BACK TO THE FUTURE written by

Robert Zemeckis & Bob Gale FIRST DRAFT

24 February 81 Physicists propose that two alternate histories, two equally valid realities, could exist side by side: the one you know, and the one in which you dont exist. Time itself may have many potential dimensions, despite the fact that we are condemned to experience only one of them.

---Carl Sagan Hey, kids, what time is it?

--Buffalo Bob Smith

The Howdy Doody Show FADE IN: EXT. OUTER SPACE The MOTHER SHIP rises above Devils Tower and sails off into space to the strains of John Williams. In a moment we realize that were watching the end titles of Close Encounters, and then we PULL BACK TO REVEAL that the image is on a TV monitor...as we continue PULLING BACK, we discover a bank of video equipment, and Close Encounters is being pirated, from 3/4 cassette to VHS and Beta. INT. VIDEO WORK AREA  LABORATORY  DAY The video pirate operating this equipment is MARTY McFLY, 17, a good looking kid who has an air of confidence just shy of cockiness. Hes wearing a silver Porsche jacket, and like most typical modern day kids, not a stitch of his clothing is without some brand name or form of advertising. Hes looking at an ad for a guitar amp in ROLLING STONE. With the movie over, Marty shuts down the equipment, ejects the cassettes, and writes on them, Close Encounters, Original Edition. He puts the master tape back in a drawer, and we catch a glimpse of a few other titles---Empire Strikes Back, Stir Crazy, Superman II. MARTY packs up his cassettes with his school books and takes us into ANOTHER PART OF THE LABORATORY. The lab is a huge room, and workbenches are all over, covered with chemical and electronic equipment. The place is old and dusty and has the air of a mad scientist lab of the 50s. An ELDERLY MAN is hunched over an experiment on one side of the lab. Marty calls to him. MARTY Professor Brown! It's almost 8:30---I'm outta here! PROF. BROWN Ssshhhh! PROFESSOR EMMETT BROWN, late 60s, is tinkering with a device that looks like a Solar Cell, positioning it under a skylight to catch the suns rays. He is eccentric, moody, but basically kindly. And very involved in his work. Marty has a closer look at what the Professor is working on. The device is easily 30 years old, and Brown pours a chemical solution into a compartment in the cell. He plugs a patch cord from the Cell into a Voltmeter. An incandescent bulb on the panel glows dimly, and the meter needles move slightly. PROF. BROWN Blast it!! 24 measly volts! He throws an Erlenmeyer Flask across the room---it shatters against the wall. PROF. BROWN (points to the sun) The power of a million hydrogen bombs... (points to his experiment) ...and we get 24 measly volts. It's not fair! I've been working on this Power Converter since 1949, and you'd think in all that time, I could find the right chemicals that would efficiently convert radiation into electrical energy! But no! 33 years of dedication and research, and all I've got to show for it is a bootleg video operation! MARTY That reminds me, if we could scrape up enough for a 35 film chain, I've got a connection with a projectionist in a first run house---we could be sellin' new movies on the street before they're even in the theater. PROF. BROWN A 35mm film chain...I'll see what I can do.... The Professor ponders his Power Converter. Marty is on his way out. He pauses at a door with 5 locks on it and tries it. Of course it doesnt open. PROF. BROWN Won't give up, will you, Marty? Professor Brown asks without turning around. Marty grins. MARTY (grins) One of these days you're gonna leave this door open and I'll find out what's in there. PROF. BROWN Did you ever consider that some doors are locked for a reason? MARTY Nope. The way I figure it, doors are made to be opened. See you after school. PROF. BROWN Oh---Marty---what time did you say it was? MARTY 8:30. PROF. BROWN A.M. or P.M.? MARTY Pro, the sun's out! PROF. BROWN Oh, right, right. MARTY Jeez, for a guy with a ton of clocks, you sure don't pay much attention to time. Indeed there are a number of clocks all over the lab. PROF. BROWN On the contrary. I may not pay much attention to the measurement of time, but I'm very aware of Time itself. As he talks, Brown walks toward Marty PROF. BROWN (CONTD) I believe time to be its own dimension...to be contained...to be controlled... Marty has had enough of the Professors rambling. Hes heading down the stairway. MARTY Catch you later! Marty is gone. PROF. BROWN (CONTD) ...to be travelled through. Professor Brown unlocks the door and enters. INT. LOCKED ROOM The center of attention here is a morass of equipment of 1940s and 50s vintage that looks like something out of Amazing Stories or Weird Science. A series of lenses is the final end to the maze, indicating that a ray of some sort is to be beamed down on...whatever. Professor Brown admires his invention. PROF. BROWN If only I could harness enough power! INT. STAIRWAY  MARTY Marty comes down the stairs to street level and goes out the door. EXT. ORPHEUM THEATER BUILDING  DAY Marty steps out onto the street from the ORPHEUM THEATER BUILDING, the 3rd floor of which houses the lab. The theater is old and abandoned; on the marquee are the words, Assembly of Christ. From outside, the two stories of offices above the theater look just as destitute, with weathered, soot covered walls and an occasional boarded up window. Most of the neighboring businesses are boarded up as well. We get the feeling that this was once a thriving business district...but those days are long gone. A black van is parked a little ways down the street; on its side we see the letters N.R.C. TWO MEN are putting samples of gutter water into test tubes. They pay no attention to Marty. Marty goes next door into one of the only operating businesses in sight: WILSONS CAFE, a lunch counter joint on its last legs. INT. WILSONS CAFE Marty enters. The proprieter, DICK WILSON, 35, is behind the counter. Dick is quite overweight...and hes munching on a Baby Ruth candy bar. MARTY Morning, Dick. DICK Marty. What's for breakfast? MARTY Gimme some Chili, fries, and a Tab. Marty glances at the sports page of a discarded paper on the counter as Dick brings him the Tab. DICK Hot tip: Rubber Biscuit in the 3rd race at Arlington. MARTY Dick, what's with those guys out there in the gutter? DICK (shrugs) 3rd time they've been out there this week. Marty watches them for a moment. MARTY What's N.R.C.? DICK (shrugs) I don't know. National Cash Register? CUT TO: INSERT  SCIENCE TEXTBOOK A PHOTOGRAPH OF A MUSHROOM CLOUD, with the caption, Last above ground atomic test, March 18, 1952, Atkins, Nevada. A HAND writes the initials M.M. + S.P. in the cloud, draws an arrow through it like a valentine, and then writes, How about the Dance Saturday? Well have a BLAST! INT. SCIENCE CLASSROOM  ON MARTY The hand belongs to Marty, who fakes attention to the lecture being given by MR. ARKY, a frustrated, embittered teacher of 55. MR. ARKY There were only 3 above ground Atomic Tests in the United States, so the government took every opportunity to study the effects of radiation. Actual single family tract homes were constructed on the test site, totally furnished with refrigerators, TV's, furniture...anything you could find in a typical home...just so scientists could learn what kind of damage an atomic bomb would do to a typical town. They even put mannequins in the houses, just like in auto crash tests... Marty tears the page out of his textbook and winks at SUZY PARKER, the cute girl across the aisle and behind him. They exchange a smile, and Marty tosses the folded page to her. MR. ARKY But the fact remains that today, 30 years after those early nuclear tests, the threat of nuclear annihilation is as great as it ever was. Certainly, nuclear annhiliation is something you all must have thought about. Any questions, comments, ideas? Anyone? No reaction at all from the class. No one has a hand up, no one seems interested. MR. ARKY I'm talking about the complete and total destruction of the entire world. Doesn't anybody have anything to say about it? No, no one does. Arky is becoming angered and frustrated. MR. ARKY How about you, Mr. Jackson? Would you like to share some of your wisdom with the class? Jackson clearly wouldnt. Now Suzy writes something on Martys note, folds it, and tosses it back. It lands on the floor near Marty, and he picks it up. MR. ARKY (frustration rising) Mr. Gomez? Any thoughts? Miss Parker? Mr. Crump, any reaction? Marty unfolds the note. INSERT  THE NOTE Next to the mushroom cloud has been written, Thats sick . On the back has been written, Yes. BACK TO SHOT Marty smiles. MR. ARKY How about you, Mr. McFly? Marty quickly folds the note and shoves it in his pocket. MR. ARKY Did you even hear the question, Mr. McFly? Marty looked up, facing the inevitable. He might as well give his honest opinion. MARTY Yeah. You want to know what I think about atomic bombs. Well, I'd kinda like to see one. MR. ARKY You'd like to see a nuclear holocaust? MARTY Not a holocaust----- MR. ARKY (to the class) Mr. McFly here wants to nuke it all, just so he can see it! MARTY You know damn well that's not what I meant. MR. ARKY (isnt interested) All I can say is, that's one helluvan attitude, Mr. McFly. Let's explode a 100 megaton Geothermal nuclear device, just to see it. MARTY (pissed, under his breath) Yeah, explode it up your ass. MR. ARKY (continuing) Unfortunately, the way things are going, you may get your wish. You may see the entire annhiliation of the world. If not, you'll certainly see the destruction of all our natural resources. We can already see the air we breathe, not to mention the pollution in our rivers and lakes. We'll see all of our oil reserves depleted, in fact, all of our energy sources. Yes, you people have a lot to look forward to---a lot to see . MARTY Hey, Mr. Arky, gimme a break! I'm 17 years old! I'm not responsible for all these problems! Mr. Arky sobers up and sighs. MR. ARKY No, of course you're not. Not for the problems, no. But for the solutions...yes. The bell rings. There is a rush to the door. MR. ARKY See you tomorrow. EXT. HIGH SCHOOL  DAY STUDENTS pour out of the school. Its a typically middle-American school, brick, idyllic, flanked by oak trees. There is some graffiti and a boarded up window or two. Students begin their after school rituals of smoking, drinking, loitering, eyeing girls or guys as the case may be, showing off their cars. Marty is among a group of kids, surreptitiously exchanging video tapes for cash. RAFE NEWTON approaches him. NEWTON Hey Marty, spot me 50 till the weekend, would ya? I'm down to my last 20. MARTY Can't, man. I'm savin' up for that new amp. NEWTON Well, when you're a big rock star, how about loanin' me a grand? MARTY You got it! (checks his watch) I gotta go. Next to Marty is his friend DONALDSON. DONALDSON Hey man, what happened to your digital quartz? MARTY In the shop. So I'm sporting this antique. Check out this wind-up action. Marty shows him a gold wind-up wrist watch. Marty stuffs a wad of cash in his pocket as he and Donaldson descend the steps. DONALDSON Hey, you wanna come over? Get high? MARTY Maybe tomorrow. I gotta dupe some more tapes. DONALDSON Hey, that reminds me: my brother's gettin' married next week and I'm throwin' a party for him. Can you provide some entertainment? MARTY Yeah, I can run something off this afternoon. INT. LAB  ON MARTY  DAY as we hear sounds of HEAVY BREATHING, ORGIASTIC PANTING and other Porno sound effects. Marty shakes his head at what hes seeing (we cant see it) and turns down the volume. Hes of course copying a porno film. Marty puts a big wad of cash into a cigar box on the bench, then walks over to another area of the lab. INT. LAB  PROF. BROWNS QUARTERS Professor Brown is sleeping on an army cot, covered with a horse blanket. Nearby is an old refrigerator, a hot plate, and some clothes hanging from an exposed pipe. Marty opens the refrigerator and pulls out a bottle of Coke. He inadvertently knocks an orange out, and it rolls across the floor, under the cot. Marty stoops down to get the orange. He moves the blanket and reacts with astonishment at what he sees: A CRATE with purple radioactivity emblems labeled: EXTREME DANGER! RADIOACTIVE PLUTONIUM! AUTHORIZED PERSONNEL ONLY! DO NOT HANDLE WITHOUT RADIATION SUIT! And further down, Property