












                      THE SHAWSHANK REDEMPTION

                                 by

                           Frank Darabont


                        Based upon the story 
                Rita Hayworth and Shawshank Redemption
	                   by Stephen King















1 INT -- CABIN -- NIGHT (1946) 

A dark, empty room. 

The door bursts open. A MAN and WOMAN enter, drunk and 
giggling, horny as hell. No sooner is the door shut than 
they're all over each other, ripping at clothes, pawing at 
flesh, mouths locked together. 

He gropes for a lamp, tries to turn it on, knocks it over 
instead. Hell with it. He's got more urgent things to do, like 
getting her blouse open and his hands on her breasts. She 
arches, moaning, fumbling with his fly. He slams her against 
the wall, ripping her skirt. We hear fabric tear. 

He enters her right then and there, roughly, up against the 
wall. She cries out, hitting her head against the wall but not 
caring, grinding against him, clawing his back, shivering with 
the sensations running through her. He carries her across the 
room with her legs wrapped around him. They fall onto the bed. 

CAMERA PULLS BACK, exiting through the window, traveling 
smoothly outside... 

2 EXT -- CABIN -- NIGHT (1946) 2

...to reveal the bungalow, remote in a wooded area, the 
lovers' cries spilling into the night... 

...and we drift down a wooded path, the sounds of rutting 
passion growing fainter, mingling now with the night sounds of 
crickets and hoot owls... 

...and we begin to hear FAINT MUSIC in the woods, tinny and
incongruous, and still we keep PULLING BACK until... 

...a car is revealed. A 1946 Plymouth. Parked in a clearing. 

3 INT -- PLYMOUTH -- NIGHT (1946) 3

ANDY DUFRESNE, mid-20's, wire rim glasses, three-piece suit. 
Under normal circumstances a respectable, solid citizen; hardly
dangerous, perhaps even meek. But these circumstances are far 
from normal. He is disheveled, unshaven, and very drunk. A 
cigarette smolders in his mouth. His eyes, flinty and hard, are 
riveted to the bungalow up the path. 

He can hear them fucking from here. 

He raises a bottle of bourbon and knocks it back. The radio 
plays softly, painfully romantic, taunting him: 

You stepped out of a dream... 
You are too wonderful... 
To be what you seem... 

He opens the glove compartment, pulls out an object wrapped
in a rag. He lays it in his lap and unwraps it carefully --

-- revealing a .38 revolver. Oily, black, evil. 

He grabs a box of bullets. Spills them everywhere, all over 
the seats and floor. Clumsy. He picks bullets off his lap, 
loading them into the gun, one by one, methodical and grim. 
Six in the chamber. His gaze goes back to the bungalow. 

He shuts off the radio. Abrupt silence, except for the distant 
lovers' moans. He takes another shot of bourbon courage, then 
opens the door and steps from the car. 

4 EXT -- PLYMOUTH -- NIGHT (1946) 4

His wingtip shoes crunch on gravel. Loose bullets scatter to 
the ground. The bourbon bottle drops and shatters. 

He starts up the path, unsteady on his feet. The closer he 
gets, the louder the lovemaking becomes. Louder and more 
frenzied. The lovers are reaching a climax, their sounds of 
passion degenerating into rhythmic gasps and grunts. 

		    WOMAN (O.S.) 
	Oh god...oh god...oh god... 

Andy lurches to a stop, listening. The woman cries out in 
orgasm. The sound slams into Andy's brain like an icepick. He 
shuts his eyes tightly, wishing the sound would stop. 

It finally does, dying away like a siren until all that's left 
is the shallow gasping and panting of post-coitus. We hear 
languorous laughter, moans of satisfaction. 

		    WOMAN (O.S.) 
	Oh god...that's sooo good...you're 
	the best...the best I ever had... 

Andy just stands and listens, devastated. He doesn't look like 
much of a killer now; he's just a sad little man on a dirt 
path in the woods, tears streaming down his face, a loaded gun 
held loosely at his side. A pathetic figure, really.

FADE TO BLACK: 1ST TITLE UP 

5 INT -- COURTROOM -- DAY (1946) 5

THE JURY listens like a gallery of mannequins on display, 
pale-faced and stupefied. 

		    D.A. (O.S.)
	Mr. Dufresne, describe the 
	confrontation you had with your 
	wife the night she was murdered. 

ANDY DUFRESNE 

is on the witness stand, hands folded, suit and tie pressed, 
hair meticulously combed. He speaks in soft, measured tones: 

		    ANDY 
	It was very bitter. She said she 
	was glad I knew, that she hated all 
	the sneaking around. She said she 
	wanted a divorce in Reno. 

		    D.A. 
	What was your response? 

		    ANDY 
	I told her I would not grant one. 

		    D.A. 
	   (refers to his notes) 
	"I'll see you in Hell before I see 
	you in Reno." Those were the words 
	you used, Mr. Dufresne, according 
	to the testimony of your neighbors. 

		    ANDY 
	If they say so. I really don't 
	remember. I was upset. 

FADE TO BLACK: 2ND TITLE UP 

		    D.A. 
What happened after you and your 
wife argued? 

		    ANDY 
	She packed a bag and went to stay 
	with Mr. Quentin. 

		    D.A. 
	Glenn Quentin. The golf pro at the 
	Falmouth Hills Country Club. The 
	man you had recently discovered was 
	her lover. 
	   (Andy nods) 
	Did you follow her? 

		    ANDY 
	I went to a few bars first. Later, 
	I decided to drive to Mr. Quentin's 
	home and confront them. They 
	weren't there...so I parked my car 
	in the turnout...and waited. 

		    D.A. 
	With what intention? 

		    ANDY 
	I'm not sure. I was confused. Drunk.
	I think mostly I wanted to scare them. 

		    D.A. 
	You had a gun with you? 

		    ANDY 
	Yes. I did. 

FADE TO BLACK: 3RD TITLE UP 

		    D.A. 
	When they arrived, you went up 
	to the house and murdered them? 

		    ANDY 
	No. I was sobering up. I realized 
	she wasn't worth it. I decided to 
	let her have her quickie divorce. 

		    D.A. 
	Quickie divorce indeed. A .38 
	caliber divorce, wrapped in a 
	handtowel to muffle the shots, 
	isn't that what you mean? And then 
	you shot her lover! 

		    ANDY 
	I did not. I got back in the car 
	and drove home to sleep it off. 
	Along the way, I stopped and threw 
	my gun into the Royal River. I feel 
	I've been very clear on this point. 

		    D.A. 
	Yes, you have. Where I get hazy, 
	though, is the part where the 
	cleaning woman shows up the next 
	morning and finds your wife and her 
	lover in bed, riddled with .38 
	caliber bullets. Does that strike 
	you as a fantastic coincidence, Mr. 
	Dufresne, or is it just me? 

		    ANDY 
	   (softly) 
	Yes. It does. 

		    D.A. 
	I'm sorry, Mr. Dufresne, I don't 
	think the jury heard that. 

		    ANDY 
	Yes. It does. 

		    D.A. 
	Does what? 

		    ANDY 
	Strike me as a fantastic coincidence. 

		    D.A. 
	On that, sir, we are in accord... 

FADE TO BLACK! 4TH TITLE UP 

		    D.A. 
	You claim you threw your gun into 
	the Royal River before the murders 
	took place. That's rather convenient. 

		    ANDY 
	It's the truth. 

		    D.A. 
	You recall Lt. Mincher's testimony? 
	He and his men dragged that river 
	for three days and nary a gun was 
	found. So no comparison can be made 
	between your gun and the bullets 
	taken from the bloodstained corpses 
	of the victims. That's also rather 
	convenient, isn't it, Mr. Dufresne? 

		    ANDY 
	   (faint, bitter smile) 
	Since I am innocent of this crime, 
	sir, I find it decidedly inconvenient 
	the gun was never found. 

FADE TO BLACK: STH TITLE UP 

6 INT -- COURTROOM -- DAY (1946) 6

The D.A. holds the jury spellbound with his closing summation:

		    D.A. 
	Ladies and gentlemen, you've heard 
	all the evidence, you know all the 
	facts. We have the accused at the 
	scene of the crime. We have foot 
	prints. Tire tracks. Bullets 
	scattered on the ground which bear 
	his fingerprints. A broken bourbon 
	bottle, likewise with fingerprints. 
	Most of all, we have a beautiful 
	young woman and her lover lying 
	dead in each other's arms. They had 
	sinned. But was their crime so 
	great as to merit a death sentence? 

He gestures to Andy sitting quietly with his ATTORNEY. 

		    D.A. 
	I suspect Mr. Dufresne's answer to 
	that would be yes. I further 
	suspect he carried out that 
	sentence on the night of September 
	21st, this year of our Lord, 1946, 
	by pumping four bullets into his 
	wife and another four into Glenn 
	Quentin. And while you think about 
	that, think about this... 

He picks up a revolver, spins the cylinder before their eyes 
like a carnival barker spinning a wheel of fortune. 

		    D.A. 
	A revolver holds six bullets, not 
	eight. I submit to you this was not 
	a hot-blooded crime of passion! 
	That could at least be understood, 
	if not condoned. No, this was 
	revenge of a much more brutal and 
	cold-blooded nature. Consider! Four 
	bullets per victim! Not six shots 
	fired, but eight! That means he 
	fired the gun empty...and then 
	stopped to reload so he could shoot 
	each of them again! An extra bullet 
	per lover...right in the head. 
	   (a few JURORS shiver) 
	I'm done talking. You people are 
	all decent, God-fearing Christian 
	folk. You know what to do. 

FADE TO BLACK: 6TH TITLE UP 

INT -- JURY ROOM -- DAY (1946) 7

CAMERA TRACKS down a long table, moving from one JUROR to the 
next. These decent, God-fearing Christians are chowing down on 
a nice fried chicken dinner provided them by the county, 
smacking greasy lips and gnawing cobbettes of corn. 

		    VOICE (O.S.) 
	Guilty. Guilty. Guilty. Guilty... 

We find the FOREMAN at the head of the table, sorting votes. 

FADE TO BLACK: 7TH TITLE UP 

8 INT -- COURTROOM -- DAY (1946) 8

Andy stands before the dias. THE JUDGE peers down, framed by a 
carved frieze of blind Lady Justice on the wall. 

		    JUDGE 
	You strike me as a particularly icy 
	and remorseless man, Mr. Dufresne. 
	It chills my blood just to look at 
	you. By the power vested in me by 
	the State of Maine, I hereby order 
	you to serve two life sentences, 
	back to back, one for each of your 
	victims. So be it. 

He raps his gavel as we 

CRASH TO BLACK: LAST TITLE UP. 

9 AN IRON-BARRED DOOR 9

slides open with an enormous CLANG. A stark room waits beyond.
CAMERA PUSHES through. SEVEN HUMORLESS MEN sit side by side at
a long table. An empty chair faces them. We are now in: 

INT -- SHAWSHANK HEARINGS ROOM -- DAY (1947) 

RED enters, removes his cap and waits by the chair. 

		    MAN #1 
	Sit. 

Red sits, tries not to slouch. The chair is uncomfortable. 

		    MAN #2 
	We see by your file you've served 
	twenty years of a life sentence. 

		    MAN #3 
	You feel you've been rehabilitated? 

		    RED 
	Yes, sir. Absolutely. I've learned 
	my lesson. I can honestly say I'm a 
	changed man. I'm no longer a danger 
	to society. That's the God's honest 
	truth. No doubt about it. 

The men just stare at him. One stifles a yawn. 

CLOSEUP -- PAROLE FORM 

A big rubber stamp slams down: "REJECTED" in red ink. 

10 EXT -- EXERCISE YARD -- SHAWSHANK PRISON -- DUSK (1947) 10

High stone walls topped with snaky concertina wire, set off at
intervals by looming guard towers. Over a hundred CONS are 
in the yard. Playing catch, shooting craps, jawing at each 
other, making deals. Exercise period. 

RED emerges into fading daylight, slouches low-key through the 
activity, worn cap on his head, exchanging hellos and doing 
minor business. He's an important man here. 

		    RED (V.O.) 
	There's a con like me in every prison 
	in America, I guess. I'm the guy who 
	can get it for you. Cigarettes, a 
	bag of reefer if you're partial, a 
	bottle of brandy to celebrate your 
	kid's high school graduation. Damn 
	near anything, within reason. 

He slips somebody a pack of smokes, smooth sleight-of-hand.

		    RED (V.O.) 
	Yes sir, I'm a regular Sears & 
	Roebuck. 

TWO SHORT SIREN BLASTS issue from the main tower, drawing 
everybody's attention to the loading dock. The outer gate 
swings open...revealing a gray prison bus outside. 

		    RED (V.O.) 
	So when Andy Dufresne came to me in 
	1949 and asked me to smuggle Rita 
	Hayworth into the prison for him, I 
	told him no problem. And it wasn't. 

		    CON 
	Fresh fish! Fresh fish today! 

Red is joined by HEYWOOD, SKEET, FLOYD, JIGGER, ERNIE, SNOOZE. 
Most cons crowd to the fence to gawk and jeer, but Red and his 
group mount the bleachers and settle in comfortably. 

11 INT -- PRISON BUS -- DUSK (1947) 11

Andy sits in back, wearing steel collar and chains. 

		    RED (V.O.) 
	Andy came to Shawshank Prison in 
	early 1947 for murdering his wife 
	and the fella she was bangin'. 

The bus lurches forward, RUMBLES through the gates. Andy gazes 
around, swallowed by prison walls. 

		    RED (V.O.) 
	On the outside, he'd been vice- 
	president of a large Portland bank. 
	Good work for a man as young as he 
	was, when you consider how 
	conservative banks were back then. 

		    TOWER GUARD 
	All clear! 

GUARDS approach the bus with carbines. The door jerks open. 
The new fish disembark, chained together single-file, blinking 
sourly at their surroundings. Andy stumbles against the MAN in 
front of him, almost drags him down. 

BYRON HADLEY, captain of the guard, slams his baton into 
Andy's back. Andy goes to his knees, gasping in pain. JEERS 
and SHOUTS from the spectators. 

		    HADLEY 
	On your feet before I fuck you up 
	so bad you never walk again. 

13 ON THE BLEACHERS 13

		    RED 
	There they are, boys. The Human 
	Charm Bracelet. 

		    HEYWOOD 
	Never seen such a sorry-lookin' 
	heap of maggot shit in my life. 

		    JIGGER 
	Comin' from you, Heywood, you being 
	so pretty and all... 

		    FLOYD 
	Takin' bets today, Red? 

		    RED 
	   (pulls notepad and pencil) 
	Bear Catholic? Pope shit in the woods? 
	Smokes or coin, bettor's choice. 

		    FLOYD 
	Smokes. Put me down for two. 

		    RED 
	High roller. Who's your horse? 

		    FLOYD 
	That gangly sack of shit, third 
	from the front. He'll be the first. 

		    HEYWOOD 
	Bullshit. I'll take that action. 

		    ERNIE 
	Me too. 

Other hands go up. Red jots the names. 

		    HEYWOOD 
	You're out some smokes, son. Take 
	my word. 

		    FLOYD 
	You're so smart, you call it. 

		    HEYWOOD 
	I say that chubby fat-ass...let's 
	see...fifth from the front. Put me 
	down for a quarter deck. 

		    RED 
	That's five cigarettes on Fat-Ass. 
	Any takers? 

More hands go up. Andy and the others are paraded along, 
forced by their chains to take tiny baby steps, flinching 
under the barrage of jeers and shouts. The old-timers are 
shaking the fence, trying to make the newcomers shit their 
pants. Some of the new fish shout back, but mostly they look 
terrified. Especially Andy. 

		    RED (V.O.) 
	I must admit I didn't think much of 
	Andy first time I laid eyes on him. 
	He might'a been important on the 
	outside, but in here he was just a 
	little turd in prison grays. Looked 
	like a stiff breeze could blow him 
	over. That was my first impression 
	of the man. 

		    SKEET 
	What say, Red? 

		    RED 
	Little fella on the end. Definitely. 
	I stake half a pack. Any takers? 

		    SNOOZE 
	Rich bet. 

		    RED
	C'mon, boys, who's gonna prove me 
	wrong? 
	    (hands go up) 
	Floyd, Skeet, Joe, Heywood. Four brave 
	souls, ten smokes apiece. That's it, 
	gentlemen, this window's closed. 

Red pockets his notepad. A VOICE comes over the P.A. speakers:

		    VOICE (amplified) 
	Return to your cellblocks for 
	evening count. 

14 INT -- ADMITTING AREA -- DUSK (1947) 14

The new fish are marched in. Guards unlock the shackles. The
chains drop away, rattling to the stone floor. 

		    HADLEY 
	Eyes front. 

WARDEN SAMUEL NORTON strolls forth, a colorless man in a gray
suit and a church pin in his lapel. He looks like he could 
piss ice water. He appraises the newcomers with flinty eyes.

		    NORTON 
	This is Mr. Hadley, captain of the 
	guard. I am Mr. Norton, the warden. 
	You are sinners and scum, that's 
	why they sent you to me. Rule 
	number one: no blaspheming. I'll 
	not have the Lord's name taken in 
	vain in my prison. The other rules 
	you'll figure out as you go along. 
	Any questions? 

		    CON 
	When do we eat? 

Cued by Norton's glance, Hadley steps up to the con and screams
right in his face: 

		    HADLEY 
	YOU EAT WHEN WE SAY YOU EAT! YOU 
	PISS WHEN WE SAY YOU PISS! YOU SHIT 
	WHEN WE SAY YOU SHIT! YOU SLEEP 
	WHEN WE SAY YOU SLEEP! YOU MAGGOT- 
	DICK MOTHERFUCKER! 

Hadley rams the tip of his club into the con's belly. The 
man falls to his knees, gasping and clutching himself. 
Hadley takes his place at Norton's side again. Softly: 

		    NORTON 
	Any other questions? 
	   (there are none) 
	I believe in two things. Discipline 
	and the Bible. Here, you'll receive 
	both. 
	   (holds up a Bible) 
	Put your faith in the Lord. Your 
	ass belongs to me. Welcome to 
	Shawshank. 

		    HADLEY 
	Off with them clothes! And I didn't 
	say take all day doing it, did I?

The men shed their clothes. Within seconds, all stand naked. 

		    HADLEY 
	First man into the shower! 

Hadley shoves the FIRST CON into a steel cage open at the 
front. TWO GUARDS open up with a fire hose. The con is slammed 
against the back of the cage, sputtering and hollering. 
Seconds later, the water is cut and the con yanked out. 

		    HADLEY 
	Delouse that piece of shit! Next 
	man in! 

The con gets a huge scoop of white delousing powder thrown all
over him. Gasping and coughing, blinking powder from his eyes,
he gets shoved to a trustee's cage. The TRUSTEE slides a short
stack of items through the slot -- prison clothes and a Bible.
All the men are processed quickly -- a blast of water, powder,
clothes and a Bible... 

15 INT -- INFIRMARY -- NIGHT (1947) 15

A naked CON steps before a DOCTOR and gets a cursory exam. 
A penlight is shined in his eyes, ears, nose, and throat. 

		    DOCTOR 
	Bend over. 

The con does. A GUARD with a penlight in his teeth spreads his 
cheeks, peers up his ass, and nods. Andy is next up. He gets 
the same treatment. 

16 INT -- PRISON CHAPEL -- NIGHT (1947) 16

CAMERA TRACKS the naked newcomers shivering on hard wooden 
chairs, clothes on their laps, Bibles open. 

		    CHAPLAIN (O.S.) 
	...maketh me to lie down in green 
	pastures. He leadeth me beside the 
	still waters. He restoreth my soul... 

17 INT -- CELLBLOCK FIVE -- NIGHT (1947) 17

Three tiers to a side, concrete and steel, gray and imposing. 
Andy and the others are marched in, still naked, carrying 
their clothes and Bibles. The CONS in their cells greet them 
with TAUNTS, JEERS, and LAUGHTER. One by one, the new men are 
shown to their cells and locked in with a CLANG OF STEEL. 

		    RED (V.O.) 
	The first night's the toughest, no 
	doubt about it. They march you in 
	naked as the day you're born, fresh 
	from a Bible reading, skin burning 
	and half-blind from that delousing 
	shit they throw on you... 

Red watches from his cell, arms slung over the crossbars, 
cigarette dangling from his fingers. 

		    RED (V.O.) 
	...and when they put you in that 
	cell, when those bars slam home, 
	that's when you know it's for real. 
	Old life blown away in the blink of 
	an eye...a long cold season in hell 
	stretching out ahead...nothing 
	left but all the time in the world 
	to think about it. 

Red listens to the CLANGING below. He watches Andy and a few 
others being brought up to the 2nd tier. 

		    RED (V.O.) 
	Most new fish come close to madness 
	the first night. Somebody always 
	breaks down crying. Happens every 
	time. The only question is, who's 
	it gonna be? 

Andy is led past and given a cell at the end of the tier. 

		    RED (V.O.) 
	It's as good a thing to bet on as 
	any, I guess. I had my money on 
	Andy Dufresne... 

18 INT -- ANDY'S CELL -- NIGHT (1947) 18

The bars slam home. Andy is alone in his cell, clutching his 
clothes. He gazes around at his new surroundings, taking it 
in. He slowly begins to dress himself... 

19 EXT -- SHAWSHANK PRISON -- NIGHT (1947) 19

A malignant stone growth on the Maine landscape. The moon 
hangs low and baleful in a dead sky. The headlight of a 
PASSING TRAIN cuts through the night. 

20 INT -- RED'S CELL -- NIGHT (1947) 20

Red lies on his bunk below us, tossing his baseball toward the 
ceiling and catching it again. He pauses, listening. FOOTSTEPS 
approach below, unhurried, echoing hollowly on stone.

21 INT -- CELLBLOCK FIVE -- NIGHT (1947) 21

LOW ANGLE. A CELLBLOCK GUARD strolls into frame. 

		    GUARD 
	That's lights out! Good night, ladies. 

The lights bump off in sequence. The guard exits, footsteps
echoing away. Darkness now. Silence. CAMERA CRANES UP the 
tiers toward Red's cell. 

		    RED (V.O.) 
	I remember my first night. Seems a 
	long time ago now. 

Red looms from the darkness, leans on the bars. Listens. 
Waits. From somewhere below comes faint, ghastly tittering.
VOICES drift through the cellblock, taunting: 

		    VARIOUS VOICES (O.S.) 
	Fishee fishee fisheeee...You're 
	gonna like it here, new fish. A 
	whooole lot...Make you wish your 
	daddies never dicked your 
	mommies...You takin' this down, new 
	fish? Gonna be a quiz later. 
	   (somebody LAUGHS) 
	Sshhh. Keep it down. The screws'll 
	hear...Fishee fishee fisheeee... 

		    RED (V.O.) 
	The boys always go fishin' with 
	first-timers...and they don't quit 
	till they reel someone in. 

The VOICES keep on, sly and creepy in the dark... 

22 INT -- VARIOUS CELLS -- NIGHT (1947) 22
thru thru 25
2g ...while the new cons go quietly crazy in their cells. One man
paces like a caged animal...another sits gnawing his cuticles
bloody...a third is weeping silently...a fourth is dry-heaving
into the toilet... 

