GAME OF THRONES "The Iron Throne" 1.

EXT. KING'S LANDING MAIN GATES - DAY

Snow has begun to fall and will continue to fall throughout

this day.

King's Landing is a smoldering wreck of a city.

One can give TYRION LANNISTER steels himself and heads inside the ruined
examples capital. We follow him Son of Saul style, tight on his face
as he passes through the gates. Where the main gate once
stood there is only melted steel and crumbled stone.

There is no score to soften the horror. Aside from a few

distant shouts and screams, the broken city is eerily quiet.
Completely Technical Much of the victorious army is behind him, but we’ll only see
description them incidentally as he passes through the gates with a small
honor guard. Smoke, shallow focus.

JON SNOW and DAVOS SEAWORTH follow him with a small group of
NORTHMEN at their backs, but we stay with Tyrion’s
perspective for the whole of this opening sequence: on his
back, on his face.

On the periphery of the frame, scorched bodies lie on the

sides of the main street where they fell. Tyrion sees them
(and Jon and Davos behind him), but they keep walking.

People baked in their brick home as if in an oven. And a

child sitting out front, crying, alone.

Another dead child, face down on the ground.

A NORTHERN SOLDIER sits on a pile of rubble in front of a

stairwell, weeping amongst the wreckage.

Human silhouettes on the dragon-scorched ground where the

ashes have blown away, the negative image of the Hiroshima
silhouettes.

A WALKING WOUNDED MAN passes without acknowledging Tyrion and

his party. As if he does not even see them.

A small, charred hand pokes out from underneath the rubble,

holding a tin horse. The same little girl Arya tried to help
in 805.

They all stop to look at what remains of the dead little

girl.

Tyrion glances at Jon.

TYRION
I’ll find you later.

JON
Let me send some of my men with
you.

(CONTINUED)
GAME OF THRONES "The Iron Throne" 4.
CONTINUED:

He puts down the torch and starts climbing up the rubble.

INT. DRAGON SKULL ROOM - DAY

Tyrion walks through what's left of the dragon skull room,

toward the light provided by the hole that Drogon blasted in
the ceiling.

Many of the skulls have been crushed by falling rock; even

Balerion the Dread's skull has been caved in. All of the
skulls have been blackened and scorched by the extreme heat
of the fires that raged for hours.

And then he sees it, in the pile of rubble and ash made by
Drogon’s blast:

A hint of a golden hand.

Tyrion gets down on his knees and clears the rubble and ash
away.

It’s hard, filthy work. Tyrion starts to cry midway through

but doesn’t stop until he’s cleared away the remains of Jaime
and Cersei.

They are still in each other's arms: his golden hand resting
beside her head; her lion pendant still encircling her neck.

Tyrion sits beside the remains of his brother and sister and
cries for them both.
: mark is used instead of ‘we see’ oftently
EXT. RED KEEP FRONT GATES (AEGON'S HILL) - DAY

High atop Aegon's Hill, we follow ARYA STARK as she heads

toward the plaza. She passes a group of Unsullied as they
toss dead Lannister bodies in a pile, stacking them like
cordwood.

Reaching the edge of the plaza, she stays on the edge of the
proceedings, observing from a distance.

Targaryen imagery is on display here: the big red and black

dragon banners have been draped over the walls.

Unsullied line both sides of the steps, with Grey Worm

waiting up top. All the remaining Unsullied are in formation
in front of the steps.

Behind them, the Dothraki congregate, some with their horses,

some on foot.

And behind the Dothraki, at the main entrance to the plaza,

opposite the steps, Jon enters into the space. Arya sees him.

(CONTINUED)
 7.

EXT. HELL’S GATE - TWILIGHT

HELL’S GATE is a cluster of squat concrete and steel
structures surrounded by chain-link FENCE 10 meters high,
topped with razor wire.

At the corners are towers with automated SENTRY GUNS

swiveling on servo mounts.
Visible beyond the gun towers, the VALKYRIE SHUTTLE roars in
across the treetops. VECTORING NOZZLES change angle,
bringing the ship to a SLOW HOVER.

EXT. RAIN FOREST - TWILIGHT

Through a screen of jungle canopy, we see the VALKYRIE
thunder overhead. Camera TILTS with it until leaves block
the view.
A BLUE INHUMAN HAND reaches INTO SHOT, parting the foliage to
reveal the shuttle hover-taxiing across the compound.
REVERSE -- ECU of two intense, cat-like golden EYES watching.
INT./EXT. SHUTTLE
The CREW CHIEF stomps down the aisle yelling --
CREW CHIEF
Exopacks on!
Passengers don their EXO-PACK breathing gear with practiced
moves. Everybody except JAKE, who’s turning his this way and
that trying to figure out the straps.
CREW CHIEF
Remember people, you lose your mask
you’re unconscious in 20 seconds and
you’re dead in four minutes. Let’s nobody
be dead today, it looks bad on my report.
The crew chief stops by Jake long enough to bark --
CREW CHIEF
Exopack on, let’s go!
BENEATH THE SHUTTLE air blasts outward for a hundred meter
radius as it settles onto its landing gear.
INSIDE everybody is queued up in the aisles, with duffles
ready. Rows of tense, expectant faces in breathing masks --
and we DIP DOWN to find Jake, wheelchair putting him at the
level of everyone else’s WAISTS.

Indicating Different Blocks in same location

 8.

THE CARGO RAMP OPENS with a hydraulic whine.