of San Onofre Nuclear Power Plant, San Onofre, California. The orange is resting right up against it. MARTY takes a deep breath, then uses his foot to roll the orange away from the crate. He cautiously backs away from the cot and tosses the orange into a trash can. Professor Brown continues sleeping soundly. Marty twists off the Coke cap, takes a swig, and walks over to a cage with an ORGAN GRINDER MONKEY in it. MARTY Hey Shemp, how ya doin? Shemp is wearing a red coat and hat. Marty opens the cage and lets Shemp climb on him. Now Marty walks over to where the Power Converter is set up. Nearby is a stack of blueprints, very old. Marty has a look. THE BLUEPRINTS include on top, the Photo-Electric Chemical Power Converter, which is the invention on the bench; the 15 Tube Mechanical Home Butler, which is a robot; the Aero-Mobile, (a flying car); and something called a Write-O-Matic, which resembles a pen with a wire-attached suction cup. MARTY studies the Power Converter itself. The last rays of the afternoon sun shine through the skylight and fall on the Photo-cell. A funnel is sticking out of the chemical chamber, and it becomes just too much for Marty to resist: he pours some Coca-Cola in it. Suddenly, a blinding spark crackles from the other end of the device! Marty jumps back! PROFESSOR BROWN awakens with a start! He looks around, then rushes over to the power converter. PROF. BROWN What happened?!? MARTY Well, I'm not sure exactly---I accidentally spilled some Coke in here---just a drop! Brown hooks up the voltmeter and light bulb. PROF. BROWN Give me that! He takes the Coke from Marty and pours a little into the funnel. The light bulb glows brilliantly, the voltmeter needle jumps, and the equipment hums! Brown pours in more Coke---the bulb glows with increasing intensity, then explodes! The voltmeter needle goes off the scale! The Power Converter vibrates and falls off the bench! The Professor stares in disbelief; his hands begin to tremble. His reaction would be no different if Jesus Christ himself walked into the room! He checks the ingredients on the bottle. PROF. BROWN What's in this stuff? MARTY Nobody knows the formula for Coca-Cola. It's the most closely guarded secret in the world! The Professor ponders the discovery, then gathers up the Power Converter and goes to the Locked Door. He begins unlocking it, then looks at Marty. PROF. BROWN I'll see you tomorrow. Professor Brown takes the device into the room and locks the door behind him. INT. MARTYS BEDROOM  NIGHT Marty, wearing headphones, is playing his Electric Guitar along with a record on his stereo. His bedroom walls have posters of rock stars; a second bed and bedroom set are testament to an older brother no longer living at home. As Marty plays he walks around using the top of the guitar neck to move objects and lift magazines on the desk and bureaus. Hes looking for something. He moves a Rolling Stone---under it are some tools. He moves an issue of Heavy Metal and the Lampoon---under it, some homework. The record ends; Marty takes off the headphones and yells out the door. MARTY Who stole the drill? He is answered by a WOMANS VOICE. WOMAN (O.S.) Dinners ready! INT. McFLY HOME  NIGHT Marty goes downstairs into the living room. The furnishings are Montgomery Ward/Sears. GEORGE McFLY, 47, is absorbed in a BOXING MATCH on TV. Hes balding, bored, uninspired; a man who lost at the game of life. MARTY Anybody seen the drill? His father doesnt react. His mother, EILEEN, 47, sticks her head out of the kitchen. Once she was very attractive. Now shes in a rut. EILEEN I've been calling you for 5 minutes! Didn't you hear me? MARTY I was practicing. I've got an audition next week---I gotta practice. How am I gonna get famous if I don't practice? EILEEN You won't get famous if you don't eat, either. She goes back in the kitchen. MARTY Dad, you seen the drill? GEORGE What drill? MARTY The drill! The power drill I bought you for Christmas. I was using it last night. GEORGE It'll turn up. Marty sits down in the kitchen where his mother is putting food on the table. EILEEN George, dinner's ready! GEORGE Coming, Eileen. George just sits there. watching the Boxing Match. EILEEN Now, George. Dinner's ready now. GEORGE Coming, Eileen. A commercial comes on; George gets up and rolls the TV stand over to where hell be able to watch from the dinner table. EILEEN (to Marty) How was school today? MARTY Fine. EILEEN Learn anything? MARTY Oh yeah. EILEEN That's good. Now George sits down. GEORGE (to Marty) How was school today? MARTY Fine. GEORGE Learn anything? MARTY Oh yeah. GEORGE Good. George turns his attention totally on the TV. Marty looks at the newspaper. Eileen stares off into space. 20 seconds of lively, family dinner conversation...by the sportscaster giving the blow-by-blow on TV. Finally, Eileen opens her mouth again. EILEEN By the way, that reminds me, Saturday night we're taking Grandma Stella out for Chinese food. GEORGE Eileen, Chinese food again? EILEEN George, if you don't want Chinese food, pick a place you want to go and make a reservation. MARTY That means he'll have to pick up the phone, Ma. GEORGE No, Chinese food is fine. MARTY Saturday night's the Springtime in Paris Dance. I'm taking Suzy Parker. EILEEN The Springtime in Paris Dance. You hear that, George? They're still having the Springtime in Paris Dance. (to Marty) That was our first date. Remember George? I remember everything about that night. Remember the first time we kissed? It was during the last dance. They were playing that Eddie Fisher song, Turn Back The Hands Of Time. I even remember how you asked me out. We were in the cafeteria. You were so scared, you spilled your creamed corn. George just stares at the TV, oblivious to his wife. MARTY And I probably won't be here when you wake up Sunday morning. Suzy and I are gonna go down to the lake and watch the sun rise. GEORGE The sun rise? What for? MARTY To see it. George doesnt get it. He turns his attention back to the TV. EILEEN You mean you're going to stay up all night? MARTY Mom, how else are we gonna see the sunrise? EILEEN I don't think I like the idea of you staying out all night with a girl. MARTY Hey, Ma, gimme a break. There is a sudden pounding on the back door. No one moves to answer it. Pounding again. EILEEN Would you answer that, George? George ignores her. Finally, Marty gets it. AT THE BACK DOOR Marty opens the door and there is BIFF TANNEN, 47, an intimidating lout whose pot belly portrudes from his security guard uniform. His tie is undone, shirt tail out; obviously home from work. His shoulder patch reads Special Security Officer. Marty isnt happy to see Biff, and the feeling is mutual. BIFF Well, well, if it isn't the neighborhood bootlegger, Al Capone McFly! MARTY What do you want, Biff? BIFF Show me some respect, you little A-hole. It's Special Officer Tannen to you. MARTY What's the matter, Biff, they're not showing you any respect down at the golf course? Don't they realize what a tough job it is keeping the criminal element away from the country club? BIFF Listen, you little A-hole, I oughta--- MARTY What do you want, Biff? BIFF Where's your old man? Marty gestures into the kitchen. Biff now reveals he has a broken power drill and a set of bits. INT. KITCHEN Biff approaches George. BIFF Hey, McFly, what's with this cheap-ass drill you're giving me? Thing burned up first time I used it! Almost ruined my whole engine block! Marty shakes his head. GEORGE Uh---Biff---these are wood bits. Says so right here. You're not supposed to use them on your engine block. BIFF Look, McFly, I know a lot about tools. This is a cheep-ass drill! You're just lucky I didn't ruin my engine block. Next time you buy tools, let me know. I'll help you pick out some good ones. (gives George the drill) Oh--and one more thing: my kid's selling girl scout cookies. I told her you were good for 4 boxes. Don't make me a liar! George nods timidly as Biff exits. He turns and faces his wife and son who meet his gaze with knowing looks. GEORGE How do you like that guy, using wood bits on an engine block? Marty gets up from the table and storms out, into the living room. EILEEN Where are you going? In reply we hear the SLAM of the front door! EXT. McFLY HOME  MARTY  NIGHT Marty puts on his silver Porsche jacket as he stomps across the front lawn. He punches the beat up old mailbox which has the address: 777; then kicks the family car. EXT. A RESIDENTIAL STREET  NIGHT Marty is taking a walk with Suzy Parker. Martys been talking, and although still frustrated, hes now much more at ease. MARTY ...He just lets himself get pushed around all the time. People walk all over him and he never fights back, never stands up for himself. SUZY No self-confidence, I guess. At least you don't take after him. MARTY Yeah....Jesus! I wonder how he ever got up enough nerve to marry my mom. They walk a bit in silence. SUZY Can you imagine your parents in bed together? MARTY No way! SUZY Me neither. I've always wondered whether they slept together before they got married. You think yours did? MARTY Hell, no! The way my Mom carries on about sex---you even say the word and she goes into cardiac arrest. You shoulda seen her face when I told her we were gonna stay up all night Saturday. Always afraid somethings gonna happen. SUZY (flirting) Is something gonna happen Saturday night? Before Marty can answer, he gets hit in the leg by a runaway SKATEBOARD. TWO KIDS down the street have been running an obstacle course, and the loser is picking himself up off the pavement. Marty hops on the skateboard and whizzes over to the kid. He cant resist showing off---he manuevers smoothly through the obstacles, jumps over the last one and lands perfectly on the board, then hops off, flipping the board into the air and catching it. He hands it back to the kid. KID Wow! Youre good! Marty grins and rejoins Suzy. She too is impressed. MARTY Just like riding a bike---you never forget how to do it. Theyre standing in front of a house. Suzy looks at it, then at Marty. Obviously, its her house. SUZY Well...here we are.... They look at each other for a moment. MARTY Thanks. He kisses her. SUZY See you later. She goes into her house. Marty watches her, then continues down the street, alone with his thoughts. As he walks, a black sedan approaches slowly from in front of him and passes by. There appears to be some sort of receiving apparatus on the roof. Now we see the sedan make a U-turn in the street behind Marty and come up right behind him. Marty becomes aware of the headlights behind him. He looks at the car and steps over to the side of the street. The car pulls up alongside of him, and TWO GOVERNMENT TYPES get out. There are N.R.C. markings on the car. REESE Good evening. Agents Reese and Foley from the Nuclear Regulatory Commission. (Reese displays his ID) Mind stepping over here? Marty cautiously steps over. MARTY What's this all about? FOLEY Routine radiation check. Foley takes a Geiger Counter and checks Marty. Nothing unusual happens until Foley checks Martys feet. Then there is some noticeable clicking, especially on the foot that went nearest the Plutonium. Reese and Foley exchange a look. REESE Have you got any identification? Marty hesitantly hands Reese his wallet. MARTY What, am I radioactive or something? FOLEY No, no, not beyond an acceptable level. REESE Have you been X-rayed recently, Martin? FOLEY Perhaps been in contact with some luminous paint? MARTY No.... REESE Been any place unusual in the past 12 hours? MARTY Home, school, here. FOLEY Been in the vicinity of 2980 Monroe Avenue today? MARTY Where? REESE Over by the old Orpheum Theater. Marty hesitates a moment. MARTY No. Reese hands Marty back his wallet. REESE Okay, Martin. You have a good evening now. MARTY Yeah. Right. Reese and Foley get back in their car and drive off. Marty thinks a moment, then runs like hell the other way down the street! EXT. ORPHEUM THEATER  NIGHT Marty runs through the street to the Orpheum Theater. The only thing on the street besides him is newspaper blowing along the gutters. Marty tries the door to the upstairs. Its locked. Marty steps back and looks at the upper floor. Suddenly, 3 upper floor windows are blown out by a tremendous gush of air! MARTY Jesus! He tries the door again. Marty has no other choice: he BREAKS THE GLASS in the door and lets himself in! Marty races up the