IT (Dave Kajganich) (06-21-2010) (Digital)

IT
based on the novel by Stephen King

adaptation by Dave Kajganich
for Lin Pictures / Warner Brothers
21 June 2010 Draft
NOTE:
This is, at heart, a story about adults confronting un-

resolved trauma from their childhoods. As such, the con-
cept of memory, specifically repressed memory, plays an
important role.
Memories here are initially presented as conventional

flashbacks, or quicker "flash memories," but as the story
progresses, the past and the present take on an increas-
ingly close relationship. At points, the past and present
share the screen as certain locations trigger recovered
memories. Ultimately, the past and present litterally
meet and coexist in the story’s final showdown.
For simplicity's sake, all scenes taking place in the

past appear in bold. To further differentiate, the past
happens in vivid summer weather, while the present plays
out during a gray few days in spring.
EXT. WITCHAM STREET -- NIGHT
It is the last hour of night in Derry, Maine. On a tree-

lined street in a residential part of town, the houses
are big black silhouettes of peaked roofs and TV aerials.
Timed traffic signals switch from green to yellow to red.

In yards, tiny nozzles pop up and begin spraying newly
planted garden beds. Things are happening while the fam-
ilies of Derry sleep.
INT. DENBROUGH HOUSE, MASTER BEDROOM -- NIGHT
BILL DENBROUGH (38) is tossing in bed, in the grip of

some encompassing NIGHTMARE:
INT. DENBROUGH HOUSE, GEORGIE’S ROOM -- DAY
Bill (11) is standing in his brother’s bedroom, in a

black suit and tie. It is silent here, a little spooky.
All of his brother’s toys are stowed and the room is
weirdly tidy. On the dresser, next to Georgie’s kinder-
garten photo, is a lit funeral candle.
MR. DENBROUGH (O.S.)

What did your mother and I tell
you about your brother’s room?
Bill’s father’s voice startles him. He turns to see MR.

DENBROUGH (38), also in a black suit, standing in the
door looking at Bill with a mix of grief and rage.
BILL
D-Don’t be m-m-mad.
Bill’s stutter, though mild, is pronounced.
MR. DENBROUGH
There’s nothing for you in here.
Not anymore.
He goes to hug his father, but Mr. Denbrough merely holds

the door open until Bill files out. Then he shuts it
behind them. And LOCKS it.
BACK TO:
Like a man running out of a burning house, Bill wrenches

himself awake with a GASP.
BILL
You’re okay-- You’re okay--
(CONTINUED)
2.
CONTINUED:
He’s soaked in sweat and unable to breathe from real,

adrenalized fear. He sits up to catch his breath. There
is no one with him, no wife, no lover, no soulmate.
INT. DENBROUGH HOUSE, BATHROOM -- NIGHT
Bill opens the medicine cabinet to reveal a list he’s

taped there. He writes today’s date and “GEORGIE’S ROOM.”
Other dates are titled “NEIBOLT ST.,” “SEWERS,” and, omin-
ously, “IT.” From the looks of it, Bill’s been having
steadily increasing nightmares. For weeks.
He shuts the cabinet and splashes his face. He’s a

handsome guy, but his features are lined by years of
stress, and his hair has thinned prematurely. He looks
exhausted. Still, something boyish remains.
EXT. DENBROUGH HOUSE, FRONT PORCH -- NIGHT
Bill’s porch light comes on and he steps out to get the

morning paper. The front page reads: MISSING BOY’S FATH-
ER RELEASED. INVESTIGATION CONTINUES.
He goes back in his house and the kitchen light comes on.
Through the window Bill can be seen starting the coffeema-
ker. Time to start the day.
BILL (V.O.)
Can an entire town be haunted?
DERRY MORNING MONTAGE: A series of shots begins of places

around Derry, all vacant this early. Weedy city parks and
playgrounds, Up-Mile Hill, downtown’s canal, the city’s
Standpipe. Derry is at once bucolic and a little sinister
in this cold pre-dawn light.
BILL (V.O.) (CONT'D)

Not just one abandoned house, or
the corner of a single street. Or
one particular basketball court in
one particular park. But the whole
works. Everything. Can that be?
INT. DENBROUGH HOUSE, BILL’S OFFICE -- DAWN
Bill cuts out the article from the morning paper and
tacks it up on the bulletin board in his office beside
others regarding kids recently missing in Derry.
BILL (V.O.)
Listen:
(CONTINUED)
3.
CONTINUED:
BILL (V.O.)
Haunted. “Often visted by ghosts
or spirits.” Funk and Wagnalls.
(beat)
Haunting. “Persistently recurring
to mind. Difficult to forget.”
He sits at the desk and pulls the phone in front of him.

From a desk drawer, he spreads out some index cards on
which are telephone numbers for “BEN,” “EDDIE,” “RICHIE,”
and “BEVERLY.”
He picks up the phone, hesitates, reconsiders, and then

sets it back down. He puts his head in his hands.
INT. BILL’S CAR -- DAY
Bill drives through Derry. It is a typical New England

story: a once-prosperous mill town fallen on hard times.
BILL (V.O.)
And this last one, the one that
really scares me: A Haunt. A zoo-
logical term meaning “A place to
feed.”
(beat)
Please God it hasn’t started a-
gain. Please God I don’t have to
call them back here.
He turns into the lot of the city’s public library and

parks in a STAFF spot.

Please God, let me be wrong about
this fucking town.
----------------------------------------------------------
OPENING CREDITS play over PHOTOGRAPHS from DERRY’S long

HISTORY, showing a hearty New England lumber town devolve
into today’s economically depressed county seat.
----------------------------------------------------------
INT. DERRY PUBLIC LIBRARY, STACKS -- DAY
At the library, Bill goes about his job archiving mater-

ials, shelving volumes, and tagging books needing repair.
He passes the official MISSING posters put up in the lob-
by display case. Five smiling young faces.
4.
INT. DERRY PUBLIC LIBRARY, BILL’S OFFICE -- DAY
In his office, Bill is eating lunch, listening to a small

RADIO TURNED LOW. At some point he stops and looks up.
AUDRA (33) is standing at his door, unpinning her STAFF
badge. She’s a lovely woman a few years Bill’s junior.
She smiles.
AUDRA
Is that a police radio?
(beat)
You giving up on music or some-
thing?
BILL
Help you, Audra?
AUDRA
(re: his lunch)
I was just going to ask if you
wanted anything from Gedreau’s,
but it looks like you’re set.
(beat)
You could still come join me. Old
times--
BILL
No thanks.
She lingers for a moment, then comes in and half shuts

the door. She sits.
AUDRA
Bill, won’t you tell me what’s
wrong? You’ve been in this funk
for weeks. People are starting to
worry.
BILL
People?
The RADIO begins CHATTERING some new DISPATCH. Bill gives

it half his attention.
AUDRA
Okay. Me. I’m worried. You’ve been
walking around here like you want
to throttle somebody.
BILL
I do.
She glances down at more missing posters on his desk.

(CONTINUED)
5.
CONTINUED:
AUDRA
Bill, everyone’s upset about the
kids. But-- you seem to be taking
it a little harder than most--
Suddenly, Bill motions for quiet and TURNS UP the RADIO.
DISPATCHER’S VOICE
--Kansas Street, by the culvert
there. Officer is requesting full
back-up. Looks like a John Henry.
Bill jumps up and grabs his raincoat. Audra is wide-eyed.
AUDRA
What’s a ‘John Henry’?
BILL
Body of a child.
AUDRA
Oh my God.
Bill hurries past her and out the door.
EXT. KANSAS STREET, CULVERT -- DAY
This part of Kansas Street runs beside a wooded area

where police have blocked off both sides of a small con-
crete bridge. Bill moves past where cops are talking to
reporters and heads down an embankment toward the
coroner’s team.
A DEPUTY (30) sees Bill coming and holds him back.
DEPUTY
Sir. This is a crime scene--
But Bill sees the SHERIFF (50) standing near the body
with the Coroner and shouts to him.
BILL
You should have started a curfew,
months ago! Like I said to! I told
you these kids weren’t runaways.
The Sheriff takes a few steps in Bill’s direction.
SHERIFF
You can’t stick to town halls, Mr.
Denbrough? You have to come all
the way down here to tell me that?
(CONTINUED)
6.
CONTINUED:
Bill tries to see the body, but they’ve put screens up

around it. It begins to rain.
BILL
Who is it? Jerry Bellwood? One of
the Hawn twins? Who?
SHERIFF
Get your rear back in your car and
let us work. Before I have you es-
corted there.
But the Coroner’s Assistant steps back and, for a moment,

Bill can see between the screens.
It is the body of a boy, about eight years old. He has

been ripped apart and left lying face down in the little
creek there. His pajamas are crusty with dried blood.
BILL’S POV: On the boy’s head is a hat, made out of a

piece of old newspaper--or, more precisely, a paper boat
that’s been put on the dead boy’s head like a hat.
And, without warning, a WAKING NIGHTMARE begins:
INT. DENBROUGH HOUSE, BILL’S ROOM -- DAY
BILL DENBROUGH (11) is sick in bed, surrounded by comic

books and Kleenex. He is folding a sheet of newspaper in-
to a paper boat. Downstairs, someone is playing PIANO.
His little brother GEORGIE (6) watches as Bill opens up

some sealing wax and starts rubbing it all over the boat.
GEORGIE
Can I do some?
BILL
Don’t get any on the blankets or
Mom’ll have a b-bird.
Bill gives him the boat and wax.
GEORGIE
I wish you could come, too. It’s
your boat really.
BILL
She. You call boats “she.”
GEORGIE
Mom said you can maybe go outside
tomorrow--
(CONTINUED)
7.
CONTINUED:
BILL
No. Please. Go. If this gets you
out of my hair, I’ll fold you a
dozen more.
Georgie giggles.
BILL (CONT'D)
Just don’t go past the stop signs,
okay? Stay where I can see you.
Georgie nods. Bill waves the boat dry and hands it to

him. Georgie hugs him, then hurries out.
GEORGIE (O.S.)
Thanks, Bill! It’s a neat boat!
BILL
She--
Bill listens to Georgie get his coat and then HEAD OUT
the FRONT DOOR.
EXT. WITCHAM STREET -- DAY
Georgie hurries to the flooded curb in front of the house

and sets the boat down. It is immediately carried off by
the current. He follows the boat, rooting it on. It dips
and dives, but does not sink.
He does not see the sewer drain in time, though. The boat
enters a sluice of water, tips over the edge into the
darkness, and is gone. No!
Georgie looks back at his house, then at the grate,

frowning. When the VOICE comes out of the sewer it more
confuses Georgie than startles him.
IT/PENNYWISE
Hiya, Georgie!
Georgie peers in more closely. Someone is down there, but

it’s too dim to make out any details.
GEORGIE
Hello?
IT/PENNYWISE
Look what I found! A little paper
boat! Now who could it belong to I
wonder?
Georgie’s face lights up. The voice is friendly enough.

(CONTINUED)
8.
CONTINUED:
GEORGIE
Mine! She’s mine!
IT/PENNYWISE
“She!” That’s good! That’s very
good! And how about a balloon, as
long as we’re at it?
(beat)
They float--
And, sure enough, Georgie can see them bumping up against

the underside of the sewer. He can’t resist and reaches
for the opening. And SUDDENLY:
An arm, in a white cotton glove and silken sleeve, shoots

up out of the grate and grabs his wrist. Georgie screams.
It yanks him down with violence, face-first to the curb,
over and over, trying to drag him under the street.
EXT. DENBROUGH HOUSE -- DAY
In his upstairs window of his house, Bill is standing

open-mouthed, seeing all of this.
INT. DENBROUGH HOUSE, BILL’S ROOM -- DAY
He tries to yell, but all that comes out is his stutter.
BILL’S POV: It’s over. Georgie is lying in the road, his

raincoat splashed with blood. A NEIGHBOR runs toward
Georgie, YELLING. Downstairs, the PIANO STOPS.
MRS. DENBROUGH (O.S.)

Bill? Did you call me?
The Neighbor carries Georgie toward the Denbrough house.

Mrs. Denbrough runs out, screaming. She tries to take
him, but they lay him on the wet grass instead. George’s
eyes are open to the rain. His arm’s been torn off.
BILL (V.O.)
No one believed me. No grown-ups,
anyway. Even when other kids began
going missing, turning up mutila-
ted in some odd corner of Derry,
they said there was no way anyone
could be down that storm drain.
But I knew what I saw.
(CONTINUED)
9.
CONTINUED:
Mrs. Denbrough screams and screams. More neighbors begin

coming out of their dark houses to see what’s happened.

And I wasn’t the only one.
INT. DENBROUGH HOUSE, BILL’S OFFICE -- DAY
Bill comes rushing in, out of breath and wet with rain.
He scrambles for the index cards with the phone numbers,
grabs the phone and starts punching in the first one.
He waits, without patience, while the line connects.
CUT TO:
EXT. SAN FRANCISCO -- DAY
The San Francisco skyline reveals a 60-floor office tower

under construction. Halfway to the top, BEN HANSCOM (38)
runs up an exposed stairwell in shorts and running shoes.
INT. SAN FRANCISCO CONSTRUCTION SITE, STAIRWELL -- DAY
Ben is in the middle of a grueling workout. He has a

handsome, wind-chapped face and his physique is hard and
trim. He’s oblivious to the dropoff half a foot away.
EXT. SAN FRANCISCO CONSTRUCTION SITE, YARD -- DAY
After running, Ben stretches in the construction yard.

The YARD MANAGER leans out of a trailer and calls to him.
YARD MANAGER
Mr. Hanscom. Call for you. A Bill
Denbrough.
BEN
Take a message, would you, Ricky?
The Yard Manager disappears for a moment then comes back.
YARD MANAGER
He said to tell you it’s “Big
Bill.”
Something clicks for Ben. Then the Yard Manager adds:
YARD MANAGER (CONT'D)

From Derry.
(CONTINUED)
10.
CONTINUED:
Then Ben gets it. And it hits him like another 60 floors.
INT. SAN FRANCISCO CONSTRUCTION SITE, TRAILER -- DAY
Ben comes in and grabs a phone at one of the desks there.

Architectural plans and renderings cover every surface.
BEN
Bill? Jesus. I can’t believe this.
How the heck are you doing--?
With no warning, Bill simply says:
BILL’S VOICE
It’s back.
A beat. Suddenly, Ben looks like he wishes he’d never

taken this particular call.
BILL’S VOICE (CONT'D)

You know what I’m talking about?
Ben sits.
BEN
Have you called the others?
BILL’S VOICE
You’re the first.
BEN
Wow. Let me just take a sec here.
BILL’S VOICE
There’s a lot to talk about and
not a lot of time if we’re gonna
do any good here.
BEN
Okay. Well, if you’re asking me to
come out there, which I guess you
are, it might take me a week or so
to pull together an open weekend--
BILL’S VOICE
It’s killing again, Ben. Kids.
Ben wipes his mouth, which has suddenly gone dry.

So I need you to get on a plane as
soon as you can. Tonight even. Can
you do that?
(MORE)
(CONTINUED)
11.
CONTINUED:
(beat)
Please tell me you can do that. Be-
cause you promised.
And so Ben REMEMBERS:
INT. TUNNELS, CONCRETE LEVEL -- DAY
The five members of the Loser’s Club--four boys and one

girl, all 11--stand in a circle, holding hands, knee-deep
in a sewer. They all look badly shaken, even hurt.
BILL
Swear. If It comes back you’ll
help me finish It. For good.
They swear. Bill takes a shard of Coke bottle and begins

making cuts in all their hands. BEN (11) apparently quite
fat as a child, is last. He looks down as his palm fills
with blood.
BACK TO:
EXT. SAN FRANCISCO CONSTUCTION SITE, YARD -- DAY
Ben comes outside, a little pale. He looks at his palms,

but the scars have long since faded. Somewhere above him,
the SHIFT WHISTLE BLOWS.
CUT TO:
INT. RICHIE TOZIER’S LOFT, BATHROOM -- DAY
RICHIE TOZIER (38) is on his knees dry heaving into quite

a fancy-looking toilet. He’s in just boxer shorts and a t-
shirt, his torso spasming.
INT. RICHIE TOZIER’S LOFT, BEDROOM -- DAY
Richie comes in, and sits on the rumpled bed. He has to

move the phone to make room. He puts it on the night
stand, beside a pair of half-eaten take-out lunches and
some condom wrappers.
He has a great LA haircut, great LA glasses. Normally, he

must look very put together. At the moment, he looks like
he’s been punched.
Out the glass doors in front of him is a million-dollar

view of Venice Beach and the vast Pacific. On the sand, a
man, STEVE (40), is tossing a ball to a black lab.
(CONTINUED)
12.
CONTINUED:
When Richie gains his composure, he goes to the closet,

opens it up, and pulls down a suitcase.
EXT. KLAD STUDIOS -- DAY
A radio tower sits atop a building on the Sunset Strip. A

billboard features Richie’s grinning face with the slogan
“Tozier on KLAD--You’ll Be Hearing Voices!”
INT. KLAD STUDIOS, MAIN STUDIO -- DAY
Under a red “ON AIR” light, Richie sits at the mic, in

the middle of his show.
RICHIE
(as Granny Grunt)
Then they asked if I ever got pick-
ed up by the fuzz in my day.
(as Kinky Briefcase)
And have you?
(as Granny Grunt)
No. But I told ‘em I been swung
around by my titties a few times!
Richie signals the Engineer and there is CANNED LAUGHTER.
RICHIE (CONT'D)
(as Kinky Briefcase)
Until next time, this is Kinky
Briefcase, Sex Accountant. If you
can’t get hard, you need my card!
(as himself)
Well that’s it for me folks. Trash-
mouth Richie Tozier signing off
for a few days of R+R.
The Engineer looks up at this, surprised.
RICHIE (CONT'D)
I’ll see you back here same time
same station, after the weekend.
Behind him, Steve comes out of his office door marked

“STATION MANAGER,” also looking surprised.
INT. KLAD STUDIOS, GREEN ROOM -- DAY
Steve ushers Richie into a green room and shuts the door.
He’s pissed.
(CONTINUED)
13.
CONTINUED:
STEVE
Let me get this straight: You’re
putting my balls to the wall for a
promise you made when you were ten
years old?
RICHIE
Eleven.
STEVE
Cut the bullshit! You’ve got Larry
David tomorrow, Clarence Clemons
on your Saturday show--
RICHIE
I can call in some favors and get
some names to replace them if they
want to cancel, but I’m going. I’m
on a red-eye out of LAX tonight.
STEVE
What about clothes and things?
RICHIE
I packed a bag. It’s in my car.
Steve takes a deep breath through his nose, like a bull.
STEVE
This is why you ran out at lunch?
Richie nods.
RICHIE
Look, don’t be pissed. This is--
it’s very serious.
STEVE
What isn’t with you?
Steve puts a hand on Richie’s shoulder, softening a bit.
STEVE (CONT'D)
Look. Just promise me you’ll keep
me posted. I don’t like this, any
of this, and I don’t want any
surprises Monday morning.
RICHIE
I promise.
STEVE
Put your mouth where your money
is, then.
(CONTINUED)
14.
CONTINUED: (2)
Steve leans up to kiss Richie, but Richie pulls back,

quick-glancing at the door.
RICHIE
Not here.
A different kind of frustration comes into Steve’s face.
RICHIE (CONT'D)
We agreed--not at work.
STEVE
Right. Just your place. With the
doors locked and the shades drawn.
(beat)
Buy me a souvenir, asshole.
Steve heads out the door. Richie checks his watch.

