“Physicists propose that two alternate histories, two equally

valid realities, could exist side by side: the one you know, and

the one in which you don’t exist. Time itself may have many

potential dimensions, despite the fact that we are condemned to

experience only one of them.”

---Carl Sagan

“Hey, kids, what time is it?”

--Buffalo Bob Smith “The Howdy Doody Show”

FADE IN:

EXT. OUTER SPACE

The MOTHER SHIP rises above Devil’s Tower and sails off into

space to the strains of John Williams. In a moment we realize

that we’re watching the end titles of “Close Encounters”, and

then we

PULL BACK TO REVEAL

that the image is on a TV monitor...as we continue PULLING BACK,

we discover a bank of video equipment, and “Close Encounters” is

being pirated, from 3/4” cassette to VHS and Beta.

INT. VIDEO WORK AREA - LABORATORY - DAY

The video pirate operating this equipment is MARTY McFLY, 17, a

good looking kid who has an air of confidence just shy of

cockiness. He’s wearing a silver Porsche jacket, and like most

typical modern day kids, not a stitch of his clothing is without

some brand name or form of advertising. He’s looking at an ad

for a guitar amp in ROLLING STONE.

With the movie over, Marty shuts down the equipment, ejects the

cassettes, and writes on them, “Close Encounters, Original

Edition.”

He puts the master tape back in a drawer, and we catch a glimpse

of a few other titles---”Empire Strikes Back,” “Stir Crazy,”

“Superman II.”

MARTY

packs up his cassettes with his school books and takes us into

ANOTHER PART OF THE LABORATORY. The lab is a huge room, and

workbenches are all over, covered with chemical and electronic

3

equipment. The place is old and dusty and has the air of a mad

scientist lab of the 50’s.

An ELDERLY MAN is hunched over an experiment on one side of the

lab. Marty calls to him.

MARTY

Professor Brown! It’s almost

8:30---I’m outta here!

PROF. BROWN

Ssshhhh!

PROFESSOR EMMETT BROWN, late 60’s, is tinkering with a device

that looks like a Solar Cell, positioning it under a skylight to

catch the sun’s rays. He is eccentric, moody, but basically

kindly. And very involved in his work.

Marty has a closer look at what the Professor is working on. The

device is easily 30 years old, and Brown pours a chemical

solution into a compartment in the cell. He plugs a patch cord

from the Cell into a Voltmeter. An incandescent bulb on the

panel glows dimly, and the meter needles move slightly.

PROF. BROWN

Blast it!! 24 measly volts!

He throws an Erlenmeyer Flask across the room---it shatters

against the wall.

PROF. BROWN

(points to the sun)

The power of a million hydrogen

bombs...

(points to his experiment)

...and we get 24 measly volts.

It’s not fair! I’ve been working

on this Power Converter since 1949,

and you’d think in all that time,

I could find the right chemicals

that would efficiently convert

radiation into electrical energy!

But no! 33 years of dedication and

research, and all I’ve got to show

for it is a bootleg video

operation!

4

MARTY

That reminds me, if we could

scrape up enough for a 35 film

chain, I’ve got a connection with a

projectionist in a first run

house---we could be sellin’ new

movies on the street before they’re

even in the theater.

PROF. BROWN

A 35mm film chain...I’ll see what I

can do....

The Professor ponders his Power Converter.

Marty is on his way out. He pauses at a door with 5 locks on it

and tries it. Of course it doesn’t open.

PROF. BROWN

Won’t give up, will you, Marty?

Professor Brown asks without turning around. Marty grins.

MARTY

(grins)

One of these days you’re gonna

leave this door open and I’ll find

out what’s in there.

PROF. BROWN

Did you ever consider that some

doors are locked for a reason?

MARTY

Nope. The way I figure it, doors

are made to be opened. See you

after school.

PROF. BROWN

Oh---Marty---what time did you say

it was?

MARTY

8:30.

PROF. BROWN

A.M. or P.M.?

5

MARTY

Pro, the sun’s out!

PROF. BROWN

Oh, right, right.

MARTY

Jeez, for a guy with a ton of

clocks, you sure don’t pay much

attention to time.

Indeed there are a number of clocks all over the lab.

PROF. BROWN

On the contrary. I may not pay much

attention to the measurement of

time, but I’m very aware of Time

itself.

As he talks, Brown walks toward Marty

PROF. BROWN (CONT’D)

I believe time to be its own

dimension...to be contained...to be

controlled...

Marty has had enough of the Professor’s rambling. He’s heading

down the stairway.

MARTY

Catch you later!

Marty is gone.

PROF. BROWN (CONT’D)

...to be travelled through.

Professor Brown unlocks the door and enters.

INT. LOCKED ROOM

The center of attention here is a morass of equipment of 1940’s

and 50’s vintage that looks like something out of “Amazing

Stories” or “Weird Science.” A series of lenses is the final end

to the maze, indicating that a ray of some sort is to be beamed

down on...whatever.

Professor Brown admires his invention.

6

PROF. BROWN

If only I could harness enough

power!

INT. STAIRWAY - MARTY

Marty comes down the stairs to street level and goes out the

door.

EXT. ORPHEUM THEATER BUILDING - DAY

Marty steps out onto the street from the ORPHEUM THEATER

BUILDING, the 3rd floor of which houses the lab.

The theater is old and abandoned; on the marquee are the words,

“Assembly of Christ.” From outside, the two stories of offices

above the theater look just as destitute, with weathered, soot

covered walls and an occasional boarded up window.

Most of the neighboring businesses are boarded up as well. We

get the feeling that this was once a thriving business

district...but those days are long gone.

A black van is parked a little ways down the street; on its side

we see the letters “N.R.C” TWO MEN are putting samples of gutter

water into test tubes. They pay no attention to Marty.

Marty goes next door into one of the only operating businesses

in sight: WILSON’S CAFE, a lunch counter joint on its last legs.

INT. WILSON’S CAFE

Marty enters. The proprieter, DICK WILSON, 35, is behind the

counter. Dick is quite overweight...and he’s munching on a Baby

Ruth candy bar.

MARTY

Morning, Dick.

DICK

Marty. What’s for breakfast?

MARTY

Gimme some Chili, fries, and a Tab.

Marty glances at the sports page of a discarded paper on the

counter as Dick brings him the Tab.

7

DICK

Hot tip: Rubber Biscuit in the 3rd

race at Arlington.

MARTY

Dick, what’s with those guys out

there in the gutter?

DICK

(shrugs)

3rd time they’ve been out there

this week.

Marty watches them for a moment.

MARTY

What’s N.R.C.?

DICK

(shrugs)

I don’t know. National Cash

Register?

CUT TO:

INSERT - SCIENCE TEXTBOOK

A PHOTOGRAPH OF A MUSHROOM CLOUD, with the caption, “Last above

ground atomic test, March 18, 1952, Atkins, Nevada.” A HAND

writes the initials “M.M. + S.P.” in the cloud, draws an arrow

through it like a valentine, and then writes, “How about the

Dance Saturday? We’ll have a BLAST!”

INT. SCIENCE CLASSROOM - ON MARTY

The hand belongs to Marty, who fakes attention to the lecture

being given by MR. ARKY, a frustrated, embittered teacher of 55.

MR. ARKY

There were only 3 above ground

Atomic Tests in the United States,

so the government took every

opportunity to study the effects

of radiation. Actual single family

tract homes were constructed on

the test site, totally furnished

with refrigerators, TV’s,

furniture...

(MORE)

8

MR. ARKY (CONT’D)

...anything you could find in a

typical home...just so scientists

could learn what kind of damage an

atomic bomb would do to a typical

town. They even put mannequins in

the houses, just like in auto

crash tests...

Marty tears the page out of his textbook and winks at SUZY

PARKER, the cute girl across the aisle and behind him. They

exchange a smile, and Marty tosses the folded page to her.