26 INT -- RED'S CELL -- NIGHT (1947) 26

Red waits at the bars. Smoking. Listening. He cranes his head,
peers down toward Andy's cell. Nothing. Not a peep. 

		    HEYWOOD (O.S.) 
	Fat-Ass...oh, Faaaat-Ass. Talk to 
	me, boy. I know you're in there. I 
	can hear you breathin'. Now don't 
	you listen to these nitwits, hear? 

27 INT -- FAT-ASS' CELL -- NIGHT (1947) 27

Fat-Ass is crying, trying not to hyperventilate. 

		    HEYWOOD (O.S.) 
	This ain't such a bad place. I'll 
	introduce you around, make you feel 
	right at home. I know some big ol' 
	bull queers who'd love to make your 
	acquaintance...especially that big 
	white mushy butt of yours... 

And that's it. Fat-Ass lets out a LOUD WAIL of despair: 

		    FAT-ASS 
	OH GOD! I DON'T BELONG HERE! I 
	WANNA GO HOME! 

28 INT -- HEYWOOD'S CELL -- NIGHT (1947) 28

		    HEYWOOD 
	AND IT'S FAT-ASS BY A NOSE.' 

29 INT -- CELLBLOCK -- NIGHT (1947) 29

The place goes nuts. Fat-Ass throws himself screaming against
the bars. The entire block starts CHANTING: 

		    VOICES 
	Fresh fish...fresh fish...fresh 
	fish...fresh fish... 

		    FAT-ASS 
	I WANNA GO HOME! I WANT MY MOTHER.' 

		    VOICE (O.S.) 
	I had your mother! She wasn't that 
	great! 

The lights bump on. GUARDS pour in, led by Hadley himself.

		    HADLEY 
	What the Christ is this happy shit? 

		    VOICE (O.S.) 
	He took the Lord's name in vain! 
	I'm tellin' the warden! 

		    HADLEY 
	   (to the unseen wit) 
	You'll be tellin' him with my baton 
	up your ass! 

Hadley arrives at Fat-Ass' cell, bellowing through the bars:

		    HADLEY 
	What's your malfunction you fat 
	fuckin' barrel of monkey-spunk? 

		    FAT-ASS 
	PLEASE! THIS AIN'T RIGHT! I AIN'T 
	SUPPOSED TO BE HERE! NOT ME! 

		    HADLEY 
	I ain't gonna count to three! Not 
	even to one! Now shut the fuck up 
	'fore I sing you a lullabye! 

Fat-Ass keeps blubbering and wailing. Total freak-out. Hadley 
draws his baton, gestures to his men. Open it. 

A GUARD unlocks the cell. Hadley pulls Fat-Ass out and starts 
beating him with the baton, brutally raining blows. Fat-Ass 
falls, tries to crawl. 

The place goes dead silent. All we hear now is the dull
THWACK-THWACK-THWACK of the baton. Fat-ass passes out. Hadley
gets in a few more licks and finally stops. 

		    HADLEY 
	Get this tub of shit down to the 
	infirmary. 
	      (peers around) 
	If I hear so much as a mouse fart 
	in here the rest of the night, by 
	God and Sonny Jesus, you'll all 
	visit the infirmary. Every last 
	motherfucker here. 

The guards wrestle Fat-Ass onto a stretcher and carry him off. 
FOOTSTEPS echo away. Lights off. Darkness again. Silence. 

30 INT -- RED'S CELL -- NIGHT (1947) 30

Red stares through the bars at the main floor below, eyes 
riveted to the small puddle of blood where Fat-Ass went down. 

		    RED (V.O.) 
	His first night in the joint, Andy 
	Dufresne cost me two packs of 
	cigarettes. He never made a sound... 

31 INT -- CELLBLOCK FIVE -- MORNING (1947) 31

LOUD BUZZER. The master locks are thrown -- KA-THUMP! The cons 
step from their cells, lining the tiers. The GUARDS holler 
their head-counts to the HEAD BULL, who jots on a clipboard. 
Red peers at Andy, checking him out. Andy stands in line, 
collar buttoned, hair combed. 

32 INT -- MESS HALL -- MORNING (1947) 32

Andy goes through the breakfast line, gets a scoop of glop on
his tray. WE PAN ANDY through the noise and confusion...and 
discover BOGS DIAMOND and ROOSTER MacBRIDE watching Andy go 
by. Bogs sizes Andy up with a salacious gleam in his eye, 
mutters something to Rooster. Rooster laughs. 

Andy finds a table occupied by Red and his regulars, chooses
a spot at the end where nobody is sitting. Ignoring their 
stares, he picks up his spoon -- and pauses, seeing something
in his food. He carefully fishes it out with his fingers. 

It's a squirming maggot. Andy grimaces, unsure what to do with
it. BROOKS HATLEN is sitting closest to Andy. At age 65, he's
a senior citizen, a long-standing resident. 

		    BROOKS 
	You gonna eat that? 

		    ANDY 
	Hadn't planned on it. 

		    BROOKS 
	You mind? 

Andy passes the maggot to Brooks. Brooks examines it, rolling
it between his fingertips like a man checking out a fine 
cigar. Andy is riveted with apprehension. 

		    BROOKS 
	Mmm. Nice and ripe. 

Andy can't bear to watch. Brooks opens up his sweater and 
feeds the maggot to a baby crow nestled in an inside pocket.
Andy breathes a sigh of relief. 

		    BROOKS 
	Jake says thanks. Fell out of his 
	nest over by the plate shop. I'm 
	lookin' after him till he's old 
	enough to fly. 

Andy nods, proceeds to eat. Carefully. Heywood approaches.

		    JIGGER 
	Oh, Christ, here he comes. 

		    HEYWOOD 
	Mornin', boys. It's a fine mornin'. 
	You know why it's fine? 

Heywood plops his tray down, sits. The men start pulling out
cigarettes and handing them down. 

		    HEYWOOD 
	That's right, send 'em all down. I 
	wanna see 'em lined up in a row, 
	pretty as a chorus line. 

An impressive pile forms. Heywood bends down and inhales
deeply, smelling the aroma. Rapture. 

		    FLOYD 
	Smell my ass... 

		    HEYWOOD 
	Gee, Red. Terrible shame, your 
	horse comin' in last and all. 
	Hell, I sure do love that horse of 
	mine. I believe I owe that boy a 
	big sloppy kiss when I see him. 

		    RED 
	Give him some'a your cigarettes 
	instead, cheap bastard. 

		    HEYWOOD 
	Say Tyrell, you pull infirmary duty 
	this week? How's that winnin' horse 
	of mine, anyway? 

		    TYRELL 
	Dead. 
	      (the men fall silent) 
	Hadley busted his head pretty good. 
	Doc already went home for the 
	night. Poor bastard lay there till 
	this morning. By then... 

He shakes his head, turns back to his food. The silence
mounts. Heywood glances around. Men resume eating. Softly:

		    ANDY 
	What was his name? 

		    HEYWOOD 
	What? What'd you say? 

		    ANDY 
	I was wondering if anyone knew his 
	name. 

		    HEYWOOD 
	What the fuck you care, new fish? 
	      (resumes eating) 
	Doesn't matter what his fuckin' 
	name was. He's dead. 

33 INT -- PRISON LAUNDRY -- DAY (1947) 33

A DEAFENING NOISE of industrial washers and presses. Andy works
the laundry line. A nightmarish job. He's new at it. BOB, the
con foreman, elbows him aside and shows him how it's done. 

34 INT -- SHOWERS -- DAY (1947) 34

Shower heads mounted in bare concrete. Andy showers with a
dozen or more men. No modesty here. At least the water is good
and hot, soothing his tortured muscles. 

Bogs looms from the billowing steam, smiling, checking Andy up
and down. Rooster and PETE appear from the sides. The Sisters.

		    BOGS 
	You're some sweet punk. You been 
	broke in yet? 

Andy tries to step past them. He gets shoved around, nothing
serious, just some slap and tickle. Jackals sizing up prey.

		    BOGS 
	Hard to get. I like that. 

Andy breaks free, flushed and shaking. He hurries off, leaving
the three Sisters laughing. 

35 INT -- ANDY'S CELL -- NIGHT (1947) 35

Andy lies staring at the darkness, unable to sleep. 

36 EXT -- EXERCISE YARD -- DAY (1947) 36

Exercise period. Red plays catch with Heywood and Jigger, 
lazily tossing a baseball around. Red notices Andy off to the
side. Nods hello. Andy takes this as a cue to amble over. 
Heywood and Jigger pause, watching. 

		    ANDY 
	      (offers his hand) 
	Hello. I'm Andy Dufresne. 

Red glances at the hand, ignores it. The game continues.

		    RED 
	The wife-killin' banker. 

		    ANDY 
	How do you know that? 

		    RED 
	I keep my ear to the ground. Why'd 
	you do it? 

		    ANDY 
	I didn't, since you ask. 

		    RED 
	Hell, you'll fit right in, then. 
		(off Andy's look) 
	Everyone's innocent in here, don't 
	you know that? Heywood! What are 
	you in for, boy? 

		    HEYWOOD 
	Didn't do it! Lawyer fucked me! 

Red gives Andy a look. See? 

		    ANDY 
	What else have you heard? 

		    RED 
	People say you're a cold fish. They 
	say you think your shit smells 
	sweeter than ordinary. That true? 

		    ANDY 
	What do you think? 

		    RED 
	Ain't made up my mind yet. 

Heywood nudges Jigger. Watch this. He winds up and throws the
ball hard -- right at Andy's head. Andy sees it coming out of
the corner of his eye, whirls and catches it. Beat. He sends
the ball right back, zinging it into Heywood's hands. Heywood
drops the ball and grimaces, wringing his stung hands. 

		    ANDY 
	I understand you're a man who knows 
	how to get things. 

		    RED 
	I'm known to locate certain things 
	from time to time. They seem to 
	fall into my hands. Maybe it's 
	'cause I'm Irish. 

		    ANDY 
	I wonder if you could get me a 
	rock-hammer? 

		    RED 
	What is it and why? 

		    ANDY 
	You make your customers' motives a 
	part of your business? 

		    RED 
	If you wanted a toothbrush, I 
	wouldn't ask questions. I'd just 
	quote a price. A toothbrush, see, 
	is a non-lethal sort of object. 

		    ANDY 
	Fair enough. A rock-hammer is about 
	eight or nine inches long. Looks 
	like a miniature pickaxe, with a 
	small sharp pick on one end, and a 
	blunt hammerhead on the other. It's 
	for rocks. 

		    RED 
	Rocks. 

Andy squats, motions Red to join him. Andy grabs a handful of
dirt and sifts it through his hands. He finds a pebble and
rubs it clean. It has a nice milky glow. He tosses it to Red.

		    RED 
	Quartz? 

		    ANDY 
	Quartz, sure. And look. Mica. Shale. 
	Silted granite. There's some graded 
	limestone, from when they cut this 
	place out of the hill. 

		    RED 
	So? 

		    ANDY 
	I'm a rockhound. At least I was, in 
	my old life. I'd like to be again, 
	on a limited scale. 

		    RED 
	Yeah, that or maybe plant your toy 
	in somebody's skull? 

		    ANDY 
	I have no enemies here. 

		    RED 
	No? Just wait. 

Red flicks his gaze past Andy. Bogs is watching them. 

		    RED 
	Word gets around. The Sisters have 
	taken a real shine to you, yes they 
	have. Especially Bogs. 

		    ANDY 
	Tell me something. Would it help if 
	I explained to them I'm not 
	homosexual? 

		    RED 
	Neither are they. You have to be 
	human first. They don't qualify. 
	      (off Andy's look) 
	Bull queers take by force, that's 
	all they want or understand. I'd 
	grow eyes in the back of my head if 
	I were you. 

		    ANDY 
	Thanks for the advice. 

		    RED 
	That comes free. But you understand 
	my concern. 

		    ANDY 
	If there's trouble, I doubt a rock- 
	hammer will do me any good. 

		    RED 
	Then I guess you wanna escape. 
	Tunnel under the wall maybe? 
		(Andy laughs politely) 
	I miss the joke. What's so funny? 

		    ANDY 
	You'll know when you see the rock- 
	hammer. 

		    RED 
	What's this item usually go for? 

		    ANDY 
	Seven dollars in any rock and gem shop.

		    RED 
	My standard mark-up's twenty 
	percent, but we're talkin' about a 
	special object. Risk goes up, price 
	goes up. Call it ten bucks even. 

		    ANDY 
	Ten it is. 

		    RED 
	I'll see what I can do. 
	      (rises, slapping dust) 
	But it's a waste of money. 

		    ANDY 
	Oh? 

		    RED 
	Folks who run this place love 
	surprise inspections. They turn a 
	blind eye to some things, but not 
	a gadget like that. They'll find 
	it, and you'll lose it. Mention my 
	name, we'll never do business 
	again. Not for a pair of shoelaces 
	or a stick of gum. 

		    ANDY 
	I understand. Thank you, Mr...? 

		    RED 
	Red. The name's Red. 

		    ANDY 
	Red. I'm Andy. Pleasure doing 
	business with you. 

They shake. Andy strolls off. Red watches him go.

		    RED (V.O.) 
	I could see why some of the boys 
	took him for snobby. He had a quiet 
	way about him, a walk and a talk 
	that just wasn't normal around 
	here. He strolled. like a man in a 
	park without a care or worry. Like 
	he had on an invisible coat that 
	would shield him from this place. 
		(resumes playing catch) 
	Yes, I think it would be fair to 
	say I liked Andy from the start. 

37 INT -- MESS HALL -- DAY (1947) 37

Red gets his breakfast and heads for a table. Andy falls in
step, slips him a tightly-folded square of paper. 

38 INT -- RED'S CELL -- NIGHT (1947) 38

Lying on his bunk, Red unfolds the square. A ten dollar bill.

		    RED (V.O.) 
	He was a man who adapted fast. 

39 EXT -- LOADING DOCK -- DAY (1947) 39

Under watchful supervision, CONS are off-loading bags of dirty
laundry from an "Eliot Nursing Home" truck. 

		    RED (V.O.) 
	Years later, I found out he'd 
	brought in quite a bit more than 
	just ten dollars... 

A certain bag hits the ground. The TRUCK DRIVER shoots a look 
at a black con, LEONARD, then ambles over to a GUARD to shoot 
the shit. Leonard loads the bag onto a cart... 

40 INT -- PRISON LAUNDRY -- DAY (1947) 40

Bags are being unloaded. We find Leonard working the line. 

		    RED (V.O.) 
	When they check you into this 
	hotel, one of the bellhops bends 
	you over and looks up your works, 
	just to make sure you're not 
	carrying anything. But a truly 
	determined man can get an object 
	quite a ways up there. 

Leonard slips a small paper-wrapped package out of the laundry 
bag, hides it under his apron, and keeps sorting... 

4l INT -- PRISON LAUNDRY EXCHANGE -- DAY (1947) 41

Red deposits his dirty bundle and moves down the line to where 
the clean sheets are being handed out. 

		    RED (V.O.) 
	That's how Andy joined our happy 
	little Shawshank family with more 
	than five hundred dollars on his 
	person. Determination. 

Leonard catches Red's eye, turns and grabs a specific stack of 
clean sheets. He hands it across to Red -- 

TIGHT ANGLE 

-- and more than clean laundry changes hands. Two packs of 
cigarettes slide out of Red's hand into Leonard's. 

42 INT -- RED'S CELL -- DAY (1947) 42

Red slips the package out of his sheets, carefully checks to 
make sure nobody's coming, then rips it open. He pulls out the 
rock-hammer. It's just as Andy described. Red laughs softly. 

		    RED (V.O.) 
	Andy was right. I finally got the 
	joke. It would take a man about six 
	hundred years to tunnel under the 
	wall with one of these.

43 INT -- CELLBLOCK FIVE -- 2ND TIER -- NIGHT (1947) 43

Brooks Hatlen pushes a cart of books from cell to cell. The 
rolling library. He finds Red waiting for him. Red slips the 
rock-hammer, wrapped in a towel, through the bars and onto the
cart. Next comes six cigarettes to pay for postage. 

		    RED
	Dufresne.

Brooks nods, never missing a beat. He rolls his cart to 
Andy's cell, mutters through the bars: 

		    BROOKS 
	Middle shelf, wrapped in a towel. 

Andy's hand snakes through the bars and makes the object 
disappear. The hand comes back and deposits a small slip of 
folded paper along with more cigarettes. Brooks turns his cart
around and goes back. He pauses, sorting his books long enough
for Red to snag the slip of paper. Brooks continues on, 
scooping the cigarettes off the cart and into his pocket. 

44 INT -- RED'S CELL -- NIGHT (1947) 44

Red unfolds the slip of paper. Penciled neatly on it is a 
single word: "Thanks." 

45 INT -- PRISON LAUNDRY -- DAY (1947) 45

We are assaulted by the deafening noise of the laundry line. 
Andy is doing his job, getting good at it. 

		    BOB 
	DUFRESNE! WE'RE LOW ON HEXLITE! 
	HEAD ON BACK AND FETCH US UP SOME! 

Andy nods. He leaves the line, weaving his way through the 
laundry room and into -- 

46 INT -- BACK ROOMS/STOCK AREA -- DAY (1947) 46

-- a dark, tangled maze of rooms and corridors, boilers and 
furnaces, sump pumps, old washing machines, pallets of 
cleaning supplies and detergents, you name it. Andy hefts a 
cardboard drum of Hexlite off the stack, turns around -- 

-- and finds Bogs Diamond in the aisle. blocking his way.
Rooster looms from the shadows to his right, Pete Verness
on the left. A frozen beat. Andy slams the Hexlite to the
floor, rips off the top, and scoops out a double handful.

		    ANDY 
	You get this in your eyes, it 
	blinds you. 

		    BOGS 
	Honey, hush. 

Andy backs up, holding them at bay, trying to maneuver through 
the maze. The Sisters keep coming, tense and guarded, eyes 
riveted and gauging his every move, trying to outflank him. 
Andy trips on some old gaint sugglies. That's all it takes. 
They're on him in an instant, kicking and stomping. 

Andy gets yanked to his feet. Bogs applies a chokehold from 
behind. They propel him across the room and slam him against 
an old four-pocket machine, bending him over it. Rooster jams 
a rag into Andy's mouth and secures it with a steel pipe, like 
a horse bit. Andy kicks and struggles, but Rooster and Pete 
have his arms firmly pinned. Bogs whispers in Andy's ear: 

		    BOGS 
	That's it, fight. Better that way. 

Andy starts screaming, muffled by the rag. CAMERA PULLS BACK, 
SLOWLY WIDENING. The big Washex blocks our view. All we see 
is Andy's screaming face and the men holding him down... 

...and CAMERA DRIFTS FROM THE ROOM, leaving the dark place 
and the dingy act behind...MOVING up empty corridors, past 
concrete walls and steel pipes... 

		    RED (V.O.) 
	I wish I could tell you that Andy 
	fought the good fight, and the 
	Sisters let him be. I wish I could 
	tell you that, but prison is no 
	fairy-tale world. 

WE EMERGE into the prison laundry past a guard, WIDENING for 
a final view of the line. The giant steel "mangler" is 
slapping down in brutal rhythm. The sound is deafening. 

		    RED (V.O.) 
	He never said who did it...but we 
	all knew. 

PRISON MONTAGE: (1947 through 1949) 

47 Andy plods through his days. Working. Eating. Chipping and 47
shaping his rocks after lights-out... 

		    RED (V.O.) 
	Things went on like that for a 
	while. Prison life consists of 
	routine, and then more routine. 

48 Andy walks the yard, face swollen and bruised. 48 

		    RED (V.O.) 
	Every so often, Andy would show up 
	with fresh bruises. 

49 Andy eats breakfast. A few tables over, Bogs blows him a kiss. 49

		    RED (V.O.) 
	The Sisters kept at him. Sometimes 
	he was able to fight them off... 
	sometimes not. 

50 Andy backs into a corner in some dingy part of the prison, 
wildly swinging a rake at his tormentors. 

		    RED (V.O.) 
	He always fought, that's what I 
	remember. He fought because he knew 
	if he didn't fight, it would make 
	it that much easier not to fight 
	the next time. 

The rake connects, snapping off over somebody's skull. They 
beat the hell out of him. 

		    RED (V.O.) 
	Half the time it landed him in the 
	infirmary... 

51 INT -- SOLITARY CONFINEMENT ("THE HOLE") -- NIGHT (1949) 51 

A stone closet. No bed, sink, or lights. Just a toilet with no 
seat. Andy sits on bare concrete, bruised face lit by a faint 
ray of light falling through the tiny slit in the steel door. 

		    RED (V.O.) 
	...the other half, it landed him in 
	solitary. Warden Norton's "grain & 
	drain" vacation. Bread, water, and 
	all the privacy you could want. 

52 INT -- PRISON LAUNDRY -- DAY (1949) 52

Andy is working the line. 

		    RED (V.O.) 
	And that's how it went for Andy. That 
	was his routine. I do believe those 
	first two years were the worst for 
	him. And I also believe if things 
	had gone on that way, this place 
	would have got the best of him. 
	But then, in the spring of 1949, 
	the powers-that-be decided that... 

53 EXT -- PRISON YARD -- DAY (1949) 53

Warden Norton addresses the assembled cons via bullhorn: 

		    NORTON 
	...the roof of the license-plate 
	factory needs resurfacing. I need a 
	dozen volunteers for a week's work. 
	We're gonna be taking names in this 
	steel bucket here... 

Red glances around at his friends. Andy also catches his eye.

		    RED (V.O.) 
	It was outdoor detail, and May is 
	one damn fine month to be workin' 
	outdoors. 

54 EXT -- PRISON YARD -- DAY (1949) 54

Cons shuffle past, dropping slips of paper into a bucket. 

		    RED (V.O.) 
	More than a hundred men volunteered 
	for the job. 

Red saunters to a guard named TIM YOUNGBLOOD, mutters 
discreetly in his ear. 

55 EXT -- PRISON YARD -- DAY (1949) 55

Youngblood is pulling names and reading them off. Red 
exchanges grins with Andy and the others. 

		    RED (V.O.) 
	Wouldn't you know it? Me and some 
	fellas I know were among the names 
	called. 

56 INT -- PRISON CORRIDOR -- NIGHT (1949) 56

Red slips Youngblood six packs of cigarettes. 

		    RED (V.O.) 
	Only cost us a pack of smokes per 
	man. I made my usual twenty 
	percent, of course. 

57 EXT -- LICENSE PLATE FACTORY -- DAY (1949) 57

A tar-cooker bubbles and smokes. TWO CONS dip up a bucket of
tar and tie a rope to the handle. The rope goes taught. CAMERA
FOLLOWS the bucket of tar up the side of the building to -- 

58 THE ROOF 58

-- where it is relayed to the work detail. The men are dipping 
big Padd brushes and spreading the tar. ANGLZ OVER to Byron 
Hadley bitching sourly to his fellow guards: 

		    HADLEY 
	...so this shithead lawyer calls 
	long distance from Texas, and he 
	says, Byron Hadley? I say, yeah. He 
	says, sorry to inform you, but your 
	brother just died. 

		    YOUNGBLOOD 
	Damn, Byron. Sorry to hear that. 