CREW CHIEF
Go directly into the base! Do not stop!
Go straight inside!
Stressing the
HAND-HELD, running with the arriving colonists who double word
time down the ramp. They jog across the exposed apron toward
a walkway covered in CHAINLINK which leads to the complex.
Inside the chain-link tunnel are a couple of SEC-OPS
TROOPERS, CORPORAL LYLE WAINFLEET and PRIVATE FIKE. Sec-Ops
is the colony’s private security force. These guys are laid
back, hardened, and haggard.
Important
WAINFLEET Characters
Look at all that new meat.
THEIR POV -- Jake rolls down the ramp.
FIKE
Check it out, man. Meals on wheels.
WAINFLEET
That is just wrong.
Jake, pumping his chair, looks around as --
A huge TRACTOR, taller than a house, ROARS past on muddy
wheels. He notices something sticking in the tires --
ARROWS. The neolithic weapons are jarring amid all the
advanced technology.
Beyond the tractor, two VTOL vehicles take off. Armored and
heavily armed, they are AT-99 “SCORPION” GUNSHIPS.
Special props/
MITSUBISHI MK-6 AMPSUITS -- human operated walking machines 4 Vehicles
meters tall -- patrol the perimeter. They are heavily
armored, and armed with a huge rotary cannon called a GAU-90.
Beyond the outer fence stands a black wall of forest hundreds
of feet high. A SENTRY GUN OPENS FIRE from a tower. TRACERS
light up the twilight. A shadowy SHAPE SHRIEKS and drops off indicating the
the fence. It is an armed camp in a state of siege.
key
WAINFLEET and Fike give Jake and his chair the hairy eyeball moments,info
as he approaches.
JAKE
What’re you two limpdicks starin’ at?

As Jake rolls past, SOMETHING SWOOPS down behind him and --

 10.

JAKE ROLLS IN, watching from the back.

COLONEL QUARITCH raises his hand and points out the window,
toward the dark treeline.
QUARITCH
Out beyond that fence every living thing
that crawls, flies or squats in the mud
wants to kill you and eat your eyes for
jujubees.
The room gets very quiet.

QUARITCH
We have an indigenous population of
humanoids here called the Na’vi. They’re
fond of arrows dipped in a neurotoxin
which can stop your heart in one minute.
We operate -- we live -- at a constant
threat condition yellow.
important Camera movements
PAN ACROSS the solid faces of miners, Cat-machine drivers,
engineers, geologists, as they take that in.
QUARITCH
As head of security, it’s my job to keep
you alive. I will not succeed --
(pausing for effect)
-- not with all of you. If you wish to
survive, you need a strong mental
attitude, you need to follow procedure...
PUSH IN ON JAKE, watching as the briefing continues.
JAKE (V.O.)
Nothing like an old-school safety brief
to put your mind at ease.
CUT TO:
INT. CORRIDOR
People are roaming in both directions, looking for rooms,
lugging duffels and cases.
An eager young XENOANTHROPOLOGIST, staggering under an
overpacked duffel, runs to catch up to Jake.
NORM
Hey, you’re Jake right? Tom’s brother?
You look just like him.
(off Jake’s wary look)
Sorry, I’m Norm Spellman, I went through
avatar training with him.
 11.

Norm offers his hand and Jake shakes it.

NORM
He was a great guy -- funny. It was a
big shock to all of us.

JAKE
Yeah.
Jake pumps the wheels of his chair, rolling on. Norm walks
with him.
NORM
And duh! -- obviously you look like him.
I mean, if you weren’t genetically
identical, you wouldn’t be taking over
his avatar.
JAKE
That’s why I’m here.
NORM
So -- you want to go check it out?
CUT TO:
INT. BIO-LAB - DAY
JAKE AND NORM enter the BIO-LAB -- a large lab complex with
many adjoining rooms.
MAX
Me and Norm were out here to drive these
remotely controlled bodies called
avatars. They’re grown from human DNA
mixed with DNA from the natives here.

A scientist, DOCTOR MAX CULLIMORE, is supervising the

uncrating of two SHIPPING CONTAINERS. The nearer has the
sides removed, revealing -- a ceiling-height acrylic TANK.
Norm stops to stare, and Jake rolls past him as if drawn by
some unseen force, toward --
Important Visual
THE AMNIO TANK. There is a FIGURE floating lanquidly inside,
which looks like a man. A very large, very blue, man.
Blood circulates through a synthetic UMBILICAL in the
abdomen. As the figure turns in the amniotic fluid, we see
that it has a lemur-like TAIL. The skin is cyan-blue. Long
black hair drifts, graceful as seaweed.

JAKE
Damn. They got big.
 12.

NORM
Yeah, they mature on the trip out.
(to Max)
So the proprioceptive sims worked pretty
well.

MAX
Yeah, they’ve got great muscle tone. Give
us a few hours, you guys can take them
for a spin.
THE FIGURE’S sleeping face turns toward us, and the features
are -- despite feline ears and a long feral snout --
definitely JAKE’S.
JAKE
It looks like him.
NORM
No, it looks like you. This is your
avatar now, Jake.
ON JAKE, mesmerized as he stares into the tank.
JAKE (V.O.)
The idea is -- every driver is matched to
his own avatar --
STEREOCAM VIDEO SHOT OF JAKE -- facing the camera, talking
directly to the lens. JAKE’S VOICE-OVER up until now has
been part of this VIDEOLOG.
JAKE
-- so their nervous systems are in tune.
Or something. Which is why they offered
me this gig, because I can link with
Tommy’s avatar, which was insanely
expensive.
(looking off camera)
Is this right? I just say whatever in
Camera angle these videologs?
WIDER, showing Norm working nearby with Max.
NORM
Yeah. You just need to get in the habit
of documenting everything -- what you
see, what you feel -- it’s all part of
the science. Good science starts with
good observation.
to whom he is speaking

to whom he is speaking
A description that is explained to audience
Where voice is coming from
A scene beat
montage sequence
suituation is
like?
 even though it is a
different location, but play is
happening at same time
and simultaneously
Stressing the word
 FOR YOUR CONSIDERATION

OUTSTANDING ORIGINAL SCREENPLAY

SCREENPLAY BY
BONG JOON HO AND HAN JIN WON
STORY BY
BONG JOON HO
1 TITLE SEQUENCE OVER BLACK 1
Accompanied by dark but curiously upbeat MUSIC.
At the end of the credits, the MAIN TITLE, in strange
calligraphy, fills the screen --
“PARASITE”
MUSIC FADES.