Outside, the LAUGH TRACK from the next radio show can be
heard, and a MEMORY comes:
INT. TOZIER HOUSE, FAMILY ROOM -- NIGHT
Richie, his parents, and his little sister are all watch-
ing TV. “Bedtime With Bonzo” is on; Ronald Reagan is bot-
tle feeding a chimp.
MRS. TOZIER
That’s your President, children.
Richie perks up, not quite believing what he’s hearing.
RICHIE
Wait a minute. Actors can turn out
to be President?!
Mr. Tozier says, mildly, from his recliner.
MR. TOZIER
Mostly, they just turn out to be
queers.
MRS. TOZIER
(lightly)
Not a nice word, hon.
Richie sinks back into his seat. He glances at his mother

and then notices something about what she’s wearing. From
the look on his face, this is of crucial importance.
CLOSE ON: Large, hideous, silver nugget earrings.
CUT TO:
15.
INT. MARSH STUDIO, WORK FLOOR -- DUSK
In the industrial loft headquarters of a Chicago dress-

making company, nearly everyone’s gone home for the day.
Mannequins dressed in bridal gowns in various stages of
tailoring take up most of the space.
BEVERLY ROGAN (38) is writing some notes on a design

sketch. She’s a striking redhead, all the more lovely for
being not much aware of her looks.
TOM ROGAN (45) is leaning on the desk beside her, looking

bored. He’s nicely dressed and has a motorcycle helmet in
his hands. Somewhere, a TELEPHONE RINGS.
TOM ROGAN
Come on, babe. You know I don’t
like to be late to these things.
So Beverly caps her marker. Her colleague KAY (50) comes

out of a room in back.
KAY
Phone call, sweetie. Urgent.
BEVERLY
(apologetic, to Tom)
I’ll make it quick.
As Beverly runs back to the office, Kay comes over and

begins packing her things. She and Tom exchange a nod,
neither a fan of the other, clearly.
Tom sees Beverly pick up the call through the office

window. He can’t hear what she’s saying, but he watches,
with great attention. Like Ben, Beverly smiles at first,
but her expression immediately shifts.
TOM
What’s so urgent?
KAY
Dunno. The guy didn’t say.
Guy? Tom’s eyes narrow a hair.
INT. MARSH STUDIO, BACK OFFICE -- DUSK
Beverly shoulders the phone and starts writing something.
(CONTINUED)
16.
CONTINUED:
BEVERLY
Derry Town House. I remember it.
Okay. I’ll try to get a flight
tonight. I’ll do my best, Bill.
(beat)
We’re going to get through this,
okay? We’ll help each other.
Beverly says goodbye and puts down the phone.
FLASH MEMORY: A large man in work clothes, his back turn-

ed, is standing in a bathroom splashed with blood.
Beverly shakes away this memory. When she straightens up,

Tom is standing in the door, watching her.
TOM ROGAN
Somebody needs your help, Bev?
BEVERLY
Tom. I’m sorry. I’m going to have
to cancel our plans tonight. That
was an old friend. An old old
friend and something’s happened.
He reaches for the pad, but she picks it up, too quickly.
BEVERLY (CONT'D)
Let me explain first. I don’t have
time to argue, or negotiate this
one. I have to go. It’s no joke.
It’s a life or death situation.
He takes a step toward her and, like that, the energy in

the room shifts.
BEVERLY (CONT'D)
(quietly)
Tom.
She glances out the window to the work floor.
TOM ROGAN
Kay left. It’s just us.
A beat. Beverly knows what this means. When Tom speaks,

it’s with sinister calm.
TOM ROGAN (CONT'D)

Don’t you ever hold something back
from me. Did you forget that?
Beverly lowers her eyes.
(CONTINUED)
17.
CONTINUED: (2)
BEVERLY
Yes. I’m sorry, Tom. I forgot.
He looks her up and down, critically.
TOM ROGAN
We’re late for the show, but I
don’t care about that now. We’re
gonna start over. And this time,
you’re gonna help me understand
who is this old, old friend--
(beat)
--and what he needs from my wife
that’s so God damned important.
Beverly, regressed, can only nod. He smiles. And then he

hits her.
CUT TO:
FLASH MEMORY: A squat, weathered house sits abandoned in

a weedy yard. Trees sway around it in the summer breeze.
Sunflowers nod in the side yard.
INT. BOSTON ROYAL LIMO SERVICE, BATHROOM -- NIGHT
EDDIE KASPBRAK (38) is at the sink in his company rest-

room, rubbing his eyes, REMEMBERING this. Someone’s KNOCK-
ING on the door.
MYRA (O.S.)
Who was that on the telephone?
Eddie, you’re scaring me!
INT. BOSTON ROYAL LIMO SERVICE, HALLWAY -- NIGHT
When Eddie comes out of the rest room, his wife MYRA (40)
is waiting there. She’s a pretty, 240-lbs woman. They are
wearing matching v-neck sweaters with a company logo
reading “BOSTON ROYAL LIMO.”
MYRA
I saw you run in here--
Eddie has a timid, rabbitty face and is rail-thin, making

his wife seem all the more monstrous.
EDDIE
I have to go away for a few days.
MYRA
Away?! Where?
(CONTINUED)
18.
CONTINUED:
Eddie pushes past her and heads to his office.
INT. BOSTON ROYAL LIMO SERVICE, OFFICE -- NIGHT
Eddie shuts down his computer and opens his desk drawer.
He picks out several prescription medicines, including an
aspirator, and shoves them in his pockets.
EDDIE
To Maine. To my old home town.
MYRA
What about work? You have to pick
up Al Pacino in an hour!
EDDIE
You’ll have to drive him yourself.
Demitri’s got the MLA conference.
MYRA
I can’t drive Al Pacino! I’ll have
an accident. You know how I get
with famous people.
Eddie is finding it a little hard to breathe.
EDDIE
Myra, listen to me. That was a
friend on the phone, a friend I
owe a lot. He needs help and I pro-
mised I’d give it.
MYRA
Something’s really wrong, then.
Eddie nods.
MYRA (CONT'D)
You’re in some kind of trouble--
Eddie! Tell me!
EDDIE
I’m taking one of the Town Cars.
Myra’s chin starts to quiver. Big tears are on their way.

Eddie really is starting to have trouble breathing.
MYRA
You’ve never kept anything from me
before, Eddie! You’re scaring me
so bad! Look at you! You’re having
an attack!
(CONTINUED)
19.
CONTINUED:
EDDIE
Myra. Stop.
(beat)
I’m not hiding anything. And I’m
fine. I’ll explain when I get
there. I just have to get on the
road if I want to make it tonight.
MYRA
NOW? You’re leaving right this
SECOND?!
EDDIE
(more gently)
I don’t want to fall asleep at the
wheel, right?
Myra comes over and takes his face in her hands and makes
him look her in the eye. Tears slip down her cheeks.
EDDIE (CONT'D)
Look, sweetie, it’s not just me.
Okay? I won’t be alone. I’ll be
with friends.
MYRA
You don’t have any friends!
She says this without meanness. It is, apparently, the

truth. Now she is crying.
EDDIE
Don’t be scared.
MYRA
I can’t help it!
From the look on Eddie’s face, neither can he. She folds
him into a bone-grinding, tragic hug.
INT. LINCOLN TOWN CAR -- NIGHT
Eddie comes into the big eight-bay garage and gets into
one of the cars. He shuts the door, checks that Myra
can’t see, and takes a huge hit off of his aspirator. He
leans his head back and waits to be able to breathe.
FLASH MEMORY: The abandoned house has a latticed porch

skirt, a section of which has been torn off. Underneath
is a dark crawl space.
FLASH MEMORY: Eddie, who is badly hurt, clutching his arm

to his chest, walks to his house with the other kids.
(CONTINUED)
20.
CONTINUED:
Suddenly, his mother MRS. KASPBRAK--a large woman with a

strong Eastern European accent--comes rushing off of the
porch.
MRS. KASPRAK
ED! EDDIE! WHAT HAPPENED TO YOU?!
Eddie shudders. He puts the key in, and starts the

ignition. Then he drives.
CUT TO:
EXT. DENBROUGH HOUSE -- NIGHT
On Witcham Street, all the houses are dark but Bill’s,

which is ablaze with light. Somewhere, a dog is BARKING.
INT. DENBROUGH HOUSE, DINING ROOM -- NIGHT
Bill is awake, making preparations. He is setting out

five piles of gear on the dining room table, as if for a
caving expedition: Water and food, packs, helmets with
miner’s lamps. He looks everything over.
A floorboard upstairs CREAKS. Bill freezes. A moment

later, another CREAK. Someone, or something, is up there.
INT. DENBROUGH HOUSE, UPSTAIRS HALLWAY -- NIGHT
Bill comes up the stairs, ready for anything. At the end

of the hall he can see a light go on in his bedroom. Some
kind of SHUFFLING or SNIFFLING sound is coming from in-
side as well. He goes down to the door and looks in.
INT. DENBROUGH HOUSE, BILL’S ROOM -- NIGHT
The first thing Bill sees are small puddles on the floor,
like tracks. He follows them and sees:
There, in the corner, in his little yellow slicker, is

Georgie. His face is buried in shadow, but his voice is
Georgie’s.
GEORGIE/IT
It hurts, Bill.
Bill doesn’t answer at first. He’s too fear-struck.
GEORGIE/IT (CONT'D)
Clown sent me. To tell you some-
thing.
(CONTINUED)
21.
CONTINUED:
BILL
You are the clown. You’re not my
brother.
GEORGIE/IT
Your friends are gonna die, Bill.
They’re gonna die here in Derry.
Where they should have before.
BILL
You think so?
Georgie nods, slowly.
GEORGIE/IT
Clown said. You’re gonna get ‘em
killed just like you did me.
Bill drops his eyes.
GEORGIE/IT (CONT'D)
And you, too. You’re gonna get kil-
led tomorrow, too. Clown likes to
finish what he started.
His fear is being eclipsed by something just as potent.
BILL
Leave my brother out of this. Show
me your face. Your real face.
GEORGIE/IT
Clown says you’ll see him tomor-
row.
Bill reaches to the bed and grabs a blanket and pillow

off it. Georgie is crying hard now, wanting comfort.
BILL
Yes. We’ll see you tomorrow. All
your fucking faces.
Bill steps out into the hall and shuts the door on this
horror. He walks back downstairs with the blanket and
pillow, the sound of CRYING echoing after him. There is a
loneliness to being this strong, and driven.
FADE TO BLACK:
EXT. DOWNTOWN DERRY, BANK STREET -- DAY
It is a grey morning in Derry. The big marquee clock

above the Derry City Bank FLIPS from 6:59 to 7:00 a.m.
22.
INT. DENBROUGH HOUSE, LIVING ROOM -- DAY
Bill has slept on his couch. He opens his eyes and sees
the miners’ helmets on the table. Then he remembers and
grabs for the phone. He dials.
VOICE ON PHONE
Derry Town House, can I help you?
BILL
This is Bill Denbrough. I reserved
some rooms--I just want to make
sure everyone got in. Safe.
VOICE ON PHONE
Uh, yes. Everyone’s checked in.
Last one got in about twenty min-
utes ago, Sir.
Bill closes his eyes, relieved.
VOICE ON PHONE (CONT'D)

Would you like me to ring any of
their rooms for you?
BILL
No no. Let them sleep if they can.
--We’ve got a big day today.
Bill puts down the phone. Only then does he notice: A

child’s wet footprints are on the floor, coming right up
to the couch, left at some recent point in the night.
EXT. CANAL STREET -- DAY
Ben is up already, jogging the foggy streets of Derry.
He runs first alongside downtown’s grand stone canal and

then up past the elementary school where kids are going
inside for class. He slows, REMEMBERING:
INT. DERRY ELEMENTARY SCHOOL, CORRIDOR -- DAY
BEVERLY MARSH (11) is at her locker. She opens it and a

small note tumbles out. She opens it and reads it quietly
so no one else can hear.
BEVERLY
“Your hair is winter fire, January
embers. My heart burns there too.”
(CONTINUED)
23.
CONTINUED:
She flushes with warmth and looks around. There are kids
all around her, but no one is looking her way. She folds
the note back up and puts it in her pocket. She gets her
books, shuts her locker, and goes.
Only then do we see BEN HANSCOM (11) watching this from

his locker down the hall. His face is sunny, but fat. He
is carrying 30 extra pounds on his child’s frame. For a
moment he smiles.
BACK TO:
The MEMORY fades and Ben continues on.
EXT. KANSAS STREET, UPMILE HILL -- DAY
Ben follows the Kenduskeag Stream out of town. Businesses

give way to houses and wooded areas.
Finally, he gets to the bottom of Up-Mile hill. As the

road climbs the hill, the land on one side drops off into
a wooded stream valley called “The Barrens.” It’s a steep
hill, but Ben’s game. He sprints up it, testing himself,
and enjoying the test.
When he gets to the top he shakes out his legs and looks
around, and then it hits him, giving him gooseflesh. He
knows this place. Knows it well. He turns, and gets suck-
ed into a much more powerful MEMORY:
Ben comes up the hill on his way home from town. He is

taking the hill slow, PANTING all the way.
When Ben gets to the top of the hill, he stops to catch

his breath at the wooden guardrail there. It’s a hot,
breezy day, and Ben is now dripping with sweat.
IT/PENNYWISE (O.S.)
Cherry, Lime. Orange. Apple, too!
Ben looks around. At the bottom of the hill, just inside

the trees, is a clown in whiteface. Ben can barely make
him out through the leaves. The clown waves.
IT/PENNYWISE (CONT'D)
Down here! Want a sno-bliz? I got
all flavors.
Ben looks suspicious, but can’t hide his interest.
(CONTINUED)
24.
CONTINUED:
BEN
(calling down)
What’s a sno-bliz?
IT/PENNYWISE
Maybe you call it a sno-cone?
Ben can’t see if the clown really has any shaved ice.
Actually, it’s impossible to see much at all with all the
leaves in the way.
Come on down and try one! They’re
gonna melt!
Ben is about to answer back when he is whirled around to

find himself face-to-face with HENRY BOWERS, VICTOR CRISS
and BELCH HUGGINS (13). These are tough-looking kids all,
though Henry Bowers is clearly the leader.
HENRY BOWERS
Hey, Tits. Enjoying summer break?
BEN
Henry. What do you want?
HENRY BOWERS
I want to beat you up.
Victor and Belch grab Ben’s arms. Ben looks down the hill
for help, but the clown is gone.
HENRY BOWERS (CONT'D)

Next time somebody asks to look at
your spelling test, what are you
gonna say?
BEN
You better quit!
HENRY BOWERS
Quit? I’m in summer school because
of you, you fat fuck.
BEN
I didn’t do anything wrong!
HENRY BOWERS
Pull up his shirt.
Victor yanks up his shirt.
BELCH HUGGINS
Lookit his titties! Jesus!
(CONTINUED)
25.
CONTINUED: (2)
Henry takes from his pocket a little jack knife and opens
it. Ben tries to break free, but they hold him. The wood
rail behind him CREAKS.
HENRY BOWERS
I’m gonna make a notch for every
day I have to be in that stinkin’
place this summer. Maybe that’ll
help you think.
BEN
Don’t--
Before he can say more, Henry flicks the knife on Ben’s

belly, drawing blood.
HENRY BOWERS
What do you say?
Henry makes another cut, a little worse than the first.
BEN
Ow! I didn’t fail you. You failed
you.
Henry makes a third notch, even deeper. Tears of anger,

and shame, come to Ben’s eyes.
BEN (CONT'D)
OW! Okay! Yes! I say Yes! Copy!
Whatever you want!
HENRY BOWERS
That’s right. Now let’s make sure
you remember it.
This time he makes a deeper cut. This one really bleeds.

Victor and Belch hold him, but they, too, look worried.
Henry isn’t stopping. He seems to be enjoying himself. He

cuts again, this time Ben yells in real pain.
VICTOR CRISS
Jeez! Don’t really cut him!
HENRY BOWERS
Belch, how many weeks are we in
summer school anyway?
Ben has to decide. He summons his nerve and throws his

weight backward against the rail. It CRACKS, but doesn’t
break, so Ben plants a foot into Henry’s stomach and
pushes, hard. For an instant, Ben sees shock and pain on
Henry’s face, then he’s falling back through empty space.
26.
EXT. THE BARRENS, UPMILE HILL EMBANKMENT -- DAY
Ben hits the slope hard and does a backward somersault,

rolling all the way down to the woods’ edge. He comes to
a stop, covered in briars. Henry’s voice booms overhead.
HENRY BOWERS
I’m gonna fucking kill you, you
fat shit.
Henry jumps over the railing and starts down the slope,
Belch and Victor behind him. Ben bolts into the trees.
EXT. THE BARRENS, PUMP HATCH -- DAY
As Ben runs through the undergrowth, he begins to hear a

LOW HUMMING up ahead.
He comes into a small clearing where a wide, three-foot

high cement cylinder sticks out of the ground. The words
“DERRY SEWER DEPT” are stamped on the iron cap. He tries
to push off the lid, but it won’t budge, so he runs on.
EXT. THE BARRENS, TREE FORT SITE -- DAY
Ben comes to the Kenduskeag Stream and crosses it in a

panic. He’s already lost. He stops on the other side to
catch his breath and listen. He can hear Henry and the
others not too far away.
BELCH HUGGINS (O.S.)

Where the fuck did he go?
HENRY BOWERS (O.S.)

Take the creek. I’ll get the road.
Behind Ben, Bill and EDDIE KASPBRAK (11) drop down off a
low limb of a big oak tree. Ben whirls around, startled.
BILL
Is that Henry Bowers and those
guys?
Ben nods, suspicious. Eddie looks scared.
EDDIE
Bill, let’s get out of here.
BILL
You’re Ben Hanscom, right? From
Mrs. Douglas’s class?
(MORE)
(CONTINUED)
27.
CONTINUED:
BILL (CONT'D)
(off Ben’s nod)
I’m Bill Denbrough. This is Eddie
K-K-K--
EDDIE
Kaspbrak. Bill, come on. I don’t
want to mess with them.
Eddie’s breathing has gotten labored. He takes out an

aspirator and takes a few puffs off it.
BILL
All right. Follow us.
Bill and Eddie head back into the trees. Ben, hearing the
older boys drawing close, has no choice but to follow.
Ben follows Bill and Eddie to the concrete bridge on

Kansas Street. Bill has stashed a moped under it, out of
view. It’s barely more than a bike really, built out of
spare parts, even wrong parts, and painted matte silver.
He pushes it up the embankment and climbs on.
BILL
(to Ben)
All right, n-now you.
Ben looks at him, then at the bike.
BEN
Are you nuts?
EDDIE
Someone’s coming.
BILL
She’s solid. C-c-ome on.
Ben climbs behind Bill. The bike’s tires sag, but holds
them. Down the road a little ways, Henry Bowers climbs up
out of the Barrens.
HENRY BOWERS
HERE! HE’S UP HERE!
Eddie climbs onto the package carrier behind Ben, facing

backward. Back the other way, he sees Victor climb up
onto the road, Belch right behind him. They’re trapped.
BILL
Keep your feet up and hold on.
(CONTINUED)
28.
CONTINUED:
Bill launches them forward and pedals like crazy to get

the motor to start. They look ridiculous, the bike veer-
ing wildly, barely staying upright. Finally, the motor
REVS and Bill yells:
BILL (CONT'D)
Hi-yo Silver! Away!
He aims the bike toward Henry and GUNS it. Henry does not
veer off course and a game of chicken begins.
BEN
Holy Craaaaaap!
Only at the last second does Henry dart to the side. He

makes a grab at Eddie, but misses. He runs after the
bike, and appears to be gaining. So Eddie empties his
pockets, throwing everything he finds at Henry--gum,
coins, and his aspirator which bonks off Henry’s brow.
Henry shouts after them, but the bike has started down Up-
Mile Hill--the boys all screaming and laughing now.
Ben stands at the top of Up-Mile Hill, beside a furious

Henry Bowers, watching the boys, piled three-deep on the
moped like circus monkeys, speed off toward downtown.
Then Bowers is gone and Ben is alone. He shakes his head,
flabbergasted by the intensity of this memory.
CUT TO:
INT. ORONOKA DINER -- DAY
The Oronoka Diner is bright and welcoming--a long, tin-

ceilinged room with photos from Derry’s history on all
the walls. Bill can be seen through the front windows,
parking. He comes in, briefcase in hand, and sees the
others waiting for him.
They are all sitting around a big table way in back. For
a moment, Bill sees them as they were the summer of ‘85.
As soon as this image congeals, it fades.
He walks up. The moment is a little formal, but then

Richie leans back in his chair and says:
RICHIE
How long you been waxing your
head, Big Bill?
(CONTINUED)
29.
CONTINUED:
And then everyone is laughing and getting up to hug him.
BILL
You’re so full of shit, Tozier,
you squeak going into a turn.
CUT TO:
A CONVERSATIONAL MONTAGE shows everyone eating and catch-

ing up in a wide-ranging conversation:
BEN
I went on the “This or a Shotgun”
exercise program and started run-
ning. Everywhere. Since college.
Seven days a week, rain or shine.
EDDIE
It’s small, just 10 employees. I
started it with my wife, Myra. It
was her idea. I need to call her.
For all I know she could be in bed
with Al Pacino right now.
BEVERLY
Dressmaking. You couldn’t get me
to put on a skirt as a girl and
now I’m designing wedding gowns.
Big, girly wedding gowns.
BILL
Your CNN communications tower in
New York, Ben. I looked at it and
realized, it’s just a glass ver-
sion of the Standpipe.
BEN
It’s amazing what stays with you.
RICHIE
And what doesn’t. --So far, I
don’t recognize half of what I’ve
seen in this town. 27 years, man.
This statement gives Bill pause. But then Ben says:
BEN
Trust me. You will.
Another round of drinks comes and, when the waitress

leaves, Beverly holds up her glass. Everyone joins her.
BEVERLY
To us. To the Losers Club of 1985.
(CONTINUED)
30.
CONTINUED: (2)
They clink glasses and drink. When they put their glasses
down the mood has shifted.
BEN
All right, Bill. We’re here. I
guess it’s now or never.
Bill looks at each of them, takes a breath, and begins.
BILL
In January, a boy named Frederick
Cowan went missing. 15. He’d run
away before, so, although there
was a search, everyone expected
he’d come home.
Bill just shakes his head.
BILL (CONT'D)
Then, five weeks later, the Hawn
twins, Sean and Nick, ten years
old, disappeared right out of
their bath. No forced doors. No
broken windows. No suspects. Then
Cherie Terrault, 14, went in
March. Last seen by the canal.
BEVERLY
Anyone connect this back to ‘85?
BILL
No. At least not publicly.
(beat)
I’d kept tabs on all of you over
the years. Thank God for the fuck-
ing Internet. But I held off cal-
ling. I wish I hadn’t. But I need-
ed to be absolutely sure before I
disturbed your lives.
RICHIE
So what did it for you?
BILL
Jerry Bellwood. A fifth-grader.
Disappeared two weeks ago. He was
found off Kansas Street yester-
day, near where I used to hide my
bike when we were in the Barrens.
He’d been torn apart.
They take this in. Ben shivers. He was just there.
(CONTINUED)
31.
CONTINUED: (3)
RICHIE
Could it have been an accident?
Maybe he was hit by a car, thrown
down there--
BILL
A little memento was put with the
body. Something meant to scare me.
A little paper boat, like the kind
I made my brother the morning he
was killed. Maybe the same boat. I
couldn’t get close enough to see.
BEVERLY
“Georgie.”
Bill nods.
EDDIE
(gently)
Lots of little boys make paper
boats, Bill. I doesn’t mean it was
the same one, or even related--
BILL
He came to see me last night, all
right? It’s happening. It’s real.
And if you’re going to be of any
help to me, I need you to believe
that, really let it in.
A beat as they digest this.
BILL (CONT'D)
I’m sorry. It’s just-- You’re
talking about this like it’s open
to interpretation, just like all
the adults did back then. They
rationalized all of the peculiar-
ities until they went away.
(beat)
I mean don’t you remember all the
crazy shit It pulled?
A beat.
BEVERLY
I have to be honest, Bill. I’m
glad I’m here, and I want to do
what I can to help, but I only
have pieces. Some of it seems like
something I dreamed, and maybe it
is. I don’t have any kind of big
picture.
(CONTINUED)
32.
CONTINUED: (4)
The others nod.
BEN
You remember a lot, Bill?
BILL
I never left. I see all these same
places every day. I see the same
names on mailboxes. I shop at some
of the same stores. I’ve kept the
circuit open, so to speak.
(beat)
And I think to the degree I remem-
ber It, It remembers me. The cur-
rent runs both ways.
RICHIE
I don’t like the sound of that.
EDDIE
So why now? After what, 30 years?
I don’t get it.
Bill opens his briefcase and takes out a large binder.