		    HADLEY 
	I ain't. He was an asshole. Run off 
	years ago, family ain't heard of him 
	since. Figured him for dead anyway. 
	So this lawyer prick says, your 
	brother died a rich man. Oil wells 
	and shit, close to a million bucks. 
	Jesus, it's frigging incredible how 
	lucky some assholes can get. 

		    TROUT 
	A million bucks? Jeez-Louise! You 
	get any of that? 

		    HADLEY 
	Thirty five thousand. That's what 
	he left me. 

		    TROUT 
	Dollars? Holy shit, that's great! 
	Like winnin' a lottery... 
		(off Hadley's shitty look) 
	...ain't it? 

		    HADLEY 
	Dumbshit. What do you figger the 
	government's gonna do to me? Take a 
	big wet bite out of my ass, is what. 

		    TROUT 
	Oh. Hadn't thought of that. 

		    HADLEY 
	Maybe leave me enough to buy a new 
	car with. Then what happens? You 
	pay tax on the car. Repairs and 
	maintenance. Goddamn kids pesterin' 
	you to take 'em for a ride... 

		    MERT 
	And drive it, if they're old enough.

		    HADLEY 
	That's right, wanting to drive it, 
	wanting to learn on it, f'Chrissake! 
	Then at the end of the year, if you 
	figured the tax wrong, they make 
	you pay out of your own pocket. 
	Uncle Sam puts his hand in your 
	shirt and squeezes your tit till 
	it's purple. Always get the short 
	end. That's a fact. 
		(spits over the side) 
	Some brother. Shit. 

The prisoners keep spreading tar, eyes on their work. 

		    HEYWOOD
	Poor Byron. What terrible fuckin'
	luck. Imagine inheriting thirty
	five thousand dollars.

		    RED
	Crying shame. Some folks got it
	awful bad.

Red glances over -- and is shocked to see Andy standing up,
listening to the guards talk. 

		    RED
	Hey, you nuts? Keep your eyes on
	your pail!

Andy tosses his Padd in the bucket and strolls toward Hadley.

		    RED 
	Andy! Come back! Shit! 

		    SNOOZE 
	What's he doing? 

		    FLOYD 
	Gettin' himself killed. 

		    RED 
	God damn it... 

		    HEYWOOD 
	Just keep spreadin' tar... 

The guards stiffen at Andy's approach. Youngblood's hand goes
to his holster. The tower guards CLICK-CLACK their rifle 
bolts. Hadley turns, stupefied to find Andy there. 

		    ANDY 
	Mr. Hadley. Do you trust your wife? 

		    HADLEY 
	That's funny. You're gonna look 
	funnier suckin' my dick with no 
	fuckin' teeth. 

		    ANDY 
	What I mean is, do you think she'd 
	go behind your back? Try to 
	hamstring you? 

		    HADLEY 
	That's it! Step aside, Mert. This 
	fucker's havin' hisself an accident. 

Hadley grabs Andy's collar and propels him violently toward
the edge of the roof. The cons furiously keep spreading tar.

		    HEYWOOD 
	Oh God, he's gonna do it, he's 
	gonna throw him off the roof... 

		    SNOOZE 
	Oh shit, oh fuck, oh Jesus... 

		    ANDY 
	Because if you do trust her, there's 
	no reason in the world you can't 
	keep every cent of that money. 

Hadley abruptly jerks Andy to a stop right at the edge. In 
fact, Andy's past the edge, beyond his balance, shoetips 
scraping the roof. The only thing between him and an ugly drop
to the concrete is Hadley's grip on the front of his shirt.

		    HADLEY 
	You better start making sense. 

		    ANDY 
	If you want to keep that money, all 
	of it, just give it to your wife. 
	See, the IRS allows you a one-time- 
	only gift to your spouse. It's good 
	up to sixty thousand dollars. 

		    HADLEY
	Naw, that ain't right! Tax free? 

		    ANDY
	Tax free. IRS can't touch one cent. 

The cons are pausing work, stunned by this business discussion.

		    HADLEY 
	You're the smart banker what shot 
	his wife. Why should I believe a 
	smart banker like you? So's I can 
	wind up in here with you? 

		    ANDY 
	It's perfectly legal. Go ask the 
	IRS, they'll say the same thing. 
	Actually, I feel silly telling you 
	all this. I'm sure you would have 
	investigated the matter yourself. 

		    HADLEY 
	Fuckin'-A. I don't need no smart 
	wife-killin' banker to show me where 
	the bear shit in the buckwheat. 

		    ANDY 
	Of course not. But you will need 
	somebody to set up the tax-free 
	gift, and that'll cost you. A 
	lawyer, for example... 

		    HADLEY 
	Ambulance-chaaing, highway-robbing 
	cocksuckers! 

		    ANDY 
	...or come to think of it, I 
	suppose I could set it up for you. 
	That would save you some money. 
	I'll write down the forms you need, 
	you can pick them up, and I'll 
	prepare them for your signature... 
	nearly free of charge. 
		(off Hadley's look) 
	I'd only ask three beers apiece for 
	my co-workers, if that seems fair. 

		    TROUT 
		(guffawing) 
	Co-workers! Get him! That's rich, 
	ain't it? Co-workers... 

Hadley freezes him with a look. Andy presses on: 

		    ANDY 
	I think a nan working outdoors 
	feels more like a man if he can 
	have a bottle of suds. That's only 
	my opinion. 

The convicts stand gaping, all pretense of work gone. They
look like they've been pole-axed. Hadley shoots them a look.

		    HADLEY 
	What are you jimmies starin' at? 
	Back to work, goddamn it! 

59 EXT -- LICENSE PLATE FACTORY -- DAY (1949) 59

As before, an object is hauled up the side of the building by
rope -- only this time, it's a cooler of beer and ice. 

		    RED (V.O.) 
	And that's how it came to pass, 
	that on the second-to-last day of 
	the job, the convict crew that 
	tarred the plate factory roof in 
	the spring of '49... 

60 EXT -- ROOF -- SHORTLY LATER (1949) 60

The cons are taking the sun and drinking beer. 

		    RED (V.O.) 
	...wound up sitting in a row at ten 
	o'clock in the morning, drinking icy 
	cold Black Label beer courtesy of 
	the hardest screw that ever walked 
	a turn at Shawshank State Prison. 

		    HADLEY 
	Drink up, boys. While it's cold. 

		    RED (V.O.) 
	The colossal prick even managed to 
	sound magnanimous. 

Red knocks back another sip, enjoying the bitter cold on his
tongue and the warm sun on face. 

		    RED (V.O.) 
	We sat and drank with the sun on 
	our shoulders, and felt like free 
	men. We could'a been tarring the 
	roof of one of our own houses. We 
	were the Lords of all Creation. 

He glances over to Andy squatting apart from the others.

		    RED (V.O.) 
	As for Andy, he spent that break 
	hunkered in the shade, a strange 
	little smile on his face, watching 
	us drink his beer. 

		    HEYWOOD 
		(approaches with a beer) 
	Here's a cold one, Andy. 

		    ANDY 
	No thanks. I gave up drinking. 

Heywood drifts back to others, giving them a look. 

		    RED (V.O.) 
	You could argue he'd done it to 
	curry favor with the guards. Or 
	maybe make a few friends among us 
	cons. Me, I think he did it just to 
	feel normal again...if only for a 
	short while. 

61 EXT -- PRISON YARD -- THE BLEACHERS -- DAY (1949) 61

Andy and Red play checkers. Red makes his move. 

		    RED 
	King me. 

		    ANDY 
	Chess. Now there's a game of kings. 
	Civilized...strategic... 

		    RED 
	...and totally fuckin' 
	inexplicable. Hate that game. 

		    ANDY 
	Maybe you'll let me teach you 
	someday. I've been thinking of 
	getting a board together. 

		    RED 
	You come to the right place. I'm 
	the man who can get things. 

		    ANDY 
	We might do business on a board. But 
	the pieces, I'd like to carve those 
	myself. One side done in quartz... 
	the opposing side in limestone. 

		    RED 
	That'd take you years. 

		    ANDY 
	Years I've got. What I don't have 
	are the rocks. Pickings here in the 
	exercise yard are pretty slim.

		    RED 
	How's that rock-hammer workin' out 
	anyway? Scratch your name on your 
	wall yet? 

		    ANDY 
		(smiles) 
	Not yet. I suppose I should. 

		    RED 
	Andy? I guess we're gettin' to be 
	friends, ain't we? 

		    ANDY 
	I suppose we are. 

		    RED 
	I ask a question? Why'd you do it? 

		    ANDY 
	I'm innocent, remember? Just like 
	everybody else here. 

Red takes this as a gentle rebuff, keeps playing. 

		    ANDY 
	What are you in for, Red? 

		    RED 
	Murder. Same as you. 

		    ANDY 
	Innocent? 

		    RED 
	The only guilty man in Shawshank. 

62 INT -- ANDY'S CELL -- NIGHT (1949) 62

Andy lies in his bunk after lights out, polishing a fragment 
of quartz by the light of the moon. He pauses, glancing at 
all the names scratched in the wall. He rises, makes sure 
the coast is clear, and starts scratching his name into the 
cement with his rock-hammer, adding to the record. 

63 RAY MILLAND 63

fills the screen in glorious (and scratchy) black & white, 
suffering a bad case of DT's... 

64 INT -- PRISON AUDITORIUM -- NIGHT (1949) 64

...while a CONVICT AUDIENCE hoots and catcalls, talking back 
to the screen. We find Red slouched in a folding chair, 
watching the movie. Andy enters, backlit by the flickering 
glare of the projector, and takes a seat next to him. 

		    RED 
	Here's the good part. Bugs come out 
	of the walls to get his ass. 

		    ANDY 
	I know. I've seen it three times 
	this month already. 

Ray Milland starts SCREAMING. The entire audience SCREAMS with 
him, high-pitched and hysterical. Andy fidgets. 

		    ANDY 
	Can we talk business? 

		    RED 
	Sure. What do you want? 

		    ANDY 
	Rita Hayworth. Can you get her? 

		    RED 
	No problem. Take a few weeks. 

		    ANDY 
	Weeks? 

		    RED 
	Don't have her stuffed down my 
	pants this very moment, sorry to 
	say. Relax. What are you so nervous 
	about? She's just a woman.

Andy nods, embarrassed. He gets up and hurries out. Red grins, 
turns back to the movie. 

65 INT -- AUDITORIUM CORRIDOR -- NIGHT (1949) 65

Andy exits the theater and freezes in his tracks. Two dark 
figures loom in the corridor, blocking his path. Rooster and 
Pete. Andy turns back -- and runs right into Bogs. Instant 
bear hug. The Sisters are on him like a flash. They kick a 
door open and drag him into -- 

66 THE PROJECTION BOOTH 66

-- where they confront the startled PROJECTIONIST, an old con 
blinking at them through thick bifocals. 

		    BOGS 
	Take a walk. 

		    PROJECTIONIST 
	I have to change reels. 

		    BOGS 
	I said fuck off. 

Terrified, the old man darts past and out the door. Pete slams 
and locks it. Bogs shoves Andy to the center of the room.

		    BOGS
	Ain't you gonna scream? 

Andy sighs, cocks his head at the projector. 

		    ANDY 
	They'd never hear me over that. 
	Let's get this over with. 

Seemingly resigned, Andy turns around, leans on the rewind 
bench -- and curls his fingers around a full 1.000 foot reel
of 35mm film. Rooster licks his lips, pushes past the others.

		    ROOSTER 
 	Me first. 

		    ANDY 
 	Okay. 

Andy whips the reel of film around in a vicious arc, smashing
it into Rooster's face and bouncing him off the wall. 

		    ROOSTER 
	Fuck! Shit! He broke my nose! 

Andy fights like hell, but is soon overpowered and forced to his
knees. Bogs steps to Andy, pulls out an awl with a vicious 
eight-inch spike, gives him a good long look at it. 

		    BOGS 
	Now I'm gonna open my fly, and 
	you're gonna swallow what I give 
	you to swallow. And when you 
	do mine, you gonna swallow 
	Rooster's. You done broke his nose, 
	so he ought to have somethin' to 
	show for it. 

		    ANDY 
	Anything you put in my mouth, 
	you're going to lose. 

		    BOGS 
	You don't understand. You do that, 
	I'll put all eight inches of this 
	steel ii your ear. 

		    ANDY 
	Okay. But you should know that 
	sudden serious brain injury causes 
	the victim to bite down. Hard. 
		(faint smile) 
	In fact, I understand the bite-reflex 
	is so strong the victim's jaws have 
	to be pried open with a crowbar. 

The Sisters consider this carefully. The film runs out of the 
projector, flapping on the reel. The screen goes white. 

		    BOGS 
	You little fuck. 

Andy gets a bootheel in the face. The Sisters start kicking 
and beating the living shit out of him with anything they can 
get their hands on. In the theater, the convicts are CHANTING 
AND CLAPPING for the movie to come back on. 

		    RED (V.O.) 
	Bogs didn't put anything in Andy's 
	mouth, and neither did his friends. 
	What they did do is beat him within 
	an inch of his life... 

67 INT -- INFIRMARY -- DAY (1949) 67

Andy lies wrapped in bandages. 

		    RED (V.O.) 
	Andy spent a month in traction. 

68 INT -- SOLITARY CONFINEMENT -- DAY (1949) 68

		    RED (V.O.) 
	Bogs spent a week in the hole. 

Bogs sits on bare concrete. The steel door slides open. 

		    GUARD 
	Time's up, Bogs. 

69 INT -- CELLBLOCK FIVE -- 3RD TIER -- DUSK (1949) 69

Bogs comes up the stairs, smoking a cigarette. Not many 
cons around; the place is virtually deserted. A VOICE 
echoes dimly over the P.A. system: 

		    VOICE (O.S.) 
	Return to your cellblocks for 
	evening count. 

Bogs enters his cell. Dark in here. He fumbles for the light 
cord, yanks it. The sudden light reveals Captain Hadley six 
inches from his face, waiting for him. Mert steps in behind 
Bogs. hemming him. 

Before Bogs can even open his mouth to say "what the fuck," 
Hadley rams the tip of his baton brutally into his solar 
plexus. Bogs doubles over, gagging his wind out. 

70 GROUND FLOOR 70

Ernie comes slowly around the corner, rolling a steel mop 
cart loaded with supplies.

71 2ND TIER 71

Red is darning a sock in his open cell. He pauses, frowning, 
hearing strange THUMPING sounds. What the hell is that? 

72 3RD TIER 72

It's Hadley and Mert methodically and brutally pulping Bogs 
with their batons, and kicking the shit out of him for good 
measure. He feebly tries to ward them off. 

73 2ND TIER 73

Puzzled, Red steps from his cell, following the sound. It 
dawns on him that it's coming from above. He moves to the 
railing and leans out, craning around to look up -- 

74 RED'S POV 74

-- just as Bogs flips over the railing and comes sailing 

directly toward us, eyes bugging out, SCREAMING as he falls. 

75 RED (SLOW MOTION) 75

jumps back as Bogs plummets past, missing him by inches, arms 
swimming and trying to grab the railing (but missing that 
too), SCREAMING aaaaalll the way down -- 

76 GROUND FLOOR 76

-- and impacting on Ernie's gassing mop cart in an enormous 
eruption of solvents and cleansers. The cart is squashed flat, 
shooting out from under Bogs and skidding across the cellblock 
floor like a tiddly wink, kicking up sparks for thirty yards. 
Ernie is left gaping in shock at Bogs and all the Bogs-related 
wreckage at his feet. 

77 2ND TIER 77

Red is stunned. He very tentatively leans out and looks up. 
Above him, Hadley and Mert lean on the 3rd tier railing. 
Hadley tilts the cap back on his head, shakes his head. 

		    MERT 
	Damn, Byron. Look'a that. 

		    HADLEY 
	Poor fella must'a tripped. 

A tiny drop of blood drips off the toe of Hadley's shoe and 

splashes across Red's upturned cheek. He wipes it off, then 
looks down at Bogs. Cons and guards are racing to the scene. 

		    RED (V.O.) 
	Two things never happened again 
	after that. The Sisters never laid 
	a finger on Andy again... 

7B EXT -- PRISON YARD/LOADING DOCK -- DAY (1949) 78

Bogs, wheelchair-bound and wearing a neck brace, is loaded 
onto an ambulance for transport. Behind the fence stand Red 
and his friends, watching. 

		   RED (V.O.) 
	...and Bogs never walked again. They 
	transferred him to a minimum security 
	hospital upstate. To my knowledge, 
	he lived out the rest of his days 
	drinking his food through a straw.

		    RED
	I'm thinkin' Andy could use a nice 
	welcome back when he gets out of 
	the infirmary. 

		    HEYWOOD 
	Sounds good to us. Figure we owe 
	him for the beer. 

		    RED 
	Man likes to play chess. Let's get 
	him some rocks. 

79 EXT -- FIELD -- DAY (1949) 79

A HUNDRED CONS at work. Hoes rise and fall in long waves. 
GUARDS patrol on horseback. Heywood turns up a rocky chunk, 
quickly shoves it down his pants. He maneuvers to Red and the 
others, pulls out the chunk and shows it to them. 

		    FLOYD 
	That ain't quartz. Nor limestone. 

		    HEYWOOD 
	What are you, fuckin' geologist? 

		    SNOOZE 
	He's right, it ain't. 

		    HEYWOOD 
	What the hell is it then?

		    RED 
	Horse apple. 

		    HEYWOOD 
	Bullshit. 

		    RED 
	No, horse shit. Petrified. 

Cackling, the men go back to work. Heywood stares at the rock.
He crumbles it in his hands. 

		    RED (V.O.) 
	Despite a few hitches, the boys 
	came through in fine style... 

80 INT -- PRISON LAUNDRY -- BACK ROOM -- DAY (1949) 80

A huge detergent box is filled with rocks, hidden in the 
shadows behind a boiler furnace. 

		    RED (V.O.) 
	...and by the week Andy was due 
	back, we had enough rocks saved up 
	to keep him busy till Rapture. 

ANGLE SHIFTS to Red as he plops a bag of "laundry" on the 
floor. Leonard and Bob toss a few more down. Red starts 
pulling out contraband, giving them their commissions. 

		    RED (V.O.) 
	Also got a big shipment in that 
	week. Cigarettes, chewing gum, 
	shoelaces, playing cards with naked 
	ladies on 'em, you name it... 
		(pulls a cardboard tube) 
	...and, of course, the most 
	important item.

81 INT -- CELLBLOCK FIVE -- NIGHT (1949) 81

Andy, limping a bit, returns from the infirmary. Red watches 
from his cell as Andy is brought up and locked away. 

82 INT -- ANDY'S CELL -- NIGHT (1949) 82

Andy finds the cardboard tube lying on his bunk. 

		    GUARD (O.S.) 
	Lights out! 

The lights go off. Andy opens the tube and pulls out a large 
rolled poster. He lets it uncurl to the floor. A small scrap 
of paper flutters out, landing at his feet. The poster is the
famous Rita Hayworth pin-up -- one hand behind her head, eyes
half closed, sulky lips parted. Andy picks up the scrap of 
paper. It reads: "No charge. Welcome back." Alone in the dark,
Andy smiles. 

83 INT -- CELLBLOCK FIVE -- MORNING (1949) 83

The BUZZER SOUNDS, the cells SLAM OPEN. Cons step from their
cells. Andy catches Red's eye, nods his thanks. As the men 
shuffle down to breakfast, Red glances into Andy's cell -- 

84 RED'S POV -- DOLLYING PAST 84

-- and sees Rita in her new place of honor on Andy's wall. 
Sunlight casts a harsh barred shadow across her lovely face.

85 INT -- CELLBLOCK FIVE -- NIGHT (1949) 85

Ernie is mopping the floor. He glances back and sees Warden 
Norton approach the cellblock with an entourage of a DOZEN 
GUARDS. Still mopping, Ernie mutters to the nearest cell: 

		    ERNIE 
	Heads up. They're tossin' cells. 

Word travels fast from cell to cell. Cons scramble to tidy up
and hide things. Norton enters, nods to his men. The guards 
pair off in all directions, making their choices at random. 

		    GUARD 
	What kind'a contraband you hiding 
	in there, boy? 

Cells are opened, occupants displaced, items scattered, 
mattresses overturned. Whatever contraband is found gets 
tossed out onto the cellblock floor. Mostly harmless stuff. 

A GUARD pulls a sharpened screwdriver out of a mattress, 
shoots a nasty look at the CON responsible. 

		    NORTON 
	Solitary. A week. Make sure he 
	takes his Bible. 

		    CON 
	Too goddamn dark to read down there.

		    NORTON 
	Add another week for blasphemy. 

The man is taken away. Norton's gaze goes up. 

		    NORTON 
	Let's try the second tier. 

86 2ND TIER 86

Norton arrives, makes a thin show of picking a cell at random.
He motions at Andy on his bunk, reading his Bible. The door is
unlocked. Norton enters, trailed by his men. Andy rises. 

		    ANDY 
	Good evening. 

Norton gives a curt nod. Hadley and Trout start tossing the
cell in a thorough search. Norton keeps his eyes on Andy,
looking for a wrong glance or nervous blink. He takes the
Bible out of Andy's hand. 

		    NORTON 
	I'm pleased to see you reading 
	this. Any favorite passages? 

		    ANDY 
	"Watch ye therefore, for ye know not 
	when the master of the house cometh." 

		    NORTON 
		(smiles) 
	Luke. Chapter 13, verse 35. I've 
	always liked that one. 
		(strolls the cell) 
	But I prefer: "I am the light of 
	the world. He that followeth me 
	shall not walk in darkness, but 
	shall have the light of life." 

		    ANDY 
	John. Chapter 8, verse 12. 

		    NORTON 
	I hear you're good with numbers. 
	How nice. A man should have a skill. 

		    HADLEY 
	You wanna explain this? 

Andy glances over. Hadley is holding up a rock blanket, a
polishing cloth roughly the size of an oven mitt. 

		    ANDY 
	It's called a rock blanket. It's 
	for shaping and polishing rocks. 
	Little hobby of mine. 

Hadley glances at the rocks lining the window sill, turns to
Norton. 

		    HADLEY 
	Looks pretty clean. Some contraband 
	here, nothing to get in a twist over.

Norton nods, strolls to the poster of Rita. 

		    NORTON 
	I can't say I approve of this... 
		(turns to Andy) 
	...but I suppose exceptions can 
	always be made. 

Norton exits, the guards follow. The cell door is slammed and
locked. Norton pauses, turns back. 

		    NORTON 
	I almost forgot. 

He reaches through the bars and returns the Bible to Andy. 

		    NORTON 
	I'd hate to deprive you of this. 
	Salvation lies within. 

Norton and his men walk away. 

		    RED (V.O.) 
	Tossin' cells was just an excuse. 
	Truth is, Norton wanted to size 
	Andy up. 

87 INT -- PRISON LAUNDRY -- DAY (1949) 87

Andy is working the line. Hadley enters and confers briefly 
with Bob. Bob nods, crosses to Andy, taps him. Andy turns, 
removes an earplug. Bob shouts over the machine noise: 

		    BOB 
	DUFRESNE! YOU'RE OFF THE LINE! 