MR. ARKY

But the fact remains that today,

30 years after those early nuclear

tests, the threat of nuclear

annihilation is as great as it

ever was. Certainly, nuclear

annhiliation is something you all

must have thought about. Any

questions, comments, ideas?

Anyone?

No reaction at all from the class. No one has a hand up, no one

seems interested.

MR. ARKY

I’m talking about the complete and

total destruction of the entire

world. Doesn’t anybody have

anything to say about it?

No, no one does.

Arky is becoming angered and frustrated.

MR. ARKY

How about you, Mr. Jackson? Would

you like to share some of your

wisdom with the class?

Jackson clearly wouldn’t.

Now Suzy writes something on Marty’s note, folds it, and tosses

it back. It lands on the floor near Marty, and he picks it up.

9

MR. ARKY

(frustration rising)

Mr. Gomez? Any thoughts? Miss

Parker? Mr. Crump, any reaction?

Marty unfolds the note.

INSERT - THE NOTE

Next to the mushroom cloud has been written, “That’s sick.” On

the back has been written, “Yes.”

BACK TO SHOT

Marty smiles.

MR. ARKY

How about you, Mr. McFly?

Marty quickly folds the note and shoves it in his pocket.

MR. ARKY

Did you even hear the question, Mr.

McFly?

Marty looked up, facing the inevitable. He might as well give

his honest opinion.

MARTY

Yeah. You want to know what I

think about atomic bombs. Well,

I’d kinda like to see one.

MR. ARKY

You’d like to see a nuclear

holocaust?

MARTY

Not a holocaust-----

MR. ARKY

(to the class)

Mr. McFly here wants to nuke it

all, just so he can see it!

MARTY

You know damn well that’s not what

I meant.

10

MR. ARKY

(isn’t interested)

All I can say is, that’s one

helluvan attitude, Mr. McFly.

“Let’s explode a 100 megaton

Geothermal nuclear device, just to

see it.”

MARTY

(pissed, under his breath)

Yeah, explode it up your ass.

MR. ARKY (continuing)

Unfortunately, the way things are

going, you may get your wish. You

may see the entire annhiliation of

the world. If not, you’ll

certainly see the destruction of

all our natural resources. We can

already see the air we breathe,

not to mention the pollution in

our rivers and lakes. We’ll see

all of our oil reserves depleted,

in fact, all of our energy

sources. Yes, you people have a

lot to look forward to---a lot to

see.

MARTY

Hey, Mr. Arky, gimme a break! I’m

17 years old! I’m not responsible

for all these problems!

Mr. Arky sobers up and sighs.

MR. ARKY

No, of course you’re not. Not for

the problems, no. But for the

solutions...yes.

The bell rings. There is a rush to the door.

MR. ARKY

See you tomorrow.

EXT. HIGH SCHOOL - DAY

STUDENTS pour out of the school. It’s a typically middle-

American school, brick, idyllic, flanked by oak trees. There is

11

some graffiti and a boarded up window or two.

Students begin their after school rituals of smoking, drinking,

loitering, eyeing girls or guys as the case may be, showing off

their cars.

Marty is among a group of kids, surreptitiously exchanging video

tapes for cash. RAFE NEWTON approaches him.

NEWTON

Hey Marty, spot me 50 till the

weekend, would ya? I’m down to my

last 20.

MARTY

Can’t, man. I’m savin’ up for that

new amp.

NEWTON

Well, when you’re a big rock star,

how about loanin’ me a grand?

MARTY

You got it!

(checks his watch)

I gotta go.

Next to Marty is his friend DONALDSON.

DONALDSON

Hey man, what happened to your

digital quartz?

MARTY

In the shop. So I’m sporting this

antique. Check out this wind-up

action.

Marty shows him a gold wind-up wrist watch. Marty stuffs a wad

of cash in his pocket as he and Donaldson descend the steps.

DONALDSON

Hey, you wanna come over? Get

high?

MARTY

Maybe tomorrow. I gotta dupe some

more tapes.

12

DONALDSON

Hey, that reminds me: my brother’s

gettin’ married next week and I’m

throwin’ a party for him. Can you

provide some entertainment?

MARTY

Yeah, I can run something off this

afternoon.

INT. LAB - ON MARTY - DAY

as we hear sounds of HEAVY BREATHING, ORGIASTIC PANTING and

other Porno sound effects. Marty shakes his head at what he’s

seeing (we can’t see it) and turns down the volume. He’s of

course copying a porno film.

Marty puts a big wad of cash into a cigar box on the bench, then

walks over to another area of the lab.

INT. LAB - PROF. BROWN’S QUARTERS

Professor Brown is sleeping on an army cot, covered with a horse

blanket. Nearby is an old refrigerator, a hot plate, and some

clothes hanging from an exposed pipe.

Marty opens the refrigerator and pulls out a bottle of Coke. He

inadvertently knocks an orange out, and it rolls across the

floor, under the cot.

Marty stoops down to get the orange. He moves the blanket and

reacts with astonishment at what he sees:

A CRATE

with purple radioactivity emblems labeled: EXTREME DANGER!

RADIOACTIVE PLUTONIUM! AUTHORIZED PERSONNEL ONLY! DO NOT HANDLE

WITHOUT RADIATION SUIT! And further down, “Property of San

Onofre Nuclear Power Plant, San Onofre, California.” The orange

is resting right up against it.

MARTY

takes a deep breath, then uses his foot to roll the orange away

from the crate. He cautiously backs away from the cot and tosses

the orange into a trash can. Professor Brown continues sleeping

soundly.

Marty twists off the Coke cap, takes a swig, and walks over to a

13

cage with an ORGAN GRINDER MONKEY in it.

MARTY

Hey Shemp, how ya doin’?

Shemp is wearing a red coat and hat. Marty opens the cage and

lets Shemp climb on him.

Now Marty walks over to where the Power Converter is set up.

Nearby is a stack of blueprints, very old. Marty has a look.

THE BLUEPRINTS

include on top, the “Photo-Electric Chemical Power Converter,”

which is the invention on the bench; the “15 Tube Mechanical

Home Butler,” which is a robot; the “Aero-Mobile,” (a flying

car); and something called a “Write-O-Matic,” which resembles a

pen with a wire-attached suction cup.

MARTY

studies the Power Converter itself. The last rays of the

afternoon sun shine through the skylight and fall on the Photocell.

A funnel is sticking out of the chemical chamber, and it

becomes just too much for Marty to resist: he pours some Coca-

Cola in it. Suddenly, a blinding spark crackles from the other

end of the device! Marty jumps back!

PROFESSOR BROWN

awakens with a start! He looks around, then rushes over to the

power converter.

PROF. BROWN

What happened?!?

MARTY

Well, I’m not sure exactly---I

accidentally spilled some Coke in

here---just a drop!

Brown hooks up the voltmeter and light bulb.

PROF. BROWN

Give me that!

He takes the Coke from Marty and pours a little into the funnel.

The light bulb glows brilliantly, the voltmeter needle jumps,

and the equipment hums!

14

Brown pours in more Coke---the bulb glows with increasing

intensity, then explodes! The voltmeter needle goes off the

scale! The Power Converter vibrates and falls off the bench!

The Professor stares in disbelief; his hands begin to tremble.

His reaction would be no different if Jesus Christ himself

walked into the room! He checks the ingredients on the bottle.

PROF. BROWN

What’s in this stuff?

MARTY

Nobody knows the formula for Coca-

Cola. It’s the most closely

guarded secret in the world!

The Professor ponders the discovery, then gathers up the Power

Converter and goes to the Locked Door. He begins unlocking it,

then looks at Marty.

PROF. BROWN

I’ll see you tomorrow.

Professor Brown takes the device into the room and locks the

door behind him.