stairs to the laboratory. The door with the locks on it is unlocked, and LIGHT can be seen coming from the crack under the door. Marty rushes through the door into INT. THE LOCKED ROOM Professor Brown is standing next to a HOMEMADE NUCLEAR REACTOR, made from an old furnace, a hot water heater, and boiler room parts. He has one hand on a rope, and is adjusting some dials and gauges. SHEMP is sitting quietly on a stool directly under the focusing lens of the Professors invention. Hes wearing his organ grinder clothes, with a digital watch around his neck. MARTY Professor! The Professor, although surprised to see Marty, is in command of the situation. PROF. BROWN Get behind that lead shield! He points to the shield at one side of the room. MARTY But Professor---- PROF. BROWN Get behind the shield! I'm about to release radiation! Marty hurries behind the shield. Professor Brown pulls the rope ever so slightly. The Power Converter is activated! The low frequency hum of vacuum tubes becomes more intense---the frequency begins to rise, accompanied by the crackle of static electricity! Shemp looks around, curious about all of these sounds...the sounds grow in intensity...tension builds...and at exactly 9:00, Professor Brown releases the rope. At that moment, a high frequency tone is emitted, accompanied by a FOCUSED BEAM OF BLINDING RED LIGHT---like a spotlight---which hits Shemp! Shemp DISAPPEARS! And the top half of the stool disappears with him, leaving the lower halves of the legs (which were not hit by the beam) to topple to the floor! Air rushes through the lab to fill the vacuum that was created by Shemps disappearance! The sound of the equipment dies down, and a stunned Marty McFly steps out from behind the shield. MARTY Jesus!! Professor, you just disintegrated Shemp! Professor Brown shook his head, a smile playing around his lips. PROF. BROWN No, Marty. Shemp's molecular structure is completely intact. MARTY Then where is he? PROF. BROWN The appropriate question to ask is when is he. You see, Shemp has just become the world's first time traveller. I've sent Shemp into the future---two minutes into future, to be exact. MARTY The future? What are you talking about? Where's Shemp?? PROF. BROWN Shemp is right here in this room...two minutes from now. And at exactly 9:02, we'll catch up to him. MARTY Now hold on a minute, Professor. Hold the phone. Are you trying to tell me that this---all of this here---that this is---it's a---a--- PROF. BROWN A time machine. Marty has to sit down to take this one in. PROF. BROWN I always knew it would work. I knew it would work when I built it 33 years ago. But I was never able to harness enough power to test it. Power is the key. Massive amounts of energy to accelerate matter to the speed of light while creating an intense gravitational field. But generating that kind of energy has never been possible...until this afternoon. MARTY Because of that Coke. PROF. BROWN Precisely. Brown takes on the characteristics of a tour guide as he explains the machine. PROF. BROWN The Power Converter, now operating at peak efficiency, thanks to the chemical makeup of Coca-Cola, channels energy into the Flux Capacitor, which releases several jigowatts in a fraction of a millisecond. Electron acceleration takes place here...and the result is the temporal displacement beam you saw a few moments ago. The entire process is triggered when I release the rope. MARTY I thought that Power Converter thing operated on solar energy. There's no sun. PROF. BROWN Solar energy would have worked just fine...if I could have placed the Converter about a mile from the surface of the sun. Instead, I've created similar conditions in this reactor here. (indicating the rope) The higher I raise the cadmium rods, the more energy I release from the Plutonium core, and the further through time I can send an object. MARTY The Plutonium! That's what I came over here for! Professor, where did you get that stuff? PROF. BROWN Why? MARTY I just got stopped in the street by Federal Agents checking me for radiation! I figure they're after your plutonium! Professor Brown glances at a digital clock in the lab. Its 9:01:50. PROF. BROWN Ten seconds!! He rushes toward the spot where Shemp vanished. Marty follows. PROF. BROWN Brace yourself for a sudden displacement of air! Its 9:01:55...56...57...58...59... There is a SUDDEN DISPLACEMENT OF AIR...and SHEMP REAPPEARS! The legless stool reappears as well, and topples over. The startled monkey jumps onto a nearby bank of equipment. MARTY Shemp! Professor Brown picks up Shemp, looks him over and examines the watch around his neck: 9:00:10. The lab clock says 9:02:10. PROF. BROWN Exactly two minutes difference...and still ticking! MARTY Is Shemp all right? PROF. BROWN Of course. Shemp is unaware that anything even happened, other than his stool suddenly falling over. We had to wait two minutes to catch up to him, but for Shemp, the trip was instantaneous. Marty has a look on his face---the look of an idea. MARTY Professor, can this thing send Shemp back in time? PROF. BROWN Theoretically, yes, if I were to reverse the polarity. Professor Brown indicates the POLARITY SWITCH on the Time Machine, which is in the + position. MARTY (very excited) Jeez, Professor, you've got a gold mine here! PROF. BROWN A gold mine? MARTY (CONTD) Sure! Listen---we take the racing results from today's paper... Marty rips through a discarded newspaper and finds them. MARTY Here they are---we send 'em with Shemp back to yesterday, we get the information, put our money on the winning horses, and become billionaires! PROF. BROWN Marty, that would alter history. MARTY So what? PROF. BROWN Don't you understand? The mere act of sending matter back in time would change the course of events, and changing history is a responsibility that I do not wish to bear. MARTY All I know is you're throwing away an awful lot of money. PROF. BROWN The future, Marty, the future is everything. I built this machine to see the future. So I am going to send Shemp 24 hours into the future. You can assist me, if you like. MARTY Sure. The Professor exits the Time Machine room into his main laboratory. Marty sees that hes gone, so he tears the racing results from the Sports Page, circles the date, and sticks the clipping into Shemps pocket. Again making sure that the Professor isnt watching, Marty flips the polarity switch to -. INT. MAIN LABORATORY Professor Brown is looking for something on a table near the window. He finds it: a Micro-cassette recorder. He hurries back into the Time Machine room. INT. TIME MACHINE ROOM Professor Brown locks the door behind him and then gives the Micro-cassette recorder to Marty. PROF. BROWN Take this, stand at the panel, and read off the radiation levels. I want to have a record of what happens here. Be sure to tell me when we reach 85 rads. Marty takes his position at the appropriate panel. Brown sets up the stool and again places Shemp upon it. PROF. BROWN Come on, Shemp, this won't hurt a bit. The Professor takes his place at the reactor. Shemp is between him and Marty. He doesnt notice the polarity switch. PROF. BROWN Here we go. He throws a few switches...equipment hums to life. Now he cautiously begins pulling the reactor rope. Marty begins reading off meters into the recorder. MARTY Radiation level, 10 rads. Stabilization coefficient, .43. 16 rads; coefficient .44. 37 rads, .46. 51 rads, .46. 73 rads, .47. Suddenly the door is kicked open by N.R.C. AGENTS REESE and FOLEY, along with POLICE and OTHER AGENTS! They leap into the room with drawn .38s! REESE Everybody freeze! N.R.C.! PROF. BROWN Get back!! FOLEY Jesus Christ---it's a goddamn reactor! Reese pointed his gun at Professor Brown. REESE (to Prof. Brown) You!! Shut it down!! Now!! PROF. BROWN No! Get out!! I'm in the middle of an experiment!! Brown makes no effort to move away from the reactor---rather, he pulls the rope a slight bit more! Foley FIRES at the Professor! The noise startles Shemp, who jumps off his stool. Professor Brown takes the bullet in the upper chest! He staggers back, still holding the rope, and as he falls, he pulls the rope as far as it will go! MARTY Professor! (glances at meter) Oh, my God!! Release the rope! It's 4200 rads!! REESE (cant hear him) What?? MARTY Release the rope!! The incredible din of the equipment makes the screaming virtually inaudible! Marty rushes toward the Professor, but Foley immediately levels his gun at him! FOLEY Freeze!! Marty freezes---hes standing right under the focusing lens! He raises his hands! Professor Brown is lying on the floor, his hand still on the rope. His grip relaxes, and the rope is released! The Time Beam engulfs Marty! This time, its BRIGHT WHITE! Reese and Foley are dumbfounded! Marty looks up. MARTYS P.O.V. OF an intense WHITE LIGHT. Then, suddenly, everything goes BLACK! And with the blackness comes dead quiet. MARTYS VOICE Professor?? Hello?? A match is struck, and Marty looks around and finds himself in what appears to be a STOREROOM. INT. STOREROOM  MARTY  NIGHT Marty cautiously looks and walks around, almost tripping over an old chair. There is some dusty furniture and crates in the room. Marty lights another match and makes his way to the door---its in the same place as the door in the Time Machine room, because this is the Time Machine room...as it was once. Marty tries the door: locked. MARTY Damn! He goes to the window and opens it. We can hear the sound of muffled traffic. Marty climbs out the window. EXT. REAR OF ORPHEUM THEATER BUILDING  NIGHT Marty comes out of the third story window onto a fire escape, and descends. Just as he drops into the alley below, hes hit by a pair of headlights: A LARGE TRUCK is barreling toward him! Marty presses himself up against the wall and the speeding truck passes, narrowly avoiding him! Marty sighs relief, then notices the sign on the door hes standing next to: Wilsons Cafe, Rear Entrance. Marty tries the door---it opens. Marty is surprised at this; nevertheless, he enters. INT. WILSONS CAFE  NIGHT Marty walks in; yes, this is Wilsons Cafe, all right. MARTY Hey, since when are you open at... Marty stops short. Things are NOT the same. Dick isnt behind the counter. Instead, theres a WAITRESS about 30. Everything is shining clean; the fixtures look newer, but older. The prices are different, too: Roast Beef Sandwich, 30¢. Ice Cream Sundae, 15¢. And the customers---men in double-breasted suits...and hats! Women with long skirts---not one female in pants...and hairstyles like Marty has never seen! Marty stares open mouthed, walking around, taking it all in. A chubby little BOY of 5 in pajamas, is playing on the floor with toy trucks. Now Marty notices the WAITRESS is staring at him with curiosity and suspicion. WAITRESS You want something, kid? Marty decides to sit down at the counter and act like he belongs here. MARTY Uh, yeah...gimme a Tab. WAITRESS What? MARTY A Tab. WAITRESS Kid, I can't give you the tab until you order something. People at the counter are looking at him, especially at his silver Porsche jacket. Marty notices that the MAN next to him is drinking coffee. MARTY Uh, coffee. She pours a cup and serves him. WAITRESS Did something happen to you, kid? I mean, you been lost in the woods or something? MARTY Huh? Marty looks at the bowl of sugar cubes on the counter. MARTY Say, have you got any Sweet N low? WAITRESS Sweet and what? Her suspicions aroused, she takes the coffee away. WAITRESS Maybe youd better pay for this first. MARTY Sure. Marty pulls out his wallet and hands the woman a 20 dollar bill. Her eyes nearly fall out of her head. WAITRESS A 20? What do you think this is, a bank? I can't break a 20! (suddenly suspicious) Say, what's a kid your age doing with all this money? Marty takes the bill back. MARTY Look, maybe I'd better talk to Dick. Is he around? WAITRESS Dick? Dick who? MARTY The guy who runs this place. WAITRESS I run this place! MARTY What happened to Dick Wilson? WAITRESS Dick Wilson---Dickie Wilson? (laughs) Dickie Wilson runs this place? That's a laugh! Everybody at the counter starts laughing. MARTY (paranoid) What are you trying to do? Freak me out, or something? The MAN sitting next to him reacts. MAN: Freak? Are you from some circus? Is that what all that writing on your clothes means? Now the little BOY runs up to the counter. BOY Mommy, I'm hungry! WAITRESS Just take a candy bar, then go to bed, Dickie. Marty reacts and stares at the 5 year old. MARTY Dickie? That's Dick Wilson? WAITRESS That's Dick Wilson. Marty looks at him as he grabs a Baby Ruth from the candy counter. Then Marty spots the calendar behind the cash register. In big black numbers, it clearly reads, 1952! MARTY 1952?? This is 1952?!? Holy Shit!! You know what this means?? I've gone back in time 30 years! 