88 INT -- WARDEN NORTON'S OFFICE -- DAY (1949) 88

Andy is led in. Norton is at his desk doing paperwork. Andy's
eyes go to a framed needle-point sampler on the wall behind 
him that reads: "HIS JUDGMENT COMETH AND THAT RIGHT SOON." 

		    NORTON 
	My wife made that in church group. 

		    ANDY 
	It's very pretty, sir. 

		    NORTON 
	You like working in the laundry? 

		    ANDY 
	No, sir. Not especially. 

		    NORTON 
	Perhaps we can find something more 
	befitting a man of your education. 

89 INT -- MAIN BUILDING -- STORAGE ROOMS -- DAY (1949) 89

A series of bleak rooms stacked high with unused filing 
cabinets, desks, paint supplies, etc. Andy enters. He hears a
FLUTTER OF WINGS. An adult crow lands on a filing cabinet and
struts back and forth, checking him out. Andy smiles. 

		    ANDY 
	Hey, Jake. Where's Brooks? 

Brooks Hatlen pokes his head out of the back room. 

		    BROOKS 
	Andy! Thought I heard you out here! 

		    ANDY 
	I've been reassigned to you. 

		    BROOKS 
	I know, they told me. Ain't that a 
	kick in the ass? Come on in, I'll 
	give you the dime tour. 

90 INT -- SHAWSHANK PRISON LIBRARY -- DAY (1949) 90

Brooks leads Andy into the bleakest back room of all. Rough
plank shelves are lined with books. Brooks' private domain.

		    BROOKS 
	Here she is, the Shawshank Prison 
	Library. Along this side, we got 
	the National Geographics. That 
	side, the Reader's Digest Condensed 
	books. Bottom shelf there, some 
	Louis L'Amours and Erle Stanley 
	Gardners. Every night I pile the 
	cart and make my rounds. I write 
	down the names on this clipboard 
	here. Well, that's it. Easy, peasy, 
	Japanesey. Any questions? 

Andy pauses. Something about this doesn't make any sense.

		    ANDY 
	Brooks? How long have you been 
	librarian? 

		    BROOKS 
	Since 1912. Yuh, over 37 years. 

		    ANDY 
	In all that time, have you ever had 
	an assistant? 

		    BROOKS 
	Never needed one. Not much to it, 
	is there? 

		    ANDY 
	So why now? Why me? 

		    BROOKS 
	I dunno. Be nice to have some 
	comp'ny down here for a change. 

		    HADLEY (O.S.) 
	Dufresne!

91 Andy steps back into the outer rooms and finds Hadley with 91
another GUARD, a huge fellow named DEKINS. 

		    HADLEY 
	That's him. That's the one. 

Hadley exits. Dekins approaches Andy ominously. Andy stands 
his ground, waiting for whatever comes next. Finally: 

		    DEKINS 
	I'm Dekins. I been, uh, thinkin' 
	'bout maybe settin' up some kinda 
	trust fund for my kids' educations. 

Andy covers his surprise. Glances at Brooks. Brooks smiles.

		    ANDY 
	I see. Well. Why don't we have a 
	seat and talk it over? 

		    BROOKS 
	Pull down one'a them desks there. 

Andy and Dekins grab a desk standing on end and tilt it to the
floor. They find chairs and settle in. Brooks returns with a 
tablet of paper and a pen, slides them before Andy. 

		    ANDY 
	What did you have in mind? A weekly 
	draw on your pay? 

		    DEKINS 
Yuh. I figured just stick it in the 
bank, but Captain Hadley said check 
with you first. 

		    ANDY 
	He was right. You don't want your 
	money in a bank. 

		    DEKINS 
	I don't? 

		    ANDY 
	What's that gonna earn you? Two and 
	a half, three percent a year? We 
	can do a lot better than that. 
		(wets his pen) 
	So tell me, Mr. Dekins. Where do 
	you want to send your kids? 
	Harvard? Yale? 

92 INT -- MESS HALL -- DAY (1949) 92

		    FLOYD 
	He didn't say that! 

		    BROOKS 
	God is my witness. And Dekins, he 
	just blinks for a second, then 
	laughs his ass off. Afterward, he 
	actually shook Andy's hand. 

		    HEYWOOD 
	My ass! 

		    BROOKS 
	Shook his fuckin' hand. Just about 
	shit myself. All Andy needed was a 
	suit and tie, a jiggly little hula 
	girl on his desk, he would'a been 
	Mister Dufresne, if you please. 

		    RED 
	Makin' yourself some friends, Andy.

		    ANDY 
	I wouldn't say "friends." I'm a 
	convicted murderer who provides 
	sound financial planning. That's a 
	wonderful pet to have. 

		    RED 
	Got you out of the laundry, didn't 
	it? 

		    ANDY 
	Maybe it can do more than that. 
		(off their looks) 
	How about expanding the library? 
	Get some new books in there. 

		    HEYWOOD 
	How you 'spect to do that, "Mr. 
	Dufresne-if-you-please?" 

		    ANDY 
	Ask the warden for funds. 

LAUGHTER all around. Andy blinks at them. 

		    BROOKS 
	Son, I've had six wardens through 
	here during my tenure, and I have 
	learned one great immutable truth 
	of the universe: ain't one of 'em 
	been born whose asshole don't 
	pucker up tight as a snare drum 
	when you ask for funds. 

93 INT -- MAIN BUILDING HALLWAY -- DAY (1949) 93

DOLLYING Norton and Andy up the hall: 

		    NORTON 
	Not a dime. My budget's stretched 
	thin as it is. 

		    ANDY 
	I see. Perhaps I could write to the 
	State Senate and request funds 
	directly from them. 

		    NORTON 
	Far as them Republican boys in 
	Augusta are concerned, there's only 
	three ways to spend the taxpayer's 
	hard-earned when it come to prisons. 
	More walls. More bars. More guards. 

		    ANDY 
	Still, I'd like to try, with your 
	permission. I'll send a letter a 
	week. They can't ignore me forever. 

		    NORTON 
	They sure can, but you write your 
	letters if it makes you happy. I'll 
	even mail 'em for you, how's that? 

94 INT -- ANDY'S CELL -- NIGHT (1949) 94

Andy is on his bunk, writing a letter. 

		    RED (V.O.) 
	So Andy started writing a letter a 
	week, just like he said. 

95 INT -- GUARD DESK/NORTON'S OUTER OFFICE -- DAY (1949) 95

Andy pops his head in. The GUARD shakes his head. 

		    RED (V.O.) 
	And just like Norton said, Andy got 
	no answers. But still he kept on. 

96 INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1950) 96

Andy is doing taxes. Mert Entwhistle is seated across from
him. Other off-duty guards are waiting their turn. 

		    RED (V.O.) 
	The following April, Andy did tax 
	returns for half the guards at 
	Shawshank. 

97 INT -- PRISON LIBRARY -- ONE YEAR LATER (1951) 97

Tax time again. Even more guards are waiting. 

		    RED (V.O.) 
	Year after that, he did them all... 
	including the warden's. 

98 EXT -- BASEBALL DIAMOND -- DAY (1952) 98

A BATTER in a "Noresby Marauders" baseball uniform WHACKS the
ball high into left field and races for first. 

		    RED (V.O.) 
	Year after that, they rescheduled 
	the start of the intramural season 
	to coincide with tax season...

99 INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1952) 99

The Batter sits across from Andy. The line winds out the door.

		    RED (V.O.) 
	The guards on the opposing teams 
	all remembered to bring their W-2's.

		    ANDY 
	Moresby Prison issued you that gun, 
	but you actually had to pay for it?

		    THE BATTER 
	Damn right, and the holster too. 

		    ANDY 
	See, that's all deductible. You get 
	to write that off. 

		    RED (V.O.) 
	Yes sir, Andy was a regular H&R 
	Block. In fact, he got so busy at 
	tax time, he was allowed a staff. 

ANGLE SHIFTS to reveal Red and Brooks doing filing chores. 

		    ANDY 
	Say Red, could you hand me a stack 
	of those 1040s? 

		    RED (V.O.) 
	Got me out of the wood shop a month 
	out of the year, and that was fine 
	by me. 

100 INT -- GUARD DESK/NORTON'S OUTER OFFICE -- DAY (1953) 100

Andy enters and drops a letter on the outgoing stack. 

		    RED (V.O.) 
	And still he kept sending those 
	letters... 

101 INT -- ANDY'S CELL -- NIGHT (1953) 101

Dark. Andy's in his bunk, polishing a four-inch length of 
quartz. It's a beautifully-crafted chess piece in the shape of 
a horse's head, poise and nobility captured in gleaming stone. 

He puts the knight on a chess board by his bed, adding it to 
four pieces already there: a king, a queen, and two bishops. 
He turns to Rita. Moonlight casts bars across her face. 

102 EXT -- EXERCISE YARD -- DAY (1954) 102

Floyd runs into the yard, scared and winded. He finds Andy and 
Red on the bleachers. 

		    FLOYD 
	Red? Andy? It's Brooks. 

103 INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1954) 103

Floyd rushes in with Andy and Red at his heels. They find 
Jigger and Snooze trying to calm Brooks, who has Heywood in a 
chokehold and a knife to his throat. Heywood is terrified. 

		    JIGGER 
	C'mon, Brooksie, why don't you just 
	calm the fuck down, okay? 

		    BROOKS 
	Goddamn miserable puke-eatin' sons 
	of whores! 

He kicks a table over. Tax files explode through the air. 

		    RED 
	What the hell's going on? 

		    SNOOZE 
	You tell me, man. One second he was 
	fine, then out came the knife. I 
	better get the guards. 

		    RED 
	No. We'll handle this. Ain't that 
	right, Brooks? Just settle down and 
	we'll talk about it, okay? 

		    BROOKS 
	Nothing left to talk about! It's all 
	talked out! Nothing left now but to 
	cut his fuckin' throat! 

		    RED 
	Why? What's Heywood done to you?

		    BROOKS 
	That's what they want! It's the 
	price I gotta pay! 

Andy steps forward, rivets Brooks with a gaze. Softly: 

		    ANDY 
	Brooks, you're not going to hurt 
	Heywood, we all know that. Even 
	Heywood knows it, right Heywood? 

		    HEYWOOD 
		(nods, terrified) 
	Sure. I know that. Sure. 

		    ANDY 
	Why? Ask anyone, they'll tell you. 
	Brooks Hatlen is a reasonable man. 

		    RED 
		(cuing nods all around) 
	Yeah, that's right. That's what 
	everybody says. 

		    ANDY 
	You're not fooling anybody, so just 
	put the damn knife down and stop 
	scaring the shit out of people. 

		    BROOKS 
	But it's the only way they'll let 
	me stay. 

Brooks bursts into tears. The storm is over. Heywood staggers
free, gasping for air. Andy takes the knife, passes it to Red.
Brooks dissolves into Andy's arms with great heaving sobs.

		    ANDY 
	Take it easy. You'll be all right.

		    HEYWOOD 
	Him? What about me? Crazy old 
	fool! Goddamn near slit my throat! 

		    RED 
	You've had worse from shaving. 
	What'd you do to set him off? 

		    HEYWOOD 
	Nothin'! Just came in to say 
	fare-thee-well. 
		(off their looks) 
	Ain't you heard? His parole came 
	through! 

Red and Andy exchange a surprised look. Andy wants to 
understand. Red just motions to let it be for now. He puts his
arm around Brooks, who sobs inconsolably. Softly: 

		    RED 
	Ain't that bad, old hoss. Won't be 
	long till you're squiring pretty 
	young girls on your arm and telling 
	'em lies. 

104 EXT -- PRISON YARD BLEACHERS -- DUSK (1954) 104

		    ANDY 
	I just don't understand what 
	happened in there, that's all. 

		    HEYWOOD 
	Old man's crazy as a rat in a tin 
	shithouse, is what. 

		    RED 
	Heywood, enough. Ain't nothing 
	wrong with Brooksie. He's just 
	institutionalized, that's all. 

		    HEYWOOD 
	Institutionalized, my ass. 

		    RED 
	Man's been here fifty years. This 
	place is all he knows. In here, 
	he's an important man, an educated 
	man. A librarian. Out there, he's 
	nothing but a used-up old con with 
	arthritis in both hands. Couldn't 
	even get a library card if he 
	applied. You see what I'm saying? 

		    FLOYD 
	Red, I do believe you're talking 
	out of your ass. 

		    RED 
	Believe what you want. These walls 
	are funny. First you hate 'em, then 
	you get used to 'em. After long 
	enough, you get so you depend on 
	'em. That's "institutionalized." 

		    JIGGER 
	Shit. I could never get that way. 

		    ERNIE 
		(softly) 
	Say that when you been inside as 
	long as Brooks has. 

		    RED 
	Goddamn right. They send you here 
	for life, and that's just what they 
	take. Part that counts, anyway. 

105 EXT -- SHAWSHANK PRISON -- DAWN (1954) 105

The sun rises over gray stone. 

106 INT -- ANDY'S CELL -- DAWN (1954) 106

ANGLE ON RITA POSTER. Sexy as ever. The rising sun sends 
fingers of rosy light creeping across her face. 

107 INT -- LIBRARY -- DAWN (1954) 107

Brooks stands on a chair, poised at the bars of a window, 
cradling Jake in his hands. 

		    BROOKS 
	I can't take care of you no more. 
	You go on now. You're free. 

He tosses Jake through the bars. The crow flaps away. 

108 EXT -- SHAWSHANK PRISON -- MAIN GATE -- DAY (1954) 108

TWO SHORT SIREN BLASTS herald the opening of the gate. It 
swings hugely open, revealing Brooks standing in his cheap 
suit, carrying a cheap bag, wearing a cheap hat. 

Brooks walks out, tears streaming down his face. He looks 
back. Red, Andy, and others stand at the inner fence, seeing 
him off. The massive gate closes, wiping them from view. 

109 INT -- BUS -- DAY (1954) 109

Brooks is riding the bus, clutching the seat before him, 
gripped by terror of speed and motion. 

		    BROOKS (V.O.) 
	Dear Fellas. I can't believe how 
	fast things move on the outside. 

110 EXT -- STREET -- PORTLAND, MAINE -- DAY (1954) 110

Brooks looks like a kid trying to cross the street without his 
parents. People and traffic a blur. 

		    BROOKS (V.O.) 
	I saw an automobile once when I was 
	young. Now they're everywhere. 

111 EXT -- BREWSTER HOTEL -- DAY (1954) 111

Brooks comes trudging up the sidewalk. He glances up as a 
prop-driven airliner streaks in low overhead. 

		    BROOKS (V.O.) 
	The world went and got itself in a 
	big damn hurry. 

He arrives at the Brewster. It ain't much to look at.

112 INT -- BREWSTER HOTEL -- DAY (1954) 112

A WOMAN leads Brooks up the stairs toward the top floor. He 
has trouble climbing so many stairs. 

		    WOMAN 
	No music in your room after eight 
	p.m. No guests after nine. No 
	cooking except on the hotplate... 

		    BROOKS (V.O.) 
	People even talk faster. And louder. 

113 INT -- BROOKS' ROOM -- DAY (1954) 113

Brooks enters. The room is small, old, dingy. Heavy wooden 
beams cross the ceiling. An arched window affords a view of 
Congress Street. Traffic noise drifts in. Brooks sets his bag 
down. He doesn't quite know what to do. He just stands there, 
like a man waiting for a bus. 

		    BROOKS (V.O.) 
	The parole board got me into this 
	halfway house called the Brewster, 
	and a job bagging groceries at the 
	Foodway... 

114 INT -- FOODWAY MARKET -- DAY (1954) 114

Loud. Jangling with PEOPLE and NOISE. Brooks is bagging 
groceries. Registers are humming, kids are shrieking. 

		    WOMAN 
	Make sure he double-bags. Last time 
	your man didn't double-bag and the 
	bottom near came out. 

		    MANAGER 
	You double-bag like the lady says, 
	understand? 

		    BROOKS 
	Yes sir, double-bag, surely will. 

		    BROOKS (V.O.) 
	It's hard work. I try to keep up, 
	but my hands hurt most of the time. 
	I don't think the store manager 
	likes me very much. 

115 EXT -- PARK -- DAY (1954) 115

Brooks sits alone on a bench, feeding pigeons. 

		    BROOKS (V.O.) 
	Sometimes after work I go to the 
	park and feed the birds. I keep 
	thinking Jake might show up and say 
	hello, but he never does. I hope 
	wherever he is, he's doing okay and 
	making new friends. 

116 INT -- BROOKS' ROOM -- NIGHT (1954) 116

Dark. Traffic outside. Brooks wakes up. Disoriented. Afraid.
Somewhere in the night, a LOUD ARGUMENT is taking place. 

		    BROOKS (V.O.) 
	I have trouble sleeping at night. 
	The bed is too big. I have bad 
	dreams, like I'm falling. I wake 
	up scared. Sometimes it takes me a 
	while to remember where I am.

117 INT -- FOODWAY -- DAY (1954) 117

		    BROOKS (V.O.) 
	Maybe I should get me a gun and rob 
	the Foodway, so they'd send me home. 
	I could shoot the manager while I 
	was at it, sort of like a bonus. 

118 INT -- BROOKS' ROOM -- DAY (1954) 118

Brooks is packing his worldly possessions into the carry bag. 
Undershirts, socks, etc. 

		    BROOKS (V.O.) 
	But I guess I'm too old for that 
	sort of nonsense anymore. 

119 INT -- BROOKS' ROOM -- SHORTLY LATER (1954) 119

Brooks is dressed in his suit. He finishes knotting his tie, 
puts his hat on his head. The letter lies on the desk, stampe3 
and ready for mailing. His bag is by the door. 

		    BROOKS (V.O.) 
	I don't like it here. I'm tired of 
	being afraid all the time. I've 
	decided not to stay. 

He takes one last look around. Only one thing left to do. He 
steps to a wooden chair in the center of the room, pulls out s 
pocketknife, and glances up at the ceiling beam. 

He steps up onto the chair. It wobbles queasily. Now facing
the beam, he carves a message into the wood: "Brooks Hatlen
was here." He smiles with a sort of inner peace. 

		    BROOKS (V.O.) 
	I doubt they'll kick up any fuss. 
	Not for an old crook like me. 

120 TIGHT ON CHAIR 120

His weight shifts on the wobbly chair -- and it goes out 
from under him. His feet remain where they are, kicking feebly 
in mid-air. His hat falls to the floor. 

ANGLE WIDENS. Brooks has hanged himself. He swings gently, 
facing the open window. Traffic noise floats up from below. 

121 EXT -- EXERCISE YARD -- SHAWSHANK -- DAY (1954) 121

Andy reads the letter to Red and the others: 

		    ANDY 
	P.S. Tell Heywood I'm sorry I put a 
	knife to his throat. No hard feelings. 

A long silence. Andy folds the letter, puts it away. Softly: 

		    RED 
	He should'a died in here, goddamn it. 

122 INT -- PRISON LIBRARY -- DAY (1954) 122

Andy is sorting books on the cart. He replaces a stack on the
shelf -- and pauses, noticing a line of ants crawling up the
wood. He glances up. The ants disappear over the top. He pulls
a chair over and stands on it, peers cautiously over. 

		    ANDY 
	Red! 

Red steps in with an armload of files. Andy gingerly reaches
in, grabs a black feathered wing, and pulls out a dead crow.

		    RED 
		(softly) 
	Is that Jake? 

123 INT -- WOOD SHOP -- DAY (1954) 123

Red is making something at his bench, sanding and planing. 

		    RED (V.O.) 
	It never would have occurred to us, 
	if not for Andy. It was his idea. 
	We all agreed it was the right 
	thing to do... 

124 EXT -- FIELDS -- DAY (1954) 124

Low hilly terrain all around. A HUNDRED CONS are at work in 
the fields. GUARDS patrol with carbines, keeping a sharp eye.
We find Andy, Red, and the boys working with picks and 
shovels. They glance over to the pickup truck. Hadley's 
chewing the fat with Mert and Youngblood. A WHISTLE BLOWS. 

		    GUARD 
	Water break! Five minutes! 

The work stops. Cons head for the pickup truck, where water is
dispensed with dipper and pail. Red and the boys look to Andy.
Andy nods. Now's the time. The group moves off through the 
confusion, using it as cover. They head up the slope of a 
nearby hill and quickly decide on a suitable spot. The 
guards haven't noticed. 

Jigger and Floyd start swinging picks into the soft earth, 
quickly ripping out a hole. Red reaches into his jacket and 
pulls out a beautiful wooden box, carefully stained and 
varnished. He shows it around to nods of approval. 

		    ANDY 
	That's real pretty, Red. Nice work. 

		    HEYWOOD 
	Shovel man in. Watch the dirt. 

124 CONTINUED 124

Heywood jumps in and starts spading out the hole. 

125 BY THE TRUCK 125

Youngblood glances up and sees the men on the slope. 

		    YOUNGBLOOD 
	What the fuck. 

		    HADLEY 
		(follows his gaze) 
	HEY. 'YOU MEN UP THERE.' GET YOUR 
	ASSES OFF THAT SLOPE! 
		(works his rifle bolt) 
	YOU HAPPY ASSHOLES GONE DEAF? YOU 
	GOT FIVE SECONDS 'FORE I SHOOT 
	SOMEBODY! 

Suddenly, other cons start breaking away in groups, dozens of
them heading toward the slope. The guards look around. 

		    HADLEY 
	What am I, talkin' to myself? 

126 ON THE SLOPE 126

Andy pulls a towel-wrapped bundle from his jacket and unfolds
it. Jake. Andy lays him in the box, followed by Brook's 
letter. Red places the casket in the hole. A moment of 
silence. Andy gives Red with an encouraging nod. 

		    RED 
	Lord. Brooks was a sinner. Jake was 
	just a crow. Neither was much to 
	look at. Both got institutionalized. 
	See what you can do for 'em. Amen. 

Muttered "amens" all around. The boys shovel dirt onto the 
small grave and tamp it down. 

127 INT -- SHAWSHANK CORRIDORS -- DAY (1955) 127

RAPID DOLLY with Hadley. He's striding, pissed-off, a man on a
mission. He straight-arms a door and emerges onto -- 

128 EXT -- SHAWSHANK PRISON WALL -- DAY (1955) 128

-- the wall overlooking the exercise yard. He leans on the 
railing, scans the yard, sees Andy chatting with Red. 

		    HADLEY 
	Dufresne! What the fuck did you do? 
		(Andy looks up) 
	Your ass, warden's office, now! 

Andy shoots a worried look at Red, then heads off. 

129 INT -- GUARD DESK/WARDEN'S OUTER OFFICE -- DAY (1955) 129

Dozens of parcel boxes litter the floor. WILEY, the duty 
guard, picks through them. Hadley enters, trailed by Andy.

		    ANDY 
	What is all this? 

		    HADLEY 
	You tell me, fuck-stick! They're 
	addressed to you, every damn one! 

Wiley thrusts an envelope at Andy. Andy just stares at it.

		    WILEY 
	Well, take it. 

Andy takes the envelope, pulls out a letter, reads: 

		    ANDY 
	"Dear Mr. Dufresne. In response to 
	your repeated inquiries, the State 
	Senate has allocated the enclosed 
	funds for your library project..." 
		(stunned, examines check) 
	This is two hundred dollars. 

Wiley grins. Hadley glares at him. The grin vanishes. 