They gather around it. He opens to a series of photos:
The first is from the 1950s. In it, some kind of autocade

makes its way down Main Street surrounded by members of a
marching band and majorettes. In the crowd on one side of
the street, visible behind a row of kids, is a clown.
BILL
This was taken in 1957. Seven kids
were killed that year. That was a-
lso the year Mason Bolinger set
fire to the Baptist school. 11
kids died. He said in court a man
on the radio told him to do it.
The second photo he shows them is from the 1920s. Several

bodies lie in the street. On all the side-walks, hundreds
of locals crowd to see.
BILL (CONT'D)
1929. The Bradley Gang, gunned
down by the police. Look here--
CLOSE ON: On the second story of a beer hall, a clown can

be seen in a window leaning out. He is hoisting a beer.
BILL (CONT'D)
Ten kids missing or killed that
year.
(MORE)
(CONTINUED)
33.
CONTINUED: (5)
BILL (CONT'D)
The last one was on the day the
Bradley Gang was shot down. Got
buried in all the headlines.
The third photo shows blackened timbers sticking up at

angles around the charred husk of an exploded factory.
EDDIE
Kitchener Ironworks.
BILL
Yeah. 1902. Easter Sunday. Over a
hundred people were killed in the
explosion. Eighty-two were kids,
there for an Easter egg hunt.
BEN
How far back does this go?
BILL
As far as I can find records.
Every 26 or 27 years, a spate of
child killings ending in some kind
of grisly climax. Then nothing.
Until the next rotation.
BEVERLY
So you were expecting this.
BILL
I’d hoped It was done. That we’d
killed it. But I waited, just in
case.
BEN
But none of us must have been
sure. Otherwise why would we have
promised to come back.
BILL
I made you promise.
BEN
Why?
BILL
We’ll get to that.
(beat)
So now It’s woken up from its
little nap and I’m still here. And
I remember. And now I’ve brought
you all here. And you’re going to
remember, too. We’ll start there.
Level the playing field.
(CONTINUED)
34.
CONTINUED: (6)
EDDIE
You think that’s a good idea? I
mean if what you’re saying is true
I’d kind of rather It didn’t remem-
ber me. At all.
BILL
Then you won’t be able to fight
It. I brought you back here to
help me kill It. Go back to its
place and kill It.
The groups takes this in. Some look doubtful.
BILL (CONT'D)
If I thought I could do this
alone, I never would have called
you. I don’t know about you, but I
can’t wait another 27 years to be
done with this. And I’d bet none
of you can either.
RICHIE
We survived, Bill. Okay, we didn’t
kill it, but we survived.
BILL
That how you feel. You’re surviv-
ing? And that’s good enough?
EDDIE
What’s-- What are you saying?
BILL
I’m saying it’s worse than that.
You’re not surviving because it’s
never stopped. You might have for-
gotten what happened when we were
eleven, but it doesn’t mean It’s
forgotten you.
(to Ben)
Ben what were you most afraid of
back then?
BEN
That I was unlovable. Because of
my size, because I couldn’t stop
eating.
BILL
And now?
EDDIE
Look at him. He’s an Adonis.
(CONTINUED)
35.
CONTINUED: (7)
BILL
Sure, he’s not overeating every
day, but he’s running. Every day
since college. The “This or a
Shotgun Diet.” That doesn’t sound
very happy to me..
(to Ben, sincerely)
What do you see now when you look
in the mirror, Ben? Do you see
what we see? Or do you still see
something less kind?
Ben looks uncomfortable with where this is going.
BILL (CONT'D)
Beverly. What about you?
BEVERLY
Bill--
BEN
Easy, Bill.
BILL
Your father, right? He used to
beat the shit out of you. And if I
had to guess, I’d say the guy you
married--what’s his name--?
BEVERLY
(acidly)
Tom.
BILL
Tom reminds you every now and then
of your old man. I hope the compar-
ison stops there, but it wouldn’t
shock me if it didn’t.
RICHIE
Come on, Bill. You’re being cruel.
BILL
What about you, Richie? How’s life
in L.A.?
RICHIE
Don’t go there.
BILL
Eddie?
EDDIE
I get the point.
(CONTINUED)
36.
CONTINUED: (8)
BILL
So you can come here and say
you’re here to save some kids’
lives, or maybe even that you’re
doing it to help mine. And those
are good reasons. But let’s be
honest. Your lives are at stake
here, too.
BEVERLY
So how does that help us?
BILL
My point is that It has been
around for a long long time. It’s
shaped us, but we’ve shaped It as
well. And I think if we want to
kill It, we have to cut off the
power we give It by letting it
exploit our fears.
(beat)
I think It’s going to try to scare
you real bad today, even --hurt
you.
(beat)
All I can do is try to make you
mad enough to stay and fight.
Because we’ll never be free of It,
otherwise.
BEVERLY
“Pennywise.” That was It’s name.
Everyone looks chilled by this.
BILL
(beat)
So go, open up the circuit. Move
around town and jog it loose. I
suggest you pair up. You have a
whole summer to try to remember.
RICHIE
(as Butch Cassidy)
“The way I see it, we either fight
or give. And the next time I say
let’s go someplace like Bolivia,
let’s go someplace like Bolivia.”
Eddie just shakes his head.
RICHIE (CONT'D)
You’ve never seen ‘Butch Cassidy
and the Sundance Kid’?!
(CONTINUED)
37.
CONTINUED: (9)
BILL
Fill him in. Ben, go with Beverly.
BEVERLY
But where are we going? This is
happening a little fast--
BILL
The Barrens, your houses, the li-
brary, downtown, the school,
Gedreau’s, Costello’s, take your
pick. Follow your memories, and
keep moving. Except for the
sewers. No one go down there yet.
BEVERLY
That’s where we ended up. We
fought It down there, didn’t we?
BILL
And that’s where it ends tonight.
For good.
RICHIE
We’re really gonna have ourselves
some chucks this time.
EXT. ORONOKA RESTAURANT -- DAY
They come outside and start putting on their jackets.
BILL
The library closes at 7. Meet me
there at 7:30 sharp. If any of us
is late, we’ll take that to mean
there’s been some trouble.
(beat)
And just remember, the more you
let It in, the more you can fight
It, all right. So let It in.
BEN
Bill. Your brother-- last night.
What did he say? Anything?
A beat. Bill decides how much to tell them.
BILL
He said “it hurts.”
They look at one another, getting ready for anything.

38.
DERRY AFTERNOON MONTAGE:
1. Another of the city’s banks has a street clock. It

flips to 11:48 a.m.
2. The local McDonald’s advertises its new Happy Meal.
3. A half a foot of water runs in the canal, disappearing

into the dark under Front Street, where three city blocks
cover the canal over before it merges with the Penobscot
River on the other side of town.
INT. CAB -- DAY
Richie and Eddie have jumped in a cab. The CAB DRIVER

(50) is an old Mainer type.
CAB DRIVER
Where to gentlemen?
Eddie looks at Richie, unsure, but Richie knows.
RICHIE
There’s a street that dead-ends at
the trainyard. You know it?
The Cab Driver starts driving.
CAB DRIVER
Neibolt Street.
Richie’s skin crawls.
RICHIE
That’s it. #29.
CAB DRIVER
You lookin’ for a house?
RICHIE
Yeah. I mean maybe. I don’t know
if it’s still standing.
CAB DRIVER
Ain’t no houses out there. Ain’t
much of a train yard either. Not
anymore.
EDDIE
What’s there now?
(CONTINUED)
39.
CONTINUED:
CAB DRIVER
Another goddamn construction pro-
ject. Pardon my French if you’re
religious types.
(beat)
The mayor’s got the zoning board
paid up like high-class whores.
EXT. NEIBOLT STREET -- DAY
The cab turns onto Neibolt St, which now runs along one
side of a huge construction project. Diggers and backhoes
are tearing up the ground on one end while a foundation
is being laid at the other.
Eddie and Richie get out and walk to the edge. Richie
points to an anonymous section of construction where a
big hole has been cleared.
RICHIE
It was right there. We almost died
in that house. I told you about it
up in the tree fort, remember?
EDDIE
The tree fort! In the Barrens.
RICHIE
The day Ben helped us fix it up.
You were there, too. That’s when I
told you about #29.
Eddie REMEMBERS.
EXT. THE BARRENS, THE TREE FORT -- DAY
Eddie, Ben, and Bill have climbed up into a tree to

survey the remains of an old hunting blind. This is the
same tree by the stream Eddie and Bill dropped out of.
Some of the structure is intact, but other parts of it
have rotted away. Ben inspects it carefully.
EDDIE
We found it last week. Bad, huh?
BEN
The beams are fine. It’s just the
floorboards, and this one corner
needs to be lifted.
BILL
This thing must weigh a ton.
(CONTINUED)
40.
CONTINUED:
BEN
You need a pully. Then you can
haul it up and chock it in place.
Then you’ll be golden.
BILL
You mean “w-we.”
BEN
Huh?
BILL
W-We. We can.
Ben looks moved to be included.
CUT TO:
The boys have brought tools and wood. They strip the rot-
ten floorboards out and lift the corner of the frame to a
level height. Ben chocks it into place.
RICHIE (O.S.)
(as a Southern Gent)
Look who it is now, Big Bill, Eds,
and Ol’ Haystack Calhoun!
They all look down and see RICHIE TOZIER (11) peering up
at them from the forest floor. Ben freezes up a little.
BILL
Don’t w-worry. It’s just Richie.
He wanted to help.
EDDIE
Beep Beep, Richie.
Richie climbs up.
RICHIE
(as Mr. T)
You better watch out, fool, or you
gonna meet my friend Pain.
BILL
Meet B-Ben Hanscom, our engineer.
Richie shoots a hand out to Ben.
RICHIE
Richie Tozier’s my name, voices is
my game.
He pumps Ben’s hand. Eddie looks at him in mock-disgust.

(CONTINUED)
41.
CONTINUED: (2)
EDDIE
The best part of you ran down your
father’s leg.
RICHIE
But look how much good stuff there
was left!
WORK MONTAGE: The boys hammer floorboards, square the

ends, and before long, they have a tree fort that would
be the envy of any kid under twenty.
RICHIE (CONT'D)
This is fucking Bubbalicious! A
club house. A real club house.
EDDIE
Bowers will never find us up here.
BILL
Ben, you’re amazing.
Bill slaps Ben on the back. Ben goes crimson with pride.
EDDIE
So what’s our club?
RICHIE
Well, if it’s gonna be full of
dweebs like us, it’s gonna have to
be The Losers’ Club.
A CONVERSATIONAL MONTAGE suggests the wide range of sub-

jects discussed up here. They lie there surrounded by
summer leaves and bird song. Someone’s brought up a bean
bag chair and a checkerboard.
BEN
It’s a double feature. Gremlins
and The Goonies. Who’s in?
RICHIE
Eddie, who would you rather screw?
Madonna or Ally Sheedy?
EDDIE
The trick is algorithms. You have
to learn the algorithms and then
it’s a piece of cake.
RICHIE
Okay. Bill. Sharon Stone or what’s-
her-name from Top Gun?
(CONTINUED)
42.
CONTINUED: (3)
BEN
We had class together this year.
I’m not gonna tell you who she is,
but she’s really pretty. And nice.
And super pretty-- Did I say that?
BILL
My mom used to p-practice with me,
rhymes and stuff, but I never got
it r-right. I’ll always stutter.
BEN
Ask her to practice again.
Bill just shrugs. Finally, Richie says, in an odd tone:
RICHIE
Can I tell you guys something?
If you laugh, I’ll never hang out
with you again. I mean it.
BILL
G-go on, Richie. We got your back.
Richie looks unsure, but plunges in.
RICHIE
You know Neibolt Street? Where all
those old houses are by the train-
yard--?
CUT TO:
EXT. 29 NEIBOLT STREET, YARD -- DAY
Richie stops his bike in front of #29 Neibolt Street. A

bag half full of bottles hangs off his mirror.
RICHIE’S VOICE
A couple weeks ago, I was out
there looking for Coke bottles--
for the deposit money.
#29 is a squat grey bungalow abandoned like others on

this street. It’s windows stare, like dirty blind eyes.
It has a latticed porch skirt, one section of which has
been torn off.
Underneath, Richie can see glinting. Bottles maybe.
He crosses the yard and crouches at the opening. There is

indeed a bunch of bottles far back, almost to the founda-
tion.
(CONTINUED)
43.
CONTINUED:
Sunlight comes through the gaps between the porch

floorboards laying strips of light over everything. From
the discarded blankets and trash, it looks like someone
might use this space to sleep out of the rain.
INT. 29 NEIBOLT STREET, UNDER THE PORCH -- DAY
Richie crawls under a few feet to try to reach the

bottles. He catches the edge of one and it slips away. He
reaches in further, just as:
What he thought was a blanket suddenly rolls over. It is

a MAN, his face lost in shadow. Richie screams. When he
speaks, it’s with a pleasant, almost effeminate voice.
BOBBY GREY/IT
You got a cigarette, kid?
RICHIE
Sorry. I was looking for bottles.
Richie instinctively starts backing up.
BOBBY GREY/IT
Wait wait. You want bottles, I got
bottles. I got six or seven back
here. Just sittin’ back here.
RICHIE
Don’t you want ‘em? You get five
cents for ‘em down at Costello’s.
BOBBY GREY/IT
You’re sweet. No, you take them.
That means you’ll have 30 cents to
spend on something.
(beat)
You can get a lot of things for 30
cents.
The man starts pushing bottles toward him. Richie reach-

es out, but pulls back when the man says:
BOBBY GREY/IT (CONT'D)

Heck, for thirty cents, you can
get a hell of a good blow.
(quietly)
You know what I mean by that, kid?
Richie shakes his head.

It’s okay. You’re a kid. Every
kid’s gotta learn, right?
(CONTINUED)
44.
CONTINUED:
Richie is becoming afraid. He glances behind him and is

shocked to see how far under the porch he has crawled.
When he turns back, the man has sat up, part of his face
in the light. He’s an older man with red cheeks and salty
beard stubble. He has remnants of lipstick, or some kind
of facepaint around his mouth. The corner of his mouth
looks crusty, herpetic.

It’s like floating, Richie. You’ll
like it.
Richie turns. Did he just use Richie’s name?
RICHIE
How do you know who I am?
BOBBY GREY/IT
We all know about you. We gotta
stick together. Guys like us.
The Man winks. Richie looks ill. He begins backing away.
RICHIE
I gotta go.
BOBBY GREY/IT
How about a dime. Keep the rest.
I’ll do you for a dime. Look--
Richie hears a ZIPPER UNZIP. He bolts. It begins crawling

after him. As It crawls forward, through the strips of
light, his face shifts. It has small blue darts around
his rheumy eyes.

You don’t hafta pretend, Richie!
Not down here--!
EXT. 29 NEIBOLT STREET, YARD -- DAY
Richie comes flying out from under the porch, but It

grabs his leg to pull him back under. He SCREAMS.
BOBBY GREY/IT
And that’s why the party’s down
here, Richie! You’ll like it down
here. Some of your friends are
here--
Richie SCREAMS again, trying to grab grass, anything to

keep from being pulled under. But he’s losing his grip.
(CONTINUED)
45.
CONTINUED:
Suddenly, Richie looks back at It and shouts:
RICHIE
(from Scarface)
I ain’t no pansy! I’m Tony
Montana, freak! You fuck with me
you fuckin’ with the best!
A HISS comes from under the porch and, all at once, Rich-
ie is able to pull out his leg.
RICHIE (CONT'D)
(from Scarface)
You wanna play rough? Say hello to
my little friend!
And Richie throws his bag of bottles right in It’s face.
It HISSES again, injured somehow by all of this. Richie

sprints toward his bike.
Richie jumps on his bike and starts pedalling.
IN HIS REARVIEW MIRROR: Richie can see It come after him,

swinging into view out into the middle of Neibolt Street.
Its wearing a filthy sharkskin suit and stained white
cotton gloves, and circus-big lipstick, looking like some-
one’s worst notions of what constitues gay attire. On his
head, thin clumps of orange hair.
HOBO/IT
Come back, Richie! Bring your
friends! Bobby does it for a dime,
he’ll do it anytime. 15 cents for
overtime! That’s me, Bobby Grey!
Pleased to meet-cha!
But Richie has gotten control of his bike and is speeding

away, tears of terror on his face.
BACK TO:
Up in the tree fort, Richie finishes his story. All the

boys’ mouths are open. Eddie blasts off on his aspirator,
startling them all.
EDDIE
It was probably some drunk living
under there. You’re lucky he
didn’t touch you and give you some-
thing.
(CONTINUED)
46.
CONTINUED:
BILL
You didn’t d-dream it?
RICHIE
It was real! It happened. It was
gonna kill me.
Richie tears up again. Bill puts a hand on his shoulder.
BEN
It? You think it was some kind of
monster or something?
RICHIE
It knew my name. How could It know
that?
BEN
I thought you said It didn’t say
anything to you.
RICHIE
(covering)
Just my name.
EDDIE
Look, no offense but I’ll eat fish
and I’ll eat meat, but there’s
just some shit I will not eat.
In town, the AIR RAID SIREN does one spin.
EDDIE (CONT'D)
That’s the curfew. Crap.
BEN
Wait. It knew my name, too.
Richie looks up, his face wet with tears. They all do.
BEN (CONT'D)
Last week. Right here in the
Barrens. The same guy. He was try-
ing to get me to go down to him.
For an Icee.
RICHIE
If you’re kidding, say so. I still
have nightmares about that thing.
BEN
I thought he was from the circus,
though, ‘cause of the clown suit.
(CONTINUED)
47.
CONTINUED: (2)
BILL
(with new intensity)
What suit?
BEN
He was wearing gloves and a silk
suit with big orange buttons down
the front.
RICHIE
Mine had gloves, too.
EDDIE
You guys must have seen the same
bad movie on TV--
BILL
(with force)
No. That’s him.
They all look at Bill, hearing the fury in his voice.
BILL (CONT'D)
I didn’t know what I was looking
at at the time, but that’s him.
(beat)
That’s the f-fucker who killed my
brother.
Richie finishes telling Eddie the story.
EDDIE
Where was Beverly?
RICHIE
We didn’t know her yet. I mean we
knew her from school-- but we
didn’t know It’d gone after her,
too.
The Cab Driver HONKS the horn and leans out the window.
CAB DRIVER
You’re past thirty on the meter.
RICHIE
(to Eddie)
It played tricks. That’s how It
worked. It was nice until it got
you within reach, then it pounced.
Scared you stiff and pounced.
(CONTINUED)
48.
CONTINUED:
Eddie thinks, then calls to the Cab Driver.
EDDIE
What are they building here? Do
you know?
CAB DRIVER
Yeah. Some kind of entertainment
complex. Pitch n’ Putt, Batting
Cages. You know, for the kids.
Eddie looks at Richie. This could not be worse news.
CUT TO:
EXT. BASSEY PARK -- DAY
Ben and Beverly have opted to go on foot. They come to

the bottom of Bassey Park and start climbing the hill to
the top, where the Standpipe looks out over downtown.
BEN
Bill wanted to go back to Neibolt
Street right then to look for It,
but we had to head home because of
the curfew.
(beat)
We were supposed to meet at noon
the next day. Eddie and I were run-
ning late. And that’s when we saw
you.
(beat)
Right on that bench. You’d been
crying.
Beverly sits on the bench. Ben sits next to her.
BEVERLY
I remember that. The night before,
I’d been at home with my father
getting ready for bed.
(beat)
Oh, Ben. I don’t want to go into
all of this.
BEN
It’s why we’re here.
BEVERLY
Yesterday, I was just doing my
thing, living my life. I was doing
fine. Bringing all this stuff up,
it’s just--
(CONTINUED)
49.
CONTINUED:
BEN
This isn’t just about us.
BEVERLY
I know.
BEN
And you’re not alone this time.
She blots the tears out of her eyes and continues.
BEVERLY
My mom wasn’t back from work, yet,
and I was having a problem-- a
girl problem.
She shivers, REMEMBERING.
INT. MARSH APARTMENT, BATHROOM -- NIGHT
Beverly is standing on the toilet reaching up to a high

shelf in the bathroom. Sounds from the COP SHOW her fath-
er is watching drift in from the other room. Finally, she
pulls down her mother’s box of panty shields.
She takes a fresh one and, as surreptitiously as pos-

sible, exchanges it for the one she’s wearing under her
nightgown. She takes the used panty liner and stows it at
the bottom of the trash can, under the trash, to hide it.
When she straightens, A VOICE comes up out of the drain.
VOICE/IT
Help me.
Beverly freezes. The drain hole is pipe-dark.
VOICE/IT (CONT'D)
Help me, Beverly.
It is the voice of a young boy. Beverly glances out the

bathroom door. Her father is focused on the TV. Beverly
looks back at the drain and says, quietly:
BEVERLY
Is someone there?
VOICE/IT
We all want to meet you, Beverly.
Beverly tilts her head closer to the drain, trying to

hear better. Her braid brushes the bottom of the basin by
the drain hole.
(CONTINUED)
50.
CONTINUED:
BEVERLY
Who? Who are you?
VOICE/IT
Matthew Clements. The clown took
me down here and pretty soon he’ll
come and take you. Pretty soon!
She leans down a little more and realizes: the end of one
ponytail has slipped into the drain. She quickly pulls it
back and--for a split second--it looks like fingers--
gloved finger-tips, appear in the drain, try to latch
onto her hair. Then the drain is dark again.
VOICE/IT (CONT'D)
You’ll float down here. We all do!
The voice breaks up in a wet burp. Then it begins chang-

ing genders, ages:
VOICE/IT (CONT'D)
I’m Matthew. I’m Betty. I’m Veron-
ica. I’m Georgie. We’re down here.
Down here with the clown. And you!
We’re down here with you! We
float. We change!
(beat)
We’re coming, Bev! O we’re coming!
And with that, a gout of blood belches from the drain and
spatters the mirror. Beverly screams. Another gout heaves
up and splashes on the cheap wallpaper. Beverly runs out.
INT. MARSH APARTMENT, LIVING ROOM -- NIGHT
When Beverly runs in, Mr. Marsh is already climbing out

of his recliner, startled by her screams.
BEVERLY
Daddy! In the bathroom!
Mr. Marsh pushes past her and rushes to see. Beverly

waits for him to react, but he just says:
MR. MARSH
Beverly. You come in here.
INT. MARSH APARTMENT, BATHROOM -- NIGHT
The bathroom is small and her father is a big man. It is

a frightening image, her father standing surrounded by
the blood. He turns to face her.
(CONTINUED)
51.
CONTINUED:
MR. MARSH
You’ve got three seconds to ex-
plain yourself.
Beverly is trying to understand what is happening. Does

he not see?! Three seconds go by, so he slaps her. Hard.
MR. MARSH (CONT'D)

You scared the hell out of me. I
was watching TV in there. I don’t
interrupt you when you’re at your
homework, do I?
BEVERLY
But--
He slaps her again, this time harder. It knocks her back.