30 goddamn years!!! I haven't even been born yet!!!! WAITRESS I'm calling the cops. But even as she goes to the phone, Marty bolts out the front door! EXT. STREET  NIGHT Marty stares in astonishment at the sight before him: the run-down Monroe Avenue that he knew is now a bustling, thriving business district! Traffic of 1940s and 50s cars pulses through the street, and pedestrians wander about. The storefronts that were boarded up are now shops doing profitable business. Pedestrians eye Marty curiously as they walk past, but Marty is too panic-stricken to notice them. Now he sees the Orpheum Theater. The marquee is lit up, and the place is obviously a first class movie house. The flashing marquee advertises, John Wayne, Maureen OHara, The Quiet Man. In Full Color. MARTY Dammit! Marty sees a pedestrian with a newspaper. He grabs it away from him and looks at the date. MARTY 1952! Dammit! He throws the paper down in disgust and runs down the street. ON THE STREET Marty stops and looks at the licence plate on a parked car. Once again, theres the year. MARTY 1952! Dammit! Marty runs off. EXT. TELEPHONE BOOTH  STREET  NIGHT Marty is in a phone booth, frantically tearing through the phone book. He finds the page hes looking for. INSERT  PHONE BOOK Martys finger goes down a list of Browns, coming to rest at, Brown, Emmett L., 788 W. Spruce. Madison 3489. A BIC PEN circles the name and number. BACK TO SHOT Marty reaches into his pocket. He has a nickel and 3 pennies. MARTY Dammit! He picks up the receiver and pumps the switchhook. OPERATOR (V.O.) Operator. MARTY Operator! Listen, this is an emergency! I have to make this call, but I don't have a dime---all I got is a nickel---but you gotta connect me--- OPERATOR (V.O.) (interrupting) Sir, it only costs a nickel. MARTY What? OPERATOR (V.O.) Local calls cost 5 cents. What number do you want? Marty sees the sign on the phone, Local Calls 5¢. MARTY Oh---right! Uh, Madison 3489. OPERATOR (V.O.) Five cents, please. Marty deposits his nickel. The number rings several times. OPERATOR (V.O.) I'm sorry, there's no answer. MARTY Operator, what's today's date? OPERATOR (V.O.) March 11. MARTY What year? OPERATOR (V.O.) Nineteen fifty--- MARTY (interrupts) Dammit! He slams down the receiver, then tears the page out of the phone book and runs down the street with it. EXT. RESIDENTIAL STREET  MARTY  NIGHT Marty runs down this residential street, tired, breathless, exhausted. He leans against a mailbox to catch his breath, and then notices the number on it: 777. He turns and looks at the house. MARTY My house! Indeed, it is Martys house---or rather, it will be. The trees arent quite as tall as those we saw earlier, and the curtains are different; theres a 1949 Chevy in the driveway. But its the same house. Then, the front door opens, and a WOMAN opens the screen to let out a dog. Unless were seeing things, its EILEEN, looking nearly identical to when we saw her last, save her different clothes and hair-do. MARTY is stunned! MARTY Mom!! He runs toward the house! EXT. HOUSE As Marty runs toward the house, the WOMAN closes the door. Marty runs up the steps and pounds on the door. MARTY Mom!! Open up! Its me! The door opens. Indeed, the woman appears to be Eileen. But she doesnt recognize Marty. MARTY Mom, thank God! Thank God you're here! WOMAN I beg your pardon, young man? MARTY Mom! It's me! Marty! Don't you know your own son! WOMAN I think you have the wrong house. Marty is very intense---sweating, breathing hard. MARTY No---no---it's not! It's not! A MAN in his mid-40s approaches the door. Hes smoking a pipe and seems like a decent sort. MAN Who's there, Stella? MARTY Stella?!? No! Don't tell me you're Stella! Tell me you're Eileen!! Please tell me you're Eileen! Through the door, we can see a GIRL of 17 coming down the staircase. Shes very attractive. GIRL I'm Eileen. Marty locks eyes with his Mother, aged 17! MARTY How old are you? EILEEN Seventeen. What does one do when he meets his mother in such circumstances? Marty faints! A HAND holds smelling salts and brings them under Martys nose. Marty is lying on a couch; he stirs and opens his eyes. MARTYS P.O.V. OF PROFESSOR BROWN as a young man! Hes well dressed, less eccentric in manner, and seems much more self confident than his older self. It is Brown who is administering the salts. WIDER ANGLE, INT. LIVING ROOM The room is the same as in Martys house, with different furniture (in the same basic arrangement) and a different color scheme. MARTY Professor? Professor Brown? BROWN You know me? MARTY Professor, you time machine works! It works! It sent me back in time! I'm from 1982! PROF. BROWN Ssshhh! Brown isnt sure whether to believe him. Now the FAMILY approaches---MR. BAINES, his wife Stella and daughter Eileen. MR. BAINES Is he all right? The Professor straightened up. BROWN He will be. Simple inebriation, is all. The young man must have a rather low tolerance for alcohol...something that runs in the family. You see, he's a second cousin of mine on my mother's side. Came quite a distance to visit me. His name's Lewis. MARTY (correcting him) Marty. BROWN Uh, Marty Lewis. I almost didn't recognize him---haven't seen him in years. Young Eileen cant take her eyes off Marty. Marty too is fascinated by her. STELLA It's a good thing he had your name circled in the phone book. I would have called the police. BROWN Well, Mrs. Baines, Mr. Baines, thank you for your trouble. Both Marty and I apologize for the inconvenience. We'll get him home and as good as new. Marty and Brown get ready to leave. MR. BAINES (to Marty) Son, you watch yourself. MARTY Yes, sir. Eileen gives Marty his Porsche jacket which was lying on a nearby chair. EILEEN Oh---heres your jacket. MARTY (nervous) Uh, thanks... EILEEN What sort of material is this? I've never seen anything like it. MARTY (matter-of-factly) It's polyester. EILEEN Poly-what? PROF. BROWN It's an experimental invention of mine. Sort of a rubberized silver-foil. I just made up a name for it. Come on, Marty, we've got a lot to talk about. The Professor goes out the front door. Marty is behind him, and just as he steps into the doorway, Eileen speaks up. EILEEN Marty? MARTY Huh? EILEEN Have we ever met before? Their eyes meet, but before Marty can answer, the Professors arm reaches over and yanks him away! EXT. VICTORIAN STYLE MANSION  NIGHT A fabulous Victorian Mansion sits on a hill on the outskirts of town. On the mailbox is the name Brown, Emmett. A beautiful 1937 PACKARD pulls up to the mansion. MARTY (V.O.) ...and the flux capacitor is hooked into this thing that looks like a condenser with a lens on it... Now Marty and the Professor get out of the car. Marty stares at the incredible house, very impressed. MARTY Jeez---this is where you used to live, huh? You must have been rich! PROF. BROWN Must have been? Used to live? I do live here. MARTY Oh, yeah, well, there's a mall here now---I mean, there will be. PROF. BROWN A mall? MARTY Yeah, a shopping mall. You know, a shopping mall? They are walking toward the front door. PROF. BROWN Ssshhhh---don't tell me these things, Marty. I don't want to know about the future. They enter the house. INT. LIVING ROOM  MARTY, BROWN  NIGHT A light goes on in the large living room. BROWN Do you see it here? Marty looks around the room. The evidence of the Professors eccentricity is just beginning---mechanical apparatus laying haphazardly around on antique tables and furniture. Theres something built out of the shell of an old vacuum cleaner, and an old washing machine that might now be a still. MARTY No. INT. ANOTHER ROOM  THE STUDY Again a light goes on. Mostly, this is a library, but there are some models of some of the professors ideas here, including the Aero-mobile and the Mechanical Home Butler. Professor Brown looks at Marty. Again Marty shakes his head. Now Professor Brown unlocks a door at one end of the room and puts on a light. Marty approaches the doorway. MARTY This is it!! MARTYS P.O.V. OF THE TIME MACHINE, looking almost exactly as we saw it in 1982, except that its a lot cleaner and shinier. ON MARTY AND THE PROFESSOR PROF. BROWN You've convinced me that you must be who you say you are. No living human has ever seen this machine. (thinking) But why? Why even in my twilight years would I remotely consider sending someone back in time? MARTY You didn't, Professor. It was an accident! You see, what happened---- PROF. BROWN No! Don't tell me! I don't want to know the future! My knowledge of future events...your mere presence here...could have devastating effects on the course of history. And altering history is a responsibility that I do not wish to bear. My immediate responsibility is to send you back to your own time. MARTY I can dig that. PROF. BROWN (not understanding) Pardon me? MARTY I can get behind---I agree with you. The PHONE rings. Brown answers it in his study. Marty follows. INT. BROWNS STUDY  MARTY, BROWN Marty examines the models of Browns inventions while the Professor talks. PROF. BROWN Hello? (pause) Yes Charles, yes, I looked over the offer. (pause) It's very generous that they want to make me a major stockholder. But I'm just not interested in a position with this little X-rox corporation. (pause) If it's pronounced Zerox, why don't they spell it with a Z? (pause) Look, I'm on the verge of a breakthrough on my Power Converter. Marty reacts with a pained expression. PROF. BROWN (CONTD) Well, any day now. And then I'll need people to work for Emmett Brown Industries! I've got a lot of ideas that are going to create a lot of jobs. (pause) Very well, good night, Charles. (Hangs up) The X-rox Corporation. How are they going to sell a product if you can't even pronounce the name? Brown turns his attention back to Marty. PROF. BROWN Now...the Time Machine works, that's obvious. As I've always known, it's a question of power. Where did I---will I get enough power to send a man 30 years through time? Marty is about to answer---the Professor holds up his hands. PROF. BROWN No---wait---don't tell me! (long pause as he thinks) On second thought, there may be some things you'll have to tell me. MARTY The Power Converter... PROF. BROWN Of course! The Power Converter! It works! (afterthought, to himself) Of course, it works! (to Marty, very excited) What chemicals do we use? Marty hesitates and takes a deep breath. MARTY Well, Professor, are you sure you want me to tell you? You know, changing the course of history and all.... Professor Brown would plainly like to know, but his sense of scientific responsibility gets the better of him. PROF. BROWN Blast it---no, I suppose you're right...You do know the proper chemical formula? MARTY Sure, and there won't be any problem getting some---getting it. Professor Brown goes to the bar and pours himself a Brandy. PROF. BROWN Coke? MARTY How did you know? PROF. BROWN Just a guess. I figured kids would still be drinking Coke in 1982. He throws Marty a bottle. PROF. BROWN All right, then it's very simple. Tomorrow, weather permitting, you'll get the chemicals, and we'll wire the Power Converter to the Time Machine, point it at the sun, and send you home. MARTY Well, not exactly, Professor. You see, we don't point it at the sun. PROF. BROWN We don't.... MARTY No. We need a Nuclear Reactor. Professor Brown chokes on his drink. PROF. BROWN A Nuclear Reactor? How much energy do we need? CUT TO: CLOSE ON MARTYS MICRO-CASSETTE RECORDER which is playing back the tape of the moments before Marty went through time. All of the voices on the tape are muffled, except Martys---and the gun shots sound fairly clear. MARTYS VOICE (ON TAPE) Release the rope! Its 4200 rads!! WIDER ANGLE  INT. BROWNS STUDY  MARTY, BROWN Professor Brown is seated at his desk. He fumbles with the recorder and shuts it off. PROF. BROWN 4200 rads? Good God! Marty is trying to twist open the bottle of Coca-Cola. He cant---twist offs havent been invented yet. PROF. BROWN There's something I still don't understand. (rewinds tape) Fascinating