INT. MARTY’S BEDROOM - NIGHT

Marty, wearing headphones, is playing his Electric Guitar along

with a record on his stereo. His bedroom walls have posters of

rock stars; a second bed and bedroom set are testament to an

older brother no longer living at home.

As Marty plays he walks around using the top of the guitar neck

to move objects and lift magazines on the desk and bureaus. He’s

looking for something. He moves a Rolling Stone---under it are

some tools. He moves an issue of Heavy Metal and the Lampoon---

under it, some homework.

The record ends; Mart takes off the headphones and yells out the

door.

MARTY

Who stole the drill?

He is answered by a WOMAN’S VOICE.

15

WOMAN (O.S.)

Dinner’s ready!

INT. McFLY HOME - NIGHT

Marty goes downstairs into the living room. The furnishings are

Montgomery Ward/Sears. GEORGE McFLY, 47, is absorbed in a BOXING

MATCH on TV. He’s balding, bored, uninspired; a man who lost at

the game of life.

MARTY

Anybody seen the drill?

His father doesn’t react. His mother, EILEEN, 47, sticks her

head out of the kitchen. Once she was very attractive. Now she’s

in a rut.

EILEEN

I’ve been calling you for 5

minutes! Didn’t you hear me?

MARTY

I was practicing. I’ve got an

audition next week---I gotta

practice. How am I gonna get

famous if I don’t practice?

EILEEN

You won’t get famous if you don’t

eat, either.

She goes back in the kitchen.

MARTY

Dad, you seen the drill?

GEORGE

What drill?

MARTY

The drill! The power drill I

bought you for Christmas. I was

using it last night.

GEORGE

It’ll turn up.

Marty sits down in the kitchen where his mother is putting food

on the table.

16

EILEEN

George, dinner’s ready!

GEORGE

Coming, Eileen.

George just sits there. watching the Boxing Match.

EILEEN

Now, George. Dinner’s ready now.

GEORGE

Coming, Eileen.

A commercial comes on; George gets up and rolls the TV stand

over to where he’ll be able to watch from the dinner table.

EILEEN

(to Marty)

How was school today?

MARTY

Fine.

EILEEN

Learn anything?

MARTY

Oh yeah.

EILEEN

That’s good.

Now George sits down.

GEORGE

(to Marty)

How was school today?

MARTY

Fine.

GEORGE

Learn anything?

17

MARTY

Oh yeah.

GEORGE

Good.

George turns his attention totally on the TV.

Marty looks at the newspaper.

Eileen stares off into space.

20 seconds of lively, family dinner conversation...by the

sportscaster giving the blow-by-blow on TV.

Finally, Eileen opens her mouth again.

EILEEN

By the way, that reminds me,

Saturday night we’re taking

Grandma Stella out for Chinese

food.

GEORGE

Eileen, Chinese food again?

EILEEN

George, if you don’t want Chinese

food, pick a place you want to go

and make a reservation.

MARTY

That means he’ll have to pick up

the phone, Ma.

GEORGE

No, Chinese food is fine.

MARTY

Saturday night’s the “Springtime in

Paris” Dance. I’m taking Suzy

Parker.

EILEEN

The “Springtime in Paris” Dance.

You hear that, George? They’re

still having the “Springtime in

Paris” Dance.

(MORE)

18

EILEEN

(to Marty)

That was our first date. Remember

George? I remember everything

about that night. Remember the

first time we kissed? It was

during the last dance. They were

playing that Eddie Fisher song,

“Turn Back The Hands Of Time.” I

even remember how you asked me

out. We were in the cafeteria. You

were so scared, you spilled your

creamed corn.

George just stares at the TV, oblivious to his wife.

MARTY

And I probably won’t be here when

you wake up Sunday morning. Suzy

and I are gonna go down to the

lake and watch the sun rise.

GEORGE

The sun rise? What for?

MARTY

To see it.

George doesn’t get it. He turns his attention back to the TV.

EILEEN

You mean you’re going to stay up

all night?

MARTY

Mom, how else are we gonna see the

sunrise?

EILEEN

I don’t think I like the idea of

you staying out all night with a

girl.

MARTY

Hey, Ma, gimme a break.

There is a sudden pounding on the back door. No one moves to

answer it. Pounding again.

19

EILEEN

Would you answer that, George?

George ignores her. Finally, Marty gets it.

AT THE BACK DOOR

Marty opens the door and there is BIFF TANNEN, 47, an

intimidating lout whose pot belly portrudes from his security

guard uniform. His tie is undone, shirt tail out; obviously home

from work. His should patch reads “Special Security Officer.”

Marty isn’t happy to see Biff, and the feeling is mutual.

BIFF

Well, well, if it isn’t the

neighborhood bootlegger, Al Capone

McFly!

MARTY

What do you want, Biff?

BIFF

Show me some respect, you little

A-hole. It’s Special Officer

Tannen to you.

MARTY

What’s the matter, Biff, they’re

not showing you any respect down

at the golf course? Don’t they

realize what a tough job it is

keeping the criminal element away

from the country club?

BIFF

Listen, you little A-hole, I

oughta---

MARTY

What do you want, Biff?

BIFF

Where’s your old man?

Marty gestures into the kitchen. Biff now reveals he has a

broken power drill and a set of bits.

20

INT. KITCHEN

Biff approaches George.

BIFF

Hey, McFly, what’s with this

cheap-ass drill you’re giving me?

Thing burned up first time I used

it! Almost ruined my whole engine

block!

Marty shakes his head.

GEORGE

Uh---Biff---these are wood bits.

Says so right here. You’re not

supposed to use them on your

engine block.

BIFF

Look, McFly, I know a lot about

tools. This is a cheep-ass drill!

You’re just lucky I didn’t ruin my

engine block. Next time you buy

tools, let me know. I’ll help you

pick out some good ones.

(gives George the drill)

Oh--and one more thing: my kid’s

selling girl scout cookies. I told

her you were good for 4 boxes.

Don’t make me a liar!

George nods timidly as Biff exits. He turns and faces his wife

and son who meet his gaze with knowing looks.

GEORGE

How do you like that guy, using

wood bits on an engine block?

Marty gets up from the table and storms out, into the living

room.

EILEEN

Where are you going?

In reply we hear the SLAM of the front door!

21

EXT. McFLY HOME - MARTY - NIGHT

Marty puts on his silver Porsche jacket as he stomps across the

front lawn. He punches the beat up old mailbox which has the

address: 777; then kicks the family car.

EXT. A RESIDENTIAL STREET - NIGHT

Marty is taking a walk with Suzy Parker. Marty’s been talking,

and although still frustrated, he’s now much more at ease.

MARTY

...He just lets himself get pushed

around all the time. People walk

all over him and he never fights

back, never stands up for himself.

SUZY

No self-confidence, I guess. At

least you don’t take after him.

MARTY

Yeah....Jesus! I wonder how he ever

got up enough nerve to marry my

mom.

They walk a bit in silence.

SUZY

Can you imagine your parents in bed

together?

MARTY

No way!

SUZY

Me neither. I’ve always wondered

whether they slept together before

they got married. You think yours

did?

MARTY

Hell, no! The way my Mom carries

on about sex---you even say the

word and she goes into cardiac

arrest. You shoulda seen her face

when I told her we were gonna stay

up all night Saturday. Always

afraid something’s gonna happen.

22

SUZY

(flirting)

Is something gonna happen Saturday

night?

Before Marty can answer, he gets hit in the leg by a runaway

SKATEBOARD. TWO KIDS down the street have been running an

obstacle course, and the loser is picking himself up off the

pavement.

Marty hops on the skateboard and whizzes over to the kid. He

can’t resist showing off---he manuevers smoothly through the

obstacles, jumps over the last one and lands perfectly on the

board, then hops off, flipping the board into the air and

catching it. He hands it back to the kid.