Her eyes tear up, but only from the sting. Clearly being
struck by this man is not something new to her.
MR. MARSH
I worry about you. I worry a lot.
(beat)
Now finish up in here before your
mother walks in and gives us Hell.
He walks out, leaving her alone again.
Ben and Eddie are hurrying through Bassey Park. They pass
Beverly, who is sitting on a bench. She’s been crying.
Mortified, Ben keeps walking. But Eddie’s too nice a kid
to let it go. He turns to go back. Ben grabs his arm.
BEN
Let’s just go--
EDDIE
What’s wrong with you?
Eddie goes back to where Beverly is sitting.
EDDIE (CONT'D)
Is everything okay, Bev?
BEVERLY
What--? Oh. Eddie. I’m just-- You
headed to the movies or something?
EDDIE
Nah. We’re going tomorrow.
(CONTINUED)
52.
CONTINUED:
BEVERLY
What’s playing? Anything good?
Ben is standing back a few feet, nervous. Somewhere in

town, CHURCH BELLS begin to ring NOON.
EDDIE
Shoot. Bev-- We really gotta go.
The guys are waiting on us.
Suddenly, Beverly is on the verge of tears.
EDDIE (CONT'D)
What did I say?!
BEVERLY
It’s not you. It’s just-- If I
don’t show somebody I’m gonna go
nuts.
INT. MARSH APARTMENT, KITCHEN -- DAY
Beverly leads Ben and Eddie through her back door. They
listen to the silence for a moment.
BEVERLY
My Dad would kill me if he knew I
brought boys home.
EDDIE
Why?
Ben punches him in the arm. Beverly leads them down the
hall to the bathroom. When she opens the door, it’s like
opening up a slaughterhouse.
INT. MARSH APARTMENT, BATHROOM -- DAY
The blood is still spattered on the walls where it has

dried, untouched. Some of it has been scrubbed at--hard
by the looks of it--but is still there.
BEVERLY
Do you see it? Do either of you
see it?
Ben steps forward and points.
BEN
Here. Here. Here.
(CONTINUED)
53.
CONTINUED:
EDDIE
It looks like somebody killed a
pig in here.
BEVERLY
I tried to clean it, but I didn’t
want to touch it.
EDDIE
Your folks couldn’t see it?
She shakes her head.
BEVERLY
I don’t know how I’m ever gonna
come in here alone again.
Ben thinks. He gets up his courage and says:
BEN
Maybe we could help. Clean it up,
I mean. Maybe we couldn’t get it
all off the wallpaper--it looks
sorta on its last legs--but we can
get rid of the rest.
Ben nods. Eddie, too. Beverly looks quite moved.
LATER:
They scrub the bathroom. Little by little, the blood

disappears. Beverly looks nauseated, but with the boys’
help, she’s getting through it.
Finally, Ben changes the light bulb over the sink. All
that’s left is a meaningless pink smear on one wall.
Eddie looks over everything with a critical eye.
EDDIE
It’s the best we can do, I think.
BEVERLY
I don’t know how to thank you.
Ben sticks out his hand.
BEN
You don’t have to. Welcome to the
club.
BEVERLY
What club?
54.
Beverly sits, recalling this, tears on her face.
BEVERLY
When Bill found out I’d heard his
brother’s voice along with all the
other kids, he wanted to kill It.
Right there. With his bare hands.
BEN
But we all agreed to help. That
was the real club, I think. We
tried to figure out how--
(laughs)
We went to the library. Remember?
Got books on witches and were-
wolves and stuff. All we could
come up with was silver.
Beverly laughs at this.
BEN (CONT'D)
Bill wanted to use his father’s
gun, make bullets for it. But we
settled on his slingshot.
BEVERLY
Five kids with two bucks between
them suddenly needing a half pound
of sterling silver.
They laugh. A beat. Beverly’s smile fades.
BEVERLY (CONT'D)
It wasn’t fair, really, was it?
(beat)
We were eleven. And instead of
sleep overs and roller skating, we
were training ourselves for bat-
tle.
BEN
We’ll help him. He deserves that.
And we’ll help ourselves. Okay?
CUT TO:
EXT. DENBROUGH HOUSE, FRONT PORCH -- DAY
Audra is coming up Witcham Street. She stops briefly out-

side of Bill’s house, and then starts up the walk.
(CONTINUED)
55.
CONTINUED:
She rings the bell and, after a moment, Bill answers. He

looks intense, keyed up.
AUDRA
I’m sorry. I should have called.
But I was walking by. --Freddie
said you were taking a sick day.
She tries to look past him, but he blocks the gap.
AUDRA (CONT'D)
You don’t look sick, Bill.
She waits to be asked in, but Bill just stands there.
AUDRA (CONT'D)
Can I come in?
Bill looks about to protest, so she says:
AUDRA (CONT'D)
Five minutes. Please. There’s just
something I want to say.
He lets her in.
INT. DENBROUGH HOUSE, LIVING ROOM -- DAY
Bill gestures to the sofa and sits opposite her.
AUDRA
How long have I lived in Derry?
BILL
You started at the library in-- It
must be two, three years now.
AUDRA
Three. Three this May. I like it.
I like my little house. I like liv-
ing in this town. It’s a lot bet-
ter than where I grew up.
Bill remains stone-faced.
AUDRA (CONT'D)
The only thing I wonder about from
time to time is that I haven’t
gone out seriously with a guy
since I moved here.
BILL
Audra--
(CONTINUED)
56.
CONTINUED:
AUDRA
I mean, the only really nice dates
I ever went on here were with you.
A beat.
BILL
This isn’t really a good time.
AUDRA
We had fun, the bedroom part was
good--
She blushes. This isn’t easy for her.
AUDRA (CONT'D)
Three dates. We went out three
times, and then it was like there
was a gag order over it.
BILL
Actually, Audra, it’s a really bad
time for this.
AUDRA
That’s what you said the last time
I brought this up.
BILL
This time I mean it.
A beat. Audra looks at him, a little hurt.
BILL (CONT'D)
I’m sorry. I’m not trying to make
you feel bad. Those really were
nice times. I’m just not good at
this.
AUDRA
At what? Dating? --Talking?
BILL
Any of it.
AUDRA
Okay. That’s fair. But you did say
you wanted to be friends. Now did
you mean that?
Bill becomes aware that behind her, at the top of the

stairs, Georgie is sitting there, listening. Bill can
just see his little rain boots on the top stair.
(CONTINUED)
57.
CONTINUED: (2)
GEORGIE (O.S.)
(muffled)
Bill!
Bill flinches, but Audra doesn’t notice.
AUDRA
Because friends talk to each oth-
er, Bill. When they have problems.
And you are good at talking. Act-
ually, you’re the only man I’ve
ever met who talks slow. I guess
you think about what you want to
say--
BILL
I used to stutter.
AUDRA
Oh. I didn’t know.
GEORGIE (O.S.)
Bill--!
BILL
That’s why I talk slow.
Audra sees he is shaking a little. And he can’t keep from

looking over her shoulder at the stairs. She turns to
look, but nothing is there.
AUDRA
Bill, what’s happening? To you.
Right now.
BILL
You should probably go.
His tone, his energy, all of it has gotten so weird, all

in the space of a minute. Audra looks at him, confused.
AUDRA
I want to help--
BILL
I don’t n-need-- help. I’m good.
AUDRA
I know about your brother, Bill. I
know about George.
BILL
Who told you?
(CONTINUED)
58.
CONTINUED: (3)
AUDRA
I’m a research librarian. I looked
it up.
(beat)
So you can tell me you don’t want
to talk, or that you’d like to be
left alone, but please don’t tell
me nothing’s wrong, Bill.
Georgie stands and begins slowly walking down the stairs.

An odd CRINKLING sound begins.
Bill stands.
BILL
Look, I ap-preciate your dropping
b-by, but--
AUDRA
I didn’t mean to make you angry.
BILL
I’m not angry. I’m j-just--
Bill glances up and sees: Georgie is in his slicker, with

the hood up, but his head is wrapped in old newspaper.
His breathing is CRINKLING the paper over his mouth. It
is a hideous sight.
GEORGIE
BILL! It’s HERE! He’s HERE!
Bill looks back at Audra, pleading with his eyes. Fin-

ally, he gets the words out.
BILL
C-C-Can you please go!?
But then Georgie scratches a hole in the paper and starts

to peel it back. Bill just catches just a glimpe of blood
and shattered teeth and that’s enough for him.
BILL (CONT'D)
Go go go.
Audra looks at him, confused, scared, and hurt. She gets

up, is about to say something.
GEORGIE
(screaming)
BIIIIILLLLL!!!
BILL
GO!
(CONTINUED)
59.
CONTINUED: (4)
As she hurries out, she sees, on the dining room table:
AUDRA’S POV: Four piles of gear have been neatly laid out
as if for a camping expedition. Beside them is a HANDGUN
in the middle of being cleaned. What in the world?
She hurries out, slamming the door behind her.
Audra is hurrying toward the street when she can hear in

the house behind her, Bill yell, then there is the sound
of something BREAKING, SHATTERING:
BILL (O.S.)
LEAVE MY BROTHER OUT OF THIS!
She hurries on, tearing up, understanding none of this.
CUT TO:
EXT. RIVERVIEW PSYCHIATRIC CENTER -- DAY
On a meadowy bank of the Kennebec River, a set of modern

buildings sits far back from the road.
EXT. RIVERVIEW PSYCHIATRIC CENTER, YARD -- DAY
The buildings make up a hospital compound, but the arch-

itecture mimics the gabled roofs and high-windowed walls
of traditional Maine farm buildings.
At the far end of a sunny yard overlooking the river, a

man sits in an Adirondack chair looking at nothing. He’s
in a hospital track suit and his head is shaved. This is
HENRY BOWERS (41), and the years between have not been
kind. His affect is flat, he’s medicated, or both.
He dozes off for a moment, but when he opens his eyes, he

sees, at the edge of the woods: A child is standing there
watching him.
Henry sits up a little in his chair, confused. When he

looks again, the child is still there.
It is not just any child, it is his old friend Victor

Criss standing there, still eleven, and dead. His skin is
soggy and pale, and part of his head is caved in.
VICTOR CRISS/IT
Henry.
(CONTINUED)
60.
CONTINUED:
HENRY BOWERS
Vic?
Victor grins in the sunlight.
VICTOR CRISS/IT
I used to hit homers down at the
lot behind Tracker Bros. You remem-
ber that?
Henry’s trying to understand, but he can only do so much.
EXT. RIVERVIEW PSYCHIATRIC CENTER, PATIO -- DAY
Two of the hospital’s ORDERLIES look out at Henry. They

see him talking, but cannot see Victor.
ORDERLY #1
He hasn’t been sleeping. Night-
mares, for the last few weeks. And
they’ve been getting worse.
ORDERLY #2
Well, he shouldn’t be in the sun
like that without a hat.
ORDERLY #1
I’ll take one out to him when I
bring his lunch meds.
EXT. RIVERVIEW PSYCHIATRIC CENTER, YARD -- DAY
Henry cringes as Victor comes closer.
VICTOR CRISS/IT
I hit one so hard once, Tony
Tracker said that ball would’ve
been outta Yankee Stadium.
HENRY BOWERS
What are you talking about?
VICTOR CRISS/IT
I don’t belong here. You know I
don’t.
Henry’s finally realizing he’s not hallucinating this.
HENRY BOWERS
You died. There’s nothing I can do
about that.
(CONTINUED)
61.
CONTINUED:
VICTOR CRISS/IT
They’re back, Henry. All of ‘em.
Back in Derry. Right now.
HENRY BOWERS
Derry?
VICTOR CRISS/IT
You could be there in a few hours.
You could hitch a ride.
FLASH MEMORY: The Losers’ Club standing with rocks in

their hands, looking powerful.
VICTOR CRISS/IT (CONT'D)

Back then, you couldn’t even catch
that fat boy. Couldn’t catch that
faggot. You ever think about that?
Henry doesn’t answer.

They got out. They did college.
They make a lot of dough, Henry.
They don’t take pills out of paper
cups, I’ll tell you that.
HENRY BOWERS
Why are you here?
VICTOR CRISS/IT
We can get ‘em back. You used to
like that sort of thing, remember?
Henry’s eyes go vague. Victor’s have begun to shine.

These people here. They don’t know
what you’re capable of.
(beat)
But you do. You know what I’m talk-
ing about?
Henry nods.

You want to do it again?
INT. RIVERVIEW PSYCHIATRIC CENTER, PATIO -- DAY
Just inside the patio doors, Orderly #1 is fixing a small

tray with medications. She chooses a key from the ring on
her belt and locks up the medication cabinet.
(CONTINUED)
62.
CONTINUED:
She grabs a sun hat from the shelf there, and turns to go
outside. But Henry is there, right behind her.
ORDERLY #1
(smiling)
Henry! You can’t be in here--
HENRY BOWERS
It’s time.
ORDERLY #1
Time for what? Your pills are--
But he grabs her throat, pressing on her Adam’s apple

with his thumbs. She fights, but when she is done strug-
gling, he lays her on the floor and whispers:
HENRY BOWERS
The circus.
Then he takes her keys, and disappears back outside.
CUT TO:
EXT. DOWNTOWN DERRY, LINCOLN STREET -- DAY
Richie and Eddie pay the driver and get out downtown, in
front of the pharmacy.
EDDIE
I’ll just be a minute.
RICHIE
Take your time. This was your
church, not mine.
Eddie nods and goes in. Richie wanders a little, looking

for things he recognizes. When he cuts across the street,
though, he glances down Bridge Street and sees: A block
away, a red balloon is tied to a sewer grate.
Richie freezes. The balloon is perfectly innocuous.

People go about their afternoons around it. He glances
toward the pharmacy, then back at the balloon. It bobs
gently in the breeze.
INT. CENTER STREET DRUG, ENTRANCE -- DAY
Eddie comes into the drug store to find a larger chain

has bought it out. It is now stripped of any small-town
charm it ever had. A cashier, bored, reads a magazine.
Eddie heads back toward the pharmacy.
63.
INT. CENTER STREET DRUG, PHARMACY COUNTER -- DAY
When Eddie (11) comes up to the pharmacy counter, the

pharmacy assistant RUBY (20), greets him. The pharmacy is
decked out for the 4th of July.
PHARMACY ASSISTANT
Hey Eddie.
He hands her up a prescription sheet, then he wanders

over to the comic book rack and gives it a spin. On the
covers are superheroes, monsters, sea creatures, demons.
After a moment, he wanders back over to the counter as
Ruby is bagging up his new aspirator.
RUBY
What do you use this stuff for,
anyway?
EDDIE
It’s medicine. For my asthma.
RUBY
I mean, it’s not really medicine.
I don’t even know why we stock it
back here. But if it helps--
EDDIE
What do you mean? I have a pre-
scription.
RUBY
I know. It’s weird. I don’t know
why Doctor Handor does this.
She takes out the box.
RUBY (CONT'D)
Look. Hydrox Mist. Hydrogen and
Oxygen. “Use as necessary.” That’s
just water.
She looks at the label.
RUBY (CONT'D)
Water, and a little camphor for
flavor. That’s it.
Eddie takes the box and looks at it. This doesn’t make
any sense. Suddenly, a voice startles them both.
MR. KEENE
Ruby.
(CONTINUED)
64.
CONTINUED:
They both look. Mr. Keene the pharmacist is standing in

the door of his office, listening to this. He’s watching
Eddie closely.
MR. KEENE (CONT'D)

Give Eddie his bag.
RUBY
I was just--
MR. KEENE
Do it.
Eddie looks at the box and back to Mr. Keene.
EDDIE
If this isn’t medicine, then what
do I have, Mr. Keene?
MR. KEENE
Your mother calls it asthma.
EDDIE
What do you call it?
MR. KEENE
Maybe you should talk with her
about this.
Eddie watches this exchange from a distance, pained by

the memory of it.
EXT. BRIDGE STREET -- DAY
Richie walks to the red balloon and looks around. In a

moment, he sees: There is another balloon, a blue one, a
block further, near the canal. He hesitates, but there
are people all around--shopping, finishing their lunch
hours. So he goes.
When he gets to it, he sees a third balloon, yellow, out

in the dead middle of one of downtown’s bridges. He goes.
This spot has a perfect view of Front Street where the

canal goes under downtown. He is a block away, where one
might take a postcard shot of it. There are no more bal-
loons in sight. He lingers for a moment, and is about to
turn back when: There is movement under the bridge.
A lone BOY (6) walks out of the darkness under Front

Street, in ankle-deep water. He comes out and stands at
the opening of the tunnel, and watches Richie.
(CONTINUED)
65.
CONTINUED:
Richie glances around, not sure if this is really hap-

pening, or if it’s something only he can see.
In the tunnel, another little BOY, comes out. This boy is

wearing a romper suit, not of this century.
Suddenly, dozens of children come out of the darkness and

stand in front of the tunnel. Some climb up to the low
shelves of the piers, arranging themselves as if for some
macabre class photo. More children come. Soon there are a
hundred or more kids standing there across the wide
entrance of the underground tunnel, all watching Richie.
The traffic on the bridge, all the pedestrians along the

canal, all of it goes on, as normal.
And then, like some Liberace-esque Master of Ceremonies,

It appears as Pennywise the Dancing Clown, climbing out
of the dark with awful grandeur on leg and arm stilts and
a grotesque cape. It notices Richie, locks eyes with him
across the stretch of canal. Richie can see the hideous
leering smile is as much blood as greasepaint. Pennywise
has been feeding.
IT/PENNYWISE
Look who’s back in town! I’ve been
waaaaiting for this!
And with that, It begins galloping toward him, fast, on

It’s stilts, like some horrible spider.
Richie, holding back a scream, instinctively steps back

and is sideswiped by a car. The car isn’t moving fast,
but it has to slam on its brakes. Richie rolls a dozen
feet on the pavement, but springs right back up.
It has made the bridge and climbed half up it, rearing up

over Richie and all the cars.
BEEP BEEP, RICHIE!
INT. CAR -- DAY
Richie’s staring up in horror at... nothing.
DRIVER
What the hell’s he doing?
EXT. BRIDGE STREET -- DAY
Richie yells up at It, weakly.

(CONTINUED)
66.
CONTINUED:
RICHIE
We’re gonna kill you!
IT/PENNYWISE
Kill me? KILL me? You can’t even
kill yourself, Trashmouth.
And with that, Pennywise slams one of his stilts down at

Richie’s head. Richie rolls out of the way and it CRACKS
on the pavement.
Oops! Was that a secret? So many
secrets! Well, I’ll tell you what.
I’ll do it for ya if you’re still
so inclined.
And It slams a stilt down at Richie again, barely missing

his head. Richie bolts.
I’LL DO IT FOR YA! Hell! I’LL DO
IT FOR FREE!
INT. CAR -- DAY
The driver watches as Richie sprints back the way he

came, barely missing another HONKING car.
EXT. DOWNTOWN DERRY, BRIDGE STREET -- DAY
Richie gets off the bridge and out of sight of the canal.
He whips out his cell phone to call and warn the others.
CLOSE ON: Richie’s cell phone screen reads “KILL YOU KILL
YOU KILL YOU KILL YOU KILL YOU...”
EXT. DOWNTOWN DERRY, ALLEY/COSTELLO AVENUE -- DAY
Eddie slams out the pharmacy door and across the inter-
section where he goes down the alley toward home.
EXT. GEDREAU’S DELI -- DAY
When he emerges at Costello Avenue, he runs right into

Henry Bowers outside Gedreau’s Deli. Eddie freezes.
HENRY BOWERS
Look who it is.
(CONTINUED)
67.
CONTINUED:
Out the market door behind them come Belch Huggins and
Victor Criss. There is a moment of horrible tension, then
Eddie tries to run, but Henry darts forward and grabs the
back of his shirt and swings him back into the alley.
EXT. ALLEY -- DAY
Eddie falls on his face on the dirty pavement, the wind

knocked out of him. Henry pounces on him, cranking
Eddie’s arm behind his back. Eddie yells in pain. Victor
and Belch crouch down next to him.
EDDIE
You’re hurting me--!
HENRY BOWERS
You got it.
Henry pulls up Eddie’s arm even harder.