2 INT. SEMI-BASEMENT - DAY 2

A dank semi-basement apartment. KI-WOO, 24, runs from corner
to corner searching desperately for a Wi-Fi signal. Various
networks pop up, but they’re all password-protected.
KI-WOO
NO. Not you too “iptime.”
Ki-Jung! Upstairs neighbor
finally locked up his Wi-Fi.
ADJACENT ROOM --
Lying on the floor of the narrow room, KI-JUNG, 23, barely
moves her lips -- ‘Fuck.’
KI-JUNG
Try ‘123456789.’ Then try it
backwards.
KI-WOO
No luck.
ANOTHER ROOM --

Also lying on the floor, CHUNG-SOOK, 49, the mother, scoffs at

their collective misery.
CHUNG-SOOK
What am I supposed to do if
someone calls me? What if it’s a
job? Hey, Ki-Tek!
She kicks KI-TEK, 49, who is sleeping at her feet.
CHUNG-SOOK (CONT’D)
I know you’re awake, asshole.
Care to comment?
KI-TEK
(wiping his drool)
What?
 4.

Ki-Tek continues folding despite his red, bulging face. He

desperately holds back his cough.
Ki-Woo goes to the bathroom and returns moments later with his
phone. He shows the family a GIF he downloaded.
KI-WOO
Watch. If we all fold like this
girl, we might even get paid
today.
The GIF shows “The World’s Fastest Pizza Box Folder,” a WHITE
GIRL with dazzling box-folding skills. She’s fast.
The family watches in awe. Inspired by the clip, they start
folding with renewed vigor.

Ki-Tek also picks up speed, but he lacks the dexterity of the

others. He’s getting more and more sloppy.

4 INT/EXT. SEMI-BASEMENT - ENTRANCE - LATE AFTERNOON 4

Through the half-open door, we see the female PIZZA SHOP OWNER
standing outside the entrance. Quirky appearance. Pizza Time
T-shirt.
PIZZA SHOP OWNER
Look at this for example. This
shitty folding job here.
The Owner shows Chung-Sook a botched corner.
PIZZA SHOP OWNER (CONT’D)
One out of four. One-fourth of
the boxes are unusable.

One out of four? The family all look at Ki-Tek.

He just smiles. Innocent as ever.
CHUNG-SOOK
(sighs)
Still, you can’t cut ten percent
from my pay. That’s too much.
LATER --

Ki-Woo helps a MAN load boxes into a van.

Ki-Tek looks out from the apartment window, watching Chung-Sook
squabble with the Pizza Shop Owner.
PIZZA SHOP OWNER
I should pay even less considering
the number of botched boxes.
If we’re in the same setting, but it’s LATER. (Which includes a FEW MINUTES LATER, A FEW DAYS
LATER, whatever.) If you’ve been elsewhere and now you’re back to the same scene as before. Then you
put — RESUMING at the end of your slug line.
 6.

KI-JUNG
Fire the loser who bailed on you.
The Owner just stares at the smiling siblings. What the hell
are these people?
KI-WOO
I can come in for an interview
tomorrow. What would be a good
time for you?
PIZZA SHOP OWNER
Wait. Hold on. I need to think
about this--
The Owner senses a trap and tries to get out of it. She takes
out a few bills from her fanny pack and starts counting one by
one.
The family all stare. It’s been a while since they’ve seen
money.

5 INT. SEMI-BASEMENT - EARLY EVENING 5

The ‘master bedroom’ next to the entrance. Wall adorned with
pictures of a young Chung-Sook competing at a national track
and field championship as a student athlete. A SHOT PUTTER.
Great upper body glimpsed through tight uniform. No pictures
of Ki-Tek.
Early evening. It’s darker. The four family members are
gathered around a table filled with various store-bought foods.
KI-TEK
What a special occasion. The four
of us gathered here to celebrate
the partial reactivation of our
phones as well as our son’s
upcoming job interview with a
national franchise.
Ki-Tek tries to deliver a heartfelt speech like a TV patriarch
but severely lacks the gravitas. Chung-Sook and Ki-Jung are
already drinking their beers.
KI-WOO
Cheers!
KI-TEK
To family!
(re: window)
That son of a bitch. It’s not
even dark yet!
 7.

The family turns to see --

A DRUNK MAN teetering toward the semi-basement window.
Their faces slowly fill with dread.
CHUNG-SOOK
How many times did I tell you? We
need to put up a “No Urinating”
sign.
KI-TEK
It’ll make them want to do it even
more. It’s psychology.
KI-JUNG
(to Ki-Woo)
Go yell at him or something!
KI-WOO
It’s not the right timing--
The Drunk Man hasn’t unzipped his pants, still hovering
uncertainly in the dark corner.
KI-WOO (CONT’D)
(hesitates)
I need to catch him in the act.
CHUNG-SOOK
Isn’t it fucking obvious? Just
kick him out!
KI-JUNG
(to herself)
I hate this place.