KID

Wow! You’re good!

Marty grins and rejoins Suzy. She too is impressed.

MARTY

Just like riding a bike---you never

forget how to do it.

They’re standing in front of a house. Suzy looks at it, then at

Marty. Obviously, it’s her house.

SUZY

Well...here we are....

They look at each other for a moment.

MARTY

Thanks.

He kisses her.

SUZY

See you later.

She goes into her house. Marty watches her, then continues down

the street, alone with his thoughts. As he walks, a black sedan

approaches slowly from in front of him and passes by. There

appears to be some sort of receiving apparatus on the roof. Now

we see the sedan make a U-turn in the street behind Marty and

come up right behind him.

23

Marty becomes aware of the headlights behind him. He looks at

the car and steps over to the side of the street. The car pulls

up alongside of him, and TWO GOVERNMENT TYPES get out. There are

N.R.C. markings on the car.

REESE

Good evening. Agents Reese and

Foley from the Nuclear Regulatory

Commission.

(Reese displays his ID)

Mind stepping over here?

Marty cautiously steps over.

MARTY

What’s this all about?

FOLEY

Routine radiation check.

Foley takes a Geiger Counter and checks Marty. Nothing unusual

happens until Foley checks Marty’s feet. Then there is some

noticeable clicking, especially on the foot that went nearest

the Plutonium. Reese and Foley exchange a look.

REESE

Have you got any identification?

Marty hesitantly hands Reese his wallet.

MARTY

What, am I radioactive or

something?

FOLEY

No, no, not beyond an acceptable

level.

REESE

Have you been X-rayed recently,

Martin?

FOLEY

Perhaps been in contact with some

luminous paint?

MARTY

No....

24

REESE

Been any place unusual in the past

12 hours?

MARTY

Home, school, here.

FOLEY

Been in the vicinity of 2980 Monroe

Avenue today?

MARTY

Where?

REESE

Over by the old Orpheum Theater.

Marty hesitates a moment.

MARTY

No.

Reese hands Marty back his wallet.

REESE

Okay, Martin. You have a good

evening now.

MARTY

Yeah. Right.

Reese and Foley get back in their car and drive off. Marty

thinks a moment, then runs like hell the other way down the

street!

EXT. ORPHEUM THEATER - NIGHT

Marty runs through the street to the Orpheum Theater. The only

thing on the street besides him is newspaper blowing along the

gutters. Marty tries the door to the upstairs. It’s locked.

Marty steps back and looks at the upper floor.

Suddenly, 3 upper floor windows are blown out by a tremendous

gush of air!

MARTY

Jesus!

He tries the door again. Marty has no other choice: he BREAKS

25

THE GLASS in the door and lets himself in!

Marty races up the stairs to the laboratory. The door with the

locks on it is unlocked, and LIGHT can be seen coming from the

crack under the door.

Marty rushes through the door into

INT. THE “LOCKED” ROOM

Professor Brown is standing next to a HOMEMADE NUCLEAR REACTOR,

made from an old furnace, a hot water heater, and boiler room

parts. He has one hand on a rope, and is adjusting some dials

and gauges.

SHEMP is sitting quietly on a stool directly under the focusing

lens of the Professor’s invention. He’s wearing his organ

grinder clothes, with a digital watch around his neck.

MARTY

Professor!

The Professor, although surprised to see Marty, is in command of

the situation.

PROF. BROWN

Get behind that lead shield!

He points to the shield at one side of the room.

MARTY

But Professor----

PROF. BROWN

Get behind the shield! I’m about to

release radiation!

Marty hurries behind the shield.

Professor Brown pulls the rope ever so slightly.

The Power Converter is activated! The low frequency hum of

vacuum tubes becomes more intense---the frequency begins to

rise, accompanied by the crackle of static electricity!

Shemp looks around, curious about all of these sounds...the

sounds grow in intensity...tension builds...and at exactly 9:00,

Professor Brown releases the rope. At that moment, a high

frequency tone is emitted, accompanied by a FOCUSED BEAM OF

26

BLINDING RED LIGHT---like a spotlight---which hits Shemp!

Shemp DISAPPEARS! And the top half of the stool disappears with

him, leaving the lower halves of the legs (which were not hit by

the beam) to topple to the floor!

Air rushes through the lab to fill the vacuum that was created

by Shemp’s disappearance!

The sound of the equipment dies down, and a stunned Marty McFly

steps out from behind the shield.

MARTY

Jesus!! Professor, you just

disintegrated Shemp!

Professor Brown shook his head, a smile playing around his lips.

PROF. BROWN

No, Marty. Shemp’s molecular

structure is completely intact.

MARTY

Then where is he?

PROF. BROWN

The appropriate question to ask is

when is he. You see, Shemp has

just become the world’s first time

traveller. I’ve sent Shemp into

the future---two minutes into

future, to be exact.

MARTY

The future? What are you talking

about? Where’s Shemp??

PROF. BROWN

Shemp is right here in this

room...two minutes from now. And at

exactly 9:02, we’ll catch up to

him.

MARTY

Now hold on a minute, Professor.

Hold the phone. Are you trying to

tell me that this---all of this

here---that this is---it’s a---a---

27

PROF. BROWN

A time machine.

Marty has to sit down to take this one in.

PROF. BROWN

I always knew it would work. I

knew it would work when I built it

33 years ago. But I was never able

to harness enough power to test

it. Power is the key. Massive

amounts of energy to accelerate

matter to the speed of light while

creating an intense gravitational

field. But generating that kind of

energy has never been

possible...until this afternoon.

MARTY

Because of that Coke.

PROF. BROWN

Precisely.

Brown takes on the characteristics of a tour guide as he

explains the machine.

PROF. BROWN

The Power Converter, now operating

at peak efficiency, thanks to the

chemical makeup of Coca-Cola,

channels energy into the Flux

Capacitor, which releases several

jigowatts in a fraction of a

millisecond. Electron acceleration

takes place here...and the result

is the temporal displacement beam

you saw a few moments ago. The

entire process is triggered when I

release the rope.

MARTY

I thought that Power Converter

thing operated on solar energy.

There’s no sun.

28

PROF. BROWN

Solar energy would have worked just

fine...if I could have placed the

Converter about a mile from the

surface of the sun. Instead, I’ve

created similar conditions in this

reactor here.

(indicating the rope)

The higher I raise the cadmium

rods, the more energy I release

from the Plutonium core, and the

further through time I can send an

object.

MARTY

The Plutonium! That’s what I came

over here for! Professor, where

did you get that stuff?

PROF. BROWN

Why?

MARTY

I just got stopped in the street

by Federal Agents checking me for

radiation! I figure they’re after

your plutonium!

Professor Brown glances at a digital clock in the lab. It’s

9:01:50.

PROF. BROWN

Ten seconds!!

He rushes toward the spot where Shemp vanished. Marty follows.

PROF. BROWN

Brace yourself for a sudden

displacement of air!

It’s 9:01:55...56...57...58...59...

There is a SUDDEN DISPLACEMENT OF AIR...and SHEMP REAPPEARS! The

legless stool reappears as well, and topples over. The startled

monkey jumps onto a nearby bank of equipment.

MARTY

Shemp!

29

Professor Brown picks up Shemp, looks him over and examines the

watch around his neck: 9:00:10. The lab clock says 9:02:10.

PROF. BROWN

Exactly two minutes

difference...and still ticking!

MARTY

Is Shemp all right?

PROF. BROWN

Of course. Shemp is unaware that

anything even happened, other than

his stool suddenly falling over.

We had to wait two minutes to

catch up to him, but for Shemp,

the trip was instantaneous.

Marty has a look on his face---the look of an idea.

MARTY

Professor, can this thing send

Shemp back in time?