This is for helping that fat fuck.
Eddie is almost hysterical, anticipating the agony.

This is for laughing at me.
Henry yanks even harder and there is a clear CRACK. They

all hear it. Eddie’s face pales as the break registers.
Eddie has a flat-on-the-pavement view of the sewer grate
a few feet from them. Through his tears, he can see:
Pennywise is there, laughing silently into its hands, as
if at a magic show. It gives Eddie a dainty wave.
Suddenly, a man’s voice startles all of them.
MR. GEDREAU (O.S.)

Stop that now! Let that boy up!
It’s MR. GEDREAU (55), a moment too late, standing in the

mouth of the alley in his long white apron. He comes over
and actually pulls Henry up by the arm. They stand face-
to-face.
MR. GEDREAU (CONT'D)

I don’t hold with bullies. I don’t
hold with three against one.
Victor and Belch look away in shame, but Henry does not.

You get your backpacks and go--
(CONTINUED)
68.
CONTINUED:
Henry does the unthinkable. He shoves Mr. Gedreau, hard.

The man falls backward, landing on his ass on the side-
walk in front of his shop.

Why you--
But Henry takes a step forward. Even though he’s only 13,
they are fairly matched.
HENRY BOWERS
Get inside.
While everyone is focused on Mr. Gedreau, he starts get-

ting up, trying not to cry out from the pain in his arm.
MR. GEDREAU
I’m calling the police.
When Henry takes a step toward him, Eddie bolts. He runs

past Henry and Mr. Gedreau and out into Kenduskeag Road.
HENRY BOWERS
GET HIM!
EXT. KENDUSKEAG ROAD -- DAY
Eddie runs until he sees a turnoff leading down into the

Barrens. He looks back. They’re catching up. Henry whips
something at him--a small, smoking ball. It EXPLODES a
few feet behind him. Eddie runs faster.
EXT. DERRY GRAVEL PIT -- DAY
Bill, Ben, Beverly, and Richie are in the gravel pit,

practicing with Bill’s slingshot. They’ve set up a line
of soda cans. It’s Beverly’s turn. She lines up her shot
and lets fly. The can goes skittering across the ground.
BILL
That’s four for four.
Ben picks up the can and sees Beverly’s shot has torn a
hole right through the aluminum.
RICHIE
Lucky shots.
BILL
That’s four more than y-you got.
(CONTINUED)
69.
CONTINUED:
RICHIE
My hands were sweaty.
BEN
Your aim is sweaty.
Beverly lines up her next shot and is about to fire when

they hear: a BOOM somewhere in the Barrens. Then there is
a BIGGER BOOM. They all look back toward the dump. Bill
looks alert, like a deer scenting trouble.
BEVERLY
Was that a gun?
BILL
M-80, I think.
BEN
Bev, you b-better go back to the
fort for a while. Just in c-case.
BEVERLY
Shit on that, Ben Hanscom. Shit
all over that.
EXT. DERRY TOWN DUMP -- DAY
Eddie runs across the dump and into the woods on the oth-
er side. The track forks and he takes the downhill side.
He’s gasping for air now, wearing down.
EXT. DERRY GRAVEL PIT -- DAY
Eddie comes around the corner to find he is at the back

fence of the gravel yard. There is a wire gate, but it’s
locked, so he begins up it.
He can hear FOOTFALLS coming up behind him. He’s just a-

bout to climb over the top when Henry grabs his foot.
HENRY BOWERS
Here it comes, fucker!
Eddie yanks his foot up. His sneaker comes off in Henry’s
hand. But before Henry can grab him again, Eddie pistons
his bare foot back down on Henry’s nose, breaking it.
Henry falls back, hands over his face. Eddie loses his
balance and falls down the other side.
An astonished beat.
(CONTINUED)
70.
CONTINUED:
Blood is running between Henry’s fingers, but when he

lowers his hands, he is grinning at Eddie. They face each
other through the fence.
EDDIE
You broke my arm!
VICTOR CRISS
You broke his fucking nose!
EDDIE
I didn’t want to do that! Just
stop it!
HENRY BOWERS
You think I’m gonna stop now? I’m
never gonna stop now.
EDDIE
You’re crazy, you know that?!
Henry starts up the fence. Eddie turns to run and finds

himself facing Bill, Richie, Ben, and Beverly. They’re
all standing there with rocks in their hands.
BILL
Leave him alone, Bowers.
Henry slows, then drops back on his side of the fence,

where there are no rocks to speak of.
HENRY BOWERS
What the fuck is this, freak?
(looking at everyone)
And look! The fag and the fatboy
are here, too. That your girl-
friend, fatboy?
BILL
We’re through taking your shit.
Get out, n-n-now.
HENRY BOWERS
You stuttering freak--
Henry starts up the fence. Bill does not flinch. He

throws, with force and accuracy, a rock that tags Henry’s
exposed knuckles. Henry cries out, stunned.

Vic, Belch-- COME ON.
Bill says to the Losers, without pleasure:
(CONTINUED)
71.
CONTINUED: (2)
BILL
Make it hurt.
They throw rocks at such a fast clip, many bounce off,

but enough go through.
The older boys are driven right off the fence. Henry
lands and immediately pops a match on another M-80. He
throws it over the fence right at Ben.
Ben sees it coming and slaps it, like a badminton birdie,

right back through the fence at Henry. Henry’s eyes widen
and it explodes, blackening his shirt. Henry screams.
HENRY BOWERS
You fucking dirtyfighter!
BILL
You g-get out of here now or we’re
gonna put you in the h-h-hospital.
HENRY BOWERS
For a fucking runt like him?
BILL
For a friend. Now GO.
HENRY BOWERS
This isn’t Portland, Denbrough.
It’s Derry. I can be everywhere!
You understand me?! Everywhere!
Humiliated and furious, Henry stalks back the way they

came. The others follow. Only Belch turns back and says:
BELCH HUGGINS
You’re gonna wish you hadn’ta done
that, kid.
The five of them stand watching the older boys leave.

Eddie’s wheezing and his arm is swelling up, discolored.
He cradles it against his heaving chest.
INT. DERRY HOME HOSPITAL, WAITING AREA -- DAY
Bill, Ben, Beverly, and Richie sit in the hospital’s

waiting area. When Mrs. Kaspbrak comes out to speak to
the admissions nurse, they all go up to her.
BILL
How is he, Mrs. Kaspbrak?
Her eyes narrow.

(CONTINUED)
72.
CONTINUED:
MRS. KASPBRAK
Eddie’s sleeping. He’s heavily
medicated, for the pain. I don’t
think he’d like to see you.
BILL
That’s okay. We can come back.
MRS. KASPBRAK
I don’t think so.
They look at her, not sure they’ve heard correctly.
MRS. KASPBRAK (CONT'D)

Street fighting. My Eddie, street-
fighting. And they put him in a
hospital! Thanks to you! Well I’ve
talked to him and he agrees. He
doesn’t want to see you anymore.
My son is done with you. Done!
BEVERLY
Mrs. Kaspbrak--
MRS. KASPBRAK
Don’t you dare! Don’t you dare
talk back to me!
She has raised her voice too much. The receptionist rolls
her eyes and begins heading her way.
INT. DERRY HOME HOSPITAL, EDDIE’S ROOM -- DAY
Eddie is at the window, in a cast, looking down at Hos-

pital Road. He can see Bill and the others walking back
toward town. Behind him, his mother comes in.
MRS. KASPBRAK
Eddie! You should be resting.
He does not reply, but merely turns and gets back in bed.
Mrs. Kaspbrak rushes over.

You’ve had a serious accident! You
need to lie down this second and
let us take care of you. How else
do you expect to feel better?
(beat)
Eddie, are you hearing me?
EDDIE
You sent my friends away.
(CONTINUED)
73.
CONTINUED:
He says this with clear, hard eyes. It’s not a question.

Mrs. Kaspbrak lowers her energy.
MRS. KASPBRAK
Yes. I sent them away. You don’t
need any visitors right now. And
you don’t need visitors like that
ever. If it hadn’t been for them,
we’d be home watching TV right
now.
EDDIE
My friends didn’t break my arm.
Henry Bowers broke my arm. If I’d
been with my friends it never
would have happened.
A beat. It’s clear from her reaction that this is a new

kind of chat for the Kaspbraks. She smiles thinly.
MRS. KASPBRAK
That boy broke your arm because
your “friends” crossed him some-
how. Now do you think that would
have happened if you’d listened to
me and stayed away from them in
the first place?
EDDIE
No. I think something even worse
might have happened.
MRS. KASPBRAK
You don’t mean that.
EDDIE
I do too. Bill and the rest of my
friends aren’t going anywhere, Ma.
And when you see them again you’re
not gonna say a word to them.
Mrs. Kaspbrak stares at her son, truly shocked.
MRS. KASPBRAK
This is how you talk to your
mother now, I guess.
She looks at Eddie full of sorrow, waiting for him to re-

act to her teary eyes. But he doesn’t. She whispers:

Eddie, you hurt me so much.
(CONTINUED)
74.
CONTINUED: (2)
EDDIE
I love you, Ma. But I think you’re
making yourself cry.
MRS. KASPBRAK
They’re bad friends, Eddie! I know
that. Just looking at them!
EDDIE
Ma--
MRS. KASPBRAK
You don’t do any of the things you
did last summer. And that girl. I
know the mother and there is some-
thing wrong in that house.
EDDIE
Ma, stop it!
MRS. KASPBRAK
It’s all ‘Ben Hanscom’ this and
‘Beverly Marsh’ that. They’re all
you ever talk about any more!
A beat. She’s said too much, and they both realize it.
She stands and finds her purse.

I’ll come back. You’re irritated
because you’re in pain. But you’ll
see I’m right. You think it over
and ask yourself if your Ma ever
told you wrong before. You think
about that.
She leaves him. The door clicks shut behind her. Eddie
looks to his bedside table where his aspirator sits, his
mother’s “medicine.” All lies. But he grabs it anyway and
plugs it into his mouth. He begins to cry.
EXT. CENTER STREET DRUGS -- DAY
Eddie comes out of the pharmacy, looking actually sick

for once. He steps into the street and sees Richie sit-
ting on a stoop, bruised and shaking.
EDDIE
There’s no stopping this now, is
there?
Richie doesn’t answer. His panicked look is his answer.

75.
Bill and Ben, riding double on Silver, pull up to where

the others wait for them at the entrance to Neibolt St.
The morning is hot and still.
Bill looks at Eddie, so broken and small in his cast.
BILL
You got the silver, Richie?
He pulls out of his pocket his mother’s hideous silver

earrings. Bill gives them to Beverly, who empties prac-
tice rocks out of her pockets and puts them in.
Eddie inhales on his aspirator. He’s about to put it away

when Richie says:
RICHIE
Hey. Gimme some of that.
Eddie looks at him, surprised, waiting for the punchline.
RICHIE (CONT'D)
No fake, Jake. Can I have some?
Eddie hands it over. Richie takes a wincing pull on it,

and coughs, but his face is serious and no one laughs.
RICHIE (CONT'D)
Needed that.
BEN
Me too. Okay?
Richie passes it to Ben who then passes it to Beverly.

Finally Bill gives it back to Eddie. Then they start rid-
ing down to #29.
EXT. 29 NEIBOLT STREET, FRONT PORCH -- DAY
Bill crawls under the porch first, then Beverly and Ben,
then the rest. Bill makes his way over to the cellar win-
dow and peers inside, on high alert.
BILL
Cover me, okay?
Beverly nods. Bill slips through the window, disappearing

into the dark.
(CONTINUED)
76.
CONTINUED:
Beverly hands the slingshot to Ben, folding his hand over

the cup containing a silver earring.
BEVERLY
Give it to me the second I’m down.
The second.
She slips through the window easily. He hands down the

slingshot and then begins through as well. Ben pushes
with both hands, and forces his butt through, but then
his stomach hitches up.
EDDIE
Hurry up!
RICHIE
Suck in, Haystack! Or we’re gonna
have to call Triple A.
BEN
(through his teeth)
Beep beep, Richie. --Bill, can you
guys pull me?
INT. 29 NEIBOLT STREET, CELLAR -- DAY
He is yanked through the window and comes down hard onto

the cellar’s dirt floor. Ben gets up and brushes the dust
off his butt.
RICHIE (O.S.)
Hey-- Eddie needs help, okay?
Eddie comes through on his back, his cast held close to

his chest. Bill and Ben help him while Beverly covers the
stairs with the slingshot.
EDDIE
Watch what you’re doing. I’m
ticklish.
When they get Eddie down, Richie follows quickly. They

look around the cellar, but it’s empty.
BILL
Uh-upstairs.
INT. 29 NEIBOLT STREET, KITCHEN -- DAY
They emerge into a dirty kitchen. Everyone is ready for

horror. Beverly sweeps the room with the slingshot.
(CONTINUED)
77.
CONTINUED:
One straight-backed chair sits marooned in the center of

the warped linoleum. They can hear rats squeaking behind
the cupboards. The light up here is weird--a combination
of the brownish haze coming through all the dirty win-
dows, and something else, some queer aspect of the house.
One of the cupboard doors is hanging precariously off of

one hinge. All of a sudden, it drops to the floor, flip-
ping over in the process. Beverly screams and swings in
that direction, ready to fire.
BILL
BEV NO!!!
Beverly stops, the shot unfired. She looks at him, pale

and terrified. The cupboard door has landed, backside up,
tilted against the sink. On the back of it is a bull's-
eye drawn in rusty water, or blood. They all look at it.
EDDIE
It’s playing games. Like at the
carnival. It wanted you to fire.
BEN
That slug would have gone right
back into all that rotten plaster.
We never would have found it.
RICHIE
Come one come all! Here on Neibolt
Street everyone has a ball!
Bill leads them further into the house.
INT. 29 NEIBOLT STREET, FRONT HALL -- DAY
They come down the front hall with its peeling wallpaper
and stacked up old magazines. A steady DING-DING-DING of
a locomotive running on a siding can be heard.
BEN
Is it me, or is this house bigger
on the inside?
It’s true. The hallway seems wider and longer than one
would expect.
Eddie and Richie glance at some of the magazines stacked

along the wall and see they are old 1950s soft-porn mags.
The women on the covers are all in sexually uninhibited
positions--bending over chairs, lying on shag rugs, in
baths. Moisture has seeped into all of the pages, giving
the ladies ripply yellow skins.
(CONTINUED)
78.
CONTINUED:
Suddenly, the women begin winking at them from their

different covers, all down the hall. Eddie and Richie
exchange a look and keep moving.
At the front door, they can see the front yard and Nei-
bolt Street.
BEN (CONT'D)
Hey. Where are our bikes--?
THEIR POV: Something is wrong. Their bikes are not there,

it’s true, but the lawn is also different. It’s mowed. A
few men in coveralls heading to work at the train yard. A
handful of cars parked along Neibolt St. None is older
than the 1950s.
BEN (CONT'D)
What is this?
Eddie is looking behind them.
EDDIE
There--
They turn and see: The house around them seems to be ex-
periencing a temporal change also. Like the cold currents
in a warm lake, there are streaks of different time
periods visible around them. In one, the house is deser-
ted and decrepit. In another, it is spotless and new. In
still another, just piles of dirt.
They can hear a man HUMMING and then see him, at the top
of the stairs, walk into a bathroom soaping his face for
a shave.
BILL
A funhouse. That’s all. Come on.
INT. 29 NEIBOLT STREET, UPSTAIRS HALLWAY -- DAY
Bill comes up the stairs. Beverly is behind him, sling-

shot up. The stairs come up to one end of an upstairs
hall. There are two doors here and one at the other end.
One door here is open to a tiny bedroom which must have

been a child’s. Elves caper on the peeling wallpaper. At
the other end, the door is missing altogether, showing a
room empty but for a bare mattress lying on the floor.
That leaves the one closed door. Its dirty white porce-
lain doorknob beckons.
BILL
Th-there. Where that man w-went.
(CONTINUED)
79.
CONTINUED:
Richie and Eddie come up, wide-eyed, behind them. Bill

crosses toward the door, Beverly covering him. As she
does, she glances into the child’s bedroom and sees the
elves on the wallpaper. Each one has nails driven through
its eyes. Hundred of nails.
BEVERLY
Bill--
But Bill already has his hand on the door. He pulls it

open, hinges SQUEALING, revealing:
A bathroom. Empty. The window has been covered over with

newspaper, making it dimmer than the hallway, but they
can see the whole place has been wrecked. Shards of porce-
lain lie like rubble. In one corner is an exploded
toilet. The tank is leaning against a wall. The bowl is
gone leaving only a black drainhole visible. The rosy
wallpaper all around the room has been pocked with chips
of porcelain like shrapnel.
They come in, feet gritting on broken porcelain and look

at the obliterated toilet.
RICHIE
That must have been the grand-
daddy of all dumps.
This gets everybody chuckling. But in the middle of their

laughter, Ben is the first to hear it, a low SCRAPING
noise. It seems to be coming from inside the house, maybe
inside the room. Now Bill notices. He looks at the
drainhole and sees it is vibrating:
BILL
Everybody-- It’s coming--!
And then something explodes out of the drainpipe.
At first, it is a silvery-orange shifting shape--not

ghostly, but solid. Then it locks into place and hovers
over them--crowding the room--Pennywise the Clown in all
his brightly-colored, arcane glory.
BILL (CONT'D)
Shoot it, Bev! Shoot it!
It has one foot still in the drain hole and pivots around
glaring at all of them until it finds Beverly. She takes
aim and lets fly the first silver earring--
And misses. It punches a hole in the plaster just behind

Its grinning head. It makes a face of mock chagrin.
(CONTINUED)
80.
CONTINUED: (2)
IT/PENNYWISE
That’s not very friendly-wendly!
Then It pistons out a hand and knocks her into the wall.
She falls to the floor amid all the smashed porcelain,

already trying to dig the second earring out of her pock-
et. Ben immediately steps between her and It.
You want it, fat boy?
It rakes him with its claws, sending him staggering

backwards, already bleeding. He stumbles and falls into
the dusty bathtub. Bill jumps between them, a big shard
of porcelain in his hand.
BILL
No!
He buys Beverly an extra moment by winging it at