Ki-Woo gets up, still unsure, when --

VOICE (O.S.)
HEY, MISTER!
A VOICE booms from afar. Behind the Drunk Man, we see a
handsome, well-built young man climbing off a fancy scooter.
This is MIN-HYUK, 24. He walks over with a LARGE BOX in his
hands.
KI-JUNG
Is that Min-Hyuk?
CHUNG-SOOK
It is.
Ki-Woo is surprised to see Min-Hyuk, who continues to yell at
the would-be public urinater.
 9.

Min-Hyuk shows Ki-Woo the box.

MIN-HYUK (CONT’D)
It’s heavy so I had to bring it on
my bike.
KI-JUNG
What’s this?
Ki-Jung lifts the flap to see a UNIQUELY SHAPED STONE and a
wooden display stand inside.
MIN-HYUK
(to Ki-Tek)
When I told my grandfather I was
going to see Ki-Woo, he gave me
this.
KI-TEK
Whoa.
Ki-Tek picks up the large stone.
KI-TEK (CONT’D)
This is a precious viewing stone.
Is this an abstract specimen?
MIN-HYUK
You know your stones, Mr. Kim.
Pop-Pop’s been collecting viewing
stones since his academy days.
Our house is literally filled with
these things -- living room,
study, basement... This one is
supposed to bring luck. And
money.

KI-WOO
How perfect for us. Symbolic.
KI-TEK
Yes, how serendipitous. Please
send him our sincere regards.
CHUNG-SOOK
(to herself)
He should’ve brought food.

Ki-Jung stabs Chung-Sook with her finger. Fortunately Min-Hyuk

didn’t hear.
As a beaming Ki-Tek continues to show off useless stone trivia
--
 14.

10 EXT. MANSION - GATE - DAY 10

Ki-Woo stands in front of the gate, which is at the top of a
steep stairway. He waits through the MELODIC DOORBELL until a
VOICE finally answers. The voice is middle-aged, female.
FEMALE VOICE (SPEAKER)
Who is it?
KI-WOO
Mrs. Park? Hi, I’m Min-Hyuk’s
friend--
FEMALE VOICE (SPEAKER)
Oh, hello. Please come in.
CLANK. The gate is unlocked, and Ki-Woo walks into --
A GORGEOUSLY MANICURED GARDEN LINED WITH MAJESTIC TREES
Ki-Woo stops midway and admires the trees, overcome with awe.
MUN-KWANG (O.S.)
Quite a view, isn’t it?
KI-WOO
Mrs. Park, pleasure to meet you.
MUN-KWANG
Oh, no. I’m the housekeeper.
Please follow me.
MUN-KWANG, 45, fashionable and poised enough to be mistaken for
the owner, leads Ki-Woo inside.
KI-WOO
Stunning garden.
MUN-KWANG
The inside is even more stunning.

11 INT. MANSION - DAY 11

Ki-Woo carefully follows Mun-Kwang inside. Indeed, the
interior is stunning. But not excessive. The furniture and
decorations are all tasteful.

MUN-KWANG
Do you know Namgoong Hyunja? The
famous Korean-French architect?

Ki-woo is blank.
 19.

15 INT. MANSION - KITCHEN - EVENING 15

CLOSE ON a thick money envelope being handed to Ki-Woo.
YON-KYO
I’ll pay you each month on this
day. As for the lesson, I was
thinking three times a week?
Monday, Wednesday, Friday?
KI-WOO
That sounds good.
YON-KYO
It’s a little more than what Min-
Hyuk used to get. Cost of living
and so forth.
KI-WOO
Thank you.
As Ki-Woo puts away the envelope, Mun-Kwang brings over a fruit
plate. She’s noticeably friendlier than before.
YON-KYO
(to Mun-Kwang)
I guess it’s time to get to know
each other. Mr. Kevin will be Da-
Hae’s English teacher.
MUN-KWANG
Of course! Mr. Kevin, you let me
know if you need anything at all
during your lessons -- snacks,
drinks, whatever.
KI-WOO
I appreciate it.
YON-KYO
Feel free to pester her if you
need anything in this house.
She’s the expert. She knows it
better than I do.
They continue exchanging pleasantries when --
THUNK. A PLASTIC ARROW flies in and hits Mun-Kwang’s shoulder.
When Ki-Woo looks over --
It’s a boy in a Native American costume about to shoot another
arrow. This is DA-SONG, 10, the youngest Park.
YON-KYO (CONT’D)
Da-Song! Behave yourself. We
have a guest!
 23.

Ki-Jung is getting her hair done at the neighborhood shop.

Ki-Woo is sucking on a popsicle on the sofa behind her.
KI-WOO
It has a nice ring. Anyhow.
She’s a nice lady. Young. Not
the brightest tool in the shed.
The money is good, and most of
all, she’s a ‘believer.’
CHUNG-SOOK
She’s religious?
TRACK BACK TO REVEAL -- Chung-Sook and Ki-Tek sitting next to
Ki-Jung, also getting their hairs trimmed.

KI-WOO
No, it’s just-- She tends to
trust people rather easily.
They become thoughtful. Ki-Tek breaks the silence.
KI-TEK
She sounds like a great lady.
KI-WOO
Right?
CHUNG-SOOK
Yeah.
The family members all nod. A strange excitement appears on
their faces.

18 EXT. MANSION - GATE - LATE AFTERNOON 18

Ki-Woo and Ki-Jung both take a deep breath in front of the
gate. Ki-Jung looks like a completely new person with short,
stylish hair and makeup.
Ki-Woo is about to ring the doorbell when Ki-Jung stops him.
She suddenly starts clapping a beat with her hands.
KI-JUNG
(singing)
Jessica, only child, Chicago
Illinois / My classmate Jin-Mo is
cousin of Kevin
She sings her ‘bio’ to the tune of a catchy Korean oldie. Ki-
Woo joins. Silly. Ridiculous. But you can sense a real
sibling bond.
 37.