device... (plays back gun shots) These loud bangs...could those be some sort of malfunction in the time machine? Do you know what they are? Marty is of course quite uneasy. MARTY I wouldn't worry about 'em, Professor. Again we hear the 4200 rads portion of the tape. Professor Brown shakes his head. PROF. BROWN 4200 rads...That certainly can't be generated under controlled conditions in this day and age. MARTY That's just great. PROF. BROWN However...there's a lot I don't know about Nuclear Physics. So first think in the morning, I'll go to the University, see what I can find out. I want you to stay in the house. It's very important that you don't interfere in any way with the outside world. I've got plenty of food, there's the radio, books, magazines...I've even got one of those new television sets. There's plenty to do. Professor Brown looks at Marty who is still trying to twist off the Coke bottle. Brown stares incredulously. PROF. BROWN What are you doing? MARTY How do you open these? The Professor takes the bottle from Marty and opens it with a bottle opener. He hands it back, not sure what to think...but afraid to ask. MARTY It doesn't look good, does it, Professor? PROF. BROWN (shakes his head) At the moment, it looks like you're stuck here. INT. BEDROOM  MARTY  DAY Morning light streams in through a window. Marty is asleep on the bed, still in his clothes. He awakens...and sighs as he realizes that his surroundings are real, it wasnt a dream...and hes stuck here. He turns on the Cathedral Radio by the bed...no sound. He hits it several times...not realizing that it simply has to warm up. Finally, theres music...Perry Como. Marty twists the dial and picks up Dinah Shore, then Les Brown, Benny Goodman...swing tunes, 50s schmaltz...nothing that even resembles rock n roll. Disgusted, Marty shuts it off. INT. KITCHEN  MARTY  DAY Marty takes an old-fashioned drip coffee pot out of a cabinet. He fumbles it and it breaks into its component parts. Marty tries to put it back together. CUT TO: MARTY pulling a BOTTLE OF MILK out of the refrigerator. He removes the foil seal and tries to pour some into a glass. Nothing comes out---the cardboard stopper is still in it. Marty tries to pull it out---he cant get the tab. Frustrated, he punches a hole in it with his finger. CUT TO: MARTY drinking a glass of milk, looking at the magazines and newspapers on the kitchen table. TIME has a cover story, The Republicans: Who Will Win In 52? with photos of the top contenders. MARTY Eisenhower. He looks at NEWSWEEK. Cover story: Will We Have War With Russia This Year? MARTY No. He tosses it aside. He tries the newspaper. Crime Rate Continues To Rise. He shakes his head, looks at the Saturday Evening Post which has a picture of some High School Students with the question, Whats Wrong With The Younger Generation? He laughs, turns it over and sees on the back cover the famous Van Heusen Shirt Ad featuring Ronald Reagan. MARTY Jesus. The DOORBELL RINGS. Marty reacts with uncertainty. Hes not sure what to do. It rings again. Marty gets up and cautiously walks to the front door. He stares at it, unable to make up his mind. The bell RINGS again! Finally Marty opens it. Its PROFESSOR BROWN who immediately points an accusing finger at him. PROF. BROWN Aha! You answered the door! MARTY You were ringing the doorbell! Marty took a step back as the Professor walked inside. PROF. BROWN I told you not to interfere with any of the events of this time! Nobody's supposed to see you here! What if I was a mailman? Or a salesman? MARTY What if you lost your keys? PROF. BROWN Then I would have figured out to get back in through events in the natural course of history! Don't you understand? The fabric of history is very delicate. Anything you do could have serious consequences! MARTY Hey, look, gimme a break! All I did was answer the door! How's that gonna change history? PROF. BROWN I don't know, but I don't want to take any chances. Now you stay here and don't do anything. Don't answer the door, don't answer the phone, don't go outside. Understand? Marty is fed up with the lecture. MARTY Hey, get off my case, would you? I didn't want to come here, and the only reason I'm here in the first place is because I was a nice guy, helping you out. So don't tell me I gotta stay cooped up in here and vege out, because none of this was my fault! PROF. BROWN Let me put it on a level you can understand. You don't belong here. You don't know anything about this world. You don't know the customs, you don't know how to talk, how to act---you don't even look like you belong here. And if you walked out on the street, you wouldn't get 100 yards without being arrested. Then there would be a lot of questions, and where would we come up with the answers? Marty sighs. MARTY Okay, Professor, I get where you're coming from. The way I look, the way I'm dressed, I'd stick out like a sore thumb. PROF. BROWN I'm glad we finally got that straightened out. I'll see you tonight. He exits and slams the door behind him. CUT TO: EXT. PROF. BROWNS HOUSE  DAY A window opens, and MARTY climbs out! But now hes wearing some of the Professors clothes, and hes got his hair slicked back in Ronald Reagan style! He actually looks like a resident of 1952! Marty runs off down the hill, toward town. EXT. BUSINESS STREET  MARTY, PEDESTRIANS  DAY Marty walks down the sidewalk with the other pedestrians, trying to act like he belongs here. Hes doing a good job of it, too, because no one gives him a second glance. Suddenly, a COP in front of him glances at Marty, then points an accusing finger at him. COP Hey you! Where do you think youre going? Panic fills Martys face as the cop approaches him---has he been had? No---the cop walks right past him and collars a TRAMP several yards behind Marty. Marty sighs relief. MARTY bops down the street, full of confidence, full of excitement, full of curiosity. Hes a tourist in another time and he takes in the sights, which include... AN APPLIANCE STORE, selling Giant 8 inch Televisions, with a screen as big as life itself. A GAS STATION selling gas at 18.9¢ a gallon. A TRAVEL AGENCY advertising L.A. to New York in a mere 12 hours. A DANCE STUDIO, where through the window can be seen a Mambo Class, and a big sign, Everybodys Doing the Mambo! A CLOTHING STORE, with a display of the latest fashions. A STUDEBAKER SHOWROOM, with The most modern car ever developed in the entire history of man. EXT. A RECORD STORE  MARTY Marty stares at the window display at the record store, promoting Americas top recording artists: Sinatra, Guy Combardo, Dinah Shore, Perry Como. Something is bothering Marty about this so he goes in. INT. RECORD STORE  MARTY The Number One Single is prominently displayed on the counter: Papa Loves Mambo by Perry Como. Marty cant believe it. A CLERK approaches him. CLERK Can I help you, sir? MARTY This is the number one record? CLERK Yes, sir! MARTY I don't get it---how come there's no Rock N Roll? CLERK I beg your pardon? MARTY This is 1952...? CLERK Uh, yes, sir... MARTY And you never heard of Rock N Roll? CLERK No. MARTY (big smile) Well, maybe it's time you did. CUT TO: EXT. PAWNSHOP A PAWNBROKER pulls a Guitar out of the window, along with the price tag: $5.00. INT. PAWNSHOP  MARTY, PAWNBROKER The Pawnbroker takes the guitar to the cash register; Marty follows him. PAWNBROKER Thatll be 5 bucks. Marty pulls out his wallet and hands the man a 20. The Pawnbroker rings it up, then takes a closer look at the bill. PAWNBROKER Hey, what kinda funny money is this? MARTY Huh? PAWNBROKER It says 1977 on it. What do you take me for, an idiot? He gives the bill back to Marty. Marty looks at it and realizes his mistake. MARTY Oh---yeah---I cant believe I did that. Thats a joke. My friend had these printed up---see, that's his name there... (pointing to the name on the bill) ...Blumenthal. The Pawnbroker is eyeing Marty suspiciously. Marty checks his wallet. MARTY Gee---I don't seem to have anything on me...Hey, how about this watch? Its a genuine antique! Marty hands the man his watch. The broker examines it. PAWNBROKER Antique? They just came out with this watch last month. But this one looks like its been through a war. MARTY Yeah, I've been doing a lotta travelling. PAWNBROKER Okay, kid. You got a deal. The watch for the guitar. CUT TO: INT. TALENT AGENTS OFFICE Marty is performing Blue Suede Shoes for an AGENT in an office. Martys really cooking---jumping around like Elvis, and really playing his heart out. Hes good, too. The Agent, 45, sits stonefaced behind his messy desk, puffing on a big cigar. The office has the same feeling as the Agent: cheap. The walls are covered with 8 x 10s of clients. INT. OUTER OFFICE The music can be heard coming from the frosted glass door with the words Midwest Talent Agency on it here in the outer office. The secretary listens, but doesnt seem to care much for it. But REGINALD WASHINGTON, 32, a black man with silk shirt, processed hair and two-tone shoes, is very interested. He puts his ear to the door and snaps his fingers in time to the tune. He likes it. INT. AGENTS OFFICE Marty finishes the number. The Agent is not impressed. AGENT Well, kid, it's interesting, I'll say that. But it's not commercial. MARTY Not commercial? Mister, don't you know what you're listening to? This is rock 'n roll! AGENT Call it what you want to kid, but don't call it music, 'cause it sure ain't that! MARTY But you don't understand--- AGENT No buts, kid. I've been in this business my whole life and I know what people want. The smooth sound, that's what sells. Como, Crosby, Dinah Shore. Gimme a melody, and a nice slow tempo. Now beat it! The agent shoves Marty out the door! INT. OUTER OFFICE Marty is stunned. In a moment, the door opens and his case is thrown out too! Reginald goes over to him. REGINALD That sound I just heard coming through the door, that was like nothing I ever heard before! I mean, you got something there, young man! MARTY Who are you? REGINALD Reginald Washington is my name; I manage some of the local bands around town, and I think you've got something we can promote all the way to the top! Now, I've got a real important cat comin' in from a New York Record Company on Monday the 18th, and I want you to play that music for him. I think the time has come for a sound like that. Marty grins. Reginald takes a business card and writes the particulars on it. REGINALD That's March 18th, Noon. Be at my office. What's your name? MARTY Marty Mc---Marty Lewis. REGINALD Marty Lewis. See you on the 18th. Reginald gives him the card and they shake hands. Marty is elated. MARTY Right on, brother! Reginald has never heard that expression before. REGINALD I think you're a little mixed up. There is absolutely no way that I could be your brother. Reginald walks off. Marty looks at the card and smiles. INT. MARTYS BEDROOM AT BROWNS HOUSE  NIGHT Marty, dressed once again in his 1980s clothes, is practicing on the guitar in front of the mirror. He hears the door opening downstairs, so he quickly puts the guitar in the corner, messes up his hair, takes Reginalds business card from off the bed and sticks it in the pocket of his Porsche jacket which is laying on a chair. INT. BROWNS HOUSE  FRONT ALCOVE  NIGHT Marty comes running downstairs and finds a very sullen Professor Brown pouring himself a drink. Brown looks at him. PROF. BROWN Well, I found an energy source that can generate the 4200 rads that we need... An atomic bomb. MARTY Professor, be serious, would you? PROF. BROWN I am serious. If we could get you, the Time Machine, and the Power Converter in the vicinity of an atomic blast, we could send you back to the future. MARTY You're talking crazy! An Atomic blast would melt me and the time machine in a matter of seconds! PROF. BROWN You forget---time travel is instantaneous. The time machine would melt, but you would have already travelled through time. Of course, it's a moot point regardless. The only place atomic bombs are detonated is at the Army's Nevada Test Site, and those tests are kept absolutely top secret. Something suddenly occurs to Marty and he bolts back upstairs. INT. MARTYS BEDROOM  BROWNS HOUSE Marty rushes into the bedroom and goes through the pockets of his Porsche jacket. He pulls out the textbook page he passed to Suzy Parker and unfolds it. Reginalds business card falls out of the same pocket. INSERT  THE TEXTBOOK