Pennywise’s face. Pennywise simply catches it in his
mouth like a dog would catch a treat.
IT/PENNYWISE
Yummy!
Richie jumps behind it and rips down what’s left of a tat-

tered vinyl shower curtain. He yanks it over Its face and
pulls, blinding it. It rears back, throwing a fist at
Richie, who barely ducks out of the way.
RICHIE
SHOOT IT, BEV!
It flips Richie over Its shoulder and onto his back with
force, knocking the wind out of him.
IT/PENNYWISE
Beep beep, Richie.
Then It swings It’s grinning face back up to Beverly,

just as she puts more ammo into the slingshot’s cup.
BEVERLY’S POV: In the wishbone site of the slingshot, she

sees Its grinning, yellow smile and fires.
The shot hits It in the cheek, right beside Its nose,

opening a gouting bloody hole. It screams in a mix of
pain, surprise, and rage. Freshets of blood drain down
It’s silken placket, drenching its orange pom-poms.
BILL
Again! Beverly, shoot it again!
(CONTINUED)
81.
CONTINUED: (3)
Beverly looks to Bill. Pennywise wavers, about to strike.
BILL (CONT'D)
Keep ‘em coming! Go on, fast!
Then Beverly understands the ruse. She pulls back the

slingshot again. It’s empty, but not visibly so.
EDDIE
Kill it! Don’t let it get away!
BILL
Blow it out of the world, Bev!
It flicks Its eyes at Beverly, then around at all of

them. They look so confident, so strong. It tilts and
drops back toward the drain, quickly losing its shape,
and then is gone. They can hear It railroading back down
under the house, under the town.
The house settles back into one place in time, snapping

back to the here and now. It’s now just a forgotten house
where hobos and winos sometimes sleep out of the rain.
EXT. THE BARRENS, TREE FORT -- DAY
They are all up on the tree fort platform. Ben has his
shirt off and Beverly and Eddie are cleaning his cuts.
Ben’s wounds are ugly, but not very deep. Bill is
brooding hard, looking at nothing.
BEN
Ouch! Come on!
EDDIE
You just faced off a voodoo clown
from the sewer. Who knows what it
has under its --fingernails.
Beverly glances out at the tree canopy around them.
BEVERLY
It’ll want us more than ever now.
BILL
But we scared it. I mean we went
to one of It’s places, It’s sta-
tions above ground. It didn’t drag
us there. We went, together. Kids
don’t normally do that.
BEN
You wanna go back to Neibolt St.?
(CONTINUED)
82.
CONTINUED:
BILL
I’m not sure It’ll be there. It
can’t surprise us there anymore.
We have to find It where it lives.
Richie and Eddie exchange a look.
BILL (CONT'D)
I think it has something to do
with the sewers, under the city.
We’ve all seen it close to some
kind of drain, right? And I’ve
been rereading all the stuff from
the papers about the kids It kil-
led. All of ‘em were found near
drains and sewers.
EDDIE
Ben saw it from Up-Mile Hill--
BEN
But it was near one of those
pipes, the ones with the caps on
‘em. They’re access hatches for
sewer pumps. I bet they connect
with the whole system.
In the very far distance, SUMMER THUNDER RUMBLES.
BILL
That’s it, then. That’s where we
go next.
BEVERLY
My dad says those sewer tunnels go
on for miles. New ones mixed up
with old ones. He knew a guy whose
dad tried to map it for the city
and never came out.
RICHIE
And where are we gonna get more
silver? I mean how much allowance
can five of us pull together?
EDDIE
I think my mom still has my baby
spoon. It looks silver--
BEVERLY
We don’t need it.
She digs in her pocket and pulls out the second earring.
(CONTINUED)
83.
CONTINUED: (2)
RICHIE
What the hell?!
BEVERLY
I found it on our way here. I must
have used a stone for my second
shot. I had a bunch in there from
when I was practicing.
Ben laughs and they all look at him.
BEN
It didn’t matter what it was we
used. We believed it would work,
that’s all.
BEVERLY
But if I’d known I still had it, I
really could’ve gotten off that
third shot--
Ben smiles, proud of her.
BEN
You’ll get your chance.
BEVERLY
When?
Ben looks at the sky.
BEN
It’s gonna storm, Bill.
BILL
Then we’d better get going.
BEN
I don’t think we want to get
caught down there if there’s a lot
of runoff. Think about it--
BILL
We’re gonna lose our chance. It’s
hurt, Ben.
EDDIE
I don’t want to drown, Bill.
BILL
(losing composure)
It’s down there regrouping right
now. I can feel it!
(beat)
(MORE)
(CONTINUED)
84.
CONTINUED: (3)
BILL (CONT'D)
Just help me! Help me do this!
We’re so close--
Bill begins to cry. Richie puts a hand on his shoulder.
RICHIE
Don’t worry. We’re not gonna
chicken out. Are we?
BEN
We need supplies--flashlights,
water, chalk--
RICHIE
Chalk?
BEN
We mark the walls as we go, so we
can find our way out.
BILL
And grab anything you think can
hurt it-- anything you believe in.
Silver, holy water, a peanut
butter sandwich, it doesn’t matter
as long as you believe.
BEVERLY
Meet back here in half an hour?
They nod. Bill looks grateful to have such brave friends.
EXT. DERRY -- DAY
Derry is going about its business. The electronic clock

on one of downtown’s banks clicks from 3:39 to 4:00.
Graffiti decorates an alleyway.
INT. DERRY TOWN HOUSE, FRONT DESK -- DAY
The front desk ATTENDANT is going through paperwork, a

wall of room keys and message boxes behind him. A man
walks into the lobby, wearing sunglasses. With them on,
he resembles Beverly’s father, Mr. Marsh.
ATTENDANT
Can I help you, Sir?
He takes them off. It is Beverly’s husband Tom. He has a

butterfly bandage over one eyebrow.
(CONTINUED)
85.
CONTINUED:
TOM ROGAN
I hope so. I just drove in from
out of town and I’m trying to find
my wife.
ATTENDANT
Oh?
Tom smiles, feigning embarrassment in just the right way.
TOM ROGAN
See, I’m trying to surprise her.
It’s our anniversary. I just don’t
know which hotel in Derry she’s
at. Beverly Rogan. Marsh.
ATTENDANT
Well I can’t really give out--
TOM ROGAN
I know. I know. Let’s do it this
way. If she’s here, just rent me a
room next to hers and charge me
double. I’ll pay in cash. Then you
don’t have to say anything. To
anyone.
The attendant looks unsure what to do. Tom smiles again.
TOM ROGAN (CONT'D)

It would mean the world to her.
EXT. BEVERLY’S APARTMENT HOUSE -- DAY
Beverly and Ben walk up to where she can see the apart-
ment building where she grew up. It’s painted dark brown
now, but there is the window of her old bedroom.
BEN
You sure about this?
BEVERLY
I doubt he still lives here. But
if he does-- You’ll stay, right?
Even if it gets--
BEN
I’m not going anywhere.
He puts a hand on her shoulder and she caps it with her

own. Then they cross the street toward the entrance.
86.
EXT. BEVERLY’S APARTMENT HOUSE -- DAY
Beverly and Ben come up and she checks the four mailboxes
there: BURKE, STARKWEATHER, FRATO and MARSH.
The entrance door stands closed. She goes over to the

doorbell, squares her shoulders, and presses it. From
somewhere down the hall comes a happy CHING-CHONG. All is
quiet. She looks around, presses it again. CHING-CHONG.
Beverly glances down and sees what looks like a child’s

fingernail lying there beside the welcome mat at her
feet. It could be one of those glue-on nails, but before
she can tell, the door opens, startling her.
She looks up, expecting her father, but behind the screen
is a tall woman, MRS. KERSH (70s), with white hair and a
kind, wrinkled face. She has a thick accent.
BEVERLY
I’m sorry. I meant to ring for
Marsh.
MRS. KERSH
Marsh? There’re no Marshes in the
building. I’m Mrs. Kersh.
(beat)
Unless-- You don’t mean Alvin
Marsh, do you?
BEVERLY
Yes. My father.
Mrs. Marsh peers more closely at Beverly, at them both.
MRS. KERSH
Why you’ve fallen out of touch,
Miss. You shouldn’t hear this from
a stranger, but your father’s been
dead about five years now.
Shocked, Beverly looks back to the mailbox and realizes

that the tag she read as “MARSH” actually reads “KERSH.”
BEVERLY
You-- Did you know my dad?
MRS. KERSH
A little, I knew him. When I moved
into this apartment, he was moving
down to the Veterans’ Home.
(beat)
(MORE)
(CONTINUED)
87.
CONTINUED:
MRS. KERSH (CONT'D)
I used to see him at Costello Mark-
et or the Washateria sometimes. Oh
you’re pale. I’m sorry. Come in,
both of you, and let me make you
some tea.
BEVERLY
I couldn’t.
MRS. KERSH
It’s the least I can do for having
told you such unpleasant news.
Before she can protest, Mrs. Kersh opens the screen door.
INT. MARSH APARTMENT, LIVING ROOM -- DAY
They all come inside. Beverly looks around the living

room. Everything is different. She visibly relaxes.
BEVERLY
It’s so trim and tidy! Lovely.
MRS. KERSH
How kind you are. My little late-
life harbor this is.
Beverly takes in the simple, lovely touches Mrs. Kersh

has made around the living room. A picture of Jesus hangs
on one wall, one of John F. Kennedy on another.
MRS. KERSH (CONT'D)

Look around, why don’t you, while
I boil the water. It’s all right.
BEN
Bev?
BEVERLY
Help her, Ben. I’m just going to
look around.
Ben follows Mrs. Kersh into the kitchen, leaving Beverly

alone.
INT. MARSH APARTMENT, HALLWAY -- DAY
Beverly comes down the hall and looks into her parents’
old room. The change is profound. The bed is laid with a
European surprise quilt. An old trunk with initials R.G.
sits at the footboard.
(CONTINUED)
88.
CONTINUED:
Beverly then looks into her old room, which is now a sew-
ing room. She avoids the bathroom altogether.
She comes back to the living room and a memory comes,

backing her into a corner, behind a recliner:
Beverly (11) comes in the front door. She’s dirty still

from Neibolt Street, her legs a little scratched up. She
swings the door closed and doesn’t see: Her father is
standing behind it. He watches her come in, stand in the
middle of the room, and call out:
BEVERLY
Mom?
Then he steps up behind her, plants his foot into the

small of her back, and shoves her, hard. She goes flying
across the living room.
Ben is sitting at the small kitchen table talking with

Mrs. Kersh. Ben watches as Mrs. Kersh prepares a plate of
cookies and candies.
BEN
You really shouldn’t go to any
trouble.
MRS. KERSH
If you knew how seldom company
calls, you’d not say so.
She puts the plate in front of Ben, as well as a tea cup

and saucer.
MRS. KERSH (CONT'D)

You grew up here, too, with your
wife?
BEN
Oh, we’re not-- married. We’re old
friends.
MRS. KERSH
But, her ring. I saw a ring.
Ben blushes slightly.
(CONTINUED)
89.
CONTINUED:
BEN
No, she’s-- she is married. Just
not to me.
MRS. KERSH
Oh. I see.
Mrs. Kersh grins ambiguously, showing teeth that are less

lovely than her face. She nudges the plate of sweets to-
ward Ben and goes back to fetch the teapot. Over her
shoulder, she says:
MRS. KERSH (CONT'D)

I hope she’s having fond memories.
I’d hate to think your friend is
more sad for having come inside.
Ben looks uneasily past her, into the empty living room.
Beverly (11) gets up from where she’s been kicked to the

floor, looking around wildly. Then she sees her father.
BEVERLY
Daddy, what--?
He starts toward her, biting on his knuckle thoughtfully.

She sees he has mud all over his boots, and he’s tracking
it on the carpet. Black mud. Barrens mud.
MR. MARSH
If you lie to me, I will beat you
within an inch of your life, Bev.
BEVERLY
I won’t lie.
MR. MARSH
You been down in the Barrens with
a gang of boys.
A beat. She’s cornered and she knows it.
BEVERLY
I play down there somet--
He slaps her, hard and fast. She ends up knocked back

against the sofa, looking up at him.
MR. MARSH
I know you been down there. I was
told. I didn’t believe it.
(MORE)
(CONTINUED)
90.
CONTINUED:
MR. MARSH (CONT'D)
Then I seen you myself this
afternoon. Coming out of the woods
with ‘em. Not even twelve!
BEVERLY
Daddy, we just play! That’s all!
We-- we don’t do anything bad.
He kicks her. Beverly scrambles to the side, putting the

recliner between them, and cowering right where Beverly
is standing, remembering this.
MR. MARSH
Don’t you run from me.
Mr. Marsh takes a swipe at his daughter over the chair

and tags her across the face. It is adult Beverly who is
hit. She looks back in shock, now a part of this memory.
Can her father really hurt her again? All these years
later?! She screams back at him.
BEVERLY
I DIDN’T DO ANYTHING!
When Mrs. Kersh comes back to the table and pours the tea
her eyes seem to have gone a shade more yellow, as have
her teeth. After she fills Ben’s cup, she pops in a cube
of sugar, then another, then another.
BEN
That’s fine, thank you.
MRS. KERSH
You haven’t even tried the sweets.
Go on, skin and bones. It won’t
hurt you to eat a bite.
Ben glances down at the plate of sweets. They’ve begun to

sweat a little in the heat, the custard peeking out of
the little eclairs like pus. Ben touches his forehead. He
too is sweating a little.
MRS. KERSH (CONT'D)

It’s warm in here, I know. I’ve
had the oven on all afternoon.
Mrs. Kersh takes her tea cup and slurps back her tea in
one slurping gulp. Her hand has gone a little claw-like.
The tea smudges her lipstick as well, smudging the cor-
ners of her mouth with red.
(CONTINUED)
91.
CONTINUED:
BEN
If you’ll pardon me for a second,
I just want to check on my friend.
MRS. KERSH
But I haven’t fed you at all--
Ben gets to his feet.
BEN
It’s not necessary.
Mrs. Kersh waddles over to the oven. Her voice is drop-

ping slowly in tone, now, deepening as she says.
MRS. KERSH
But it is. How else are we going
to plump you up? I’ve waited a
long time for this. This is going
to be fun.
She opens the oven and the leg of a child hangs out, bak-
ed to perfection. Ben wretches.
MRS. KERSH/IT
This is going to be YUMMY in my
TUMMY!
Mrs. Kersh throws her head back and laughs, growing in

size until It dwarfs Ben. The Mrs. Kersh wig slides half
off, showing painted white skin beneath.
BEN
BEVERLY! RUN!
Ben tries to run past It, but It shoves him back, hissing
between rows of blackened teeth. The walls of the kitchen
are now spun sugar, the hanging globe light a big
gumdrop.
BEN (CONT'D)
BEV! GET OUT OF HERE!
MRS. KERSH/IT
But it’s not a kid’s party
anymore, is it? No more cotton can-
dy for you, no more Choo-Choos for
your Boo-Boos. Cause it’s almost
time to start the big boy rides.
And you’re a very big boy. HONK!
Ben looks for another way out. There’s the door beside
the stove which leads down the back stairs. He gets it
open, but It yanks him back against the refrigerator.
(CONTINUED)
92.
CONTINUED: (2)
It grabs the plate of fudge and cookies and begins

forcing it into Ben’s mouth.
MRS. KERSH/IT (CONT'D)

Where you goin’ Benny? Eat up and
keep it up. Big bites for big
boys!
Ben is gagging and choking on all of the sweet foods. For

a moment he can’t breathe. It’s holding his head and
pushing the stuff in. Ben is trying to scream through all
the food, but he’s truly suffocating now.
MRS. KERSH/IT (CONT'D)

What sweetie? You want more?
He grabs a frying pan off the stove top and whacks It

right in the side of Its head, buying him time to spit
out all the stuff gagging him and shout:
BEN
I don’t EAT this SHIT ANYMORE.
He hits It again and buys himself a moment to slip past

It and out the back door.
Mr. Marsh corners Beverly behind the recliner. His expres-

sion is still blank, empty somehow. It’s terrifying.
MR. MARSH
Plenty of people happy to ruin a
pretty girl, Bevvie. Plenty of
girls happy to be ruined.
Suddenly, he chants, in a high schoolboy voice, like the

mocking weirdness of Pennywise:
MR. MARSH (CONT'D)

A girl who’ll run with boys will
smoke. A girl who’ll smoke will
drink. And everybody knows what a
girl like that’ll do!
NOTE: It is the adult Beverly who plays out the rest of

this scene, now INSIDE this MEMORY from childhood.
BEVERLY
I didn’t do what you’re saying. I
never did!
(CONTINUED)
93.
CONTINUED:
MR. MARSH
Maybe not. But I’m going to check.
And make sure.
BEVERLY
What?
MR. MARSH
Take off your shorts, Bevvie.
Now Beverly understands where this is really heading,

where it’s always been heading, no matter how hard she’s
tried to ignore the signs.
BEVERLY
No.
MR. MARSH
What did you say?
BEVERLY
I said no.
(beat)
Who told you? About the club? Who
told you we play down there?
Mr. Marsh takes a step closer.
MR. MARSH
Beverly Ann--
BEVERLY
Dad-- Was it a stranger? A clown?
Did he look like a clown?
A look of surprise, and annoyance, crosses his face.
MR. MARSH
You leave him out of this.
Beverly doesn’t need to hear more. She tips the recliner

at him with all her might. While he braces against its
weight, she breaks for the front door.
She runs out into the hall and through the entrance, but
she tumbles onto the front walk, knees first. Mr. Marsh
is right behind her. She gets up and keeps running.
EXT. MARSH APARTMENT -- DAY
Beverly comes flying out the door of the building and

into the street. A woman pushing a grocery cart stops to
watch her.
(CONTINUED)
94.
CONTINUED:
Ben comes running from behind the building. He sees her

and has to run for all he’s worth to catch up. He finally
catches her and she screams, but when she sees it’s him,
she pulls him into a sobbing embrace.
BEN
It’s all right. You’re safe. I’ve
got you.
Beverly chokes back tears. She looks back toward the

apartment and sees It in the doorway waving good-bye. It
recedes back into the dark and the door shuts.
Now she can clearly see: The building is falling apart, a

FOR SALE sign in front. This makes her cry even harder.
Ben holds her tight.
CUT TO:
INT. DERRY TOWN HOUSE, BEVERLY’S ROOM -- DUSK
Tom is on the bed, in just his jeans and undershirt. He

is watching the TV with the sound off drinking the little
bottles from the mini-bar. And listening.
He changes channels and finds a program featuring a

clown. The clown is smiling to the camera, motioning the
viewer closer to the screen. For a split second, Tom and
Beverly’s wedding photo flashes on the screen.
Tom’s eyes widen. Did he see that right? It flashes a-

gain. Then the clown reappears, looking more serious. Tom
leans forward and turns up the sound.
PENNYWISE
Hiya, Meat. Is your refrigerator
running? How ‘bout your wife?
Tom screws up his face. He’s a little drunk, but not e-

nough for all of this to be happening. He looks at the im-
age closer, and that is when Pennywise’s eyes begin to
pour out light, right out of the television, right into
Tom’s.
CUT TO:
INT. TRUCK STOP -- DAY
A pick-up truck loaded with plate glass on side racks

pulls up to a rural truck stop and parks beside the gas
pumps. The driver gets out and comes inside.
(CONTINUED)
95.
CONTINUED:
It’s Henry Bowers, now wearing the grey coveralls of the

glass company driver.
He approaches the counter fumbling with an unfamiliar

wallet. Photos of some man and his wife and children are
visible for a split second.
HENRY BOWERS
I’ll take twenty on pump two.
While the CASHIER rings up the sale, Henry’s eyes wander

down the long glass counter full of items for sale--belt
buckles, trucker hats, hunting knives, a razor.
CASHIER
Anything else?
CUT TO:
INT. BILL’S CAR -- DUSK
Bill is driving to the library. He pulls into the lot and

we see, in the car behind him, Audra, following him, look-
ing quite concerned.
CUT TO:
EXT. DERRY PUBLIC LIBRARY -- DUSK
The front entrance of the library is all locked up. The

blinds are pulled for the night.
INT. DERRY PUBLIC LIBRARY, READING ROOM -- DUSK
Everyone is sitting at one of the big reading tables,

looking frayed. Someone has brought a bottle of scotch
and it’s already half gone.
RICHIE
What about the rest? I don’t remem-
ber after that. We went after It?
BILL
It got to Henry just like it got
to Bev’s dad. He came after Eddie
and Ben with a razor. Chased us
all down there before we were
ready.
(CONTINUED)
96.
CONTINUED:
EDDIE
The police were looking for him, I
remember. Killed his dad, didn’t
he?
BILL
He tried. Cut him up bad.
BEVERLY
(suddenly concerned)
Where’s Henry now?
BILL
Up in Augusta. In a psychiatric
facility there.
(beat)
We brought him out of the sewers
ourselves. It did something to
him.
EDDIE
Was it bad, Bill? --Wait, forget I
asked. Maybe I don’t want to know.
BEN
I have this image of-- Some kind
of --door? And lights.
Ben tries, but he can’t call it up. He gets angry.
RICHIE
Memory Lane ain’t such a great
address anymore.
EDDIE
Memory Lane? More like the Long
Island Expressway.
BEVERLY
Does it even matter? Unless
there’s something we can use. A-
gainst It, I mean.
Bill isn’t sure how to answer.
RICHIE
There’s something you don’t want
us to know, isn’t there?
The others look scared by this--not mistrustful, just

very scared. Bill takes out one of the historical photos.
(CONTINUED)
97.
CONTINUED: (2)
BILL
Look at this one again. Look hard.
I want to see if you notice.
He shows them the photo of the Bradley Gang again, a jew-

eler’s loup over Its face. A beat, then Beverly gasps.
BEVERLY
There. Beside It’s nose.
(beat)
A scar. From where I hit it at
Neibolt Street.
BILL
It’s in most of the photos.
BEN
How is that possible?
BILL
I don’t think time works for It
like it does for us. Remember #29?
We saw the past there.
EDDIE
The future, too, I think.
BILL
The closer you get to It, the less
time --matters.
(beat)
I have a feeling we may see things
down there, people even, we
haven’t seen in a while.
INT. DERRY PUBLIC LIBRARY, UPPER STACKS -- DUSK
Audra, who has snuck in, is sitting on the stairs to the

upper stack, out of view, listening to this, trying to
make some sense out of what she’s hearing. She’s hugging
her arms, as if she’s cold.
INT. DERRY PUBLIC LIBRARY, READING ROOM -- NIGHT
Richie shakes his head.
BEN
But what about weapons? I don’t
know that I believe in silver bul-
lets anymore.
(CONTINUED)
98.
CONTINUED:
BILL
What about regular bullets? You
believe in those?
Bill shows them his handgun.
BEN
I do.
Beverly looks at the gun, dumbfounded.
BEVERLY
I need some air.
(plainly nervous)
Anyone want to join me?
EXT. DERRY PUBLIC LIBRARY, LOADING DOCK -- NIGHT
Ben and Beverly stand on the back loading dock of the

library. It looks out across a small lit parking lot next
to the children’s wing, and then dark woods beyond.
BEVERLY
Going over all of this makes me
realize how few real friends I’ve
made since that summer.
He gestures to her ring.
BEN
What about your husband? He’s not
your friend?
A long beat. It’s time to be honest about it.
BEVERLY
Did I ever tell you what my father
used to say to me when he hit me?
Ben shakes his head.
BEVERLY (CONT'D)
“I worry about you, Bevvie.”
That’s what he used to say. “I
worry a lot.”
She half-laughs and shivers at the same time.
BEVERLY (CONT'D)
Tom worries the same way. I mean
exactly the same way.
(beat)
(MORE)
(CONTINUED)
99.
CONTINUED:
BEVERLY (CONT'D)
Being married to him is like going
back into an old nightmare. Why
would a person do that? Choose to
go back into some horrible past?
BEN
People go back to find themselves,
I guess.
BEVERLY
My father was-- In many ways a
strange man. I loved him, but--
(beat)
I hated him, too.
(beat)
I’ve never told that to anyone. I
don’t even know if I’ve said that
out loud before.
BEN
Then say it again.
BEVERLY
He was my Dad, Ben. He worked hard
for us.
BEN
Say it again. --Go on. It’ll hurt,
but it’s festered in there long
enough. Say it.
BEVERLY
I hated my dad.
BEN
Say it all.
BEVERLY
I was scared of him. He didn’t
know how to raise a child. A daugh-
ter. He didn’t have the right--
boundaries. I was always scared
what he was thinking, what he was
going to do.
(beat)
I was always so fucking scared.
She begins to weep.
BEVERLY (CONT'D)
I always thought I’d be someone
different. I was supposed to grow
up and do great things. We all
were. Maybe Bill’s right.
(CONTINUED)
100.
CONTINUED: (2)
She gets hold of herself. She wipes her tears.
BEVERLY (CONT'D)
What about you? Do you have a lot
of friends, Ben?
BEN
(quickly, before he
loses his nerve)
I love you.
And there, he’s said it. After 28 years, he’s said it.
BEVERLY
I love you, too.
BEN
No. I mean I love you. Since we
were kids.
A beat. Then she realizes.
BEVERLY
You wrote that poem, didn’t you?
“January embers...”
Ben doesn’t refute it.
BEVERLY (CONT'D)
You never said anything--
BEN
How could I?
And underneath Ben’s trim, confident exterior, the shy,

fat, awkward kid is there, visible in this moment.
BEVERLY
Oh, Ben. You could’ve! I needed
all the love I could get back
then.
She smiles, tears in her eyes. She laughs, happy for the
first time since their reunion.
BEVERLY (CONT'D)
And now, too.
She embraces him. He holds her, his face lighting up.
INT. DERRY PUBLIC LIBRARY, LOBBY -- NIGHT
Richie and Eddie sit talking under the glass dome.