DONG-IK
Calm down, babe. Relax. We don’t
want to go too far. Not yet. For
now it’s just a suspicion. A
well-founded one.
As the Parks continue to fret over the panties, CAMERA BOOMS UP
TO REVEAL --
Ki-Jung standing on the stairs with her bag, listening to the
conversation.
DONG-IK (CONT’D)
We can’t even take something like
this to the police. And it would
look ridiculous if I tried to
interrogate him. What would I
say? “Yun, did you have sexual
intercourse in my car?”
(then)
That’s why I was thinking--
YON-KYO
Yes, dear.
DONG-IK
You have to take care of this.
Come up with some kind of bland,
harmless reason. Let him go
quietly. Don’t even mention the
panties. Or the intercourse.
YON-KYO
I understand. We don’t want the
neighborhood birds gossiping about
the Parks’ driver sexing up the
boss’ car.
DONG-IK
Exactly. Our names will forever
be linked with his disgusting
behavior.
Yon-Kyo nods, then thinks.
YON-KYO
You don’t think Yun would post
something online, do you? Go on a
Twitter vendetta? He could
announce to the whole world that
he was unfairly fired by a famous
tech CEO.
 41.

Ki-Woo is in the backseat, telling his father to try this and

that. When some people approach, the pair hop out of the car
and move onto another one, revealing that --
We are inside a large MERCEDES DEALERSHIP in the middle of
Gangnam.
Ki-Tek and Ki-Woo continue to explore brand new Benzes, sharing
quality father and son time.

29 INT. DONG-IK’S COMPANY - CEO OFFICE - DAY 29

An office overlooking Seoul’s soaring skyscrapers. Dong-Ik is
in a meeting with his HOD’s. He suddenly looks up at the other
side of the glass wall where --

Ki-Tek is sitting in a chair, waiting patiently to be seen.

DONG-IK
(mouthing)
Sorry. I’ll. Be. Right. With. You.
KI-TEK
Don’t worry, sir.
(mouthing & gesturing)
Take. Your. Time.

30 INT. DONG-IK’S CAR - DRIVING - LATE AFTERNOON 30

DONG-IK
This isn’t a test or anything so
you don’t have to be nervous. I
just wanted to get out of the
office. I was dying in there.

Ki-Tek is in the driver seat.

(”The Belt of Trust” continues under the scene.)
KI-TEK
I understand. You’re surrounded
by people all day. I’m sure you
want some peace in the car.
Ki-Tek turns off the car’s navigation.

DONG-IK
Thank you. You must know your way
around the city.

KI-TEK
Every highway, road, and alley
south of the DMZ. When you do
this for 30 years, it becomes
second nature.
 53.

DONG-IK
(nods)
Or the house will descend into
chaos. I guarantee she won’t be
able to survive a week without
one. Shambles, I tell you. My
clothes will start smelling--
(laughs)
Mrs. Park definitely wins the
worst homemaker award. Doesn’t
know her way around a vacuum, and
her cooking is just -- abysmal!
KI-TEK
But... you still love her, don’t
you?

Ki-Tek’s suddenly serious comment catches Dong-Ik off guard.

Silence. Then Dong-Ik starts laughing. Hard.
DONG-IK
Of course I love her! I don’t
know what else you’d call this.
KI-TEK
Then maybe you should look at
this--
Ki-Tek removes a business card from his pocket and hands it to
Dong-Ik.
On beautiful ivory-colored stock, only the name, “The Care,” is
printed in elegant typography. No number. No address.
DONG-IK
The Care? What is this?

KI-TEK
I just found out about them
recently too. It’s a membership-
based total care company.
Catering to families of VIP’s like
yourself. They provide maids, in-
home caregivers, also drivers like
myself. From what I hear, they
select only the best. The most
experienced workers.

DONG-IK
Looks very nice.
Dong-Ik flips the card to the other side.
DONG-IK (CONT’D)
The design is gorgeous. How did
you learn about this company, Mr.
Kim?
 74.

73 INT. MANSION - KITCHEN - NIGHT 73

CLOSE ON -- A DROP OF WATER precariously dangling from the
kitchen faucet.
It’s been a while since Mun-Kwang went down to the storage
room. Chung-Sook starts getting worried. She gets up from the
chair.

74 INT. MANSION - STORAGE BASEMENT - NIGHT 74

A nervous Chung-Sook walks down the narrow staircase and peers
into the darkness. She hears a strange MOAN coming from inside
and soon discovers --
Mun-Kwang levitating horizontally in the air! We realize that
she actually has her feet set against the wall and is pushing
the jar cabinet with her hands. The glass jars rattle as she
shoves with all her might.
Chung-Sook is confused.
MUN-KWANG
Can you give me a hand? Help me
push!
CHUNG-SOOK
Huh?
MUN-KWANG
(tearful)
He’s going to die! Please!
CHUNG-SOOK
What’s going on--

MUN-KWANG
Just help me first!
Chung-Sook has no idea what’s going on but starts pushing with
Mun-Kwang.
We see Ki-Woo, Ki-Jung, and Ki-Tek peeking from the staircase.
Chung-Sook sees something on the ground as she’s pushing.
CHUNG-SOOK
Wait. Maybe this is the problem.
Chung-Sook pulls a bundle of wires stuck under the cabinet. As
soon as she does --
 134.

Ki-Woo opens a MORSE CODE CHART on his cell phone. He stops

the playback. He starts deciphering the codes. Dots and
dashes soon become words --
“Dear Son...”