PROF. BROWN

Theoretically, yes, if I were to

reverse the polarity.

Professor Brown indicates the POLARITY SWITCH on the Time

Machine, which is in the “+” position.

MARTY

(very excited)

Jeez, Professor, you’ve got a gold

mine here!

PROF. BROWN

A gold mine?

MARTY (CONT’D)

Sure! Listen---we take the racing

results from today’s paper...

Marty rips through a discarded newspaper and finds them.

30

MARTY

Here they are---we send ’em with

Shemp back to yesterday, we get

the information, put our money on

the winning horses, and become

billionaires!

PROF. BROWN

Marty, that would alter history.

MARTY

So what?

PROF. BROWN

Don’t you understand? The mere act

of sending matter back in time

would change the course of events,

and changing history is a

responsibility that I do not wish

to bear.

MARTY

All I know is you’re throwing away

an awful lot of money.

PROF. BROWN

The future, Marty, the future is

everything. I built this machine

to see the future. So I am going

to send Shemp 24 hours into the

future. You can assist me, if you

like.

MARTY

Sure.

The Professor exits the Time Machine room into his main

laboratory. Marty sees that he’s gone, so he tears the racing

results from the Sports Page, circles the date, and sticks the

clipping into Shemp’s pocket. Again making sure that the

Professor isn’t watching, Marty flips the polarity switch to “-

”.

INT. MAIN LABORATORY

Professor Brown is looking for something on a table near the

window. He finds it: a Micro-cassette recorder. He hurries back

into the Time Machine room.

31

INT. TIME MACHINE ROOM

Professor Brown locks the door behind him and then gives the

Micro-cassette recorder to Marty.

PROF. BROWN

Take this, stand at the panel, and

read off the radiation levels. I

want to have a record of what

happens here. Be sure to tell me

when we reach 85 rads.

Marty takes his position at the appropriate panel.

Brown sets up the stool and again places Shemp upon it.

PROF. BROWN

Come on, Shemp, this won’t hurt a

bit.

The Professor takes his place at the reactor. Shemp is between

him and Marty. He doesn’t notice the polarity switch.

PROF. BROWN

Here we go.

He throws a few switches...equipment hums to life. Now he

cautiously begins pulling the reactor rope. Marty begins reading

off meters into the recorder.

MARTY

Radiation level, 10 rads.

Stabilization coefficient, .43. 16

rads; coefficient .44. 37 rads,

.46. 51 rads, .46. 73 rads, .47.

Suddenly the door is kicked open by N.R.C. AGENTS REESE and

FOLEY, along with POLICE and OTHER AGENTS! They leap into the

room with drawn .38’s!

REESE

Everybody freeze! N.R.C.!

PROF. BROWN

Get back!!

FOLEY

Jesus Christ---it’s a goddamn

reactor!

32

Reese pointed his gun at Professor Brown.

REESE

(to Prof. Brown)

You!! Shut it down!! Now!!

PROF. BROWN

No! Get out!! I’m in the middle of

an experiment!!

Brown makes no effort to move away from the reactor---rather, he

pulls the rope a slight bit more!

Foley FIRES at the Professor!

The noise startles Shemp, who jumps off his stool.

Professor Brown takes the bullet in the upper chest! He staggers

back, still holding the rope, and as he falls, he pulls the rope

as far as it will go!

MARTY

Professor!

(glances at meter)

Oh, my God!! Release the rope! It’s

4200 rads!!

REESE

(can’t hear him)

What??

MARTY

Release the rope!!

The incredible din of the equipment makes the screaming

virtually inaudible! Marty rushes toward the Professor, but

Foley immediately levels his gun at him!

FOLEY

Freeze!!

Marty freezes---he’s standing right under the focusing lens! He

raises his hands!

Professor Brown is lying on the floor, his hand still on the

rope. His grip relaxes, and the rope is released!

The Time Beam engulfs Marty! This time, it’s BRIGHT WHITE!

33

Reese and Foley are dumbfounded!

Marty looks up.

MARTY’S P.O.V. OF

an intense WHITE LIGHT. Then, suddenly, everything goes BLACK!

And with the blackness comes dead quiet.

MARTY’S VOICE

Professor?? Hello??

A match is struck, and Marty looks around and finds himself in

what appears to be a STOREROOM.

INT. STOREROOM - MARTY - NIGHT

Marty cautiously looks and walks around, almost tripping over an

old chair. There is some dusty furniture and crates in the room.

Marty lights another match and makes his way to the door---it’s

in the same place as the door in the Time Machine room, because

this is the Time Machine room...as it was once. Marty tries the

door: locked.

MARTY

Damn!

He goes to the window and opens it. We can hear the sound of

muffled traffic. Marty climbs out the window.

EXT. REAR OF ORPHEUM THEATER BUILDING - NIGHT

Marty comes out of the third story window onto a fire escape,

and descends. Just as he drops into the alley below, he’s hit by

a pair of headlights: A LARGE TRUCK is barreling toward him!

Marty presses himself up against the wall and the speeding truck

passes, narrowly avoiding him!

Marty sighs relief, then notices the sign on the door he’s

standing next to: “Wilson’s Cafe, Rear Entrance.” Marty tries

the door---it opens. Marty is surprised at this; nevertheless,

he enters.

INT. WILSON’S CAFE - NIGHT

Marty walks in; yes, this is Wilson’s Cafe, all right.

MARTY

Hey, since when are you open at...

34

Marty stops short. Things are NOT the same. Dick isn’t behind

the counter. Instead, there’s a WAITRESS about 30. Everything is

shining clean; the fixtures look newer, but older. The prices

are different, too: Roast Beef Sandwich, 30¢. Ice Cream Sundae,

15¢. And the customers---men in double-breasted suits...and

hats! Women with long skirts---not one female in pants...and

hairstyles like Marty has never seen!

Marty stares open mouthed, walking around, taking it all in. A

chubby little BOY of 5 in pajamas, is playing on the floor with

toy trucks.

Now Marty notices the WAITRESS is staring at him with curiosity

and suspicion.

WAITRESS

You want something, kid?

Marty decides to sit down at the counter and act like he belongs

here.

MARTY

Uh, yeah...gimme a Tab.

WAITRESS

What?

MARTY

A Tab.

WAITRESS

Kid, I can’t give you the tab

until you order something.

People at the counter are looking at him, especially at his

silver Porsche jacket. Marty notices that the MAN next to him is

drinking coffee.

MARTY

Uh, coffee.

She pours a cup and serves him.

WAITRESS

Did something happen to you, kid? I

mean, you been lost in the woods or

something?

35

MARTY

Huh?

Marty looks at the bowl of sugar cubes on the counter.

MARTY

Say, have you got any Sweet ‘N low?

WAITRESS

Sweet and what?

Her suspicions aroused, she takes the coffee away.

WAITRESS

Maybe you’d better pay for this

first.

MARTY

Sure.

Marty pulls out his wallet and hands the woman a 20 dollar bill.

Her eyes nearly fall out of her head.

WAITRESS

A 20? What do you think this is, a

bank? I can’t break a 20!

(suddenly suspicious)

Say, what’s a kid your age doing

with all this money?

Marty takes the bill back.

MARTY

Look, maybe I’d better talk to

Dick. Is he around?

WAITRESS

Dick? Dick who?

MARTY

The guy who runs this place.

WAITRESS

I run this place!

MARTY

What happened to Dick Wilson?

36

WAITRESS

Dick Wilson---Dickie Wilson?

(laughs)

Dickie Wilson runs this place?

That’s a laugh!

Everybody at the counter starts laughing.

MARTY

(paranoid)

What are you trying to do? Freak me

out, or something?

The MAN sitting next to him reacts.

MAN

Freak? Are you from some circus? Is

that what all that writing on your

clothes means?

Now the little BOY runs up to the counter.