PAGE Underneath the picture of the mushroom cloud is the caption, Last above ground atomic test, 15 megatons, March 18, 1952, Atkins, Nevada. MARTY compares this to the business card: the dates are the same. He considers his problem, then makes his decision: he crumples up the textbook page and throws it in the trash can. Now Professor Brown enters. PROF. BROWN Marty, what's wrong? He slipped the card back in the jacket and shrugged, trying to seem nonchalant. MARTY Oh---nothin'. I thought I left the water running. Professor Brown catches a glimpse of the guitar in the corner, then has a closer look. PROF. BROWN Say, where did this guitar come from? MARTY Oh---that---I found it in the closet. PROF. BROWN I don't recall ever seeing it before. MARTY Well, it was there. PROF. BROWN Curious. Very curious.... CUT TO: INT. MARTYS BEDROOM  BROWNS HOUSE  MORNING Morning light streams in through the window. Marty awakens. This time, hes sleeping in the bed instead of on it. He smiles. INT. KITCHEN Marty pours himself a cup of coffee from the drip coffee pot, and victoriously pulls the stopper out of the milk bottle. His mood is very positive, and he sings as he adds milk to his coffee. MARTY (singing) So you wanna be a rock n roll star... Once again, the DOORBELL RINGS. Marty reacts with a Not again look and goes to answer it. INT. AT THE FRONT DOOR Marty is shaking his head as he opens the door. MARTY Look, Professor, Im not-----oh. Its Eileen. Marty is dumbfounded. She smiles at him. Shes carrying books, obviously on her way to school. EILEEN Hi, Marty. MARTY Uh, hi... EILEEN Eileen. MARTY (its hard for him to say) Right. Eileen. EILEEN (A little unsure of herself) You remember me...? MARTY Oh, sure, I remember you. EILEEN Well, I was on my way to school, and I just wanted to stop by and see if you were feeling okay. You seemed like you were in pretty bad shape the other night. MARTY Oh, I'm feeling much better now. EILEEN How long are you planning on staying? MARTY Actually, it looks like I'm gonna be stuck here for awhile. EILEEN (hopefully) Then you'll be going to school here...? MARTY School? I never thought of school! If I went to school I could blend in with everybody else, couldn't I? She doesnt know how to react. MARTY What time does school start around here? EILEEN 9:00---oh, I'm late! Maybe I'll see you later. MARTY Yeah. Maybe so. She smiles, then hurries off to school. EXT. HIGH SCHOOL  DAY Its the same school we saw in 1982, but the trees are smaller and there is no grafitti or broken windows. Only a few students are loitering in front---school is in session. MARTY, dressed once again for 1952, goes up the front steps carrying a notebook. As he gets to the door, the BELL RINGS, indicating a passing period. INT. SCHOOL HALL  MARTY, STUDENTS Students pour into the hall from the classrooms. Marty marvels at what his contemporaries look like. Marty proceeds through the corridor and pauses at a classroom door. He decides to enter. INT. SCIENCE CLASSROOM Its the same science classroom Marty was in earlier, only everything looks much newer, and the chalkboards are black instead of green. Marty goes over to his old desk---of course, its now in excellent condition. He runs his hand across the desktop. VOICE You there! What are you doing in this class? The voice is familiar---Marty looks up: its Mr. ARKY, 30 years younger! Martys eyes nearly fall out of his head! Young Mr. Arky is energetic and dynamic, the kind of teacher whos going to change the world. MARTY Mr. Arky? Mr. Arky! MR. ARKY Yes, that's my name. Who are you, young man? Are you supposed to be here? MARTY Uh---yeah. I'm new here, and I'm supposed to be in this class. MR. ARKY You have a name? MARTY Marty. Marty Lewis. CLOSE ON AN INKWELL as a FOUNTAIN PEN is dipped in and sucks in ink. WIDER ANGLE  SCIENCE CLASS as Marty stares with amazement at the STUDENT next to him filling her pen. Mr. Arky is in the middle of his lecture. MR. ARKY ...and it is, of course, due to Science that we Americans enjoy the highest standard of living in the history of the world. When we think of the technological advances made in just the past 30 years, it boggles the mind to imagine what the world will be like in another 30 years. I think I can safely say that we can all look forward to a world of plenty, a world free of disease and starvation. There'll be entire cities built under the sea, cars that can go 2 or 300 miles an hour. Marty cant believe what hes hearing. The rest of the class seems pretty bored. MR. ARKY (CONTD) You girls will be able to cook an entire meal, clean the entire house, and do all of your laundry and ironing by push-button. You may even have a robot to assist you in all your duties as a wife. A WISE GUY calls out from the back. WISE GUY I hope those robots won't be assisting in all my wife's duties! There is laughter from the back of the class. MR. ARKY Well, Biff, since you seem so eager to get into this discussion, perhaps you'd like to tell us what you think you'll be doing in 30 years? Yes, its young BIFF TANNEN sitting in the back of the class, looking just like what he is: the schools biggest troublemaker. Sitting around him are his THREE CRONIES: GUMS, so named because hes missing his two front teeth; MATCH, who is perpetually chewing on wooden matchsticks; and SKINHEAD, who has a crewcut just short of being bald. Marty turns around and stares at Biff. BIFF I know what I wont be doin---goin to school! Biffs boys break into hysterics. GUMS Hey, Biff, good one! SKINHEAD Ataway, Biff! Now Biff notices that Marty is staring at him. He takes an immediate dislike to Marty. BIFF What are you lookin' at, A-hole? Martys eyes meet Biffs hateful glare; then Marty turns away. MR. ARKY Anybody else have any ideas about what life might be like in 30 years? As usual, no one raises their hand. MR. ARKY Mr. Cusimano? Miss Voyles? Miss Kaner? (pause) So am I to understand that no one has anything at all to say about the future? Arky looks directly at Marty. MR. ARKY How about you, Mr. McFly? Marty reacts with shock---somehow hes been found out! MARTY Oh, shit...! Several heads turn with shock at Martys expletive...including Biffs. At the same time, the student sitting directly in front of Marty opens his mouth. GEORGE Well, I, uh...well... Its young GEORGE McFLY! And hes really a mess, too---nervous, hair poorly combed, just not with it. Marty realizes who it is. MARTY Jesus Christ! Dad! Mr. Arky tries to ignore it all. MR. ARKY Continue, Mr. McFly. George stands. Marty reacts with embarrassment for himself and his future father. GEORGE Well, I---uh---could you repeat the question? BIFF Sit down, McFly, you stupid moron! I can't see! Biff hits him in the head with a spitball. George immediately sits down. Marty, pissed, turns on Biff. MARTY Hey, lay off! Biff glares at Marty, eyes narrowing with complete hate. MR. ARKY Did you say something, Mr. Lewis? Marty pays no attention. He keeps staring at Biff. MR. ARKY (louder) Mr. Lewis, I'm talking to you. MARTY (suddenly remembering his name) Who, me? MR. ARKY You're the only Mr. Lewis in this class. If you have something to say, say it so the whole class can hear. MARTY Well, yeah, I was thinking, if cars are gonna be going 2 or 300 miles an hour, they're gonna be using an awful lot of gas. Like, what if we run out? MR. ARKY Run out of gas? He reacts as if its the most ridiculous thing hes ever heard. There is laughter from the class. MR. ARKY Well, class, it seems we have a doomsayer in our midst. I must say, Mr. Lewis, that's a mighty pessimistic attitude for a young man like yourself. First of all, with all the studies we have indicating the vast supplies of petroleum in the earth, plus the massive reserves that have yet to be discovered, the likelihood of any such shortage is highly remote. And even if the most improbable, catastrophic circumstances were to occur and we did have a shortage of petroleum, I'm sure that American technology and ingenuity would overcome the problem in no time at all. All in all, I'd say your time would be better spent worrying about the real problems that face our world instead of a shortage of gasoline. Biff and his boys make FART NOISES. BIFF Hey, we got plenty of gas back here! More LAUGHTER from the class. INT. SCHOOL CORRIDOR  DAY The BELL RINGS. Students pour out of classes into the hall, including Mr. Arkys science students. Marty steps out into the hall, waits for George to come out and, keeping his distance, follows him. INT. HALL INTERSECTION Marty follows George toward a hall intersection where EILEEN is passing by with her girl friend MADGE. Eileen sees George, but not Marty. She smiles at him. EILEEN Hi, George. George looks at her and is so at a loss for words that he walks into another student. Eileen and Madge giggle and continue down the hall. AT A DRINKING FOUNTAIN George stops at a fountain, goes down for a drink and gets water sprayed in his face! Marty shakes his head. SCHOOL LOCKERS George dials the combination to his locker, opens it, and is hit by an avalanche of books! Marty turns his head, not sure whether to laugh or cry. INT. SCHOOL CAFETERIA A LARGE POSTER advertises the Springtime In Paris Dance on Saturday, March 16. We PAN OVER to the cafeteria line where George is getting his lunch. Marty is right behind him in line and watches as the cafeteria ladies give George the burnt pork chop, the wilted salad, and the green stewed tomatoes. But George isnt paying attention, because hes talking to himself. GEORGE Eileen, if you're free Saturday night...no...Eileen, would you like to go to the dance...no... Marty hears this, then notices the poster. He perks up, very interested. INT. LUNCHROOM George comes out of the cafeteria line and looks around the lunch room. Eileen, Madge, and some other girls are sitting at a table. George takes a deep breath and heads over that way. Marty follows a short distance behind. George is very nervous as he approaches Eileen---in fact, his tray is shaking because his hands are quivering. GEORGE Uh, Eileen? EILEEN Hi, George. GEORGE Eileen, could I ask you something? Ooops---! His shaking tray causes him to spill his creamed corn. She smiles---she thinks its cute. GEORGE Uh, well, the thing is, that is, what I wanted to ask you... Marty draws closer to eavesdrop, but Eileen spots him. EILEEN Marty! Hi, Marty! Over here! George whirls around to see who shes talking to and spills his entire lunch all over himself! GEORGE Oh God! Excuse me, please! George starts to walk away, but Marty stops him. MARTY Wait a minute---aren't you gonna ask her to the dance? GEORGE Huh? How did you know? MARTY Go ahead, George. Ask her. GEORGE Leave me alone! MARTY You've gotta ask her to the dance! GEORGE Not now... EILEEN Is that what you were going to ask me, George? To go to the dance? GEORGE No!! George runs away. Marty tries to stop him. MARTY George! Wait! Get back here! You're not supposed to run off! It doesn't happen that way! But George is gone. Marty throws up his arms. MARTY Oh, God, this is all wrong! EILEEN What's all wrong? MARTY George! He's supposed to ask you to the dance! EILEEN But he didn't ask me. MARTY But he does! Don't you see? He comes out of the cafeteria line, he's nervous, he spills his corn, and he asks you to the dance! EILEEN Marty, you haven't been listening. Nobody's asked me to the dance... (flirting with him) ...yet. She smiles at him, then picks up her empty tray and walks off. Marty drops into a chair, totally shocked. MARTY I know. INT. PROFESSOR BROWNS STUDY  DAY Professor Brown reacts with shock at what Marty has just told him. PROF. BROWN You did what?!? MARTY I didn't mean to do it---it was an accident! PROF. BROWN Do you realize what that means? Do you have any idea what that means? MARTY Look, it's not that big a deal! I can fix it! All I gotta do is get 'em together and make sure my old man asks her out! PROF. BROWN Youd better make sure your old man asks her out, because if he doesn't, they may never have a first date. And if they don't have a first date, they won't have a second date. If they don't have a second date, they won't fall in love. If they don't fall in love, they won't get married, and if they don't get married, you'll never be born! Marty gulps. CUT TO: EXT. STREET  MALT SHOP  DAY Marty is dragging George down the street toward the MALT SHOP just ahead, the local hangout. TWO