142 INT. MANSION - SECRET ROOM - NIGHT 142

And the words turn into Ki-Tek’s VOICE-OVER --
KI-TEK (V.O.)
Dear Son. Perhaps you, if no one
else, will be able to read this
letter--
We see Ki-Tek sitting at a desk in the dark chamber. On the
desk is a densely written letter, which he’s translating into
Morse code. He consults a faded MORSE CODE CHART that Kun-Sae
put up above the desk.
KI-TEK (V.O.)
You were a Boy Scout so I’m hoping
this will somehow reach you.
Ki-Tek looks thinner and has grown a full beard. He writes
thoughtfully one word at a time.
KI-TEK (V.O.)
How is your health? Your mother
I’m not too worried about. I’m
sure she’s healthy as an ox.
(then)
I’m doing well too. Although I
cry often when I think of Ki-Jung.

143 EXT. MANSION - GARDEN - DAY (KI-TEK’S FLASHBACK) 143

Images from the fateful day appear in flashes --
Blood spurting from Ki-Jung**’s chest... Kun-Sae’s face
covered in cake and blood... The axe silently coming down on
Dong-Ik’s shoulder... Ki-Tek’s hand gripping the bloody axe...
KI-TEK (V.O.)
I still can’t believe what
happened that day. It almost
feels like a dream.
Then we switch to Ki-Tek’s running POV**... People screaming,
running away... The gate approaching ahead...
KI-TEK (V.O.)
I knew, as soon as I ran out of
that gate, where I had to go.
A description for
audience 1.

INT. JOJO’S HOUSE - MORNING

We open with QUICK DETAIL SHOTS of a young boy dressing:

- A brown shirt buttoned.
- Badges pinned. in reference to below
- Belt tightened. details
- Neck kerchief tied.
- Socks pulled up.
- Hair combed.
- Shoes clicked together at the heels, one foot stomps down
hard on the floor.
He is dressed. We PULL to a CLOSE-UP, coming face to face
with our HERO...
JOHANNES BETZLER, (JOJO), a cute 10 year-old boy.

The room is covered with NAZI POSTERS and other

PARAPHERNALIA, including pictures of ADOLF HITLER. You
guessed it, he’s a little Nazi.
Jojo stares into a full-length mirror and takes a deep
breath.
JOJO
Jojo Betzler. Ten years old. And today
you join the ranks of the Jungvolk in a
very special training weekend. It’s going
to be intense. But today you become a
man.
(deep breath, nervous)
I swear to devot e all my energies and my
strength to the savior of our country,
Adolf Hitler. I am willing and ready to
give up my life for him, so help me God.
A STRANGE FIGURE passes behind him, an ADULT, dressed in a
NAZI UNIFORM. It feels ghostly and fantastical. We’ll find
out who this guy is very soon.

VOICE (O.S.)
Yeah man, that’s right.
(beat)
Now, Jojo Betzler, what is your mind?
JOJO
A snake mind.
VOICE (O.S.)
And Jojo Betzler, what is your body?

(CONTINUED)
 3.
CONTINUED: (2)

JOJO
Heil Hitler!

ADOLF
Just throw it away. Don’t even think
about it.
JOJO
Heil Hitler!

ADOLF
No, you’re over thinking it. Heil Hitler.
JOJO
Heil Hitler!
ADOLF
Heil HITLER.

They start jogging on the spot.

JOJO
Heil HITLER!

ADOLF
Ooh, that’s it.

JOJO
HEIL HITLER!!!

ADOLF
Yay, now you’ve got it!

JOJO
Heil Hitler! Heil Hitler! Heil Hitler!
Heil Hitler! Heil Hitler! Heil Hitler!
ADOLF
Ooh, have a great day! You’re g oing to be
the best. You can do it!

Jojo and Adolf scream like war pigs and Jojo sprints out the
door.
we can write both names
Caps Dialogue is loud JOJO / ADOLF in character
shouting HEIL HITLER! HEIL HITLER! HEIL HITLER!
HEIL HITLER! HEIL HITLERRRRRRR!!!

MUSIC CUE: ‘KOMM GIB MIR DEINE HAND’ BY THE BEATLES

( ‘Name of BGM’ under the scene is played)

can be written in this way

 6.
CONTINUED: (2)

KLENZENDORF
This is your first step towards being
men. Today you boys will be involved in
such activities as marching, bayonet
drills, grenade throwing, trench digging,
map reading, gas defense, camouflage,
trap setting, ambush techniques, war
games, firing guns and blowing stuff up.

Huge cheers from the group of boys. Jojo and Yorki smile at
each other, this is going to be awesome.
KLENZENDORF (CO NT’D)
The girls will practice important womanly
duties such as dressing wounds, making
beds, and learning how to get pregnant.

Groans of disappointment from the girls. Klenzendorf holds

the bridge of his nose as if preparing for the impending
headache he’s about to endure over the weekend. He sighs.
KLENZENDORF (CONT’D)
Alright, let’s get to it.

The crowd of kids salute and start screaming in exciteme nt.

The older boys start yelling at smaller kids, rounding them
up and y’know, being Nazis. Finkel and Rahm lead them off.
FINKEL
On your feet you little Nazis! Let’s go!
FRAULEIN RAHM
Move, move, move!
More screaming from the kids.
KLENZENDORF
God help me.

Montage sequence Montage heading

MONTAGE - HITLER YOUTH TRAINING CAMP...

MUSIC CUE: ‘I DON’T WANT TO GROW UP’ BY TOM WAITS

Various scenes of Jojo and Yorki training with the

Hitlerjuge nd. We can give montage a music cue
- A bunch of kids try and climb over obstacles and under
nets. It’s mayhem.