		    ANDY 
	"In addition, the Library District 
	has generously responded with a 
	charitable donation of used books 
	and sundries. We trust this will 
	fill your needs. We now consider 
	the matter closed. Please stop 
	sending us letters. Yours truly, 
	the State Comptroller's Office." 

Andy gazes around at the boxes. The riches of the world lay at
his feet. His eyes mist with emotion at the sight. 

		    HADLEY 
	I want all this cleared out before 
	the warden gets back, I shit you not. 

Hadley exits. Andy touches the boxes like a love-struck man
touching a beautiful woman. Wiley grins. 

		    WILEY 
	Good for you, Andy. 

		    ANDY 
	Only took six years. 
		(beat) 
	From now on, I send two letters a 
	week instead of one. 

		    WILEY 
		(laughs, shakes his head) 
	I believe you're crazy enough. You 
	better get this stuff downstairs 
	like the Captain said. I'm gonna go 
	pinch a loaf. When I get back, this 
	is all gone, right? 

Andy nods. Wiley disappears into the toilet, Jughead Comix in 
hand. Alone now, Andy starts going through the boxes like a 
starving man exploring packages of food. He doesn't know where 
to turn first. He gets giddy, ripping boxes open and pulling 
out books, touching them, smelling them. 

He rips open another box. This one contains an old phonograph
player, industrial gray and green, the words "Portland Public
School District" stenciled on the side. The box also contains
stacks and stacks of used record albums. 

Andy reverently slips a stack from the box and starts flipping 
through them. Used Nat King Coles, Bing Crosbys, etc. 
He comes across a certain album -- Mozart's "Le Nozze de 
Figaro." He pulls it from the stack, gazing upon it as a man 
transfixed. It is a thing of beauty. It is the Grail. 

130 INT -- BATHROOM -- DAY (1955) 130

Wiley sits in one of the stalls, Jughead comic on his knees. 

131 INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 131

Andy wrestles the phonograph player onto the guards' desk, 
sweeping things onto the floor in his haste. He plugs the 
machine in. A red light warms up. The platter starts spinning. 

He slides the Mozart album from its sleeve, lays it on the 
platter, and lowers the tone arm to his favorite cut. The 
needle HISSES in the groove...and the MUSIC begins, lilting 
and gorgeous. Andy sinks into Wiley's chair, overcome by its 
beauty. It is "Deutino: Che soave zeffiretto," a duet sung by 

Susanna and the Contessa. 

132 INT -- BATHROOM -- DAY (1955) 132

Wiley pauses reading, puzzled. He thinks he hears music. 

		    WILEY 
	Andy? You hear that? 

133 INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 133

Andy shoots a look at the bathroom...and smiles. Go for broke. 
He lunges to his feet and barricades the front door, then the 
bathroom. He returns to the desk and positions the P.A. 
microphone. He works up his courage, then flicks all the 
toggles to "on." A SQUEAL OF FEEDBACK echoes briefly... 

134 INT/EXT -- VARIOUS P.A. SPEAKERS -- DAY (1955) 134

...and the Mozart is suddenly broadcast all over the prison. 

135 INT -- BATHROOM -- DAY (1955) 135

Wiley lunges to his feet, pants tangling around his ankles. 

136 INT/EXT -- SHAWSHANK PRISON -- VARIOUS LOCATIONS -- DAY (1955) 136

Cons all over the prison stop whatever they're doing, freezing 
in mid-step to listen, gazing up at the speakers. 

137 The stamping machines in the plate shop are shut down... 137 

138 The laundry line goes silent, grinding to a halt... 138

139 The wood shop machines are turned off, buzzing to a stop... 139

140  The motor pool...the kitchen...the loading dock...the exercise 140
thru yard...the numbing routine of prison life itself...all grinds  thru
143  to a stuttering halt. Nobody moves, nobody speaks. Everybody   143
     just stands in place, listening to the MUSIC, hypnotized. 

144 INT -- GUARD STATION -- DAY (1955) 144

Andy is reclined in the chair, transported, arms fluidly 
conducting the music. Ecstasy and rapture. Shawshank no 
longer exists. It has been banished from the mind of men. 

145 EXT -- EXERCISE YARD -- DAY (1955) 145

CAMERA TRACKS along groups of men, all riveted. 

		    RED (V.O.) 
	I have no idea to this day what 
	them two Italian ladies were 
	singin' about. Truth is, I don't 
	want to know. Some things are best 
	left unsaid. I like to think they 
	were singin' about something so 
	beautiful it can't be expressed in 
	words, and makes your heart ache 
	because of it. 

CAMERA brings us to Red. 

		    RED (V.O.) 
	I tell you, those voices soared. 
	Higher and farther than anybody in 
	a gray place dares to dream. It was 
	like some beautiful bird flapped 
	into our drab little cage and made 
	these walls dissolve away...and for 
	the briefest of moments -- every 
	last man at Shawshank felt free.

146 INT -- PRISON CORRIDOR -- DAY (1955) 146

FAST DOLLY with Norton striding up the hallway with Hadley. 

		    RED (V.O.) 
	It pissed the warden off something 
	terrible. 

147 INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 147

Norton and Hadley break the door in. Andy looks up with a 
sublime smile. We hear Wiley POUNDING on the bathroom door: 

		    WILEY (O.S.) 
	LET ME OUUUUT! 

148 INT -- SOLITARY WING -- DAY (1955) 148

LOW ANGLE SLOW PUSH IN on the massive, rust-streaked steel 
door. God, this is a terrible place to be. 

		    RED (V.O.) 
	Andy got two weeks in the hole for 
	that little stunt. 

149 INT -- SOLITARY CONFINEMENT -- DAY (1955) 149

Andy doesn't seem to mind. His arms sweep to the music still 
playing in his head. We hear a FAINT ECHO of the soaring duet. 

150 INT -- MESS HALL -- DAY (1955) 1 50

		    HEYWOOD 
	Couldn't play somethin' good, huh? 
	Hank Williams? 

		    ANDY 
	They broke the door down before I 
	could take requests. 

		    FLOYD 
	Was it worth two weeks in the hole? 

		    ANDY 
	Easiest time I ever did. 

		    HEYWOOD 
	Shit. No such thing as easy time in 
the hole. A week seems like a year. 

		    ANDY 
	I had Mr. Mozart to keep me company. 
	Hardly felt the time at all. 

		    RED 
	Oh, they let you tote that record 
	player down there, huh? I could'a 
	swore they confiscated that stuff. 

		    ANDY 
		(taps his heart, his head) 
	The music was here...and here. 
	That's the one thing they can't 
	confiscate, not ever. That's the 
	beauty of it. Haven't you ever felt 
	that way about music, Red? 

		    RED 
	Played a mean harmonica as a younger 
	man. Lost my taste for it. Didn't 
	make much sense on the inside. 

		    ANDY 
	Here's where it makes most sense. 
	We need it so we don't forget. 

		    RED 
	Forget? 

		    ANDY 
	That there are things in this world 
	not carved out of gray stone. That 
	there's a small place inside of us 
	they can never lock away, and that 
	place is called hope. 

		    RED 
	Hope is a dangerous thing. Drive a 
	man insane. It's got no place here. 
	Better get used to the idea. 

		    ANDY 
		(softly) 
	Like Brooks did? 

FADE TO BLACK 

151 AN IRON-BARRED DOOR 151

slides open with an enormous CLANG. A stark room beyond. 
CAMERA PUSHES through. SEVEN HUMORLESS MEN sit at a long 

table. An empty chair faces them. We are again in: 

INT -- SHAWSHANK HEARINGS ROOM -- DAY (1957) 

Red enters, ten years older than when we first saw him at a 
parole hearing. He removes his cap and sits. 

		    MAN #l 
	It says here you've served thirty 
	years of a life sentence. 

		    MAN #2 
	You feel you've been rehabilitated? 

		    RED 
	Yes sir, without a doubt. I can say 
	I'm a changed man. No danger to 
	society, that's the God's honest 
	truth. Absolutely rehabilitated. 

CLOSEUP -- PAROLE FORM 

A big rubber stamp slams down: "REJECTED." 

152 EXT -- PRISON YARD -- DUSK (1957) 152

Red emerges into fading daylight. Andy's waiting for him.

		    RED 
	Same old, same old. Thirty years. 
	Jesus. When you say it like that... 

		    ANDY 
	You wonder where it went. I wonder 
	where ten years went. 

Red nods, solemn. They settle in on the bleachers. Andy pulls 
a small box from his sweater, hands it to Red. 

		    ANDY 
	Anniversary gift. Open it. 

Red does. Inside the box, on a thin layer of cotton, is a 
shiny new harmonica, bright aluminum and circus-red. 

		    ANDY 
	Had to go through one of your 
	competitors. Hope you don't mind. 
	Wanted it to be a surprise. 

		    RED 
	It's very pretty, Andy. Thank you. 

		    ANDY 
	You gonna play something? 

Red considers it, shakes his head. Softly: 

		    RED 
	Not today. 

153 INT -- CELLBLOCK FIVE/ANDY'S CELL -- NIGHT (1957) 153

Men line the tiers as the evening count is completed. The 
convicts step into their cells. The master switch is thrown 
and all the doors slam shut -- KA-THUMP! Andy finds a 
cardboard tube on his bunk. The note reads: "A new girl for 
your 10 year anniversary. From your pal. Red." 

154 INT -- ANDY'S CELL -- LATER (1957) 154

Marilyn Monroe's face fills the screen. SLOW PULL BACK reveals
the new poster: the famous shot from "The Seven Year Itch," 
on the subway grate with skirt billowing up. Andy sits gazing 
at her as lights-out commences... 

INT -- RED'S CELL -- NIGHT (1957) 155

...and we find Red gazing blankly as darkness takes the 
cellblock. Adding up the months, weeks, days... 

He regards the harmonica like a man confronted with a Martian 
artifact. He considers trying it out -- even holds it briefly 
to his lips, almost embarrassed -- but puts it back in its box
untested. And there the harmonica will stay... 

FADE TO BLACK 

156 WE HOLD IN BLACKNESS as THUMPING SOUNDS grow louder... 156

		    RED (V.O.) 
	Andy was as good as his word. He 
	kept writing to the State Senate. 
	Two letters a week instead of one. 

...and the BLACKNESS disintegrates as a wall tumbles before 
our eyes, revealing a WORK CREW with picks and sledgehammers, 
faces obscured outlaw-style with kerchiefs against the dust. 
Behind them are GUARDS overseeing the work. 

Andy yanks his kerchief down, grinning in exhilaration. Red
and the others follow suit. They step through the hole in the
wall, exploring what used to be a sealed-off storage room. 

		    RED (V.O.) 
	In 1959, the folks up Augusta way 
	finally clued in to the fact they 
	couldn't buy him off with just a 
	200 dollar check. Appropriations 
	Committee voted an annual payment of 
	500 dollars, just to shut him up. 

157 INT -- PRISON LIBRARY -- DAY (1960) 157

TRACKING the construction. Walls have been knocked down. Men 
are painting, plastering, hammering. Lots of shelves going up.
Red is head carpenter. We find him discussing plans with Andy.

		    RED (V.O.) 
	Those checks came once a year like 
	clockwork. 

158 INT -- PRISON LIBRARY -- DAY (1960) 158

Red and the boys are opening boxes, pulling out books. 

		    RED (V.O.) 
	You'd be amazed how far Andy could 
	stretch it. He made deals with book 
	clubs, charity groups...he bought 
	remaindered books by the pound... 

		    HEYWOOD 
	Treasure Island. Robert Louis... 

		    ANDY 
		(jotting) 
	...Stevenson. Next? 

		    RED 
	I got here an auto repair manual, 
	and a book on soap carving. 

		    ANDY 
	Trade skills and hobbies, those go 
	under educational. Stack right
	behind you. 

		    HEYWOOD 
	The Count of Monte Crisco... 

		    FLOYD 
	Cristo, you dumbshit. 

		    HEYWOOD
	...by Alexandree Dumb-ass. 

		    ANDY 
	Dumas. You boys'll like that one. 
	It's about a prison break. 

Floyd tries to take the book. Heywood yanks it back. I saw it 
first. Red shoots Andy a look. 

		    RED 
	Maybe that should go under 
	educational too. 


159 INT -- WOOD SHOP -- DAY (1961) 159

Red is making a sign, carefully routing letters into a long 
plank of wood. It turns out to be -- 

160 INT -- PRISON LIBRARY -- DAY (1963) 160

-- the varnished wood sign over the archway: "Brooks Hatlen 
Memorial Library." TILT DOWN to reveal the library in all its 
completed glory: shelves lined with books, tables and chairs, 
even a few potted plants. Heywood is wearing headphones, 
listening to Hank Williams on the record player. 

		    RED (V.O.) 
	By the year Kennedy was shot, Andy 
	had transformed a broom closet 
	smelling of turpentine into the 
	best prison library in New England.

161 EXT -- SHAWSHANK PRISON -- DAY (1963) 161

FLASHBULBS POP as Norton addresses MEMBERS OF THE PRESS: 

		    RED (V.O.) 
	That was also the year Warden Norton 
	instituted his famous "Inside-Out" 
	program. You may remember reading 
	about it. It made all the papers 
	and got his picture in LIFE magazine. 

		    NORTON 
	...a genuine, progressive advance 
	in corrections and rehabilitation. 
	Our inmates, properly supervised, 
	will be put to work outside these 
	walls performing all manner of 
	public service. Cutting pulpwood, 
	repairing bridges and causeways, 
	digging storm drains... 

ANGLE TO Red and the boys listening from behind the fence. 

		    NORTON 
	These men can learn the value of an 
	honest day's labor while providing 
	a valuable service to the community 
	-- and at a bare minimum of expense 
	to Mr. and Mrs. John Q. Taxpayer! 

		    HEYWOOD 
	Sounds like road-gangin', you ask me. 

		    RED 
	Nobody asked you. 

162 EXT -- HIGHWAY CONSTRUCTION SITE -- DAY (1963) 162

A ROAD-GANG is grading a culvert with picks. There's dust and 
the smell of sweat in the air. GUARDS patrol with sniper rifles,
A pushy WOMAN REPORTER in an ugly hat bustles up the grade, 
trailed by a PHOTOGRAPHER. 

		    WOMAN REPORTER 
	You there! You men! We're gonna 
	take your picture now! 

		    HEYWOOD 
	Give us a break, lady. 

		    WOMAN REPORTER 
	Don't you know who I am? I'm from 
	LIFE magazine! I was told I'd get 
	some co-operation out here! You 
	want me to report you to your 
	warden? Is that what you want? 

		    HEYWOOD 
		(sighs) 
	No, ma'am. 

		    WOMAN REPORTER 
	That's more like it! Now I want you 
	all in a row with big bright smiles 
	on your faces! Grab hold of your 
	tools and show 'em to me! 

She turns, motioning her photographer up the grade. Heywood 
glances around at the other men. 

		    HEYWOOD 
	You heard the lady. 

Heywood unzips his pants, reaches inside. The others do 
likewise. The woman turns back and is greeted by the sight of 
a dozen men displaying their penises and smiling brightly. Her
legs go wobbly and she sits heavily down on the dirt grade. 

		    HEYWOOD 
	C'mon! We're showin' our tools and 
	grinnin' like fools! Take the damn 
	picture! 

163 INT -- SOLITARY CONFINEMENT -- NIGHT (1963) 163

Heywood sits alone in the dark. He sighs. 

		    RED (V.O.) 
	None of the inmates were invited to 
	express their views... 

164 EXT -- WOODED FIELDS -- DAY (1965) 164

A ROAD-GANG is pulling stumps, bogged down in mud. 

		    RED (V.O.) 
	'Course, Norton failed to mention 
	to the press that "bare minimum of 
	expense" is a fairly loose term. 
	There are a hundred different ways 
	to skim off the top. Men, 
	materials, you name it. And, oh my 
	Lord, how the money rolled in... 

Norton strolls into view with NED GRIMES at his heels. 

		    NED 
	This keeps up, you're gonna put me 
	out of business! With this pool of 
	slave labor you got, you can 
	underbid any contractor in town. 

		    NORTON 
	Ned, we're providing a valuable 
	community service. 

		    NED 
	That's fine for the papers, but I 
	got a family to feed. The State 
	don't pay my salary. Sam, we go 
	back a long way. I need this new 
	highway contract. I don't get it, I 
	go under. That's a fact. 
		(hands him a box) 
	Now you just have some'a this fine 
	pie my missus baked specially for 
	you, and you think about that. 

Norton opens the box. Alongside the pie is an envelope. He
runs his thumb across the thick stack of cash it contains.

IN THE BACKGROUND, a winch cable SNAPS and whips through the
air, damn near severing a man's leg. He goes down, screaming
in mud and blood, pinned by a fallen tree stump. Men rush over
to help him. Norton barely takes notice. 

		    NORTON 
	Ned, I wouldn't worry too much over 
	this contract. Seems to me I've 
	already got my boys committed 
	elsewhere. You be sure and thank 
	Maisie for this fine pie. 

165 INT -- NORTON'S OFFICE -- NIGHT (1965) 165

ANGLE on Maisie's pie. Several pieces gone. 

		    RED (V.O.) 
	And behind every shady deal, behind 
	every dollar earned... 

TILT UP to Andy at the desk, munching thoughtfully as he 
totals up figures on an adding machine. 

		    RED (V.O.) 
	...there was Andy, keeping the books. 

Andy finishes preparing two bank deposits. Norton hovers near 
the desk, keeping a watchful eye. 

		    ANDY 
	Two deposits, Casco Bank and New 
	England First. Night drop, like 
	always. 

Norton pockets the envelopes. Andy crosses to the wall safe 
and shoves the ledger and sundry files inside. Norton locks 
the safe, swings his wife's framed sampler back into place. He 
cocks his thumb at some laundry and two suits in the corner. 

		    NORTON 
	Get my stuff down t'laundry. Two 
	suits for dry-clean and a bag of 
	whatnot. Tell 'em if they over- 
	starch my shirts again, they're 
	gonna hear about it from me. 
		(adjusts his tie) 
	How do I look? 

		    ANDY 
	Very nice. 

		    NORTON 
	Big charity to-do up Portland 
	way. Governor's gonna be there. 
		(indicates pie) 
	Want the rest of that? Woman can't 
	bake worth shit. 

166 INT -- PRISON CORRIDOR -- NIGHT (1965) 166

Andy trudges down the corridor with Norton's laundry, the pie 
box under his arm. 

167 INT -- LIBRARY -- DAY (1965) 167

TILT UP FROM PIE to find Red munching away as he helps Andy 
sort books on the shelves. 

		    RED 
	Got his fingers in a lot of pies, 
	from what I hear. 

		    ANDY 
	What you hear isn't half of it. 
	He's got scams you haven't dreamed 
	of. Kickbacks on his kickbacks. 
	There's a river of dirty money 
	flowing through this place. 

		    RED 
	Money like that can be a problem. 
	Sooner or later you gotta explain 
	where it came from. 

		    ANDY 
	That's where I come in. I channel 
	it, funnel it, filter it...stocks, 
	securities, tax free municipals... 
	I send that money out into the big 
	world. And when it comes back... 

		    RED 
	It's clean as a virgin's whistle? 
	
		    ANDY 
	Cleaner. By the time Norton retires, 
	I will have made him a millionaire. 

		    RED 
	Jesus. They ever catch on, he's 
	gonna wind up wearing a number 
	himself. 

		    ANDY 
		(smiles) 
	I thought you had more faith in me 
	than that. 

		    RED 
	I'm sure you're good, but all that 
	paper leaves a trail. Anybody gets 
	too curious -- FBI, IRS, whatever -- 
	that trail's gonna lead to somebody. 

		    ANDY 
	Sure it will. But not to me, and 
	certainly not to the warden. 

		    RED 
	Who then? 

		    ANDY 
	Peter Stevens. 

		    RED 
	Who? 

		    ANDY 
	The silent, silent partner. He's 
	the guilty one, your Honor. The man 
	with the bank accounts. That's 
	where the filtering process starts. 
	They trace it back, all they're 
	gonna find is him. 

		    RED 
	Yeah, okay, but who the hell is he?

		    ANDY 
	A phantom. An apparition. Second 
	cousin to Harvey the Rabbit. 
		(off Red's look) 
	I conjured him out of thin air. He 
	doesn't exist...except on paper. 

		    RED 
	You can't just make a person up.

		    ANDY 
	Sure you can, if you know how the 
	system works, and where the cracks 
	are. It's amazing what you can 
	accomplish by mail. Mr. Stevens has 
	a birth certificate, social 
	security card, driver's license. 
	They ever track those accounts, 
	they'll wind up chasing a figment 
	of my imagination. 

		    RED 
	Jesus. Did I say you were good? 
	You're Rembrandt. 

		    ANDY 
	It's funny. On the outside, I was 
	an honest man. Straight as an 
	arrow. I had to come to prison to 
	be a crook. 

168 EXT -- PRISON YARD -- DUSK (1965) 

		    RED 
	Does it ever bother you? 

		    ANDY 
	I don't run the scams, Red, I just 
	process the profits. That's a fine 
	line, maybe. But I've also built 
	that library, and used it to help a 
	dozen guys get their high school 
	diplomas. Why do you think the 
	warden lets me do all that? 

		    RED 
	To keep you happy and doing the 
	laundry. Money instead of sheets. 

		    ANDY 
	I work cheap. That's the trade-off. 

TWO SIREN BLASTS draw their attention to the main gate. It 
swings open, revealing a prison bus waiting outside. 

169 INT -- PRISON BUS -- DUSK (1965) 169

Among those on board is TOMMY WILLIAMS, a damn good-looking 
kid in his mid-20's. The bus RUMBLES through the gate. 

170 EXT -- PRISON YARD -- DUSK (1965) 170

The new fish disembark, chained together single-file. The old- 
timers holler and shake the fence. A deafening gauntlet. 

171 INT -- CELLBLOCK EIGHT -- NIGHT (1965) 171

Tommy and the others are marched in naked and shivering, 
covered with delousing powder, greeted by TAUNTS and JEERS. 

172 INT -- TOMMY'S CELL -- NIGHT (1965) 172

The bars slam with a STEEL CLANG. Tommy and his new CELLMATE 
take in their new surroundings. 

		    TOMMY 
	Well. Ain't this for shit? 

173 INT -- PRISON CORRIDOR -- DAY (1965) 173

DOLLYING Tommy as he struts along, combing his ducktail, 
cigarette behind his ear. (We definitely need The Coasters or 
Del Vikings on the soundtrack here. Maybe Jerry Lee Lewis.) 

		    RED (V.O.) 
	Tommy Williams came to Shawshank in 
	1965 on a two year stretch for B&E. 
	Cops caught him sneakin' TV sets 
	out the back door of a JC Penney. 

174 INT -- WOOD SHOP -- DAY (1965) 174

A SHRIEKING BUZZSAW slices ten-foot lengths of wood. Red runs 
the machine while some other OLD-TIMERS feed the wood. 

		    RED (V.O.) 
	Young punk, Mr. Rock n' Roll, cocky 
	as hell... 

Tommy is hauling the cut wood off the conveyor and stacking it, 
It's a ball-busting job, but the kid's a blur. 

		    TOMMY 
		(slapping his gloves) 
	C'mon there, old boys! Movin' like 
	molasses! Makin' me look bad! 