(CONTINUED)
101.
CONTINUED:
EDDIE
All my life, she’d driven into me
this fear of pain. When it finally
happened--when Bowers broke my arm
--it wasn’t Armageddon, you know?
It didn’t end me. In a way I owe
Henry Bowers a thank you.
RICHIE
That’s the last thing I thought
I’d hear any of us say.
Eddie’s phone BEEPS with a message. The sudden RINGTONE

startles them. Eddie takes his phone out and checks it.
EDDIE
It’s from my wife. Excuse me--
Eddie walks off and opens his phone.
INT. DERRY PUBLIC LIBRARY, MEN’S RESTROOM -- NIGHT
Eddie comes into the restroom. He pins the phone to his

shoulder and steps into one of the stalls to urinate.
MYRA’S VOICE
I’ve been trying to reach you all
day. Why haven’t you called!? I’m
going out of my head waiting--
EXT. DERRY PUBLIC LIBRARY, BILL’S OFFICE -- NIGHT
Bill is in his office looking down on Ben and Beverly.

They are embracing. He looks on with longing. But some-
thing in the parking lot snags his attention.
Something is twinkling out there on the pavement. Broken

glass. A window has been broken out of the side door of
the children’s wing.
INT. DERRY PUBLIC LIBRARY, LOBBY -- NIGHT
Richie is getting a drink at the drinking fountain when

he hears it, a TAP somewhere in the library. He takes a
few steps in that direction, walking away from the rest
rooms.
Eddie is urinating and listening to what Myra is saying.

(CONTINUED)
102.
CONTINUED:
MYRA’S VOICE
You want me to have a heart at-
tack, Eddie? You know how my heart
is? You want a divorce? Is that
what you want?
(beat)
You want a balloon?
At first, Eddie isn’t sure he’s heard her correctly. But

she continues, her voice deepening.
MYRA’S VOICE (CONT'D)

I’ve got all the colors, Eddie.
Blue, green, red, scream. Scream,
Eddie! Scream! Just try!
Eddie doesn’t notice Henry Bowers step behind him. Henry

has the straight razor. He lifts it and slices, hard, at
Eddie’s back. Eddie arches in pain and surprise. He drops
the phone. It skitters across the tiles.
PENNYWISE
Howyadoon, Eddie Spaghetti? I
think you do want a balloon?
Eddie turns to defend himself. It’s so much worse when he

recognizes who it is. Henry is already on his second
slash and Eddie barely has time to put up a hand. The
razor sticks in the meat below his pinky finger.
EDDIE
HELP ME!
HENRY BOWERS
Thought you were smart, Kaspbrak.
Fucking sissies is all you were!
Eddie tries to grab at the razor, but Henry pulls it back

fast and swings again. This time it hits Eddie in fore-
arm, cutting through his sleeve and chipping bone. Eddie
SCREAMS again.
Richie is standing in the middle of the big main reading

room. There are a few more TAPS and then he sees: Drops
of blood are hitting the table tops, and open dictiona-
ries, like the first few drops of rain.
RICHIE
Hey guys--?
(CONTINUED)
103.
CONTINUED:
And then it begins--a SHOWER of BLOOD. Blood runs down

between the spines of books everywhere, running out onto
the floors in red fans. The roller blinds on all the
windows begin to sag with the weight of it.
Ben and Beverly, then Bill, appear at Richie’s side. Ben

has to raise his voice to be heard over the downpour.
BEN
What is this?!
Finally, Audra, who has heard the yelling, comes down.

They see her standing behind them, wide-eyed.
BILL
(to Audra)
Can you see this?
AUDRA
What is this?! Whose blood is
this?
She looks terrified. She’s shaking. Bill puts an arm

around her to steady her.
Eddie is bleeding from his hand and arm. Henry has him
blocked into the stall, but Eddie rushes him and they
slip on the now-bloody floor. Eddie falls too, but it’s
Henry who cracks his head on the tiles.
Henry is dazed enough for Eddie to crawl away a few feet

toward the door. But Henry rolls over and takes a whack
at Eddie’s leg. He plants the razor into the rubber sole
on Eddie’s heel. Eddie is able to kick it away from him.
Henry goes after it and Eddie is able to get out the
door, yelling for help.
But Bill and the others can’t hear Eddie.
INT. DERRY PUBLIC LIBRARY, REST ROOM CORRIDOR -- NIGHT
Eddie gets to his feet. He makes it to the fire alarm

mounted on the wall as Henry comes out after him. Henry
sees what Eddie is about to do and hesitates. Then he
runs for the fire exit. Eddie jams the alarm bar down.
104.
The blood stops falling and, suddenly, the FIRE ALARM

starts BLARING. No longer distracted, Bill realizes:
BILL
Where’s Eddie?
INT. DERRY PUBLIC LIBRARY, REST ROOM CORRIDOR -- NIGHT
Bill and the others come into the lobby and see Eddie
sliding down the wall to sit on the floor. There’s blood
all over him. They rush to his side.
EDDIE
We have to go. We can’t wait--
BILL
The fire trucks will be here any
minute-- We’ll get you to the hos-
pital.
EDDIE
Call off the alarm, Bill. Don’t
you get it? It’s recruiting again.
Forcing our hand.
BEVERLY
Who did this to you?
EDDIE
Henry Bowers.
BEVERLY
What?!
Audra is watching all of this in dismay.
EDDIE
I’d swear to it. It was him.
(beat)
Cancel the call, Bill. It’s just
us. We can’t trust anyone now, and
we’ve got to hurry.
Bill turns to Audra.
BILL
I need you to call the fire
department and cancel the alarm.
It’s important.
(MORE)
(CONTINUED)
105.
CONTINUED:
BILL (CONT'D)
Then I want you to go somewhere
where there are a lot of people
and stay there until morning.
Audra nods.
AUDRA
Bill--
BILL
Later. I’ll explain everything
later.
(he smiles)
Just go.
And she does. Ben takes off his shirt and starts ripping
it into strips.
CUT TO:
INT. BILL’S CAR -- NIGHT
Bill drives Eddie’s limo, Richie beside him. Eddie is in

back being tended to by Ben and Beverly. They’re doing
their best with strips of Ben’s shirt to bind his wounds.
EDDIE
In my world, they say it’s bad
luck to be driven in your own car.
BEN
Most of these need stitches. I’m
sure of it.
EDDIE
After. For now, I’ll take my
chances down there with you guys.
BILL
Eddie’s right. High Five. We all
need to be there.
EDDIE
Just cover everything real good. I
mean, you know-- it’s a sewer.
BEVERLY
I have a med kit in my room. It’s
little, but it would help. It’s on
the way, Bill--
BILL
It’s a risk.
(CONTINUED)
106.
CONTINUED:
Ben and Beverly exchange a look.
BEN
Do it.
EXT. DERRY TOWN HOUSE -- NIGHT
Bill pulls up to the inn. Ben and Beverly get out. Bill
calls after them.
BILL
Don’t stop to talk to anyone. Just
in and out.
They nod and run inside.
INT. DERRY TOWN HOUSE, LOBBY -- NIGHT
The lobby is empty. Beverly and Ben hurry past the vacant
front desk.
CLOSE ON: In the box for Beverly’s room, there is a pile

of messages, the top one of which reads: “CALL KAY ASAP.”
In the tiny room behind the front desk, the ATTENDANT is

sitting, distracted, watching a funny clown on TV.
INT. DERRY TOWN HOUSE, 2ND FLOOR CORRIDOR -- NIGHT
Beverly and Ben come into the corridor.
BEN
I have a sweater Eddie can wear.
Beverly heads to one end where her room is, Ben to the
other where his is. Beverly lets herself in.
INT. DERRY TOWN HOUSE, BEVERLY’S ROOM -- NIGHT
She comes in and turns on the light. She goes to get the
med kit from her luggage and then stops. Something’s off.
She turns, about to hurry out, but there is Tom.
TOM
Beep beep, Bev.
Beverly takes in breath to scream, but he punches her in

the face before she can.
(CONTINUED)
107.
CONTINUED:
He hits her so hard, she’s knock-ed over the bed and into
the space between it and the far wall. She barely has
time to cry out before he is on top of her.
He wraps his belt around her neck and pulls it taut. She
tries to yell, but he’s choking her.
TOM (CONT'D)
You left without saying goodbye.
That’s a no-no.
(beat)
Didn’t you know I’d come? I’ll
always come for you, Babe. Don’t
you know that?
Beverly does not have much time left before she blacks
out. She feels her way down the electrical cord that’s
digging into her back until she can grab the lamp at the
end of it. She claws off the shade and then she hammers
Tom’s head with the brass base over and over until she
can breathe again.
Ben hurries into the room and hauls Tom up to hit him,
but when he sees Tom’s face, he puts him down. He hurries
to Beverly.
BEN
Are you okay? Talk to me--
Her mouth is bleeding and she has a nasty ring around her
neck, but after a moment, she speaks.
BEVERLY
He followed me-- He was gonna kill
me--
(beat)
Is he--?
Ben reaches for Tom’s wrist and takes his pulse. He nods.
He takes her face in his hands and tells her:
BEN
This isn’t the beginning of some-
thing, Bev. This is the end of it.
A good and necessary end. You
don’t have to worry about this
man, or men like him, anymore. You
ended it. You got that?
Beverly nods. He smiles.
BEN (CONT'D)
Now come on. We’ll deal with this
later. We gotta go. Out the back.
108.
EXT. DERRY TOWN HOUSE -- NIGHT
Beverly and Ben come around the side of the inn and get
in the car. The dark, massing clouds overhead flicker
with lightning, like glowing brains.
Ben, Eddie, and Beverly come through the woods to the

edge of the Barrens and climb up to Kansas Street. They
can hear some kind of SIREN in the direction of town.
They can see Bill and Richie coming down Kansas Street on
Silver. When they ride up, Bill beats them to the punch.
BILL
We’ve been looking everywhere for
you-- Henry’s lost it.
BEVERLY
Oh my God.
RICHIE
We heard on the radio. The police
are looking for him.
BEN
He’s here-- He chased us down
here. We lost him in the Barrens.
Bill looks around. They all do.
BILL
Then he probably heard my bike.
BEN
It got to Beverly’s dad, too. It’s
forcing a rematch--
THUNDER BOOMS almost directly overhead, making them jump.
RICHIE
We gotta get out of here. Out of
Derry.
Everyone looks to Bill. How?
But there’s no time to answer. Two hundred yards down the

road, Henry, Victor, and Belch emerge and climb up out of
the Barrens. They see.
(CONTINUED)
109.
CONTINUED:
BEVERLY
It’s not gonna let us. It’s gonna
make us fight.
BILL
Then we’ll fight. But we fight It
face to face, how we said.
Henry begins toward them, a strange grin on his face.
EDDIE
But we don’t have any ammo. Or
maps! Or flashlights--
Richie holds up a single steel flashlight.
BILL
We have everything we need.
(beat)
Ben, take us there.
And so they go, dropping quickly back into the Barrens,

Ben in the lead. Henry and the boys head back in as well.
EXT. KANSAS STREET, CULVERT -- NIGHT
Bill parks. Ben helps Eddie out of the back seat and they
gather at the top of the embankment. The wind is rising.
Beverly points down Kansas Street to the spot two hundred

yards from them.
BEVERLY
Henry should be there. Isn’t that
how it went, where he came out?
RICHIE
Maybe he is.
Bill takes out his handgun.
EDDIE
Trade in your slingshot?
BILL
Something like that.
(beat)
Ben, take us there.
They head down, Ben in the lead.

110.
EXT. THE BARRENS, OAK TREE -- DAY
Ben is hurrying through the Barrens as fast as he can,

everyone bottling up behind him. Overhead, treetops are
starting to sway so much they’re CREAKING.
They run beneath their tree fort just as rain begins to

fall. They can hear Henry calling to Victor and Belch
nearby, getting closer. They go on.
EXT. THE BARRENS, PUMP HATCH -- DAY
They come to the clearing where the pump hatch is.
BILL
Beverly, cover us.
Beverly picks up rocks and loads one into the slingshot.

Ben and the others crowd around the hatch and begin push-
ing the cover. It SCRAPES LOUDLY and tips over the edge.
They find themselves looking down a fifteen-foot ladder.
BEVERLY
They heard! Go!
Bill goes first to help Eddie, who goes next. They

descend as fast as they can. Richie follows. Ben hesi-
tates, unwilling to leave Beverly.
BEVERLY (CONT'D)
Go, Haystack!
He does.
INT. THE TUNNELS, LADDER/PUMP BUNKER -- DAY
Bill helps Eddie to the bottom, into a foot of standing

water. All around them, the walls DRIP. They look up and
see Richie and Ben descending. Above them, Beverly’s wait-
ing for enough room to start down. All of a sudden, Henry
appears behind her and puts the razor to her throat.
BILL
BEVERLY!
Beverly snaps her head back giving Henry the head-butt of

his life. She’s able to scramble onto the ladder just as
he slaps at her with the razor, and duck, in time.
BEVERLY
GO BEN! GO!
111.
INT. TUNNELS, PUMP BUNKER -- NIGHT
When Ben gets to the bottom, he’s an adult. He helps

Richie down and they gather in the glow of their flash-
lights, surrounded by dank, DRIPPING masonry. Bill makes
sure they’re all there and then starts leading the way.
INT. TUNNELS, CONCRETE LEVEL -- NIGHT
They make their way down a series of concrete tunnels of

varying widths. The run-off is up to their knees.
INT. TUNNELS, “STOP LIGHT” INTERSECTION -- DAY
The tunnel dead-ends at a wall where three tunnels are

stacked up like a stop light. Bill (11) hurries in and
the others file behind him. The highest tunnel is also
the largest, and it’s running clear. The middle tunnel is
a little smaller and is pouring out brackish water. The
lowest tunnel is the smallest and runs with raw sewage.
BILL
Eddie-- Which one?
EDDIE
Don’t ask me. Beverly’s got a bet-
ter brain for this.
BEVERLY
Where are we going?
BILL
Downtown. Under the canal.
Ben and Richie both nod; that sounds about right. Beverly
looks and then points to the bottom pipe.
BILL (CONT'D)
You sure?
She nods. Behind them, they can hear HENRY’S VOICE ECHO-
ING through the pipes. Bill steels himself, crouches down
to the opening, and crawls in.
INT. TUNNELS, SHIT PIPE/BRICK LEVEL -- NIGHT
Eddie (38) is leading the way, holding his bandaged arm

in front of him. He’s trying to give everyone as much
light as possible, but it’s a small pipe.
(CONTINUED)
112.
CONTINUED:
BEVERLY
Eddie, don’t forget there’s a drop-
off up ahead.
But Eddie’s already there. He falls forward into dark,

empty space, flashlight rolling away from him. He comes
to a halt on his injured arm and yells.
BILL (O.S.)
You okay?!
EDDIE
Last step’s a bitch.
He crawls to the flashlight and grabs it, finding himself

suddenly face to face with the fresh, puffy corpses of
twin boys sitting side by side. Eddie yells again.
Bill’s frightened face appears at the opening of the shit

pipe. He climbs down and sees the kids.
EDDIE (CONT'D)
Jesus Christ. I forgot this part.
This tunnel is bigger and Eddie is able to stand upright.

Bill helps the others down. Eddie has the light pointed
to the silty floor.
EDDIE (CONT'D)
Look. Someone’s been here.
In his light they can see fresh, adult-sized boot prints.
BEVERLY
That’s the way we have to go--
BILL
Ben, stay up front with Eddie. And
take this.
He gives Ben the handgun.
They follow this new tunnel a hundred yards until another

intersection. Beverly gestures to the right and they head
down a gradually sloping brickwork tunnel, clearly older
than the ones behind them.
THE DESTRUCTION OF DERRY, MONTAGE #1:
Downtown, the electronic bank clock flips to 6 a.m.

Almost dawn. The dark sky begins spitting rain. Soon, all
over Derry, a downpour begins.
(CONTINUED)
113.
CONTINUED:
RADIO WEATHERMAN
Apologies to all of you who heard
last night’s forecast. We’ve got a
crazy weather pattern over the
entire Penobscot Valley, from a
drop in pressure we honestly just
didn’t see coming.
INT. TUNNELS, BRICK LEVEL -- DAY
Bill falls out of the shit pipe into the brickwork tunnel
with a painful drop.
BILL
There’s a drop-off! Be careful!
Beverly appears next, then Eddie, then Ben, then Richie.

Bill puts a finger to his lips and they listen. They can
hear Henry and the others at the other end of the shit
pipe, crawling toward them.
RICHIE
They’re still coming.
BILL
Which way, Bev? Hurry.
Beverly takes the flashlight and shines it one way, and

then the other. The light passes over the dead twins.
Eddie cries out.
BEVERLY
It’s this way.
They go, Eddie and Ben looking back, wide-eyed.
INT. TUNNELS, BRICK LEVEL -- NIGHT
Eddie leads the others down the brick tunnel to another,

then another. Finally, they come to where it joins a low,
wide tunnel that appears to be made out of wood. The
floor is dry, dusty.
BEN
We’re deep. These tunnels haven’t
seen water in decades.
EDDIE
I remember this. It’s not far.
114.
INT. TUNNELS, ECHO CHAMBER -- NIGHT
They proceed down the low, wood tunnel until it opens up

into a kind of high-ceilinged echo chamber. Ahead of them
there is a low, short tunnel ending at a small wood door.
BEN
That’s it. This is as far as we
went. You went on without us.
BILL
Not this time. Come on.
BEVERLY
This is where Victor and Belch--
Suddenly, she grabs the flashlight and knows exactly

where to point it. In one of the corners lie the molder-
ing, decades-old bodies of Belch and Victor. One of their
skulls is a few feet away, grinning at them.
BEVERLY (CONT'D)
We tried to help them--
BILL
Come on. It’s time. Whatever you
see, let it in. Believe. It’s the
only chance we’ve got.
Bill leads them down the crawl space to the little door,
Then they all go through.
Early morning commuters drive through standing water in

low-lying spots. People waiting for buses along the Canal
look with concern at the rising water.
INT. TUNNELS, WOOD LEVEL -- DAY
The kids come down to the echo chamber and see the door
at the end of the little crawl space.
BILL
This must be it.
BEVERLY
What if it’s locked.
BILL
Places like this are never locked.
(CONTINUED)
115.
CONTINUED:
BEN
Bill--
Bill turns and points the light back down the tunnel.
Standing there, twenty yards away, is Henry. He looks
wild--covered in shit and blood. Victor and Belch are
beside him, looking terrified. Victor actually says to
them:
VICTOR CRISS
Can you help us out of here? We’re
out of matches--
But Henry steps forward, holding out the razor. He fixes

his gaze on Bill. But before he can get close to him, a
horrible TRUMPETING SOUND comes from the darkness behind
them, followed by dozens of CLICKS and CLACKS.
Pennywise comes into the Echo Chamber and rears up into

the light, above them, on some kind of long, disjointed
legs, like circus stilts.
IT/PENNYWISE
Hello! And goodbye!
Victor turns to run, but It lashes out and yanks him back
by the hair. He SCREAMS as it whips him around and then
hurls him against the far wall. Belch tries to run past
It, but it snags him.
BELCH HUGGINS
HELP ME! HELP!
And they try to. Beverly has pulled back the slingshot
and gets off a good shot. It rears up, a hole opening in
its shoulder, bleeding light. At the same time, Eddie
runs in front of It and lifts up his aspirator.
EDDIE
This is battery acid, fucker!
He sprays the aspirator in the clown’s face, which begins

to bleed. It slaps Eddie to the ground and pins him there
under one of its spindly legs.
It brings Belch up to its face and chews through his

neck. Belch’s head goes rolling off into a corner while
It sucks out his heart’s blood from the stump of his
neck. When It’s finished, it wings the corpse aside where
it lands next to where Victor is crumpled, his head caved
in. It’s eyes have begun to brighten with some gastly
internal light.
(CONTINUED)
116.
CONTINUED: (2)
Ben goes after It with his stick to help Eddie, but It

knocks him aside against the wall.
Beverly aims again and drills a stone into the leg that
has Eddie pinned down. It rears up again in pain, light
flooding out of its leg. It grabs Henry and dives into
the crawl space where it drags him through the door. Most
of the light goes with It.
BILL
Help Eddie and Ben! Help Victor!
Then Bill disappears after It through the door.
Weather vanes pivot in the wind gusts. Intersections are

flooding. Curbs are lost one after another under the
runoff.
Suddenly, a huge concussion somewhere under Kansas Street

shakes the homes there. Inside, toilets explode in gey-
sers of sewage. People are killed in their morning ablu-
tions by shards of porcelain.
INT. TUNNELS, ITS LAIR -- NIGHT/DAY
The adults all come through the tiny door into It’s lair.
It is a large space, some forgotten chamber of an old
mine. Parts of the roof are still raw rock.
They come further into the room, afraid to make any

noise. The place seems empty until they hear a GIBBERING
sound coming from one side.
Eddie pins the light on it and they see: Henry Bowers is

crouched against the wall, twitching and drooling, driven
mad somehow. His eyes are rolled up and white.
But before she can answer, the little door behind them
bursts open and It comes shooting in, flooding the room
with light from its wounds, Henry Bowers (11) held in its
grip.
Henry is SCREAMING, slashing at It with his razor. But It

hauls Henry up to It’s face and locks eyes with him.
Henry goes still, trembling in some unthinkable con-
nection with It.
The adults look from the young Henry to the older Henry
in utter dismay.
(CONTINUED)
117.
CONTINUED:
RICHIE
WHAT THE FUCK IS HAPPENING?!
BILL
Remember what I said about time.
It’s different down here--don’t
let it distract you!
Ben empties the handgun into It, but it doesn’t seem to

slow It down at all. Eddie steps up with his aspirator
and yells.
EDDIE
This is battery acid, fucker!
He sprays it into It’s face. This breaks the lock between