- KNIFE THROWING. Jojo and Yorki stand around in a group of

boys throwing their DJ knives from 10 FEET into a tree.

(CONTINUED)
 7.
CONTINUED:

None of the knives stick, instead they fly off at dangerous

angles, one ricochets, lodging itself in another kid’s thigh.

- GUN RANGE. Jojo and some other kids aim their KARABINER 98K
RIFLES at a target in the distance. Jojo fires and, jumping
from the loudness of the shot, drops the rifle.
- WAR GAME. The boys are separated into 2 groups, one side
wearing RED SASHES and the other GREEN. They chase each other
round a clearing, pushing each other over and taking
prisoners etc. Jojo and Yorki are taken prisoner instantly.
An older lad, CHRISTOPH, looks at them with disappointment.

INT. HITLER YOUTH CAMP - TENT - AFTERNOON

Jojo sits in a group of boys and girls. One by one, sometimes
overlapping, the children call out.

CHILDREN
Horns / Serpent tongue / Fangs /
Green blood / Claws.

Their teacher, FR AULEIN RAHM, proudly writes the children’s

words, along with others, on a blackboard. Above them is the
heading: THE JEW. Finkel stands nearby, observing and taking
notes.
FRAULEIN RAHM
Fantastisch! Excellent work children. You
also forgot that the Jew is the offspring
of Satan and sucks the blood of Christian
children for their mitzvah.
Gasps from the children. Finkel nods - I’m afraid so.
FRAULEIN RAHM (CONT’D)
It has been scientifically proven that we
Aryans are 1000 times more advanced and
civilised than any other race.

Gasps and applause from the children. Fraulein Rahm smiles.

FRAULEIN RAHM (CONT’D)
Now, get your things together kids, it’s
time to burn some books!

CHILDREN
Yayyyy!!!
 shooting Draft White 11/09/00 11.

,_
~-- . ·.. - :. . ,• .. · . . ..

0 .. · 30 .. >INT.. KITCHEN- ,DAY

. .

Uncle.Vernon walks to the stove, flips on a gas jet. As the

·30 ·

letter BURNS, Harry POUNDSthe door, and a MONTAGE BEGINS: *

31-35 .OMITTED 31-35 *
36 EXT. ROOF- NUMBER
FOURPRIVET DRIVE - MORNING 36 · *·
An OWL·beats its way across the sky, flutters down upon the
.
TV ANTENNA,
·. . .
where TWOOTHEROWLSalready
. ..
sit •
36A· INT. LIVING.ROOM..;.SAMETIME 36A. * ··
A frownin~'.Uncle Vernon stands before the TELLY, struggling *
to unscramble a RUGBYMATCH.The CLICK of the MAIL SLOT is *
heard and he turns. *
37 · INT. FRONTHALL- . DAY 37
THREEMORELETTERSlie on the mat. Uncle Vernon enters, *
snatches them up, RIPS them to pieces. *
38 INT. CUPBOARD
- DAY 38
Harry sits sadly upon his bed, when ... BANG!BANG! BANG! .,.

0 39

40
OMITTED
INT. FRONTHALLWAY MOMENTS
LATER
39
40
*
*
Harry .eases open the cupboard door. Down the hallway, Uncle *
Vernon stands swinging a hammer, mouth bulging with-nails as *
he FOUNDSSHUTthe mail slot. *
40A EXT. NUMBER
FOURPRIVET DRIVE - MORNING 40A
Uncle Vernon exits the house with his briefcase, stops. FOUR *
OWLSsit atop his Vauxhall. He watches curiously as they take *
flight, then looks down. FOURLETTERSlie at his feet. *
41 INT. L!VING ROOM- NIGHT 41 *
The FIREPLACEBLAZES. Uncle Vernon pitches a handful.of *
LETTERSinto the flames, turns. Harry stands watching. *
·42 · EXT. ROOF- NUMBER
FOURPRIVET DRIVE - SAMETIME 42 *
As the CHIMNEYSMOKES,FIVE OWLSsit in black silhouette *
against a full moon. *

- 10 -
 · Shooting Draft•·._ White 11/09/00 ..13.
:.~:i:}
... .. .
() .. ·
.
. '""'·~

Dudley glan~_es tit•· ..his Itl6ther •

. · DUDLEY
·Daddy's gone mad, hasn't he?
46 . OMITTED ·~ 46

47 EXT. HUTON-THEROCK-NIGHT 47

.A
very ~ad:..lcioki,ng HUT sits perched upon a Targe ROCKfar at.· .
..sea. Wind whistles. The sea rages.
48 INT~ HUT
ON THE ROCK- NIGHT 48

Uncle Verrl:on.and Aunt Petunia sleep on a lumpy bed in the

hut's-only bedroom. Dudley.SNORES on a moth-eaten sofa. Harry
lies on the bare floor beneath a ragged blanket. LIGHTNING
FLASHES.·.As the ·room goes dark again, Harry studies the
lighted dial of Dudley's watch. _As it ticks toward midnight,
Harry puts the last touches to a BIRTHDAYCAKE he's etched in
·the dust that.layers the floor.
HARRY
Make a wish, Harry.
Closing his eyes, he ••• blows ..• and the "flames" of dust
scatter. Eyes still closed; Harry holds the wish when .••
BOOM!
The DOORSHUDDERS.HINGES.squeal. A pin squirrels out of its
housing. Falls to the floor.
BOOM!
Uncle Vernon comes sledding into the room in his socks, a
RIFLE in hand, paper hanging by a string from the.barrel •
..UNCLEVERNON
Who's there? I warn you--I'marmed!
.SMASH!The door falls flat. An IMMENSESILHOUETTEstands
against the raging sea outside, identical to the beastly
figure seen climbing the-stairs in Godric's Hollow. He is
HAGRIDand is, rather obviously, a GIANT. Presently he is *
standing on the front door. · *
HAGRID *
Er, right. Sorry 'bout that •.•
Hagrid steps clear, takes the door, and fits it back into its
frame. Glances at Dudley. Frowns.