The old guys just grin and shake their heads. 

		    RED (V.O.) 
	We liked him immediately. 

175 INT -- MESS HALL -- DAY (1965) 175

Tommy regales the old boys with his exploits: 

		    TOMMY 
	...so I'm backin' out the door, 
	right? Had the TV like this... 
		(mimes his grip) 
	Big ol' thing. Couldn't see shit. 
	Suddenly, here's this voice: 
	"Freeze kid! Hands in the air!" 
	Well I just stand there holdin' on 
	to that TV, so the voice says: "You 
	hear what I said, boy?" And I say, 
	"Yes sir, I sure did! But if I drop 
	this fuckin' thing, you got me on 
	destruction of property too!" 

The whole table falls about laughing. 

176 INT -- LIBRARY -- DAY (1965) 176

Poker game in progress. Tommy, Andy, Red and the boys. 

		    HEYWOOD 
	You did a stretch in Cashman too?

		    TOMMY 
	Yeah. That was an easy ride, let me 
	tell you. Work programs, weekend 
	furloughs. Not like here. 

		    SNOOZE 
	Sounds like you done time all over 
	New England. 

		    TOMNY 
	Been in and out since I was 13. Name 
	the place, chances are I been there. 

		    ANDY 
	Perhaps it's time you considered a 
	new profession. 
		(the game stalls) 
	What I mean is, you don't seem to 
	be a very good thief. Maybe you 
	should try something else. 

		    TOMMY 
	What the hell you know about it, 
	Capone? What are you in for? 

		    ANDY 
		(wry glance to Red) 
	Everyone's innocent in here. Don't 
	you know that? 

The tension breaks. Everyone laughs. 

177 INT -- VISITOR'S ROOM -- DAY (1965) 177

CAMERA TRAVELS the room. Chaotic. CONS are waiting their turn 
or talking to visitors through a thick plexi shield. 

		    RED (V.O.) 
	As it turns out, Tommy had himself 
	a young wife and new baby girl... 

Tommy's at the end of the row, phone to his ear. Other side of
the glass is BETH, near tears, fussing with a BABY on her lap.

		    BETH 
	...said we can stay with them, but 
	Joey's gettin' out of the service 
	next month, and they barely got 
	enough room as it is. Plus they got 
	Poppa workin' double shifts and the 
	baby cries half the night. I just 
	don't know where we're gonna go... 

PUSH IN on Tommy's face as he listens. 

		    RED (V.O.) 
	Maybe it was the thought of them on 
	the streets...or his child growing 
	up not knowing her daddy... 

178 INT -- LIBRARY -- DAY (1965) 178

Tommy enters, the strut gone from his step. A little scared. 
He finds Andy filing library cards. 

		    RED (V.O.) 
	Whatever it was, something lit a 
	fire under that boy's ass. 

		    TOMMY 
	I'm thinkin' maybe I should try for 
	high school equivalency. Hear you 
	helped some fellas with that. 

		    ANDY 
	I don't waste time on losers, Tommy. 

		    TOMMY 
		(tight) 
	I ain't no goddamn loser. 

		    ANDY 
	That's a good start. If we do this, 
	we do it all the way. One hundred 
	percent. Nothing half-assed. 

Tommy thinks about it, nods. 

		    TOMMY 
	Thing is, see... 
		(leans in, mutters) 
	...I don't read all that good. 

		    ANDY 
		(smiles) 
	Well. You've come to the right 
	place then. 

179 INT -- LIBRARY -- DAY (1965) 179

We find Andy giving an impassioned reading: 

		    ANDY
	"...and the lamplight o'er him
	streaming throws his shadow on the
	floor...and my soul from out that
	shadow that lies floating on the
	floor, shall be lifted nevermore!"

Andy slaps the book shut, immensely pleased with himself.

		    TOMMY
	So this raven just sits there and 
	won't go away?

		    ANDY
	That's right.

		    TOMMY
		(beat)
	Why don't that fella get hisself a
	12-gauge and dust the fucker?

180 INT -- LIBRARY -- DAY (1965) 180

Tommy tries to read as Andy looks on:

		    TOMMY 
	"The cat sh--The cat shh..." 
		(glances up) 
	The cat shat on the welcome mat? 

Andy shakes his head. Not exactly.

181 INT -- LIBRARY -- DAY (1965) 181

Andy chalks the alphabet on a blackboard. 

		    RED (V.O.) 
	So Andy took Tommy under his wing. 
	Started walking him through his 
	ABCs... 

182 INT -- MESS HALL -- DAY (1965) 182

TRACK the table to Tommy and Andy. Discussing a book. 

		    RED (V.O.) 
	Tommy took to it pretty well, too. 
	Boy found brains he never knew he 
	had. 

183 EXT -- EXERCISE YARD BLEACHERS -- DAY (1965) 183

		    TOMNY 
	The cat sh--shh--shimmied up the 
	tree and crept st--stel--stealthily 
	out on the limb... 

184 INT -- WOOD SHOP -- DAY (1965) 184

Tommy intent on a paperback, mouthing the words. Behind him,
wood is piling up on the conveyor belt. 

		    RED (V.O.) 
	After a while, you couldn't pry 
	those books out of hands. 

		    RED 
	Ass in gear, son! You're putting us 
	behind! 

Tommy shoves the book in his back pocket and hurries over.

185 INT -- LIBRARY -- DAY (1965) 185

Tommy writes a sentence on the blackboard. Andy steps in, 
shows him how to reconstruct it. 

		    RED (V.O.) 
	Before long, Andy started him on 
	his course requirements. He really 
	liked the kid, that was part of it. 
	Gave him a thrill to help a 
	youngster crawl off the shitheap. 
	But that wasn't the only reason... 

186 INT -- ANDY'S CELL -- NIGHT (1966) 186

TIGHT ANGLE on chessboard. Most of the pieces complete. PAN TO 
Andy lying in his bunk, carefully polishing... 

		    RED (V.O.) 
	Prison time is slow time. Sometimes 
	it feels like stop-time. So you do 
	what you can to keep going... 

...and we keep going past Andy in a SLOW PAN of the cell. 
Sink. Toilet. Books. Outside the window bars, we hear another 
TRAIN passing in the night... 

		    RED (V.O.) 
	Some fellas collect stamps. Others 
	build matchstick houses. Andy built 
	a library. Now he needed a new project. 
	Tommy was it. It was the same reason 
	he spent years shaping and polishing 
	those rocks. The same reason he hung
	his fantasy girlies on the wall... 

...STILL PANNING, past a chair, a sweater on a hook...and 
finally to the place of honor on the wall... 

		    RED (V.O.) 
	In prison, a man'll do most 
	anything to keep his mind occupied. 

...where the latest poster turns out to be Racquel Welch ins
fur bikini. Gorgeous. "One Million Years, B. C. " SLOW PUSH IN,

		    RED (V.O.) 
	By 1966...right about the time 
	Tommy was getting ready to take his 
	exams...it was lovely Racquel. 

187 INT -- LIBRARY -- DAY (1966) 187

Tommy's taking the big test. Andy's monitoring the time. Deep 
silence, save for Tommy's pencil-scribbling. A few old-timers 
are browsing the shelves, sneaking looks their way. Tommy 
tries to ignore them. Concentrate. 

Andy clears his throat. Time's up. Tommy puts his pencil down, 

		    ANDY 
	Well? 

		    TOMMY 
	Well. It's for shit. 
		(gets up in disgust) 
	Wasted a whole fuckin' year of my 
	time with this bullshit! 

		    ANDY 
	May not be as bad as you think. 

		    TOMMY 
	It's worse! I didn't get a fuckin' 
	thing right! Might as well be in 
	Chinese! 

		    ANDY 
	We'll see how the score comes out. 

		    TOMMY 
	I'll tell you how the goddamn 
	score comes out... 

Tommy grabs the test, wads it, slam-dunks it into the trash.

		    TOMMY 
	Two points! Right there! There's 
	your goddamn score! 
		(storms out) 
	Goddamn cats crawlin' up trees, 5 
	times 5 is 25, fuck this place, 
	fuck it! 

Tommy is gone. Red and others stare. Andy gets up, pulls the 
test from the trash, smoothes it out on the desk. 

188 INT -- WOOD SHOP -- DAY (1966) 188

Rest break. Tommy and Red sipping Cokes. 

		    TOMMY 
	I feel bad. I let him down. 

		    RED 
	That's crap, son. He's proud of 
	you. Proud as a hen. 
		(off Tommy's look) 
	We been friends a long time. I know 
	him as good as anybody. 

		    TOMMY 
	Smart fella, ain't he? 

		    RED 
	Smart as they come. Used to be a 
	banker on the outside. 

		    TOMMY 
	What's he in for anyway? 

		    RED 
	Murder. 

		    TOMMY 
	The hell you say. 

		    RED 
	You wouldn't think, lookin' at him. 
	Caught his wife in bed with some 
	golf pro. Greased 'em both. C'mon, 
	boy, back to work... 

SMASH! Red turns back. Tommy's Coke has slipped from his hand 
and shattered on the floor. The kid's gone white as a sheet. 

		    TOMMY 
		(bare whisper) 
	Oh my God... 

189 INT -- LIBRARY -- DAY (1966) 189

Tommy sits before Andy and Red: 

		    TOMMY 
	'Bout four years ago, I was in 
	Thomaston on a 2 to 3 stretch. 
	Stole a car. Dumbfuck thing to do. 
		(beat) 
	Few months left to go, I get a new 
	cellmate in. Elmo Blatch. Big 
	twitchy fucker. Crazy eyes. Kind of 
	roomie you pray you don't get, know 
	what I'm sayin'? 6 to 12 for armed 
	burglary. Said he done hundreds of 
	jobs. Hard to believe, high-strung 
	as he was. Cut a loud fart, he'd go 
	three feet in the air. Talked all 
	the time, too, that's the other 
	thing. Never shut up. Places he'd 
	been, jobs he pulled, women he 
	fucked. Even people he killed. 
	People that gave him shit, that's 
	how he put it. One night, like a 
	joke, I say: "Yeah? Who'd you 
	kill?" So he says... 

		    BLATCH 
	...I got me this job one time 
	bussin' tables at a country club. 
	So I could case all the big rich 
	pricks that come in. I pick out 
	this guy, go in one night and do 
	his place. He wakes up and gives 
	me shit. So I killed him. Him and 
	the tasty bitch he was with. 
		(starts laughing) 
	That's the best part! She's fuckin' 
	this prick, see, this golf pro, but 
	she's married to some other guy! 
	Some hotshot banker. He's the one 
	they pinned it on! They got him 
	down-Maine somewhere doin' time for 
	the crime! Ain't that choice? 

He throws his head back and ROARS with laughter. 

191 INT -- PRISON LIBRARY -- DAY (1966) 191

Silence. Tommy has finished his story. Red is stunned...but 
Andy looks like he's been smacked with a two by four. 

		    RED 
	Andy?

Andy says nothing. Walks stiffly away. Doesn't look back. 

192 INT -- NORTON'S OFFICE -- DAY (1966) 192

		    NORTON 
	Well. I have to say, that's the 
	most amazing story I ever heard. 
	What amazes me most is you were 
	taken in by it.

		    ANDY 
	Sir?

		    NORTON 
	It's obvious this fellow Williams
	is impressed with you. He hears
	your tale of woe and quite
	naturally wants to cheer you up.
	He's young, not terribly bright.
	Not surprising he didn't know what 
	a state he'd put you in.

		    ANDY 
	I think he's telling the truth.

		    NORTON 
	Let's say for a moment Blatch does
	exist. You think he'd just fall to 
	his knees and cry, "Yes, I did it!
	I confess! By all means, please add
	a life term to my sentence!"

		    ANDY 
	It wouldn't matter. With Tommy's
	testimony, I can get a new trial.

		    NORTON 
	That's assuming Blatch is even
	still there. Chances are excellent
	he'd be released by now. Excellent.

		    ANDY 
	They'd have his last known address.
	Names of relatives...
		(Norton shakes his head)
	Well it's a chance. isn't it? How
	can you be so obtuse?

		    NORTON
	What? What did you call me?

		    ANDY
	Obtuse! Is it deliberate? The 
	country club will have his old time
	cards! W-2s with his name on them! 

		    NORTON 
		(rises) 
	Dufresne, if you want to indulge 
	this fantasy, that's your business.
	Don't make it mine. This meeting's 
	over. 

		    ANDY 
	Look, if it's the squeeze, don't 
	worry. I'd never say what goes on 
	in here. I'd be just as indictable 
	as you for laundering the money! 

		    NORTON 
	Don't you ever mention money to me 
	again, you sorry son of a bitch! 
	Not in this office, not anywhere! 
		(slaps intercom) 
	Get in here! Now! 

		    ANDY 
	I was just trying to rest your mind
	at ease, that's all. 

		    NORTON 
		(as GUARDS enter) 
	Solitary! A month! 

Andy gets dragged away, kicking and screaming: 

		    ANDY 
	What's the matter with you? It's my 
	chance to get out, don't you see 
	that? It's my life! Don't you 
	understand it's my life? 

193 EXT -- PRISON YARD -- DAY (1966) 193

Mail call. Men crowd around as names are called out. Red and
the boys are parked on the bleachers. 

		    FLOYD 
	A month in the hole. Longest damn 
	stretch I ever heard of. 

		    TOMMY 
	It's my fault. 

		    RED 
	Like hell. You didn't pull the 
	trigger, and you didn't convict him. 

		    HEYWOOD 
	Red? You saying Andy's innocent? I 
	mean for real innocent? 
		(Red nods) 
	Sweet Jesus. How long's he been in 
	here? 

		    RED 
	Since '47. Going on nineteen years. 

		    MAIL CALLER 
	Thomas Williams! 

Tommy raises his hand. The envelope gets tossed to him. He
stares at it. Red peers over his shoulder. 

		    RED 
	Board of Education. 

		    TOMMY 
	The son of a bitch mailed it. 

		    RED 
	Looks that way. You gonna open it 
	or stick your thumb up your butt? 

		    TOMMY 
	Thumb up my butt sounds better. 

He gets hemmed in by the older men. Red snatches the letter. 

		    TOMMY 
	C'mon, just throw it away. Will you 
	please? Just throw it away? 

Red rips it open, scans the letter. Expressionless. 

		    RED 
	Well, shit. 

194 INT -- VISITOR'S ROOM -- DAY (1966) 194

Tommy makes his way through the chaos, finds Beth and the baby 
waiting behind the thick plexi shield. He sits, doesn't pick 
up the phone. Just stares at Beth. She doesn't know what to 
make of it. 

He presses a piece of paper against the glass. A high school 
diploma. Her face lights up, blinking back tears. 

195 INT -- SOLITARY WING -- NIGHT (1966) 195

LOW ANGLE on steel door. Somewhere behind it, unseen, is Andy, 
A rat scurries along the wall. FOOTSTEPS approach slowly. 

196 INT -- SOLITARY -- NIGHT (1966) 196

Andy listens in darkness. The FOOTSTEPS pause outside his 
door. The slot opens. An ELDERLY GUARD peers in. 

		    ELDERLY GUARD 
	Kid passed. C-plus average. Thought 
	you'd like to know. 

The slot closes. The FOOTSTEPS recede. Andy smiles. 

197 INT -- PRISON CORRIDOR -- NIGHT (1966) 197

We find Tommy on evening work detail, mopping the floors with 
bucket and pail. Mert Entwhistle comes into view. 

		    MERT 
	Warden wants to talk. 

198 EXT -- PRISON -- NIGHT (1966) 198

A steel door rattles open. Mert leads Tommy outside to a gate, 
unlocks it. Tommy looks around. 

		    TOMMY 
	Out here? 

		    MERT 
	That's what the man said. 

Mert swings the gate open, sends Tommy through, turns and 
heads back inside. Tommy proceeds out across a loading-dock
access for the shops and mills. Some vehicles parked. The 
place is deserted. He stops, sensing a presence. 

		    TOMMY 
	Warden? 

Norton steps into the light. 

		    NORTON 
	Tommy, we've got a situation here. 
	I think you can appreciate that. 

		    TOMMY 
	Yes sir, I sure can. 

		    NORTON 
	I tell you, son, this really came 
	along and knocked my wind out. It's 
	got me up nights, that's the truth. 

Norton pulls a pack of cigarettes, offers Tommy a smoke. Tommy
takes one. Norton lights both cigarettes, pockets his lighter.

		    NORTON 
	The right decision. Sometimes it's 
	hard to figure out what that is. 
	You understand? 
		(Tommy nods) 
	Think hard, Tommy. If I'm gonna 
	move on this, there can't be the 
	least little shred of doubt. I have 
	to know if you what you told 
	Dufresne was the truth. 

		    TOMMY 
	Yes sir. Absolutely. 

		    NORTON 
	Would you be willing to swear before 
	a judge and jury...having placed 
	your hand on the Good Book and taken 
	an oath before Almighty God Himself? 

		    TOMMY 
	Just gimme that chance. 

		    NORTON 
	That's what I thought. 

Norton drops his cigarette. Crushes it out with the toe of his 
shoe. Glances up toward the plate shop roof as -- 

199 HIGH ANGLE FROM PLATE SHOP ROOF (SNIPER POV) 199

-- a rifle scope pops up into frame, jumping Tommy's image 
into startling magnification, framed in the crosshairs. 

200 THE SNIPER 200

rapid-fires a carbine -- BLAM!BLAM!BLAM!BLAM! -- his face lit 
up by the muzzle flashes. Captain Hadley. 

201 TOMMY 201

gets chewed to pieces by the gunfire. He smacks the ground in 
a twitching, thrashing heap. Eyes wide and staring. Dead. 
Surprise still stamped on his face. Silence now. Norton 
turns, strolls into darkness. 

202 INT -- SOLITARY WING -- DAY (1966) 202

GUARDS approach Andy's cell. The door is unlocked. Andy 
emerges slowly, blinking painfully at the light. 

203 INT/EXT -- PRISON -- DAY (1966) 203

Andy is marched along. Convicts stop to stare. 

204 INT -- NORTON'S OFFICE -- DAY (1966) 204

Andy is led in. The door is closed. Alone with Norton. Softly, 

		    NORTON 
	Terrible thing. Man that young, 
	less than a year to go, trying to 
	escape. Broke Captain Hadley's 
	heart to shoot him, truly it did. 

		    ANDY 
	I'm done. It stops right now. Get 
	H&R Block to declare your income. 
	
Norton lunges to his feet, eyes sparkling with rage. 

		    NORTON 
	Nothing stops! NOTHING! 
		(tight) 
	Or you will do the hardest time 
	there is. No more protection from 
	the guards. I'll pull you out of 
	that one-bunk Hilton and put you in
	with the biggest bull queer I can 
	find. You'll think you got fucked 
	by a train! And the library? Gone! 
	Sealed off brick by brick! We'll 
	have us a little book-barbecue in 	
	the yard! They'll see the flames 
	for miles! We'll dance around it 
	like wild Indians! Do you understand 
	me? Are you catching my drift? 

SLOW PUSH IN on Andy's face. Eyes hollow. His beaten 
expression says it all... 

205 EXT -- PRISON YARD -- DAY (1966) 205

Red finds Andy sitting in the shadow of the high stone wall, 
poking listlessly through the dust for small pebbles. Red 
waits for some acknowledgment. Andy doesn't even look up. 
Red hunkers down and joins him. Nothing is said for the 
longest time. And then, softly: 

		    ANDY 
	My wife used to say I'm a hard man 
	to know. Like a closed book. 
	Complained about it all the time. 
		(pause) 
	She was beautiful. I loved her. But 
	I guess I couldn't show it enough. 
		(softly) 
	I killed her, Red. 

Andy finally glances to Red, seeking a reaction. Silence. 

		    ANDY 
	I didn't pull the trigger. But I 
	drove her away. That's why she 
	died. Because of me, the way I am. 

		    RED 
	That don't make you a murderer. Bad 
	husband, maybe. 

Andy smiles faintly in spite of himself. Red gives his 
shoulder a squeeze. 

		    RED 
	Feel bad about it if you want. But 
	you didn't pull the trigger. 

		    ANDY 
	No. I didn't. Someone else did, and 
	I wound up here. Bad luck, I guess. 

		    RED 
	Bad luck? Jesus. 

		    ANDY 
	It floats around. Has to land on 
	somebody. Say a storm comes 
	through. Some folks sit in their 
	living rooms and enjoy the rain. 
	The house next door gets torn out 
	of the ground and smashed flat. It 
	was my turn, that's all. I was in 
	the path of the tornado. 
		(softly) 
	I just had no idea the storm would 
	go on as long as it has. 
		(glances to him) 
	Think you'll ever get out of here? 

		    RED 
	Sure. When I got a long white beard 
	and about three marbles left 
	rolling around upstairs. 

		    ANDY 
	Tell you where I'd go. Zihuatanejo.

		    RED 
	Zihuatanejo? 

		    ANDY 
	Mexico. Little place right on the 
	Pacific. You know what the Mexicans 
	say about the Pacific? They say it 
	has no memory. That's where I'd 
	like to finish out my life, Red. A 
	warm place with no memory. Open a 
	little hotel right on the beach. 
	Buy some worthless old boat and fix 
	it up like new. Take my guests out 
	charter fishing. 
		(beat) 
	You know, a place like that, I'd 
	need a man who can get things. 

Red stares at Andy, laughs. 

		    RED 
	Jesus, Andy. I couldn't hack it on 
	the outside. Been in here too long. 
	I'm an institutional man now. Like 
	old Brooks Hatlen was. 

		    ANDY 
	You underestimate yourself.

		    RED 
	Bullshit. In here I'm the guy who 
	can get it for you. Out there, all 
	you need are Yellow Pages. I 
	wouldn't know where to begin. 
		(derisive snort) 
	Pacific Ocean? Hell. Like to scare 
	me to death, somethin' that big. 

		    ANDY 
	Not me. I didn't shoot my wife and 
	I didn't shoot her lover, and 
	whatever mistakes I made I've paid 
	for and then some. That hotel and 
	that boat...I don't think it's too 
	much to want. To look at the stars 
	just after sunset. Touch the sand. 
	Wade in the water. Feel free. 

		    RED 
	Goddamn it, Andy, stop! Don't do 
	that to yourself! Talking shitty 
	pipedreams! Mexico's down there, 
	and you're in here, and that's the 
	way it is! 

		    ANDY 
	You're right. It's down there, and 
	I'm in here. I guess it comes down 
	to a simple choice, really. Get 
	busy living or get busy dying. 

Red snaps a look. What the hell does that mean? Andy rises and
walks away. Red lunges to his feet. 

		    RED 
	Andy? 

		    ANDY 
		(turns back) 
	Red, if you ever get out of here, 
	do me a favor. There's this big 
	hayfield up near Buxton. You know 
	where Buxton is? 

		    RED 
		(nods) 
	Lots of hayfields there. 

		    ANDY 
	One in particular. Got a long rock 
	wall with a big oak at the north 
	end. Like something out of a Robert 
	Frost poem. It's where I asked my 
	wife to marry me. We'd gone for a 
	picnic. We made love under that 
	tree. I asked and she said yes. 
		(beat) 
	Promise me, Red. If you ever get 
	out, find that spot. In the base of 
	that wall you'll find a rock that 
	has no earthly business in a Maine 
	hayfield. A piece of black volcanic 
	glass. You'll find something buried 
	under it I want you to have. 