KIDS on homemade scooters (roller skates nailed to a 2 x 4 with an orange crate on top) cruise down the sidewalk past them. GEORGE I don't know if I can go through with this! MARTY George, she's beautiful, right? She's nice, she's decent, she's the kind of girl you'd like to marry, right? And there's nothing in the world you'd like more than to take her to that dance, right? GEORGE Well...yeah... MARTY Okay, then! George halts abruptly and faces Marty. GEORGE Wait a minute---who are you, anyway? What are you doing this for? MARTY Let's just say I have a vested interest in you and Eileen going to this dance, all right? Look---there she is... Marty points through the window of the Malt Shop. P.O.V. THROUGH THE WINDOW OF The Malt shop, Eileen at a table with Madge and another girlfriend, talking and sipping ice cream sodas. BACK TO SHOT MARTY Go in there and invite her. GEORGE What do I say? MARTY Say what you were supposed to say in the cafeteria. GEORGE Oh, no! That was for the cafeteria! This is different! MARTY Christ, it's a miracle I was even born! GEORGE Huh? MARTY Nothing---look, I'll write it down for you, okay? Marty tears a page out of Georges notebook and starts writing something with his Bic Pen. George stares with fascination at the ball point pen. GEORGE What is that? A pencil that writes in ink? MARTY Huh? George takes it and examines it. GEORGE Lemme see that. (reads) Bike fine point? MARTY Bic. It's a Bic pen. GEORGE How do you fill it with ink? MARTY Fill it with ink? You don't fill it----oh, come on, George! Marty pulls George into the Malt Shop. INT. MALT SHOP Marty points George in the right direction and shoves the piece of paper in his hand. MARTY There she is. Just go and ask her. I'll be sitting right here. Marty takes a stool at the counter. George takes a deep breath, takes a step forward, hesitates, then goes to the counter. GEORGE (to Soda Jerk) Gimme a strawberry malted. Marty shakes his head. George looks at the piece of paper with what hes supposed to say and mouths the words to himself. The Soda Jerk brings George his malted. George takes a slug; he gets up his nerve and approaches Eileen, unaware that he now has a pink moustache. Eileen sees George before he can even open his mouth. EILEEN Hi, George. George is slightly confused---this isnt in the script. GEORGE Uh, hi, Eileen. EILEEN How are you? GEORGE Oh--I'm all right. Say, listen, about this dance Saturday night--- We hear the sound of the door being thrown open, and a familiar voice calls to George. BIFF (O.S.) Hey, McFly, I thought I told you never to come in here! George turns around and sees Biff and his gang standing there. George shudders. Marty drops his head in his hands and sighs. BIFF Well, it's gonna cost you, McFly. How much money you got on you? George quickly pulls out his wallet. GEORGE How much do you want, Biff? As Biff starts to walk toward George, Marty sticks out his leg and TRIPS HIM! Biff stumbles to the floor, careening into a chair. Everyone in the malt shop laughs at him. Biff, however, doesnt think its very funny. He picks himself up and goes over to the stool where Marty is sitting with his back facing Biff. BIFF Listen, A-hole, it's about time I taught you a lesson. Biff puts a hand on Marty, and with that, Marty whirls back around and slams his fist into Biffs face! Biff goes reeling backward into a table! Match, Gum and Skinhead face Marty, ready for action! Marty doesnt like the odds---he bolts out of there! The three guys pull Biff to his feet and they all run out after Marty! EXT. MALT SHOP AND STREET Marty dashes down the street, followed by Biff and the boys! Most of the kids in the Malt Shop hurry outside to watch. Marty looks behind him---Biff and his boys are gaining! Then one of the kids on the scooters comes by. Thinking quickly, Marty yanks the scooter out from under him, kicks off the orange crate and creates a homemade SKATEBOARD! Marty hops on it and sails off down the sidewalk! Biff and the boys have never seen anything like it---nor has the kid whose scooter it was! Biff stares as Marty whips down the sidewalk. BIFF In the car! Biff and the gang jump into a convertible parked nearby. Biff peels out and races down the street after Marty! MARTY looks over his soulder and sees the convertible closing in! WIDER ANGLE, STREET The convertible is mere yards away. Suddenly, Marty cuts a sharp turn into the street and crosses right in front of Biffs car! He turns again and heads back the way he came! Another car is now coming up from behind Marty. As it passes him, Marty grabs onto the back and hooks a ride! Biff and the boys are stunned! Biff cuts a U-turn and continues the pursuit! EXT. MALT SHOP Marty, towed by the car, whizzes past the Malt Shop! The spectators are truly amazed! Madge turns to Eileen. MADGE Did you see that?? Eileen nods, open-mouthed. She is very impressed. Now Biffs convertible speeds after Marty! MARTY again looks over his shoulder and sees that Biff is closing in---and fast! Things dont look good for Marty! Up ahead is an intersecting street: Hill Street. Marty lets go of the car and cuts a sharp left onto Hill Street! BIFF is coming too fast to make the turn! He overshoots the intersection and has to make another U! EXT. HILL STREET Its an incredibly steep hill, and at the bottom is an intersection with a traffic light. Marty picks up speed as he coasts down! Now Biffs convertible shoots onto Hill Street, actually leaving the ground as it comes over the hill! Biff drives like hell after Marty, and hes closing fast! Then Marty drops into a crouch, cuts his wind resistance, and speeds away! At the intersection at the bottom of the hill, the traffic light turns yellow! Marty has no choice---hes going through! Biff speeds up to stay on Martys tail! The traffic light turns red! Marty zips through the intersection! Cross traffic screeches to a halt to avoid hitting him! Marty whips around the cars and makes it safely across! Biff sees the stalled traffic in the intersection: directly in front of him is a RED CAR! He slams on his brakes! Biffs wheels lock up and rubber screeches across the pavement! It looks like Biff is going to hit the car---then, at the last moment, the red car pulls out of the way---and Biff rams into the car in the next lane of traffic---a POLICE CAR! TWO COPS immediately get out of their car and approach Biff. Biff sighs. BIFF Im gonna get that son of a bitch. CUT TO: EXT. RESIDENTIAL STREET  MARTY Marty skateboards casually down the street. As he comes to an intersection, he can see EILEENS HOUSE...and GEORGE is walking EILEEN home! Marty hides behind some bushes and watches. MARTYS P.O.V. OF George and Eileen, as George, carrying her books, walks her to the door. He gives her her books and, after an awkward moment, they politely shake hands. MARTY sighs a massive sigh of relief. He hops back on his skateboard and goes off, OUT OF FRAME. We HOLD on Eileens house as Eileen closes the door and George departs. Georges mood abruptly changes: Hes pissed. He throws his jacket down on the street and slumps in the gutter, dropping his head in his hands. INT. MARTYS BEDROOM  NIGHT Marty pulls Reginalds business card from the pocket of his Porsche jacket. He looks at it for a long moment, then rips it into little pieces. He goes through the trash can and pulls out his Science textbook page. INT. PROF. BROWNS STUDY  PROF. BROWN  NIGHT Professor Brown is at his desk, again playing back the micro-cassette tape, listening to the section with the gunshots. He plays that portion over and over again, but he just cant figure it out. Marty walks in with the textbook page, and the Professor quickly puts the recorder down: as if he doesnt want Marty to see him using it. MARTY Professor, you were right about everything. I don't belong here. I almost screwed up my existence again today while I was trying to put it back together, and I've had enough. I want to go back to the future. He hands Professor Brown the text book page and points out the caption under the picture of the Mushroom Cloud. Browns eyes light up. PROF. BROWN Where did you get this? MARTY I brought it with me from 1982. It's from my science book. PROF. BROWN The test is this Monday! 15 megatons...let's see, we need 4200 rads (does calculations on slide rule) You'd have to be...exactly 800 yards from ground zero. The Professor looks at Marty with concern. PROF. BROWN You realize that what we're going to do could be extremely dangerous. MARTY Believe me, Professor, running around on a nuclear test site can't be any more dangerous than what I've been doing. PROF. BROWN All right, here's what we'll do: we'll get an Army Surplus Truck, mount the Time Machine and Power Converter on it, and drive it to Nevada. If we leave by Saturday night, we can make it to the test site in plenty of time. And just to be on the safe side, I'd better build a lead-lined time chamber for your added protection. I don't know if I trust these atomic bombs. The PHONE RINGS. Brown answers it. PROF. BROWN Hello? (pause) Uh, no, Eileen, he can't come to the phone right now. Marty looks at the Professor with alarm. PROF. BROWN (into phone) All right...Yes, I'll tell him...Goodbye. Brown hangs up. He has a grave expression on his face. PROF. BROWN Your mother wanted me to tell you that she was very impressed by what you did this afternoon, and that if you were interested in going to the dance Saturday night, she's available. MARTY But that's impossible!! George asked her out! He had to! I saw him walk her home! Oh, God!! PROF. BROWN My guess is that she turned him down. MARTY But why? Why would she do that? She's supposed to marry the guy! PROF. BROWN Apparently, what has happened is that the maternal instinct has transcended the gap of time, and this has caused an alteration in your mother's emotional behavior. MARTY Are you trying to tell me that my mother's got the hots for me? PROF. BROWN In a manner of speaking, yes. And because of that, she's no longer interested in your father. MARTY Jesus! What are we gonna do? INT. MALT SHOP  DAY Eileen is sitting at the same table with Madge. Again, theyre talking, drinking ice cream sodas. Now Marty comes over and sits down. MARTY How ya doing, Eileen? EILEEN Hi, Marty! MARTY Listen, Professor Brown told me you called last night and gave me your message... Marty has his hands under the table. UNDER THE TABLE Martys HANDS attach the Micro-cassette recorder to the underside of the table with a piece of heavy masking tape and start it recording MARTY (O.S.) ...and if you're still available, I'd like to take you to the dance Saturday night... THE CASSETTE RECORDER in Martys hand, playing back. MARTY (V.O. tape) ...so Ill pick you up around 8:30, okay? INT. BROWNS GARAGE  MARTY, PROF. BROWN  NIGHT Marty and the Professor are listening to the tape. The Time Machine has been loaded into the bed of an Army Truck, and the Professor has been welding sheet lead into a large Philco Refrigerator. The top of the refrigerator has been modified to accommodate the Beam Focusing Unit of the Time Machine, so the Time Beam will project into the refrigerator. EILEEN (V.O. tape) Okay. See you later, Marty. We hear the sound effects of Marty leaving the Malt Shop. EILEEN (V.O. tape) Isn't he a dream? MADGE (V.O. tape) Boy, I've never seen you fall for anybody like that before. EILEEN (V.O. tape) I know. I've never felt like this about anybody before. I really don't understand it but I just feel like---like mothering him. Marty and the Professor exchange a look. MADGE (V.O. tape) But what about George? I thought you wanted him to ask you. EILEEN (V.O. tape) He did ask me...but I turned him down. MADGE (V.O. tape) Why? You always thought George was cute because he was so shy. EILEEN (V.O. tape) Well, that's what I thought. But he really isn't shy. He's just chicken. Professor Brown grabs the tape recorder and replays the last part of the tape. EILEEN (V.O. tape) He's just chicken. CUT TO: EXT. GEORGES BACK YARD  GEORGE, MARTY  DAY Marty is facing George, challenging him. MARTY Come on, George, don't be such a chicken. Hit me in the stomach. Right here, go ahead. Marty makes himself a target. George seems quite unwilling. In the background, a homemade body bag (a duffel bag filled with clothes) is hanging from a tree. GEORGE I don't want to hit you in the stomach. MARTY You're not gonna hurt me. Just hit me in the stomach. GEORGE Look, Marty, I'm just not a fighter. MARTY How many times do I have to explain it to you? We know you're not a fighter. You know it, I know it...but she doesn't know it. That's why we gotta make you look like a fighter, somebody who'll stand up for her, somebody who isn't chicken. And you're not gonna look like a fighter if you can't hit me in the stomach. GEORGE But I've never picked a fight in my life! MARTY You're not picking a fight, you're coming to her rescue. Maybe we'd better go over the plan again. Where are you gonna be at 8:55? GEORGE At the dance. MARTY And where am I gonna be? GEORGE In the parking lot, with her. MARTY Okay. So right around 9:00, she's gonna get very angry with me--- GEORGE Why? MARTY Why what? GEORGE Why is she gonna get angry with you? MARTY (its hard for him to say) Well...because...well, nice girls get angry at guys who...who try to take advantage of 'em. GEORGE You mean, you're gonna---- MARTY George: it's not your concern. Don't worry about it. Just remember that at 9:00, you'll be strolling through the parking lot and you'll see us...