- -11 ·- ... -
1 EXT. DOWNTOWN
L.A. - 110 FREEWAY- NIGHT 1
It slices through a canyon of tall buildings. Hardly any
traffic at this time, just heavy haulers. A gasoline
tanker, a car carrier, a flatbed with a huge bulldozer.
ANGLE ON
A BIG RIG. The Peterbuil~ tractor pulls a nondescript white
container with Japanese export seals on its padlocks.
2 INT. BIG RIG (MOVING) - NIGHT 2

HUMMINGto country music, a TRUCKERrubs weary eyes and

checks the clock: 4:00AM. He reaches for a thermos.
RAGE AGAINST THE MACHINEBLARES somewhere behind him.
Startled, his coffee spills. He peers into his mirror.
BLINDING HEADLIGHTS
He squints, lifts an arm for shade. He HEARS a performance
engine ROAR, its turbo SQUEALING. Looks out the window.
TRUCKER'S POV
He _glimpses his own reflection in the glistening hood of a
black on black Honda Civic built for speed. It takes off up
the freeway and is gone, just like that.
IN THE MIRROR
More HEADLIGHTS. Blinding.
VROOM! VROOM! VROOM! Three more tricked Civics appear
like rockets, CRISS-CROSSING in front of the truck.
The little black cars cavort playfully around the semis as
they zoom up the freeway. Fading in the· distance.
THE TRUCKER
Sucks air through his teeth; unamused by the deadly antics.
TRUCKER
Stupid damn kids.
3 EXT. 110 FREEWAY- NIGHT .. 3

Our Big Rig passes an on-ramp. From which ...

THE FOUR CIVICS
Suddenly appear. Their engines, music SCREAMING. They box
in the Big Rig as it enters a long tunnel.
 Blue Revision 05/05/2000 3.
6 CONTINUED: 6

Nearly jackknifes. The Bandit climbs across the hood, into

the cab. About to smash into the ...
TUNNELWALL
He maneuvers into the driver's seat. He works the wheel and
gears with skill. The Big Rig pulls away from the wall,
straightens out, accelerates. It exits the tunnel and cuts
a hard right toward an offramp.
The Bandit gives the high sign. The little black cars fall
in behind like ducklings.
7 EXT. OFFRAMP- NIGHT 7

The Big Rig moving too fast, outside tires SCREAMING,it

threatens to tip, SCRAPING the steel safety rail.
8 EXT. SAN FERNANDOROAD- NIGHT 8

A lone LAPD cruiser SCREECHESto a stop at the bottom of the

ramp. Two COPS get out, aim their 9's up the ramp.
The Big Rig's engine HOWLS. Its AIRHORNblows in warning.
The Two Cops trade looks, dive out of the way as ...
Whim The cruiser is smashed backwards into a bus stop
shelter with a collision repair advertisement.
The Rig barely manages the turn. Followed by the four
Civics.
A Cop SCREAMSinto his radio. SEES the Civics have no
plates.
TWOPOLICE CRUISERS slide sideways onto the empty road,
heavy duty V8's GROWLING.
The Civics simultaneously scatter down four different
sidestrokes.
The two cruisers focus on the Big Rig, a good distance
ahead.
9 INT. BIG ~IG (MOVIN~) - NIGHT • 9

It pulls off San Fernando, down a side street, heading for a

the old warehouses along the L.A. River.
The Big Rig SMASHESthrough a metal gate ..
Headlights hit a warehouse's wall -- finding large wooden
,.,-.._ doors as the Big Rig swerves. CRASHESthrough the doors.
 FADE IN:

1 EXT. NUMBER FOUR PRIVET DRIVE - MIDDLE OF THE NIGHT 1

The street slumbers, adrift in shadow. Then... a curious
BEAM OF LIGHT BOBS beyond the second-story window of
Number Four.

2 INT. HARRY'S ROOM - SAME TIME - MIDDLE OF THE NIGHT 2

A tent of blankets. Within... the SHADOW of a BOY. A
WHISPER:
HARRY
Lumos Maxima...
The tent BLOOMS SOFTLY with light -- briefly illuminating
a bedside PHOTOGRAPH (of James & Lily Potter) -- then
goes dark.
HARRY
Lumos Maxima...
The blankets bloom once again when, down the hall, a
TOILET FLUSHES. Instantly, the SHADOW stiffens, the
blankets DIM, and the tent flattens. Just as...
... the bedroom door OPENS, revealing... UNCLE VERNON.
He peers inside, eyes flashing suspiciously, then...
withdraws.
The tent rises.
HARRY
Lumos Maxima...
As the blankets blaze, we CUT INSIDE, find a SKINNY BOY
with a crow's nest of black hair, thick glasses sitting
crookedly atop his nose: HARRY POTTER. Open before him
is Violeta Stitch's Extreme Incantations. Once again, he
speaks:
HARRY
Lumos... MAXIMA!

2A EXT. NUMBER FOUR PRIVET DRIVE - SAME TIME - NIGHT 2A

A BLINDING BLAST OF LIGHT FLASHES from the second story
window of Number Four. DOGS BARK. And a TITLE CARD
appears:
HARRY POTTER
and the
Prisoner of Azkaban