		    RED 
	What? What's buried there? 

		    ANDY 
	You'll just have to pry up that 
	rock and see. 

Andy turns and walks away. 

206 INT -- MESS HALL -- DAY (1966) 

		    RED 
	I tell you, the man was talkin' 
	crazy. I'm worried, I truly am. 

		    SKEET 
	We ought to keep an eye on him. 

		    ZIGGER 
	That's fine, during the day. But 
	at night he's got that cell all to 
	himself. 

		    HEYWOOD 
	Oh Lord. Andy come down to the 
	loading dock today. Asked me for a 
	length of rope. Six foot long. 

		    SNOOZE 
	Shit! You gave it to him? 

		    HEYWOOD 
	Sure I did. I mean why wouldn't I?

		    FLOYD 
	Christ! Remember Brooks Hatlen? 

		    HEYWOOD 
	How the hell was I s'pose to know? 

		    ZIGGER 
	Andy'd never do that. Never. 

They all look to Red. 

		    RED 
	Every man's got a breaking point. 

207 EXT -- PRISON YARD -- ANGLE ON P.A. -- DUSK (1966) 207

		    VOICE (over P.A.) 
	Report to your cellblocks for 
	evening count. 

BOOM DOWN to Red and the boys. Convicts drift past them.

		    FLOYD 
	Where the hell is he? 

		    HEYWOOD 
	Probably still up in the warden's. 

		    TOWER GUARD 
		(via bullhorn) 
	YOU MEN! YOU HEAR THAT ANNOUNCEMENT 
	OR ZUST TOO STUPID TO UNDERSTAND? 

		    SKEET 
	Christ. What do we do?

		    FLOYD 
Nothing we can do. Not tonight. 

		    HEYWOOD 
	Let's pull him aside tomorrow, all 
	of us. Have a word with him. Ain't 
	that right, Red? 

		    RED 
		(unconvinced) 
	Yeah. Sure. That's right. 

20B INT -- NORTON'S OFFICE -- NIGHT (1966) 208

Andy's working away. Norton pokes his head in. 

		    NORTON 
	Lickety-split. I wanna get home. 

		    ANDY 
	Just about done, sir. 

We follow Norton to his wife's sampler. He swings it aside, 
works the combination dial, opens the wall safe. Andy moves up,
shoves in the black ledger and files. Norton shuts the safe. 

		    ANDY 
	Three deposits tonight. 

Andy hands him the envelopes. Norton heads for the door. 

		    NORTON 
	Get my stuff down t'laundry. And 
	shine my shoes. I want 'em lookin' 
	like mirrors. 
		(pauses at door) 
	Nice havin' you back, Andy. Place 
	just wasn't the same without you. 

Norton exits. Andy turns to the laundry. He opens the shoebox. 
Nice pair of dress shoes inside. He sighs, glances down at the 
old ragged pair of work shoes on his own feet. 

209 INT -- NORTON'S OFFICE -- NIGHT (1966) 209

Andy is diligently shining Norton's shoes. 

210 INT -- PRISON CORRIDOR -- NIGHT (1966) 210

Andy trudges down the hallway, laundry slung over his shoulder, 

211 INT -- CELLBLOCK FIVE -- NIGHT (1966) 211

Andy nods to the GUARD. The guard BUZZES him through. 

212 INT -- RED'S CELL -- NIGHT (1966) 212

Red hears Andy coming, moves to the bars. He watches Andy come 
up to the second tier and pause before his cell. 

		    GUARD (O.S.) 
	Open number twelve! 

Andy gazes directly at Red. A beat of eye contact. Red shakes 
his head. Don't do it. Andy smiles, eerily calm...and enters 
his cell. The door closes. KA-THUMP! We hold on Red's face. 

213 INT -- ANDY'S CELL -- NIGHT (1966) 213

Andy is polishing a chess piece. 

		    VOICE (O.S.) 
	Lights out! 

The lights bump off. He finishes polishing, holds up the piece 
to admire. A pawn. He sets it down with the others -- and we 
realize it's the final glance for the board. A full set. 

He gazes up at Racquel and smiles. Pulls a six foot length of 
rope from under his pillow. Lets it uncoil to the floor. 

214 INT -- RED'S CELL -- NIGHT (1966) 214

Red sits in the dark, a bundle of nerves, trying to hold 

himself still. He feels like he might scream or shake to 
pieces. The seconds tick by, each an eternity. 

		    RED (V.O.) 
	I have had some long nights in 
	stir. Alone in the dark with 
	nothing but your thoughts, time can 
	draw out like a blade... 

A FLASH OF LIGHTNING outside his window sends harsh barred 
shadows jittering across the cell. A storm breaking. 

		    RED (V.O.) 
	That was the longest night of my 
	life... 

215 INT -- CELLBLOCK FIVE -- MORNING (1966) 215

KA-THUMP! The master lock is thrown. The cons emerge from 
their cells and the headcount begins. Red looks back to see if 
Andy's in line. He's not. Suddenly the count stalls: 

		    GUARD 
	Man missing on tier two! Cell 12! 

The head bull, HAIG, checks his list: 

		    HAIG 
	Dufresne? Get your ass out here, 
	boy! You're holding up the show! 
		(no answer) 
	Don't make me come down there now! 
	I'll thump your skull for you! 

Still no answer. Glaring, Haig stalks down the tier, clipboard 
in hand. His men fall in behind. 

		    HAIG 
	Dufresne, dammit, you're putting me 
	behind! You better be sick or dead 
	in there, I shit you not! 

They arrive at bars. Their faces go slack. Stunned. Softly: 

		    HAIG 
	Oh my Holy God. 

216 REVERSE ANGLE 216

reveals the cell is empty. Everything neat and tidy. Even the 
bunk is stowed. They wrench the door open and rush in, tossing 
the cell in a panic as if Andy might be lurking under the 
Kleenex or the toothpaste. CAMERA ROCKETS IN on Haig as he 
spins toward us, bellowing at the top of his lungs: 

		    HAIG 
	WHAT THE FUCK! 

217 INT -- NORTON'S OFFICE -- MORNING (1966) 217

Norton is kicking back with the morning paper. He notices ha
dingy his shoes are. He glances at the shoebox on the desk. 
kicks his shoes off, opens the box -- and gulls out Andy's o
grimy work shoes. He stares blankly. What the fuck indeed. 

An ALARM STARTS BLARING throughout the prison. He looks up. 

218 EXT -- PRISON -- DAY (1966) 218

Norton and Hadley stride across the grounds, ALARM BLARING. 

		    NORTON 
	I want every man on that cellblock 
	questioned! Start with that friend 
	of his! 

		    HADLEY 
	Who? 

219 INT -- CELLBLOCK FIVE -- RED'S CELL -- DAY (1966) 219

Red watches as Norton storms up with an entourage of guards.

		    NORTON 
	Him. 

Red's eyes widen. Guards yank him from his cell. 

220 INT -- ANDY'S CELL -- DAY (1966) 220

Norton steps to the center of the room, working himself up 
into a fine rage: 

		    NORTON 
	What do you mean "he just wasn't 
	here?" Don't say that to me, Haig! 
	Don't say that to me again! 

		    HAIG 
	But sir! He wasn't! He isn't! 

		    NORTON 
	I can see that, Haig! You think I'm 
	blind? Is that what you're saying? 
	Am I blind, Haig? 

		    HAIG 
	No sir! 

Norton grabs the clipboard and thrusts it at Hadley. 

		    NORTON 
	What about you? You blind? Tell me 
	what this is! 

		    HADLEY 
	Last night's count. 

		    NORTON 
	You see Dufresne's name? I sure do! 
	Right there, see? "Dufresne." He 
	was in his cell at lights out! 
	Stands to reason he'd still be here 
	this morning! I want him found! Not 
	tomorrow, not after breakfast! Now! 

Haig scurries out, gathering men. Norton spins to Red. 

		    NORTON 
	Well? 

		    RED 
	Well what? 

		    NORTON 
	I see you two all the time, you're 
	thick as thieves, you are! He 
	must'a said something! 

		    RED 
	No sir, he didn't! 

Norton spreads his arms evangelist-style, spins slowly around.

		    NORTON 
	Lord! It's a miracle! Man up and 
	vanished like a fart in the wind! 
	Nothin' left but some damn rocks on 
	the windowsill and that cupcake on 
	the wall! Let's ask her! Maybe she 
	knows! What say there, Fuzzy- 
	Britches? Feel like talking? Guess 
	not. Why should you be different? 

Red exchanges looks with the guards. Even they're nervous. 
Norton scoops a handful rocks off the sill. He hurls them at
the wall one at a time, shattering them, punctuating his words:

		    NORTON 
	It's a conspiracy! (SMASH) That's 
	what this is! (SMASH) It's one big 
	damn conspiracy! (SMASH) And 
	everyone's in on it! (SMASH) 
	Including her! 

He sends the last rock whizzing right at Racquel. 
No smash. 

It takes a moment for this to sink in. All eyes go to her. The 
rock went through her. There's a small hole in the poster 
where her navel used to be. 

You could hear a pin drop. Norton reaches up, sinks his finger 
into the hole. He keeps pushing...and his entire hand 
disappears into the wall.

221 ANGLE FROM BEHIND POSTER 221

as Norton rips the poster from before our eyes. Stunned faces 
peer in. CAMERA PULLS SLOWLY BACK...to reveal the long 
crumbling tunnel in the wall. 

222 INT -- ANDY'S CELL -- MINUTES LATER (1966) 222

RORY TREMONT, a guard barely out of his teens, tries not to 
look nervous as they lash a rope around his chest. He's 
getting instructions from six different people at once. 

		    RED (V.O.) 
	They got this skinny kid named Rory 
	Tremont to go in the hole. He wasn't 
	much in the brains department, but 
	he possessed the one most important 
	qualification for the job... 
		(they slap a flashlight 
		in his hands) 
	...he was willing to go. 

223 INT -- TUNNEL -- DAY (1966) 223

Rory squeezes down the tunnel on his belly. 

		    RED (V.O.) 
	Probably thought he'd win a Bronze 
	Star or something. 

224 INT -- VERTICAL SHAFT -- DAY (1966) 224

Dark as midnight. Concrete walls rise on both sides. If you 
imagine them as two huge slices of bread, the meat of this 
particular sandwich is about three feet of airspace and a dark
tangle of pipes between the cellblocks. Rory's appears, shining
his flashlight down the shaft. Somewhere, a rat SQUEAKS. 

		    RED (V.O.) 
	It was his third day on the job. 

		    RORY 
	Warden? There's a space here 
	between the walls 'bout three feet 
	across! Smells pretty damn bad! 

		    NORTON (O.S.) 
	I don't care what it smells like! 

		    HADLEY (O.S.) 
	Go on, boy! We got a hold of you! 

Looking none too happy about it, Rory squeezes from the tunnel 
and dangles into the shaft. He gets lowered, shining his 
light, smothered by darkness. Not having a good time. 

		    RORY 
	Hoo-whee! Smell's gettin' worse! 

		    NORTON (O.S.) 
	Never mind, I said! Just keep going! 

		    RORY 
	Smells pretty damn bad, Warden! In 
	fact, it smells just like shit. 

His feet touch the ground -- or what he assumed was the 
ground. It's not. In fact, it's just what it smells like. He 
sinks in past his ankles. He slips and sits heavily in it. 

		    RORY 
	Oh God, that's what it is, it's 
	shit. Oh my God it's shit. pull me 
	out 'fore I blow my groceries, oh 
	shit it's shit, oh my Gawwwwwwd! 

225 INT -- ANDY'S CELL -- DAY (1966) 225

Red and others listen to violent barfing from below. 

		    RED (V.O.) 
	And then came the unmistakable 
	sound of Rory Tremont losing his 
	last few meals. The whole cellblock
	heard it. I mean, it echoed. 

That's it for Red. He starts laughing. Laughing, hell, he's 
bellowing laughter, laughing so hard he has to hold himself, 
laughing so hard tears are pouring down his cheeks. The look 
of rage on Norton's face makes him laugh all the harder. 

226 INT -- SOLITARY WING -- NIGHT (1966) 226

Abrupt silence. LOW ANGLE on steel door. 

		    RED (V.O.) 
	I laughed myself right into 
	solitary. Two week stretch. 

227 INT -- SOLITARY -- NIGHT (1966) 227

		    RED 
	It's shit, it's shit, oh my God 
	it's shit... 

He starts laughing all over again, fit to split. 

		    RED (V.O.) 
	Andy once talked about doing easy 
	time in the hole. Now I knew what 
	he meant. 

228 EXT -- SHAWSHANK PRISON -- WIDE SHOT -- DAY (1966) 228

Virgin landscape. Charming rural road. Suddenly, State Police
cruisers rocket up the road with SIRENS AND LIGHTS. 

		    RED (V.O.) 
	In 1966, Andy Dufresne escaped from 
	Shawshank Prison. 

229 EXT -- FIELD -- DAY (1966) 229

Shawshank is half a mile distant. WE TRACK ALONG a muddy creel
as STATE TROOPERS and PRISON GUARDS scour the brush. A TROOPEE
fishes a prison uniform out of the creek with a long stick. 

		    RED (V.O.) 
	All they found of him was a muddy 
	set of prison clothes, a bar of 
	soap, and an old rock-hammer damn 
	near worn down to the nub. 

TROOPER #2 pulls the rock-hammer from the weeds. SWISH PAN 
to a POLICE PHOTOGRAPHER. His FLASHBULB GLARE produces: 

230 A BLACK AND WHITE STILL PHOTO 230

of the hapless cops posing with Andy's reeking uniform and the
worn rock-hammer. PUSH IN on the hammer. 

		    RED (V.O.) 
	I remember thinking it would take a 
	man six hundred years to tunnel 
	through the wall with it. Andy did 
	it in less than twenty. 

231 INT -- ANDY'S CELL -- NIGHT (1949) 231

Once again, we see Andy using the rock-hammer to scratch his

name into the cement. Suddenly, a palm-sized chunk of cement 
pops free and hits the floor. He stares down at it. 

232 INT -- ANDY'S CELL -- NIGHT (1949) 232

Andy lies in the dark, studying the chunk of concrete in his 
hands. Considering the possibilities. Wrestling with hope. 

		    RED (V.O.) 
	Andy loved geology. I imagine it 
	appealed to his meticulous nature. 
	An ice age here, a million years of 
	mountain-building there, plates of 
	bedrock grinding against each other 
	over a span of millennia... 

233 INT -- ANDY'S CELL -- NIGHT (1949) 233

Andy stands peering at the small hole left by the fallen 
chunk. Carefully runs his fingertip over it. 

		    RED (V.O.) 
	Geology is the study of pressure 
	and time. That's all it takes, 
	really. Pressure and time. 

234 INT -- ANDY'S CELL -- NIGHT (1951) 234

Rita is now on the wall, hanging down over Andy's back. 

		    RED (V.O.) 
	That and a big damn poster. 

TRACK IN to reveal Andy scraping patiently at the concrete. 

		    RED (V.O.) 
	Like I said. In prison, a man'll do 
	most anything to keep his mind 
	occupied. 

He hears FOOTSTEPS approaching. He smoothes the poster down and 
dives into bed. A GUARD strolls by a moment later, shining his 
flashlight into the cell. 

235 EXT -- PRISON YARD -- DAY (1953) 235

Andy strolls along, whistling softly, hands in both pockets. 
TILT DOWN to his pantleg. Concrete grit trickles out. 

		    RED (V.O.) 
	It turns out Andy's favorite hobby 
	was totin' his wall out into the 
	exercise yard a handful at a time... 

236 INT -- 2ND TIER -- NIGHT (1962) 236

A GUARD strolls the tier, shining his flashlight into the 
cells. He pauses at Andy's bars, playing the beam over the 
sleeping form huddled under the blankets. 

237 REVERSE ANGLE (FROM INSIDE ANDY'S CELL) 237

We see what the guard doesn't: instead of Andy's head under 
the blanket, it's a wadded-up pillow. The flashlight plays 
across the cell, pinning Marilyn Monroe in a circle of light. 

238 ANGLE FROM BEHIND POSTER 238

The light illuminates her face through the paper. WIDEN to 
reveal Andy lying in his tunnel, holding his breath. The 
light clicks off. The FOOTSTEPS move on. He gets back to work. 

		    RED (V.O.) 
	While the rest of us slept, Andy 
	spent years workin' the nightshift... 

239 INT -- SHAFT -- NIGHT (1965) 239

BOOMING SLOWLY UP the shaft. Rats scurry the pipes. Suddenly, r
piece of concrete the size of a quarter jumps free and plummets
down the shaft as the rock-hammer pushes through. The pick 
withdraws, replaced by Andy's peering eye. 

240 A SERIES OF DISSOLVES (1965 through 1966) 240

takes us through the widening of the hole. First as big as a 
tea cup. Then a saucer. Then a dinner plate. 

		    RED (V.O.) 
	Probably took him most of a year 
	just to get his head through. 

Andy finally gets his head through, scraping his ears. He's 
got a penlight clenched in his teeth. He peers down into the 
shaft. At the very bottom, maybe 20 feet down, a big ceramic 
pipe runs the length of the cellblock. Beneath its coat of 
grime and dust, the word "SEWER" is stenciled. 

241 EXT -- LOADING DOCK ACCESS -- NIGHT (1966) 241

ANGLE LOOKING STRAIGHT DOWN. Below us, Tommy Williams lies 
facedown at Norton's feet. Blood is spreading, fanning out oa 
the pavement. Norton turns, strolls out of frame. 

		    RED (V.O.) 
	I guess after Tommy was killed, 
	Andy decided he'd been here just 
	about long enough. 

Again we see: Andy working. Norton pokes his head in. 

		    NORTON 
	Lickety-split. I wanna get home. 

		    ANDY 
	Just about done, sir. 

Norton crosses to the wall safe and works the dial, his back 
turned. This time, though, we stay on Andy: 

He pulls up his sweater, yanks out a large black book and a 
stack of files, lays them on the desk. He then grabs the real 
ledger and files, jams them down his pants and smoothes his 
sweater down. He picks up the bogus stack, crosses to Norton, 
and shoves everything in. 

243 INT -- HALLWAY -- NIGHT (1966) 243

Norton exits his office and strolls off whistling. PUSH IN on 
the open door. We see Andy at the guard's desk, pulling 
Norton's dress shoes from their box. 

		    RED (V.O.) 
	Andy did like he was told. Buffed 
	those shoes to a high mirror shine. 

244 INT -- NORTON'S OFFICE -- MINUTES LATER (1966) 244

Andy sorts through Norton's three suits. He pauses, checking 
the gray pinstripe. Nice. 

245 INT -- CELLBLOCK FIVE -- NIGHT (1966) 245

The guard BUZZES Andy through. Andy walks toward us.

		    RED (V.O.) 
	The guard simply didn't notice. 
	Neither did I. I mean, seriously, 
	how often do you really look at a 
	man's shoes? 

TILT DOWN as he passes by. Yep, he's wearing Norton's shoes. 

246 INT -- ANDY'S CELL -- NIGHT (1966) 246

The lights go out. Andy places the last chess piece. Gazes up 
at Racquel. Smiles. Pulls the rope from under his pillow. 
He stands and unbuttons his prison shirt, revealing Norton's 
gray pinstripe suit underneath. A FLASH OF LIGHTNING floods the 
cell, throwing wild shadows. 

247 INT -- ANDY'S CELL -- NIGHT (1966) 247

The storm rages. Andy, naked, carefully slips Norton's folded 
suit into a large industrial Zip-Lock bag. Next to go in are the
shoes, chess pieces (already in a smaller bag), black ledger en
files. Last but not least, a bar of soap wrapped in a towel. 

248 INT -- TUNNEL -- NIGHT (1966) 248

Andy, again wearing prison clothes, inches down the tunnel. 

249 INT -- SHAFT -- NIGHT (1966) 249

Andy squeezes through the hole head-first, emerges to the waist,
He reaches for the opposite wall, manages to snag a steel 
conduit with his fingers. 

Suddenly, a huge rat darts for his hand. Andy yanks away and 
almost plummets head-first down the shaft. He dangles wildly 
upside-down for a moment, arms windmilling, then gets his 
hands pressed firmly against the opposite wall. The rat 
scurries off, pissed. 

Andy snags the conduit again. He contorts out of the hole and
dangles into the shaft. We now see the purpose for the rope: the
plastic bag hangs from his ankle with about two feet of slack,

He kicks his legs across the shaft, gets his feet braced. Wit3
his back against one wall and feet against the other, he 
starts down the shaft. Sliding dangerously. Using pipes for 
handholds. Flinching as rats dart this way and that, scurrying
in the shadows. He drops the last few feet to the bottom. 

He approaches the ceramic sewer pipe and kneels before it. 
Pulls out the rock-hammer and says a quick silent prayer. 
Raises the rock-hammer high and swings it down with all his 
might. Once, twice -- third time lucky. An enormous eruption 
of sewage cascades into the air as if rocket-propelled, the 
Mount St. Helens of shit. Andy is instantly coated black. He 
turns away and heaves his guts out. The shit keeps coming. 

250 INT -- SEWER PIPE -- NIGHT (1966) 250

Andy peers down through the hole, playing his penlight aroun5,
The inside diameter is no more than two feet. Tight squeeze. 
Coated with crud. It seems to go on for miles. 

No turning back. He wriggles into the pipe and starts 
crawling, plastic bag dragging behind. 

		    RED (V.O.) 
	Andy crawled to freedom through 
	five hundred yards of shit-smelling 
	foulness I can't even imagine. Or 
	maybe I just don't want to. 

251 EXT -- FIELD -- NIGHT (1966) 251

Rain is falling in solid sheets. Shawshank is half a mile 
distant. BOOM DOWN to reveal the creek...and PUSH IN toward the 
mouth of the sewer pipe that feeds into it. 

		    RED (V.O.) 
	Five hundred yards. The length of 
	five football fields. Just shy of 
	half a mile. 

Fingers appear, thrusting through the heavy-gauge wire mesh 
covering the mouth of the pipe. Andy's face looms from the 
darkness, peering out at freedom. He wrenches the mesh loose, 
pushes himself out, and plunges head-first into the creek. He 
comes up sputtering for breath. The water is waist-deep. 

He wades upstream, ripping his clothes from his body. He gets 
his shirt off, spins it through the air over his head, flings 
the shirt away. He raises his arms to the sky, turning slowly, 
feeling the rain washing him clean. Exultant. Triumphant. A 
FLASH OF LIGHTNING arcs from horizon to horizon. 

252 INT -- ANDY'S TUNNEL -- DAY (1966) 252

Once again, we see stunned faces as CAMERA PULLS BACK. 

		    RED (V.O.) 
	The next morning, right about the 
	time Racquel was spilling her 
	little secret... 

253 INT -- CASCO BANK OF PORTLAND -- MORNING (1966) 253

The door opens. Spit-shined shoes enter. DOLLY the shoes to 
the counter. 

		    RED (V.O.) 
	...a man nobody ever laid eyes on 
	before strolled into the Casco Bank 
	of Portland. Until that moment, he 
	didn't exist -- except on paper. 