BOY

Mommy, I’m hungry!

WAITRESS

Just take a candy bar, then go to

bed, Dickie.

Marty reacts and stares at the 5 year old.

MARTY

Dickie? That’s Dick Wilson?

WAITRESS

That’s Dick Wilson.

Marty looks at him as he grabs a Baby Ruth from the candy

counter. Then Marty spots the calendar behind the cash register.

In big black numbers, it clearly reads, “1952!”

MARTY

1952?? This is 1952?!? Holy Shit!!

You know what this means?? I’ve

gone back in time 30 years! 30

goddamn years!!! I haven’t even

been born yet!!!!

37

WAITRESS

I’m calling the cops.

But even as she goes to the phone, Marty bolts out the front

door!

EXT. STREET - NIGHT

Marty stares in astonishment at the sight before him: the rundown

Monroe Avenue that he knew is now a bustling, thriving

business district! Traffic of 1940’s and 50’s cars pulses

through the street, and pedestrians wander about. The

storefronts that were boarded up are now shops doing profitable

business.

Pedestrians eye Marty curiously as they walk past, but Marty is

too panic-stricken to notice them.

Now he sees the Orpheum Theater. The marquee is lit up, and the

place is obviously a first class movie house. The flashing

marquee advertises, “John Wayne, Maureen O’Hara, The Quiet Man.

In Full Color.”

MARTY

Dammit!

Marty sees a pedestrian with a newspaper. He grabs it away from

him and looks at the date.

MARTY

1952! Dammit!

He throws the paper down in disgust and runs down the street.

ON THE STREET

Marty stops and looks at the licence plate on a parked car. Once

again, there’s the year.

MARTY

1952! Dammit!

Marty runs off.

EXT. TELEPHONE BOOTH - STREET - NIGHT

Marty is in a phone booth, frantically tearing through the phone

book. He finds the page he’s looking for.

38

INSERT - PHONE BOOK

Marty’s finger goes down a list of “Browns,” coming to rest at,

“Brown, Emmett L., 788 W. Spruce. Madison 3489.” A BIC PEN

circles the name and number.

BACK TO SHOT

Marty reaches into his pocket. He has a nickel and 3 pennies.

MARTY

Dammit!

He picks up the receiver and pumps the switchhook.

OPERATOR (V.O.)

Operator.

MARTY

Operator! Listen, this is an

emergency! I have to make this

call, but I don’t have a dime---

all I got is a nickel---but you

gotta connect me---

OPERATOR (V.O.)

(interrupting)

Sir, it only costs a nickel.

MARTY

What?

OPERATOR (V.O.)

Local calls cost 5 cents. What

number do you want?

Marty sees the sign on the phone, “Local Calls 5¢.”

MARTY

Oh---right! Uh, Madison 3489.

OPERATOR (V.O.)

Five cents, please.

Marty deposits his nickel. The number rings several times.

OPERATOR (V.O.)

I’m sorry, there’s no answer.

39

MARTY

Operator, what’s today’s date?

OPERATOR (V.O.)

March 11.

MARTY

What year?

OPERATOR (V.O.)

Nineteen fifty---

MARTY

(interrupts)

Dammit!

He slams down the receiver, then tears the page out of the phone

book and runs down the street with it.

EXT. RESIDENTIAL STREET - MARTY - NIGHT

Marty runs down this residential street, tired, breathless,

exhausted. He leans against a mailbox to catch his breath, and

then notices the number on it: 777. He turns and looks at the

house.

MARTY

My house!

Indeed, it is Marty’s house---or rather, it will be. The trees

aren’t quite as tall as those we saw earlier, and the curtains

are different; there’s a 1949 Chevy in the driveway. But it’s

the same house.

Then, the front door opens, and a WOMAN opens the screen to let

out a dog. Unless we’re seeing things, it’s EILEEN, looking

nearly identical to when we saw her last, save her different

clothes and hair-do.

MARTY

is stunned!

MARTY

Mom!!

He runs toward the house!

40

EXT. HOUSE

As Marty runs toward the house, the WOMAN closes the door. Marty

runs up the steps and pounds on the door.

MARTY

Mom!! Open up! It’s me!

The door opens. Indeed, the woman appears to be Eileen. But she

doesn’t recognize Marty.

MARTY

Mom, thank God! Thank God you’re

here!

WOMAN

I beg your pardon, young man?

MARTY

Mom! It’s me! Marty! Don’t you know

your own son!

WOMAN

I think you have the wrong house.

Marty is very intense---sweating, breathing hard.

MARTY

No---no---it’s not! It’s not!

A MAN in his mid-40’s approaches the door. He’s smoking a pipe

and seems like a decent sort.

MAN

Who’s there, Stella?

MARTY

Stella?!? No! Don’t tell me you’re

Stella! Tell me you’re Eileen!!

Please tell me you’re Eileen!

Through the door, we can see a GIRL of 17 coming down the

staircase. She’s very attractive.

GIRL

I’m Eileen.

Marty locks eyes with his Mother, aged 17!

41

MARTY

How old are you?

EILEEN

Seventeen.

What does one do when he meets his mother in such circumstances?

Marty faints!

A HAND

holds smelling salts and brings them under Marty’s nose. Marty

is lying on a couch; he stirs and opens his eyes.

MARTY’S P.O.V. OF

PROFESSOR BROWN as a young man! He’s well dressed, less

eccentric in manner, and seems much more self confident than his

older self. It is Brown who is administering the salts.

WIDER ANGLE, INT. LIVING ROOM

The room is the same as in Marty’s house, with different

furniture (in the same basic arrangement) and a different color

scheme.

MARTY

Professor? Professor Brown?

PROF. BROWN

You know me?

MARTY

Professor, you time machine works!

It works! It sent me back in time!

I’m from 1982!

PROF. BROWN

Ssshhh!

Brown isn’t sure whether to believe him. Now the FAMILY

approaches---MR. BAINES, his wife Stella and daughter Eileen.

MR. BAINES

Is he all right?

The Professor straightened up.

42

PROF. BROWN

He will be. Simple inebriation, is

all. The young man must have a

rather low tolerance for

alcohol...something that runs in

the family. You see, he’s a second

cousin of mine on my mother’s

side. Came quite a distance to

visit me. His name’s Lewis.

MARTY

(correcting him)

Marty.

PROF. BROWN

Uh, Marty Lewis. I almost didn’t

recognize him---haven’t seen him

in years.

Young Eileen can’t take her eyes off Marty. Marty too is

fascinated by her.

STELLA

It’s a good thing he had your name

circled in the phone book. I would

have called the police.

PROF. BROWN

Well, Mrs. Baines, Mr. Baines,

thank you for your trouble. Both

Marty and I apologize for the

inconvenience. We’ll get him home

and as good as new.

Marty and Brown get ready to leave.

MR. BAINES

(to Marty)

Son, you watch yourself.

MARTY

Yes, sir.

Eileen gives Marty his Porsche jacket which was lying on a

nearby chair.

EILEEN

Oh---here’s your jacket.

43

MARTY

(nervous)

Uh, thanks...

EILEEN

What sort of material is this? I’ve

never seen anything like it.

MARTY

(matter-of-factly)

It’s polyester.

EILEEN

Poly-what?

PROF. BROWN

It’s an experimental invention of

mine. Sort of a rubberized silverfoil.

I just made up a name for

it. Come on, Marty, we’ve got a

lot to talk about.

The Professor goes out the front door. Marty is behind him, and

just as he steps into the doorway, Eileen speaks up.

EILEEN

Marty?

MARTY

Huh?

EILEEN

Have we ever met before?

Their eyes meet, but before Marty can answer, the Professor’s

arm reaches over and yanks him away!

EXT. VICTORIAN STYLE MANSION - NIGHT

A fabulous Victorian Mansion sits on a hill on the outskirts of

town. On the mailbox is the name “Brown, Emmett.”