It and Henry. It drops Henry as It lashes out at Eddie,
LAUGHING a horrible LAUGH. It grabs Eddie, about to pull
him up into the same awful embrace.
Beverly runs up and grabs Eddie, trying to pull him back

down. Then she realizes--she got her hands on his belt.
She yanks it hard, pulling it free. Then she goes for it.
BEVERLY
I’m not scared anymore! You hear
me! I’m FUCKING PISSED!
She whips It right in the face. And again. With great and
utter power.
This works. It SCREAMS and drops Eddie. Then It turns and

gallops off into the darkness. Ben runs over and helps
Eddie to his feet. Eddie’s bleeding through his bandages,
but yells:
EDDIE
Come on! Let’s finish It!
BILL
Hold on-- We need their help.
BEVERLY
Who?!
Bill takes the flashlight and shines it back the way they
came. A beat. There, standing at the little door, is Bill
(11), watching all of this. Bill (38) says to him:
BILL
It’s okay. Go get the others.
Bill (11) nods and goes back through the door. Bill (38)
turns to the others.
(CONTINUED)
118.
CONTINUED: (2)
BILL (CONT'D)
This is what I was holding back. I
saw us back in ‘85 all of us,
right here, like we are now. I
watched us go after It and I
thought--grown-ups can do It. They
can kill It. But I was wrong.
BEVERLY
Then how are we going to?!
BILL
How we should have before--
together. This is their fight as
much as it is ours.
Bill (11) comes back with Ben, Beverly, Eddie, and Richie
in tow. The children all look at the adult versions of
themselves.
Ben sees himself as a grown man, fit and thin. You can
see the relief in his eyes. But Beverly sees herself as a
woman with a healing split lip and a man’s belt in her
hand. Richie and Eddie look at themselves for evidence of
a happier future. But the fact that they’re still here,
in this sewer, so many years later, does not bode well.
BILL (CONT'D)
Let’s end this thing.
They all head after It, kids and adults alike.
Shingles and weather vanes are now blowing free of their

moorings.
Car alarms and security systems all over downtown begin

BLEATING as the rain turns to hail. The iron covers over
the sewers begin shooting up one after another. People
dodge out of the way and take cover.
INT. TUNNELS, IT’S LAIR -- NIGHT/DAY
They all follow a blood trail back through It’s lair

until they find It cornered behind its horrible cache of
children--hundreds, from all periods of time. These are
all the lives It’s destroyed. The children look dazed and
lost and frightened.
(CONTINUED)
119.
CONTINUED:
It watches them approach, still and silent, like a bird

watches a snake. It is still bleeding light out of its
wounds.
IT/PENNYWISE
You see, kiddos. It doesn’t end.
You’re still a fag, Richie. And
Beverly’s still a punching bag.
Always will be.
Richie stands with his younger self. He smiles.
RICHIE
(as Errol Flynn)
He speak treason. Fluently.
Young Richie smiles at this.
Beverly kneels beside her younger self and says to her,

with as much love as anger.
BEVERLY
I know how it looks, but It’s ly-
ing, all right. It lies.
As It talks, its eyes grow brighter, revving up its dead-

lights for a final coup de main.
IT/PENNYWISE
Eddie, your mom’s calling. She’ll
always call, and you’ll always an-
swer. Hell, you marry her!
Eddie tells his younger self.
EDDIE
Don’t listen. It won’t end like
that.
IT/PENNYWISE
Ben, every time you look in the
mirror you know what you see. All
those miles you put between you
and fat boy, you know what you
see. Food, booze, exercise, you’ll
try it all.
Ben shakes his head. His younger self nods, reassured.
BILL
But Bill. Big Bill beats you all.
Big Bill doesn’t even grow up. He
won’t without his Georgie-pie. He
doesn’t dare. So he never will.
(CONTINUED)
120.
CONTINUED: (2)
Bill steps up in front of It, careful not to tread on any

of the dead children.
IT/PENNYWISE
See? Even if you get me, I got you
first. I still get you. I get all
of you, all the time, forever.
It’s eyes are getting brighter than the light spilling

out of its wounds.
BEN
Bill-- Be careful!
But Bill turns to them, all of them, and simply says:
BILL
Make it hurt.
Then he turns back to It and grabs its head in his hands

and stares right into its deadlights. They flare and a
connection is forged.
BILL (CONT'D)
Come on! While it’s distracted--
The kids dart forward first. They begin ripping into It,
through the silken suit and then through skin. It fends
them off as best It can--pistoning out Its hands and
driving them back, whacking at them with Its claws, all
the while locked into Bill’s stare. The adults see the
kids getting hurt and so go in as well and try to hold it
down. It won’t be held. It flails and struggles, clawing
and raking at them like a wild animal.
BEN
Hurry--I don’t know how long Bill
can take this!
They are being cut up and bruised, all of them, but they
fight on. Beverly realizes all of the other children are
watching. She calls to them:
BEVERLY
COME ON! YOU CAN FIGHT BACK!
And they do, some of them. Soon a few dozen kids are all
participating in the fight.
Beverly is able to cinch the belt around on of its hands

and, with Ben’s help, they pull it down on Its knees.
Eddie and Richie subdue the other hand and do the same.
The children come and hold It down.
(CONTINUED)
121.
CONTINUED: (3)
Bill (11) finds It’s heart--its still-beating heart--and

works his fingers around it. Then he rips it out. It
writhes and screams.
BILL
LIAR! LIAR!
Bill holds up the heart for all to see and then smashes
it against the floor, bursting it in a splash of inky
gore.
And then, in a grotesque spasm of light, It dies. Bill

(38) falls with It into the dark. The others adults run
and crowd around him, flashlights on.. Beverly shakes
him. He does not respond.
Overhead, and all around them, the walls of It’s cavern

begin to SHUDDER and, like the house on Neibolt Street,
everything around them locks into one specific temporal
reality--the present. But the SHUDDERING continues.
BEVERLY
Come on, Bill! Wake up!
Beverly is crying hard. They all are.
RICHIE
He has a heartbeat.
Ben opens one of Bill’s eyes and strobes it with the

flashlight. The pupil constricts, but Bill does not stir.
BEN
I don’t know what’s wrong. We’ve
got to get him above ground. Now.
Richie looks around, but the kids are gone now, all of
them, either out of this purgatory to whatever’s next,
or, in their own cases, back to their right decade. Above
them, the whole works continue to GROAN and SHAKE.
EDDIE
What happened from here? Where did
we go?
BEVERLY
Bill came out and told us he
thought It’d died, or was about
to. So we headed back. We came out
on the other side of the Barrens,
by the dump, but we made it out.
EDDIE
Can you do it again?
(CONTINUED)
122.
CONTINUED: (4)
Beverly nods.
BEVERLY
I’ll go as fast as I can.
BEN
(to Richie)
Help me carry him.
They lift up Bill and begin back toward the door. All
around them, they can hear the GROANING and SHIFTING con-
tinue. Some portions of the ceiling begin to come loose.
There is a LOUD SCREECHING that causes everyone downtown

to look up toward Bassey Park. With horror, they see the
top of the Standpipe begin to bow its head like some kind
of deflating balloon.
The Standpipe is indeed coming down. The downhill side of

the foundation has been undermined by runoff and the
whole structure is sliding. A huge crinkle in the brick-
work appears as the 7,000 tons of water inside tilt past
the point of no return. A series of TWANGS echoes out as
the Standpipe’s interior cables snap. The facade begins
to crumble, shooting out water, and then the whole thing
deflates, sending a grey tidal wave down the hill and
toward the canal. The dozen houses between Bassey Park
and the Canal are taken out whole, and swept into the
raging canal.
Downtown, people hear the rush of water before they see

it. Then, suddenly, it comes. Half of it is forced under
downtown, half over. Water fans out on all the downtown
streets, sweeping people off their feet and dragging them
into parked cars and shattered storefronts.
Those who are not killed or swept away, listen from their
places of refuge as the beams and supports under the city
begin to twist and break apart. All at once, the section
of downtown built over the canal begins to move. Windows
shatter everywhere. Cracks begin racing up and down
street after street. There are sounds like artillery
fire. Then downtown Derry simply collapses.
The canal, roiling and boiling, its throat choked up with

asphalt, concrete, and brick, now back-surges, sending
water and debris lifting out over its concrete sleeve and
racing in opposite directions. Residents of Derry run for
their lives. Many are carried away by the horrible wave
of wreckage of what was once their tidy city.
(CONTINUED)
123.
CONTINUED:
Finally, the water drains back toward what’s left of the

canal, and then begins moving on toward the Penobscot
River, leaving cross streets all over downtown broken off
and hanging in mid-air over the now exposed underground
canal like huge diving boards.
INT. TUNNELS, CONCRETE LEVEL -- DAY
Ben and Richie carry Bill in thigh-deep, rushing water.

Eddie leads the way with the flashlight and Beverly
brings up the rear, her eyes wide. They come to a four-
way fork. The ECHOES of TORRENTIAL WATER are loud here.
EDDIE
Which way, Bev?!
Beverly gestures and they go on. Something floats by

Beverly. She sees it is a large plastic letter “Y.”
EDDIE (CONT'D)
There’s light ahead--!
They come up to a section of destroyed pipe clogged with

debris. A few yards later, they can see blue sky above
them. The tunnel opens up into a pit in which the marquee
from the movie theatre has fallen. It still has most of
its letters attached, reading “T E OD SSEY.” Behind it,
is a Cadillac Escalade on its back.
BEVERLY
What the fuck happened?!
Ben points to the marquee. It makes a kind of ramp up.
BEN
You think you can climb that, Bev?
EXT. DOWNTOWN DERRY -- DAY
Downtown is busy with ambulance traffic and city workers

setting up crash barriers. A jagged crevasse two blocks
long opens up where Main Street used to be. People mill
about in shock, picking up things and tossing them down.
When Beverly appears at the top of the marquee, she hears

someone yell to her. Soon a half dozen people come over
to help. She finds herself being pulled up to safety.
(CONTINUED)
124.
CONTINUED:
Then everyone leans back in to help the others. Around

them, downtown Derry is destroyed--its history, its foun-
dations, all of its cycles of renewal shattered.
FADE TO BLACK.
It’s a sunny morning in Derry, Maine. A storm has passed

through in the night. Tree limbs are down and houses are
without power.
The Denbrough house sits back from the street. Several

rental cars are parked in its driveway.
In a moment, Audra comes up the walk from Witcham Street.

She makes her way around where some downed power lines
are being fixed and walks up to Bill’s front door.
INT. DENBROUGH HOUSE, PARENTS’ OLD BEDROOM -- DAY
Dappled sunlight shines through the window and onto the

bed where Bill is lying, awake, but expressionless. There
is a KNOCK, and then Eddie sticks his head inside.
EDDIE
Bill? There’s someone here to see
you.
He makes way for Audra to come through. She takes in

Bill’s lack of affect. She nods to Eddie and he leaves
them alone. She takes a seat by the bed.
Bill has the look of a soldier who’s come back from the
front--out of danger, but unable to let go.
INT. DENBROUGH HOUSE, DINING ROOM -- DAY
Ben, Beverly, and Richie are all around the table drink-
ing coffee. Eddie comes down and shakes his head.
BEVERLY
It’s just going to take time.
EDDIE
I don’t like his not talking.
(beat)
I’d settle for his stutter. At
least he’d be communicating.
(CONTINUED)
125.
CONTINUED:
RICHIE
He will. It’s Big Bill.
But Richie doesn’t look all that convinced himself.
BEVERLY
He looked right into It. Who knows
what he saw.
There’s no answering this question. Beverly shivers.
EXT. DENBROUGH HOUSE, FRONT PORCH -- DAY
Eddie and Richie are sitting on the porch, drinking beer

and watching the power crews. Audra comes out. She looks
a little less worried.
RICHIE
There’s some warm soda, too.
Audra shakes her head and smiles.
AUDRA
Thank you for taking care of him
like this. I’m hoping there’s some-
thing I can do, too. To help.
EDDIE
Just keep coming by. That can only
help.
She nods.
AUDRA
Can you tell me what happened to
him? I don’t really understand--
RICHIE
I think we should let Bill do
that. When he’s ready.
Audra nods. She smiles and heads back out to the street.
They watch her go.
EDDIE
That is one good-looking broad.
Richie doesn’t answer.

126.
EXT. DENBROUGH HOUSE, FRONT YARD -- DAY
Eddie is mowing Bill’s lawn. It’s later in the day now,

the power crews gone. Ben and Beverly come outside.
BEN
The fridge is back on. We’re going
to go try to find a supermarket.
Any requests?
EDDIE
No thanks. You seen Richie?
BEVERLY
In town, looking for a souvenir.
EDDIE
Who’d want a souvenir from Derry?
BEVERLY
Somebody named Steve. He said he’d
tell us tonight.
Eddie waves and goes back to mowing.
INT. DENBROUGH HOUSE, BILL’S OLD ROOM -- DAY
Eddie is in Bill’s office. He sees all of the work Bill

has put into keeping tabs on them--years of work. Boxes
of research materials are stacked against one wall.
From the window he can see the grate where Georgie died.
He looks at it for a moment, and then sees Bill’s garage.
EXT. DENBROUGH HOUSE, GARAGE -- DAY
Eddie walks to the garage and pulls open the doors. He’s
greeted by a wall of junk--old furniture, boxes, etc. He
goes right in and begins pulling stuff out.
In a moment, his phone RINGS. It’s Myra. He ignores it.
INT. DENBROUGH HOUSE, KITCHEN -- DUSK
Ben and Beverly come in with grocery bags. They find

Richie standing at the window. When they join him, they
see: Eddie has pulled half the stuff out of the garage.
BEN
What’s he doing?
(CONTINUED)
127.
CONTINUED:
RICHIE
He wouldn’t tell me. Says he has
some idea about helping Bill.
But then Eddie comes out of the garage and all is clear.
He’s pushing Silver. The old moped has bloomed with rust
and both its tires are flat. But it’s in one piece.
Richie starts laughing. So does Ben.
REPAIR MONTAGE:
Richie watches as Ben and Eddie work on replacing all of

the bike’s cables. At another point, they have the motor
cover off and are replacing the plugs.
Upstairs, Beverly sits with Bill while he eats some soup.

It is getting dark outside. She talks to him and he nods,
vaguely, at something she says.
Under the garage light, Richie sands off as much of the

rust as he can while Ben changes the tires.
INT. DENBROUGH HOUSE, MASTER BEDROOM -- DAY
Bill is just waking up. Eddie KNOCKS and comes in. Eddie
crouches down next to the bed and smiles an odd smile.
EDDIE
Get dressed, Bill. I’ve got some-
thing to show you.
EXT. DENBROUGH HOUSE, DRIVEWAY -- DAY
Eddie and Bill come out to find Ben, Beverly, and Richie
all standing next to Silver. The bike looks as good as it
ever did. Bill’s expression is inscrutable.
BEVERLY
It was Eddie’s idea. We think it’s
a good one.
EDDIE
Here’s the deal. You get to ride
it one last time. Then we find
some kid to take it off your hands
and you start fresh, start over,
whatever you want to call it.
(CONTINUED)
128.
CONTINUED:
RICHIE
Yeah, we’ll find some kid who real-
ly wants a thirty-year-old piece-
of-shit scooter.
Bill walks over to Silver and takes a good, long look.
EDDIE
You saved my life on this bike.
Ben’s too. Give it a try.
Richie hands him the key. Bill looks at it.
EDDIE (CONT'D)
Come on, brother. One last ride.
Bill gets on Silver. He turns to Richie and says:
BILL
It’s a moped.
Then he starts the engine. Tuned up like it is, it

catches the first time. Bill lets it out and rolls it
slowly down the driveway, gravel CRUNCHING underneath.
RICHIE
He’s gonna rock and roll!
BEVERLY
Down Main Street. On his head.
Beverly takes Ben’s hand. They all watch Bill go.
EXT. STREETS OF DERRY -- DAY
Bill rides carefully down the streets of Derry. There are

displays of catastrophe everywhere--broken pavements,
half-crushed houses, charred cars--but there are just as
many signs of people beginning to move forward.
At first, Bill looks lost and tentative, but slowly he be-

gins to seem more present.
ADULT BILL (V.O.)

The clown was wrong: Nothing lasts
forever, not even childhood. The
magic, the invention, the angels,
the boogeymen. It all goes. All
your Dreams and Nightmares are all
knocked off the hill and Reason
becomes king.
(beat)
(MORE)
(CONTINUED)
129.
CONTINUED:
ADULT BILL (V.O.) (CONT'D)
And that’s good. That’s how it’s
supposed to happen.
People on the streets clearing debris watch Bill as he

rides by, a little faster now.
ADULT BILL (V.O.) (CONT'D)

But it doesn’t all go at once. And
that’s the beautiful part. No
matter how hard the people in your
life try to speed it out of you.
The child leaves slowly, one whis-
pered wish--or shaming secret--at
a time. And that’s why the child
really is the father of the man. I
never understood that before. But
I do now.
(beat)
At least for the ones who make it.
EXT. DERRY SEWER -- DAY
The five members of the Loser’s Club climb out of a large

sewer drain in some far corner of the Barrens. They are
carrying Henry, who is catatonic. They lay him on the dry
bank and then come together. They stand in a circle, hold-
ing hands. They look around at each other, getting
strength from their love and friendship. Bill smiles.
BACK TO:
As he rides, he sheds a few last tears. But as he feels

more comfortable, he speeds up, buzzing past cars. One
even HONKS. By the time Bill speeds down Up-Mile Hill,
gunning it all the way, he has started to smile.

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IT

based on the novel by Stephen King

for Lin Pictures / Warner Brothers

21 June 2010 Draft

This is, at heart, a story about adults confronting un-

Memories here are initially presented as conventional

For simplicity's sake, all scenes taking place in the

It is the last hour of night in Derry, Maine. On a tree-

Timed traffic signals switch from green to yellow to red.

INT. DENBROUGH HOUSE, MASTER BEDROOM -- NIGHT

BILL DENBROUGH (38) is tossing in bed, in the grip of

INT. DENBROUGH HOUSE, GEORGIE’S ROOM -- DAY

Bill (11) is standing in his brother’s bedroom, in a

MR. DENBROUGH (O.S.)

Bill’s father’s voice startles him. He turns to see MR.

Bill’s stutter, though mild, is pronounced.

He goes to hug his father, but Mr. Denbrough merely holds

Like a man running out of a burning house, Bill wrenches

He’s soaked in sweat and unable to breathe from real,

INT. DENBROUGH HOUSE, BATHROOM -- NIGHT

Bill opens the medicine cabinet to reveal a list he’s

He shuts the cabinet and splashes his face. He’s a

EXT. DENBROUGH HOUSE, FRONT PORCH -- NIGHT

Bill’s porch light comes on and he steps out to get the

DERRY MORNING MONTAGE: A series of shots begins of places

BILL (V.O.) (CONT'D)

INT. DENBROUGH HOUSE, BILL’S OFFICE -- DAWN

He sits at the desk and pulls the phone in front of him.

He picks up the phone, hesitates, reconsiders, and then

INT. BILL’S CAR -- DAY

Bill drives through Derry. It is a typical New England

He turns into the lot of the city’s public library and

BILL (V.O.) (CONT'D)

OPENING CREDITS play over PHOTOGRAPHS from DERRY’S long

INT. DERRY PUBLIC LIBRARY, STACKS -- DAY

At the library, Bill goes about his job archiving mater-

INT. DERRY PUBLIC LIBRARY, BILL’S OFFICE -- DAY

In his office, Bill is eating lunch, listening to a small

She lingers for a moment, then comes in and half shuts

The RADIO begins CHATTERING some new DISPATCH. Bill gives

She glances down at more missing posters on his desk.

Suddenly, Bill motions for quiet and TURNS UP the RADIO.

Bill jumps up and grabs his raincoat. Audra is wide-eyed.

Bill hurries past her and out the door.

EXT. KANSAS STREET, CULVERT -- DAY

This part of Kansas Street runs beside a wooded area

A DEPUTY (30) sees Bill coming and holds him back.

The Sheriff takes a few steps in Bill’s direction.

Bill tries to see the body, but they’ve put screens up

But the Coroner’s Assistant steps back and, for a moment,

It is the body of a boy, about eight years old. He has

BILL’S POV: On the boy’s head is a hat, made out of a

And, without warning, a WAKING NIGHTMARE begins:

INT. DENBROUGH HOUSE, BILL’S ROOM -- DAY

BILL DENBROUGH (11) is sick in bed, surrounded by comic

His little brother GEORGIE (6) watches as Bill opens up

Bill gives him the boat and wax.

Georgie nods. Bill waves the boat dry and hands it to