FEMALE TELLER (O.S.) 
May I help you? 

TILT UP to Andy. Smiling in Norton's gray pinstripe suit.

		    ANDY 
	My name is Peter Stevens. I've come 
	to close out some accounts. 

254 INT -- BANK -- SHORTLY LATER (1966) 254

The teller is cutting a cashier's check while the MANAGER 

carefully examines Mr. Stevens' various I.D.s. 

		    RED (V.O.) 
	He had all the proper I.D. Driver's 
	license, birth certificate, social 
	security card. The signature was a 
	spot-on match. 

		    MANAGER 
	I must say I'm sorry to be losing 
	your business. I hope you'll enjoy 
	living abroad. 

		    ANDY 
	Thank you. I'm sure I will. 

		    TELLER 
	Here's your cashier's check, sir. 
	Will there be anything else? 

		    ANDY 
	Please. Would you add this to your 
	outgoing mail? 

He hands her a package, stamped and addressed. Gives them a 
pleasant smile. Turns and strolls from the bank. 

		    RED (V.O.) 
	Mr. Stevens visited nearly a dozen 
	banks in the Portland area that 
	morning. All told, he blew town 
	with better than 370 thousand 
	dollars of Warden Norton's money. 
	Severance pay for nineteen years. 

255 INT -- OFFICE -- DAY (1966) 255

A MAN in shirtsleeves is going through the mail on his desk. 
He finds Andy's package, rips it open. Pulls out the black 
ledger and files. Scans a cover letter. Holy shit. He dashes 
to his door and yanks it open, revealing the words on the 
glass: "PORTLAND DAILY BUGLE -- Editor In Chief." 

		    MAN 
	Hal! Dave! Get your butts in here! 

256 INT -- SHAWSHANK PRISON -- DAY (1966) 256

Norton walks slowly toward his office. Dazed. The morning 
paper in his hand. He goes wordlessly past the DUTY GUARD into 
his office. Shuts the door. Lays the paper on his desk. 

The headline reads: "CORRUPTION AND MURDER AT SHAWSHANK." 
Below that, the sub-headline: "D.A. Has Ledger. Indictments 
Expected." Norton looks up as SIRENS SWELL in the distance.

257 EXT -- SHAWSHANK PRISON -- WIDE SHOT -- DAY (1966) 257

For the second time, State Police cruisers go rocketing up the
road with SIRENS AND LIGHTS. 

258 INT -- NORTON'S OFFICE -- DAY (1966) 258

Norton opens his safe and pulls out the "ledger" -- it's 
Andy's Bible. The title page is inscribed by hand: "Dear 
Warden. You were right. Salvation lay within." Norton flips to
the center of the book -- and finds the pages hollowed out in
the shape of a rock-hammer. 

259 EXT -- PRISON -- DAY (1966) 259

Police cruisers everywhere. A media circus. REPORTERS jostle
for position. A colorless DISTRICT ATTORNEY steps forward into
CLOSEUP, flanked by a contingent of S.ATE TROOPERS. 

		    D.A. 
	Byron Hadley? 

ANGLE SHIFTS to reveal Captain Hadley. Staring. Waiting. 

		    D.A. 
	You have the right to remain 
	silent. If you give up that 
	right, anything you say will be 
	used against you in court... 

TROOPERS move in, cuffing Hadley's hands behind his back. The
D.A. drones on. FLASHBULBS POP. Hadley says nothing. His face
scrunches up. He begins to cry. 

		    RED (V.O.) 
	I wasn't there to see it, but I hear 
	Byron Hadley was sobbing like a 
	little girl when they took him away.

Hadley sobs all the way to the car. The D.A. snaps a gaze up
toward Norton's window, motions his men to follow. 

260 INT -- NORTON'S OFFICE -- DAY (1966) 260

Norton is staring out the window as they approach the 
building. He goes to his desk, opens a drawer. Inside lies a
revolver and a box of shells. 

		    RED (V.O.) 
	Norton had no intention of goin' 
	that quietly.

261 INT -- PRISON CORRIDORS -- DAY (1966) 261

The D.A. marches along amidst a phalanx of TROOPERS. 

262 INT -- NORTON'S OFFICE -- DAY (1966) 262

Norton sits blankly at his desk, revolver before him. The 
doorknob rattles, a VOICE is heard: 

		    D.A. (O.S.) 
	Samuel Norton? We have a warrant 
	for your arrest! Open up! 

The POUNDING starts. Norton dumps the box of bullets out on thr
desk. He starts sorting them to see which ones he likes. 

263 OUTSIDE HIS OFFICE 263

Troopers hustle the hapless duty guard to Norton's door as he
fumbles nervously with a huge key ring. 

		    DUTY GUARD 
	I'm not sure which one it is... 

He starts trying keys in the lock. And as the keys go sliding
in one after another... 

264 INT -- NORTON'S OFFICE -- DAY (1966) 264

...so do the bullets. Norton is riveted to the door. For every
key, he loads another bullet. Methodical and grim. He gets the
final bullet in just as the right key slams home. The door 
bursts open. Men muscle in. Somebody SHOUTS. Troopers dive in
all directions as Norton raises the gun -- 

-- and jams it under his chin. His head snaps back as the wall
goes red. His swivel chair does a slow half-turn and creaks to
a final stop. Troopers rise slowly, gazing in horror. 

		    RED (V.O.) 
	I like to think the last thing that 
	went through his head...other than 
	that bullet...was to wonder how the 
	hell Andy Dufresne ever got the 
	best of him. 

PUSH SLOWLY to the wall to reveal Mrs. Norton's framed sampler
trickling blood and brains...and we get our final Bible lesson
for today: "HIS JUDGMENT COMETH AND THAT RIGHT SOON." 

265 EXT -- PRISON YARD -- DAY (1966) 265

Mail call. Red hears his name. They pass him a postcard. 

		    RED (V.O.) 
	Not long after the warden deprived 
	us of his company, I got a postcard 
	in the mail. It was blank. But the 
	postmark said, "McNary, Texas." 

266 INT -- LIBRARY -- DAY (1966) 266

Red sits with an atlas, tracing his finger down the page. 

		    RED (V.O.) 
	McNary. Right on the border. That's 
	where Andy crossed. 
		(shuts the book) 
	When I picture him heading south in 
	his own car with the top down, it 
	makes me laugh all over again... 

267 EXT -- MEXICO -- HIGHWAY -- DAY (1966) 267

A red convertible rips along with Andy at the wheel, cigar 
jutting from his grin, warm wind fluttering his tie. 

		    RED (V.O.) 
	Andy Dufresne, who crawled through 
	a river of shit and came out clean 
	on the other side. Andy Dufresne, 
	headed for the Pacific. 

268 INT -- MESS HALL -- DAY (1966) 268

Heywood is regaling the table with some anecdote about Andy. 

		    RED (V.O.) 
	Those of us who knew him best talk 
	about him often. I swear, the stuff 
	he pulled. It always makes us laugh. 

A wild burst of laughter. PUSH IN on Red. Feeling melancholy.

		    RED (V.O.) 
	Sometimes it makes me sad, though, 
	Andy being gone. I have to remind 
	myself that some birds aren't meant 
	to be caged, that's all. Their 
	feathers are just too bright... 

269 EXT -- FIELDS -- LATE DAY (1966) 269

Convicts hoe the fields. Guards patrol on horseback. 

		    RED (V.O.) 
	...and when they fly away, the part 
	of you that knows it was a sin to 
	lock them up does rejoice...but still, 
	the place you live is that much more 
	drab and empty that they're gone. 

A DISTANT RUMBLE OF THUNDER. Red pauses, gazes off. Storm 
clouds coming in, backlit by the sun. A light drizzle begins. 

		    RED (V.O.) 
	I guess I just miss my friend. 

270 INT -- PRISON CELL -- NIGHT (1966) 270

Red is sleeping. He wakes with a start. 

		    RED (V.O.) 
	But there are times I curse him for 
	the dreams he left behind... 

He senses a presence, looks over his shoulder. There's a Rita 
Hayworth poster on his wall. He gets out of bed. Rita just 
keeps smiling, inscrutable. As Red watches, a brilliant 
round glow builds behind the poster, shining from the 
tunnel. The poster rips free, charred to ash in the blink 
of an eye as a shaft of holy white light stabs into the 
cell. Sunlight. Red staggers back against the glare. 

A whirlwind kicks up, whipping everything into the air. The 
hole in the wall is like a giant vacuum cleaner -- papers, 
book, toiletries, bedding -- if it ain't nailed down, it gets 
sucked down the hole toward the light. Red fights it, but the 
suction drags him closer and closer... 

271 RED'S POV 271

...and CAMERA rockets into the hole, getting sucked down an 
endless tunnel at impossible speed, the ROAR of air mixing 
with his drawn-out SCREAM, closer and closer to the light... 

...and erupting out the other side into total silence and a 
beautiful white beach. The Pacific Ocean before us. Enormous. 
Mind-blowing. Beautiful beyond description. All we hear now 
are the gentle sound of waves. 

		    RED (V.O.) 
	...dreams where I am lost in a warm 
	place with no memory. 

A lone figure stands at water's edge. CAMERA KEEPS MOVING, 
coming up behind him and TRACKING AROUND to reveal -- Red. 

		    RED (V.O.) 
	An ocean so big it strikes me dumb. 
	Waves so quiet they strike me deaf. 
	Sunshine so bright it strikes me 
	blind. It is a place that is blue 
	beyond reason. Bluer than can 
	possibly exist. Bluer than my mind 
	can possibly grasp. 

272 AERIAL SHOT 272

Nothing for a million miles but beach, sky, and water. Red is 
a tiny speck at water's edge. Just another grain of sand. 

		    RED (V.O.) 
	I am terrified. There is no way home. 

273 INT -- RED'S CELL -- NIGHT (1966) 273

Red wakes from the nightmare. He gets out of bed. Moves to the 
barred window of his cell. Peers up at the stars. 

		    RED (V.O.) 
	Andy. I know you're in that place. 
	Look at the stars for me just after 
	sunset. Touch the sand...wade in 
	the water...and feel free. 

FADE TO BLACK 

274 AN IRON-BARRED DOOR 274

slides open with an enormous CLANG. A stark room beyond. 
CAMERA PUSHES through. SIX MEN AND ONE WOMAN sit at a long 
table. An empty chair faces them. We are again in: 

INT -- SHAWSHANK HEARINGS ROOM -- DAY (1967) 

Red enters, sits. 20 years older than when we first saw him.

		    MAN #1 
	Your file says you've served forty 
	years of a life sentence. You feel 
	you've been rehabilitated? 

Red doesn't answer. Just stares off. Seconds tick by. The 
parole board exchanges glances. Somebody clears his throat. 

		    MAN #1 
	Shall I repeat the question? 

		    RED 
	I heard you. Rehabilitated. Let's 
	see now. You know, come to think of 
	it, I have no idea what that means. 

		    MAN #2 
	Well, it means you're ready to 
	rejoin society as a--

		    RED 
	I know what you think it means. Me, 
	I think it's a made-up word, a poli- 
	tician's word. A word so young fellas 
	like you can wear a suit and tie and 
	have a job. What do you really want 
	to know? Am I sorry for what I did? 

		    MAN #2 
	Well...are you? 

		    RED 
	Not a day goes by I don't feel 
	regret, and not because I'm in here 
	or because you think I should. I 
	look back on myself the way I 
	was...stupid kid who did that 
	terrible crime...wish I could talk 
	sense to him. Tell him how things 
	are. But I can't. That kid's long 
	gone, this old man is all that's 
	left, and I have to live with that. 
		(beat) 
	"Rehabilitated?" That's a bullshit 
	word, so you just go on ahead and 
	stamp that form there, sonny, and 
	stop wasting my damn time. Truth 
	is, I don't give a shit. 

The parole board just stares. Red sits drumming his fingers. 

CLOSEUP -- PAROLE FORM 

A big rubber stamp SLAMS down -- and lifts away to reveal the 
word "APPROVED" in red ink. 

275 EXT -- SHAWSHANK PRISON -- DAY 275 

TWO SHORT SIREN BLASTS herald the opening of the main gate. It 
swings hugely open, revealing Red standing in his cheap suit, 
carrying a cheap bag, wearing a cheap hat. He walks out, still 
looking stunned. 

276 INT -- BUS -- DAY 276 

Red rides the bus, clutching the seat before him, gripped by 
terror of speed and motion. 

277 EXT -- BREWSTER HOTEL -- LATE AFTERNOON 277 

Red arrives at the Brewster, three stories high and even less 
to look at than it used to be. 

27B INT -- BREWSTER -- LATE DAY 278 

A BLACK WOMAN leads Red up the stairs toward the top floor. 

279 INT -- RED'S ROOM -- LATE DAY 279 

Small, old, dingy. An arched window with a view of Congress
Street. Traffic noise floats up. Red enters and pauses, 
staring up at the ceiling beam. Carved into the wood are the
words: "Brooks Hatlen was here." 

280 INT -- FOODWAY MARKET -- DAY 280

Loud. Jangling with PEOPLE and NOISE. We find Red bagging 
groceries. Registers are humming, kids are shrieking. Red 
calls to the STORE MANAGER: 

		    RED 
	Sir? Restroom break sir? 

		    MANAGER 
		(motions him over) 
	You don't need to ask me every 
	time you go take a piss. Just go. 
	Understand? 


28l INT -- EMPLOYEE RESTROOM -- DAY 281

Red steps to the urinal, stares at himself in the wall mirror. 

		    RED (V.O.) 
	Thirty years I've been asking 
	permission to piss. I can't squeeze 
	a drop without say-so. 

A strange east Indian guitar-whine begins. The Beatles. George 
Harrison's "Within You Without You..." 

282 EXT -- STREET -- DAY 282

...which carries through as Red walks. People and traffic. He 
keeps looking at the women. An alien species. 

		    RED (V.O.) 
	Women, too, that's the other thing. 
	I forgot they were half the human 
	race. There's women everywhere, 
	every shape and size. I find myself 
	semi-hard most of the time, cursing 
	myself for a dirty old man. 

TWO YOUNG WOMEN stroll by in cut-offs and t-shirts. 

		    RED (V.O.) 
	Not a brassiere to be seen, nipples 
	poking out at the world. Jeezus, 
	pleeze-us. Back in my day, a woman 
	out in public like that would have 
	been arrested and given a sanity 
	hearing. 

283 EXT -- PARK -- DUSK 283

Red finds the park filled with HIPPIES. Hanging out. 
Happening. Here's the source of the music: a radio. A HIPPIE 
GIRL gyrates to the Beatles, stoned, in her own world. 

		    RED (V.O.) 
	They're calling this the Summer of 
	Love. Summer of Loonies, you ask me. 

284 INT -- PAROLE OFFICE -- DAY 284

Red sits across from his PAROLE OFFICER. The P.O. is filling
out his report. 

		    P.O. 
	You staying out of the bars, Red?

		    RED 
	Yes sir. That I am. 

		    P.O. 
	How you doing otherwise? Adjusting 
	okay? 

		    RED 
	Things got different out here. 

		    P.O. 
	Tell me about it. Young punks 
	protesting the war. You imagine? 
	Even my own kid. Oughtta bust his 
	fuckin' skull. 

		    RED 
	Guess the world moved on. 

285 INT -- FOODWAY -- DAY 285

Bagging groceries. CHILDREN underfoot. One points a toy gun at
Red, pumping the trigger. Red focuses on the gun, listening to
it CLICKETY-CLACK. Sparky wheel grinding. 

The kids get swept off by MOM. Red starts bagging the next 
customer. SLOW PUSH IN on Red. Surrounded by MOTION and NOISE.
Feeling like the eye of a hurricane. People everywhere, 
whipping around him like a gale. Strange. Loud. Dizzying. It
gets distorted and weird, slow and thick, pressing in on him
from all sides. The noise level intensifies. The hollering of
children deepens and distends into LOW EERIE HOWLS. 

He's in the grip of a major anxiety attack. Tries to shake
himself out of it. Can't. Fumbles the final items into the
bag. Walks away. Trying not to panic. Trying not to run. 

He makes his way through the store. Blinking sweat. He bumps
into a lady's cart, mumbles an apology, keeps going. Breaks 
into a trot. Down the aisle, cut to the left, through the door
into the back rooms, faster and faster, running now, slamming
through a door marked "Employees Only" into -- 

286 INT -- EMPLOYEE RESTROOM -- DAY 286

-- where he slams the door and leans heavily against it, 
shutting everything out, breathing heavily. Alone now. 

He goes to the sink, splashes his face, tries to calm down. 
He can still hear them out there. They won't go away. He 
glances around the restroom. Small. Not small enough. 

He enters a stall. Locks the door. Puts the toilet lid down 
and sits on the john. Better. He can actually reach out and 
touch the walls now. They're close. Safe. Almost small enough. 
He draws his feet up so he can't be seen if somebody walks in. 

He'll just sit here for a while. Until he calms down. 

287 EXT -- STREET -- DUSK 287

Red is walking home. 

		    RED (V.O.) 
	There is a harsh truth to face. 
	No way I'm gonna make it on the 
	outside. 

He pauses at a pawnshop window. An array of handguns. 

		    RED (V.O.) 
	All I do anymore is think of ways 
	to break my parole. 

The SHOPKEEPER appears at the glass, locking the door and 
flipping the sign: CLOSED. 

288 INT -- RED'S ROOM -- NIGHT 288

Red lies smoking in bed. Unable to sleep. 

		    RED (V.O.) 
	Terrible thing, to live in fear. 
	Brooks Hatlen knew it. Knew it all 
	too well. All I want is to be back 
	where things make sense. Where I 
	won't have to be afraid all the time. 

He glances up at the ceiling beam. "Brooks Hatlen was here." 

		   RED (V.O.) 
	Only one thing stops me. A promise 
	I made to Andy. 

289 EXT -- COUNTRY ROAD -- MORNING 289

A pickup truck rattles up the road trailing dust and pulls to 
a stop. Red hops off the back, waves his thanks. The truck 

drives on. Red starts walking. PAN TO a roadside sign: BUXTON. 

290 EXT -- MAINE COUNTRYSIDE -- DAY 290

High white clouds in a blazing blue sky. The trees fiery with 
autumn color. Red walks the fields and back-roads, cheap 
compass in hand. Looking for a certain hayfield. 

291 EXT -- COUNTRYSIDE -- DAY 291

Walking. Searching. The day turning late. Red finds himself 
staring at a distant field. There's a long rock wall, like 
something out o f a Robert Frost poem. Big oak tree. Red checks 
his compass. North end. He crosses a dirt road into the field. 

292 EXT -- HAYFIELD -- DAY 292

Red walks the long rock wall, nearing the tree. A squirrel 
scolds him from a low branch, scurries up higher. Red studies
the base of the wall. Nothing unusual here. Just a bunch of
rocks set in stone. He sighs. Fool's errand. Turns to go. 

Something catches his eye. He walks back, squats, peering 
closer. Wets a fingertip and rubs a stone. A layer of dust comes 
off. Volcanic glass. Gleaming black. He tries to get the rock 
out, anticipation growing. It won't come; it's too smooth. He 
pulls a pocketknife and levers the rock free. It tumbles at his 
feet, leaving a ragged hole. 

Red leans down and solves the mystery at last, staring at the 
object buried under the rock. Stunned. It's an envelope wrapped 
in plastic. Written on it is a single word: "Red." 

Red pulls the envelope out and rises. He just stares at it for 
a while, almost afraid to open it. But open it he does. Inside 
is a smaller envelope and a letter. Red begins to read: 

		    ANDY (V.O.) 
	Dear Red. If you're reading this, 
	you've gotten out. And if you've 
	come this far, maybe you're willing 
	to come a little further. You 
	remember the name of the town, 
	don't you? I could use a good man 
	to help me get my project on 
	wheels. I'll keep an eye out for 
	you and the chessboard ready. 
		(beat) 
	Remember, Red. Hope is a good 
	thing, maybe the best of things, 
	and no good thing ever dies. I will 
	be hoping that this letter finds 
	you, and finds you well. Your 
	friend. Andy. 

By now, tears are spilling silently down Red's cheeks. He 
opens the other envelope and fans out a stack of new fifty- 
dollar bills. Twenty of them. A thousand dollars. 

293 INT -- RED'S ROOM -- DAY (1967) 293

Red is dressed in his suit. He finishes knotting his tie, puts 
his hat on. His bag is by the door. He takes one last look 
around. Only one thing left to do. He pulls a wooden chair to 
the center of the room and gazes up at the ceiling beam. 

		    RED (V.O.) 
	Get busy living or get busy dying. 
	That is goddamn right. 

He steps up on the chair. It wobbles under his weight. 

294 INT -- BREWSTER -- RED'S DOOR -- DAY (1967) 294

The door opens. Red exits with his bag and heads down the 
stairs, leaving the door open. CAMERA PUSHES through, BOOMING 
UP to the ceiling beam which reads: "Brooks Hatlen was here." 

A new message has been carved alongside the old: "So was Red." 

295 INT -- GREYHOUND BUS STATION -- DAY (1967) 295

TRACKING SHOT reveals a long line of people at the counter. 

		    RED (V.O.) 
	For the second time in my life, I 
	am guilty of committing a crime. 

CAMERA brings us to Red, next in line, bag by his feet. 

		    RED (V.O.) 
	Parole violation. I doubt they'll 
	toss up any roadblocks for that. 
	Not for an old crook like me. 

		    RED 
		(steps up) 
	McNary, Texas? 

296 EXT -- TRAVELING SHOT -- DAY (1967) 296

A gorgeous New England landscape whizzes by, fields and trees 
a blur of motion. ANGLE SHIFTS to reveal a Greyhound Sceni- 
Cruiser barreling up the road, pulling abreast of us. CAMERA 
TRAVELS from window to window, passing faces. We finally come 
to Red gazing out at the passing landscape. 

		    RED (V.O.) 
	I find I am so excited I can barely 
	sit still or hold a thought in my 
	head. I think it is the excitement 
	only a free man can feel, a free 
	man at the start of a long journey 
	whose conclusion is uncertain... 

297 THE BUS 297

ROARS past camera, dwindling to a mere speck on the horizon. 

		    RED (V.O.) 
	I hope I can make it across the 
	border. I hope to see my friend 
	and shake his hand. I hope the 
	Pacific is as blue as it has been 
	in my dreams. 
		(beat) 
	I hope. 

298 EXT -- BEACH -- WIDE PANORAMIC SHOT -- DAY (1967) 298

A distant boat lies on its side in the sand like an old wreck 
that's been left to rot in the sun. There's someone out there. 

299 CLOSER ON BOAT 299

A MAN is meticulously stripping the old paint and varnish by 
hand, face hidden with goggles and kerchief mask. 

Red appears b.g., a distant figure walking out across the 
sand, wearing his cheap suit and carrying his cheap bag. 

The man on the boat pauses. Turns slowly around. Red arrives 
with a smile as wide as the horizon. The other man raises his 
goggles and pulls down his mask. Andy, of course. 

		    ANDY 
	You look like a man who knows how 
	to get things. 

		    RED 
	I'm known to locate certain things 
	from time to time. 

Red shrugs off his jacket and picks up a sander. Together, 
they start sanding the hull as we 

                                               FADE OUT





      