e can 1od ‘A MATCH êlADE IN SPACE, " and t:ha cover
bedroom ult; a spaco alien catkinq co a couplo in
shova a
bed---very reminiscent of Marty'* "Darth Vadar" visitatlon to George. The style
indicates it's a
scienc*-fiction romance novel . The aut:hor' e me, cEORGE NcFLY,
i e in big
1ec1zers .

231 BACIA TO SXO'E

GEORGE
231*
My first novel. I hope it sells.
LORRAINE
Of coursa it'll sell, dear. After
all you've baen seLLing stories ever

That's right, Dad. Where's that

positlve attltude of yours?
uEoxcm
sure. Us book 1s qo1ztq co do uso f2ne.
( t:o Nart:y)
And where ' e that: tape of yours, Narry? *
I want to mail that for you.
(picks up onValope)
This is going to do lust fíne, too. *

GEORCE
con51dence, Nancy. t•1ka t va a1ways vo1d you, 1:E you pum
youz' m1nd t:o
it, you can accomplish anythlng.
BIFF
Oh, Mxrty, here's your keys. You'ro
all waxed and ready for tonight.
Biff tossoa him a set of keys.

Reu. 2J28/85

232 EXT McFLY HOUSE - DAY

Marty comes out of the house and opens the garage
door, revealinP
A TRICKED OUT BLACK TOYOTA 4 X 4 just like he saw in
the showroom.
MARTY can't believe it. Marty approaches it.
vo z (o.s. )
How about a ride, mister?

23*

Marty turns---it's JENNIFER. She looks just the same: great.

NARTY
Jennifer! Are you ever a sight for sore
eyes! Let me look at you!
Marty looks at ner, as if trying to make sure she's real.
Jennifer 1s hard-dressed to understand why Marty is making such a big dual about
this.
JENNIFER
Marty, you're acting
like you haven't seen me in a wcek.

i haven' € .
JENNI FER

Are you okay? l e everyt:king aí ri qhz? harry 1.ooks back ac

hi e house .
232-A MARTY' S P . O . V. OF
Goorqe an‹$ Lorraine, Su t:ho doomay, aos around each outter .
233
looks back at Jennifer.

232-A”

233

(smiles)
MARw
Everything is great, Jen. Just great!
Ha pulls her toward him...they're about to kiss...closer,
closer...We hear a SONlC BOOM, and Marty turns...
cowczinizo

Rev. 2/28/85

234 BcFLY aOUSE - ANOTBER ANSLE

The DELOREAN STREAKs UP in front of the house.
DR. BROW § unips out, moro ml Cd-eyed and francis tyan pe' pp
ever seen him. His clothes are bizarro---a
a roman tunic, a cape, and strlped plast1c pants.
His baseball cap is embroidered with the logo “Peoria World's Fair 2015,“ and his
Amerlzxn flag
shoulder patch has 63 stars.
234
BROWN
Marty---you've gotta come with
mm---back to the future!

Doc, *'v* got Jennifer hora. I was just gonna try out my new wheels.

Wall, bring her along---this

concerne her, too.
Brown opens Inc paaaenqar wtZ ming and Jonnl for approach
cauVlously.

CONTINUED

234 coN'f INUED

Rev. i 1/l3/84

Pq. 132.
Brown goes around the back of t:ho Dohorean and poure a bottle
of beer into an
opening labelled "Westinghouse Nr. Fusion Home Energy Converter.
BRONN
I need Quel. .
What do you mean? What happens? (sudden alarm)
Does something happen to us? Do we
turn into assholes or something?
BROWN
No, you and Jennifer both turn out
fine. But your kids,
Marty---something's gotta be done
about your ki.de !
Brown gets back in the DeLorean.
235 INT. DELOREAN

235
Marty gets in, and Jennifer sits on his lap. She closes the

BRONN
Okay, here wo go ...

You'd better back this thing up, Doc. We haven't got enough road to got up to 88.
BRoNN
Where we're going, we don't use

Brown hitm a new switch on the dashboard.

236
STREET
Tha DaE›orõan spaeds down the sl:roat:, then BLASTS OFF I NTO
TBE SK'f LIKE A STREAK!
Once again, the coils glow xnd the DeLorean is enveloped in the familiar white glow
and disappears
into the future...
ROSA E24D TI TLES
FADE OUT

CONTINUED
236