(gulps)...struggling in the car, you'll run over, open the door and say...? George doesnt say anything. MARTY Your line, George. GEORGE Oh. Uh..."Hey, you! Get your damn hands off her!" You really think I should swear? MARTY Yes, definitely, George, swear. Then you hit me in the stomach, I go down for the count, and you and Eileen live happily ever after. Now, hit me in the stomach. George takes a deep breath and throws a flimsy punch into Martys gut. MARTY No, George, put a little emotion into it. A little hostility, a little anger. George tries to get himself angry. He makes some faces and throws another punch. Its not much better. MARTY Anger, George. Anger. GEORGE Maybe if I used my left... MARTY No, George, just concentrate on the anger. Anger. George throws another punch. This one is slightly better than the last one. MARTY Well...I think you're starting to get the hang of it. Just keep practicing. I'll see you tonight. Remember, anger, George. Anger. Marty walks off, leaving George with the body bag. He stares at it, trying to make himself mad. GEORGE Anger...anger... He hits it...harder...again...harder...again...he hits the tree! George howls in pain! GEORGE Yeeeowww! Goddammit!!! Hes really angry now, and he socks the bag with his left----he KNOCKS IT CLEAR OFF THE TREE! George is astonished! INT. BROWNS GARAGE  PROF. BROWN, MARTY  NIGHT The Time Machine and lead-lined refrigerator-time chamber are assembled in the bed of the Army truck, as well as the Power Converter and a motorcycle with a sidecar. Professor Brown is putting a tarp over the Time Machine. Marty is putting his 1980s clothes in a laundry bag along with a few bottles of Coke. PROF. BROWN Everything's ready to go. What about the chemicals for the Power Converter...whatever they are? Marty puts his stuff in the cab of the truck. MARTY That's all taken care of. PROF. BROWN Good. I'll pick you up in front of the school at midnight. Don't be late---we're cutting it close as it is. We've got a long drive ahead of us. Marty fidgets with the tie hes wearing. Hes very ill at ease. MARTY Look. I'm a little worried about this---this whole thing with my mother. I mean, I don't know if I can do it---I mean, hitting on my own mother, that's pretty heavy. PROF. BROWN Nobody said anything about hitting her. You're just going to take a few liberties with her. MARTY That's exactly what I said! I mean, a guy and his mother---that's illegal, isn't it? PROF. BROWN Look, Marty, she's not your mother yet. And if you don't go through with this, she may never be. I know it's hard, but there are some things we must do in life that are unpleasant. Some choices must be made that are difficult. Nonetheless, we must make them. Besides, this may be more than simply a question of your own existence. The fate of the entire space-time continuum may rest on your shoulders MARTY That's just what I needed to hear. PROF. BROWN It'll be fine, Marty. You'll do fine. Good luck. They shake hands. MARTY Professor...if something does go wrong tonight...if I don't get my parents back together...when do you think I'd cease to exist? PROF. BROWN There's no way of knowing. It could happen at the moment you arrive back in the future...theoretically, it could happen at the moment of your birth...or conception. Actually, it could happen at any time. It's a question to which I hope we'll never learn the answer. MARTY Amen. INT. SCHOOL GYMNASIUM  DANCE  NIGHT Springtime In Paris is well underway! On stage is the band: Lester Moon and the Midnighters. Theyre all black---Lester himself plays rhythmn guitar and sings; theres also a drummer, piano player, sax, clarinet and bass fiddle. Theyre playing The Blue Tango. The gym floor has a paper-mache Eiffel Tower in the center; students do the Tango around it. As usual at school dances, there are teachers acting as chaperones, a busy refreshment table, and wallflowers on the sidelines. A STUDENT PHOTOGRAPHER snaps an occasional flash picture for the yearbook, or posterity, or just for the hell of it. GEORGE is on the sidelines, bopping out of time to the music. Hes quite nervous. EXT. SCHOOL PARKING LOT  NIGHT Professor Browns Packard pulls into the lot and parks. INT. PACKARD  MARTY, EILEEN Marty is at the wheel, very uneasy. Eileen, next to him, looks beautiful in her best party dress. Marty looks at the clock on the dashboard. MARTY Uh...let's just sit here for a few minutes. EILEEN Are you all right, Marty? You seem a little...nervous. MARTY Oh, no, I'm fine...fine. Hes not fooling anybody. EILEEN I'm usually nervous myself on first dates...but not tonight. It's funny, but somehow, I feel like...like I know you. MARTY Uh, yeah, well, believe me, I sure feel like I know you! INT. SCHOOL GYMNASIUM  THE DANCE George now glances at the clock in the gym. It says 8:59. Alarmed, George looks at his own watch. INSERT  GEORGES WATCH which reads 8:55. GEORGE is even more alarmed. He runs over to a nearby STUDENT. GEORGE What time do you have? STUDENT Five after nine. George is panic stricken! He runs like hell out of the gym! INT. PACKARD  MARTY, EILEEN Marty fidgets and looks at the clock again. EILEEN Why are you so nervous? Marty takes a deep breath. MARTY Well, Eileen...jeez, that's hard for me to say---have you ever been in a situation where---well---you know you have to act a certain way, but when you get there, you don't know if you can go through with it? EILEEN You mean like how you're supposed to act with someone on a first date? MARTY Well, sort of... EILEEN I think I know exactly what you mean. MARTY You do? EILEEN (nods) And you know what I do in those situations? Marty looks at her. EILEEN I don't worry about it! And with that, she throws herself on him, kissing him passionately, climbing all over him, putting his hands on her breasts! Marty is absolutely shocked! INT. SCHOOL HALL  GEORGE George is at a pay phone, dialing a number. His number rings and a WOMAN answers. WOMAN (V.O. PHONE) At the tone, the time will be 9:00 exactly. George doesnt even wait for the tone---he takes off down the hall! INT. PACKARD  MARTY, EILEEN Eileen, her blouse partly undone and her bra exposed, continues her passionate assault of Marty---then abruptly stops and pushes him away. Shes very confused. EILEEN This isnt right. INT. SCHOOL HALL  GEORGE George runs down the hall to the front door! He throws it open and runs out---only to get his jacket caught on the door jamb! He tries like hell to get his jacket undone. INT. PACKARD  MARTY, EILEEN EILEEN (CONTINUING) I don't know what it is, but...when I kiss you...something's wrong. It almost feels like...like I was kissing my brother...or my father...I don't understand it, but I just know it's wrong. I guess that doesn't make any sense, does it? MARTY Believe me, it makes perfect sense. We hear the sounds of APPROACHING FOOTSTEPS on gravel. Eileen reacts. EILEEN Sounds like somebody's coming. Marty hears the footsteps too. He looks at the dashboard clock. Its 9:00. MARTY (to himself) Not now, George. Not now... Suddenly, the drivers door is opened, an arm reaches in, yanks Marty out, and Marty finds himself fact to face with BIFF! BIFF I been lookin' for you, A-hole. Behind Biff is his usual entourage. Biff shoves him roughly into the arms of Skinhead. Marty struggles, but Skinhead and Match grab him and restrain him. EILEEN Let go of him! Leave him alone! Biff takes a look at Eileen in the car. BIFF Look at what we have here! (notices her exposed bra) Eileen---I didnt know you were that kinda girl! EILEEN I'm not! She lunges at her door to escape, but Biff grabs her and climbs into the car. BIFF Oh no, you don't! Biff pulls her toward him and looks at his boys. BIFF Take him around back. I'll join you in a minute. (a beat) Go on! This ain't no peepshow! They drag Marty away. Biff shuts the car door and tries to kiss her. She struggles, and in a moment, all we can see through the windshield are tussling arms and legs, accompanied by Eileens muffled screams. EXT. SIDE OF SCHOOL Skinhead, Match, and Gums drag Marty around the corner to the side of the school. At the side door, REGINALD WASHINGTON is smoking a reefer. He sees the three guys dragging the kid he met the other day. REGINALD Hey! What's going on there? GUMS Beat it, black boy! REGINALD Hey, now, you'd better--- SKINHEAD Listen, spook, you lookin' for trouble? REGINALD No, sir, I don't want no trouble. He goes back in the school. EXT. FRONT OF SCHOOL George finally gets his jacket unhooked from the door jamb and hurries down the front steps and over to the parking lot. There are a few COUPLES hanging around. GEORGE runs frantically through the parking lot, looking for the right car. His eyes open wide upon seeing it. GEORGES P.O.V. OF the Packard. Through the windshield, we see arms and legs flailing about in a struggle! We hear Eileen screaming! GEORGE adjusts his pants, runs to the car, and opens the drivers door. GEORGE Hey, you! Get your damn hands---uh oh! George realizes that hes facing Biff! Now hes really scared! BIFF I think you got the wrong car, McFly. EILEEN George! Help me! George doesnt know what to do! He stares in dumbfounded amazement. BIFF Just close the door, McFly, and walk away. EILEEN George! Please! Help me!! EXT. SIDE OF SCHOOL  MARTY, GUMS, SKINHEAD, MATCH Gums and Match are holding Marty up against a wall, and Skinhead is about to throw a vicious punch. Skinhead winds up, but suddenly his fist is grabbed by a black hand! Skinhead turns around and finds himself facing Sax---and the rest of the band! SAX Who you callin spook, peckerwood? Skinhead throws a wide punch at Sax---Sax smashes him in the face! Then the entire band jumps Biffs boys! Marty escapes and runs back toward the parking lot. EXT. PARKING LOT  PACKARD  GEORGE, BIFF, EILEEN George is still facing Biff, trapped in his moment of indecision. BIFF All right, McFly, I asked you politely to leave. Now I'm gonna have to teach you a lesson! Biff steps out of the car, grabs Georges right arm and starts twisting it----we can see pain on Georges face...pain and anger! Almost by reflex action, George lets go with a tremendous left hook, smack into Biffs face! Biff hits the ground---out cold! George cant believe he did it! Marty rushes toward the Packard. He is astonished to see George and Eileen embracing, and Biff out cold on the ground. He keeps his distance, allowing George and Eileen to have their moment. Nearby are a few bystanders from the front of the school, discussing what they just saw. BYSTANDER #1 Did you see that? BYSTANDER #2 Kid's got the greatest left hook since Joe Louis! BYSTANDER #3 Laid 'im out cold with one punch! BYSTANDER #4 Somebody better call an ambulance. Marty cant believe what hes hearing. Now George and Eileen head for the school. EXT. FRONT OF SCHOOL George and Eileen go up the front stairs. Marty, a safe distance away, watches. Just as theyre about to go in, Eileen turns and sees Marty. She smiles. He smiles back. EXT. SIDE OF SCHOOL  BAND MEMBERS; BIFFS BOYS The fight is over; Lester kicks skinhead in the ass one more time, and Biffs gang runs away. Marty returns to assess the damage. MARTY (to the band) Hey, thanks a lot, you guys, SAX It's okay. MARTY Well, you guys go back in there and play the best version of Turn Back The Hands of Time t