A beautiful 1937 PACKARD pulls up to the mansion.

MARTY (V.O.)

...and the flux capacitor is

hooked into this thing that looks

like a condenser with a lens on

it...

44

Now Marty and the Professor get out of the car. Marty stares at

the incredible house, very impressed.

MARTY

Jeez---this is where you used to

live, huh? You must have been rich!

PROF. BROWN

Must have been? Used to live? I do

live here.

MARTY

Oh, yeah, well, there’s a mall here

now---I mean, there will be.

PROF. BROWN

A mall?

MARTY

Yeah, a shopping mall. You know, a

shopping mall?

They are walking toward the front door.

PROF. BROWN

Ssshhhh---don’t tell me these

things, Marty. I don’t want to

know about the future.

They enter the house.

INT. LIVING ROOM - MARTY, BROWN - NIGHT

A light goes on in the large living room.

BROWN

Do you see it here?

Marty looks around the room. The evidence of the Professor’s

eccentricity is just beginning---mechanical apparatus laying

haphazardly around on antique tables and furniture. There’s

something built out of the shell of an old vacuum cleaner, and

an old washing machine that might now be a still.

MARTY

No.

45

INT. ANOTHER ROOM - THE STUDY

Again a light goes on. Mostly, this is a library, but there are

some models of some of the professor’s ideas here, including the

Aero-mobile and the Mechanical Home Butler. Professor Brown

looks at Marty.

Again Marty shakes his head.

Now Professor Brown unlocks a door at one end of the room and

puts on a light. Marty approaches the doorway.

MARTY

This is it!!

MARTY’S P.O.V. OF

THE TIME MACHINE, looking almost exactly as we saw it in 1982,

except that it’s a lot cleaner and shinier.

ON MARTY AND THE PROFESSOR

PROF. BROWN

You’ve convinced me that you must

be who you say you are. No living

human has ever seen this machine.

(thinking)

But why? Why even in my twilight

years would I remotely consider

sending someone back in time?

MARTY

You didn’t, Professor. It was an

accident! You see, what happened--

--

PROF. BROWN

No! Don’t tell me! I don’t want to

know the future! My knowledge of

future events...your mere presence

here...could have devastating

effects on the course of history.

And altering history is a

responsibility that I do not wish

to bear. My immediate

responsibility is to send you back

to your own time.

46

MARTY

I can dig that.

PROF. BROWN

(not understanding)

Pardon me?

MARTY

I can get behind---I agree with

you.

The PHONE rings. Brown answers it in his study. Marty follows.

INT. BROWN’S STUDY - MARTY, BROWN

Marty examines the models of Brown’s inventions while the

Professor talks.

PROF. BROWN

Hello?

(pause)

Yes Charles, yes, I looked over the

offer.

(pause)

It’s very generous that they want

to make me a major stockholder. But

I’m just not interested in a

position with this little X-rox

corporation.

(pause)

If it’s pronounced “Zerox,” why

don’t they spell it with a Z?

(pause)

Look, I’m on the verge of a

breakthrough on my Power

Converter.

Marty reacts with a pained expression.

PROF. BROWN (CONT’D)

Well, any day now. And then I’ll

need people to work for Emmett

Brown Industries! I’ve got a lot

of ideas that are going to create

a lot of jobs.

(pause)

Very well, good night, Charles.

(MORE)

47

PROF. BROWN

(Hangs up)

The X-rox Corporation. How are

they going to sell a product if

you can’t even pronounce the name?

Brown turns his attention back to Marty.

PROF. BROWN

Now...the Time Machine works,

that’s obvious. As I’ve always

known, it’s a question of power.

Where did I---will I get enough

power to send a man 30 years

through time?

Marty is about to answer---the Professor holds up his hands.

PROF. BROWN

No---wait---don’t tell me!

(long pause as he thinks)

On second thought, there may be

some things you’ll have to tell

me.

MARTY

The Power Converter...

PROF. BROWN

Of course! The Power Converter! It

works!

(afterthought, to himself)

Of course, it works!

(to Marty, very excited)

What chemicals do we use?

Marty hesitates and takes a deep breath.

MARTY

Well, Professor, are you sure you

want me to tell you? You know,

changing the course of history and

all....

Professor Brown would plainly like to know, but his sense of

scientific responsibility gets the better of him.

48

PROF. BROWN

Blast it---no, I suppose you’re

right...You do know the proper

chemical formula?

MARTY

Sure, and there won’t be any

problem getting some---getting it.

Professor Brown goes to the bar and pours himself a Brandy.

PROF. BROWN

Coke?

MARTY

How did you know?

PROF. BROWN

Just a guess. I figured kids would

still be drinking Coke in 1982.

He throws Marty a bottle.

PROF. BROWN

All right, then it’s very simple.

Tomorrow, weather permitting,

you’ll get the chemicals, and

we’ll wire the Power Converter to

the Time Machine, point it at the

sun, and send you home.

MARTY

Well, not exactly, Professor. You

see, we don’t point it at the sun.

PROF. BROWN

We don’t....

MARTY

No. We need a Nuclear Reactor.

Professor Brown chokes on his drink.

PROF. BROWN

A Nuclear Reactor? How much energy

do we need?

CUT TO:

49

CLOSE ON MARTY’S MICRO-CASSETTE RECORDER

which is playing back the tape of the moments before Marty went

through time. All of the voices on the tape are muffled, except

Marty’s---and the gun shots sound fairly clear.

MARTY’S VOICE (ON TAPE)

Release the rope! It’s 4200 rads!!

WIDER ANGLE - INT. BROWN’S STUDY - MARTY, BROWN

Professor Brown is seated at his desk. He fumbles with the

recorder and shuts it off.

PROF. BROWN

4200 rads? Good God!

Marty is trying to twist open the bottle of Coca-Cola. He can’t-

--twist offs haven’t been invented yet.

PROF. BROWN

There’s something I still don’t

understand.

(rewinds tape)

Fascinating device...

(plays back gun shots)

These loud bangs...could those be

some sort of malfunction in the

time machine? Do you know what they

are?

Marty is of course quite uneasy.

MARTY

I wouldn’t worry about ’em,

Professor.

Again we hear the “4200 rads” portion of the tape. Professor

Brown shakes his head.

PROF. BROWN

4200 rads...That certainly can’t

be generated under controlled

conditions in this day and age.

MARTY

That’s just great.

50

PROF. BROWN

However...there’s a lot I don’t

know about Nuclear Physics. So

first think in the morning, I’ll

go to the University, see what I

can find out.

I want you to stay in the house.

It’s very important that you don’t

interfere in any way with the

outside world.

I’ve got plenty of food, there’s

the radio, books, magazines...I’ve

even got one of those new

television sets. There’s plenty to

do.

Professor Brown looks at Marty who is still trying to twist off

the Coke bottle. Brown stares incredulously.

PROF. BROWN

What are you doing?

MARTY

How do you open these?

The Professor takes the bottle from Marty and opens it with a

bottle opener. He hands it back, not sure what to think...but

afraid to ask.

MARTY

It doesn’t look good, does it,

Professor?

PROF. BROWN

(shakes his head)

At the moment, it looks like you’re

stuck here.

INT. BEDROOM - MARTY - DAY

Morning light streams in through a window. Marty is asleep on

the bed, still in his clothes. He awakens...and sighs as he

realizes that his surroundings are real, it wasn’t a dream...and

he’s stuck here.

He turns on the Cathedral Radio by the bed...no sound. He hits

it several times...not realizing that it simply has to warm up.

Finally, there’s music...Perry Como. Marty twists the dial and

picks up Dinah Shore, then Les Brown, Benny Goodman...swing

51

tunes, 50’s schmaltz...nothing that even resembles rock ‘n roll.

Disgusted, Marty shuts it off.

INT. KITCHEN - MARTY - DAY

Marty takes an old-fashioned drip coffee pot out of a cabinet.

He fumbles it and it breaks into its component parts. Marty

tries to put it back together.

CUT TO:

MARTY

pulling a BOTTLE OF MILK out of the refrigerator. He removes the

foil seal and tries to pour some into a glass. Nothing comes

out---the cardboard stopper is still in it. Marty tries to pull

it out---he can’t get the tab. Frustrated, he punches a hole in

it with his finger.

CUT TO:

MARTY

drinking a glass of milk, looking at the magazines and

newspapers on the kitchen table.

TIME has a cover story, “The Republicans: Who Will Win In ‘52?”

with photos of the top contenders.

MARTY

Eisenhower.

He looks at NEWSWEEK. Cover story: “Will We Have War With Russia

This Year?”

MARTY

No.

He tosses it aside. He tries the newspaper. “Crime Rate

Continues To Rise.” He shakes his head, looks at the Saturday

Evening Post which has a picture of some High School Students

with the question, “What’s Wrong With The Younger Generation?”

He laughs, turns it over and sees on the back cover the famous

Van Heusen Shirt Ad featuring Ronald Reagan.

MARTY

Jesus.

The DOORBELL RINGS. Marty reacts with uncertainty. He’s not sure

52

what to do.

It rings again.

Marty gets up and cautiously walks to the front door. He stares

at it, unable to make up his mind.

The bell RINGS again!

Finally Marty opens it. It’s PROFESSOR BROWN who immediately

points an accusing finger at him.

PROF. BROWN

Aha! You answered the door!

MARTY

You were ringing the doorbell!

Marty took a step back as the Professor walked inside.

PROF. BROWN

I told you not to interfere with

any of the events of this time!

Nobody’s supposed to see you here!

What if I was a mailman? Or a

salesman?

MARTY

What if you lost your keys?

PROF. BROWN

Then I would have figured out to

get back in through events in the

natural course of history! Don’t

you understand? The fabric of

history is very delicate. Anything

you do could have serious

consequences!

MARTY

Hey, look, gimme a break! All I

did was answer the door! How’s

that gonna change history?

53

PROF. BROWN

I don’t know, but I don’t want to

take any chances. Now you stay

here and don’t do anything. Don’t

answer the door, don’t answer the

phone, don’t go outside.

Understand?

Marty is fed up with the lecture.

MARTY

Hey, get off my case, would you? I

didn’t want to come here, and the

only reason I’m here in the first

place is because I was a nice guy,

helping you out. So don’t tell me

I gotta stay cooped up in here and

vege out, because none of this was

my fault!

PROF. BROWN

Let me put it on a level you can

understand. You don’t belong here.

You don’t know anything about this

world. You don’t know the customs,

you don’t know how to talk, how to

act---you don’t even look like you

belong here. And if you walked out

on the street, you wouldn’t get

100 yards without being arrested.

Then there would be a lot of

questions, and where would we come

up with the answers?

Marty signs.

MARTY

Okay, Professor, I get where

you’re coming from. The way I

look, the way I’m dressed, I’d

stick out like a sore thumb.

PROF. BROWN

I’m glad we finally got that

straightened out. I’ll see you

tonight.

He exits and slams the door behind him.

54

CUT TO:

EXT. PROF. BROWN’S HOUSE - DAY

A window opens, and MARTY climbs out! But now he’s wearing some

of the Professor’s clothes, and he’s got his hair slicked back

in Ronald Reagan style! He actually looks like a resident of

1952! Marty runs off down the hill, toward town.

EXT. BUSINESS STREET - MARTY, PEDESTRIANS - DAY

Marty walks down the sidewalk with the other pedestrians, trying

to act like he belongs here. He’s doing a good job of it, too,

because no one gives him a second glance.

Suddenly, a COP in front of him glances at Marty, then points an

accusing finger at him.

COP

Hey you! Where do you think you’re

going?

Panic fills Marty’s face as the cop approaches him---has he been

had? No---the cop walks right past him and collars a TRAMP

several yards behind Marty. Marty sighs relief.

MARTY

bops down the street, full of confidence, full of excitement,

full of curiosity. He’s a tourist in another time and he takes

in the sights, which include...

AN APPLIANCE STORE, selling “Giant 8 inch Televisions,” with “a

screen as big as life itself.”

A GAS STATION selling gas at 18.9¢ a gallon.

A TRAVEL AGENCY advertising “L.A. to New York in a mere 12

hours.”

A DANCE STUDIO, where through the window can be seen a Mambo

Class, and a big sign, “Everybody’s Doing the Mambo!”

A CLOTHING STORE, with a display of the latest fashions.

A STUDEBAKER SHOWROOM, with “The most modern car ever developed

in the entire history of man.”

55

EXT. A RECORD STORE - MARTY

Marty stares at the window display at the record store,

promoting America’s top recording artists: Sinatra, Guy

Combardo, Dinah Shore, Perry Como. Something is bothering Marty

about this so he goes in.

INT. RECORD STORE - MARTY

The Number One Single is prominently displayed on the counter:

“Papa Loves Mambo” by Perry Como. Marty can’t believe it. A

CLERK approaches him.

CLERK

Can I help you, sir?

MARTY

This is the number one record?

CLERK

Yes, sir!

MARTY

I don’t get it---how come there’s

no Rock ‘N Roll?

CLERK

I beg your pardon?

MARTY

This is 1952...?

CLERK

Uh, yes, sir...

MARTY

And you never heard of Rock ‘N

Roll?

CLERK

No.

MARTY

(big smile)

Well, maybe it’s time you did.

CUT TO:

56

EXT. PAWNSHOP

A PAWNBROKER pulls a Guitar out of the window, along with the

price tag: $5.00.

INT. PAWNSHOP - MARTY, PAWNBROKER

The Pawnbroker takes the guitar to the cash register; Marty

follows him.

PAWNBROKER

That’ll be 5 bucks.

Marty pulls out his wallet and hands the man a 20. The

Pawnbroker rings it up, then takes a closer look at the bill.

PAWNBROKER

Hey, what kinda funny money is

this?

MARTY

Huh?

PAWNBROKER

It says “1977” on it. What do you

take me for, an idiot?

He gives the bill back to Marty. Marty looks at it and realizes

his mistake.

MARTY

Oh---yeah---I can’t believe I did

that. That’s a joke. My friend had

these printed up---see, that’s his

name there...

(pointing to the name on the bill)

...Blumenthal.

The Pawnbroker is eyeing Marty suspiciously. Marty checks his

wallet.

MARTY

Gee---I don’t seem to have

anything on me...Hey, how about

this watch? It’s a genuine

antique!

Marty hands the man his watch. The broker examines it.

57

PAWNBROKER

Antique? They just came out with

this watch last month. But this

one looks like its been through a

war.

MARTY

Yeah, I’ve been doing a lotta

travelling.

PAWNBROKER

Okay, kid. You got a deal. The watch

for the guitar.

CUT TO:

INT. TALENT AGENT’S OFFICE

Marty is performing “Blue Suede Shoes” for an AGENT in an

office. Marty’s really cooking---jumping around like Elvis, and

really playing his heart out. He’s good, too.

The Agent, 45, sits stonefaced behind his messy desk, puffing on

a big cigar. The office has the same feeling as the Agent:

cheap. The walls are covered with 8 x 10’s of clients.

INT. OUTER OFFICE

The music can be heard coming from the frosted glass door with

the words “Midwest Talent Agency” on it here in the outer

office. The secretary listens, but doesn’t seem to care much for

it. But REGINALD WASHINGTON, 32, a black man with silk shirt,

processed hair and two-tone shoes, is very interested. He puts

his ear to the door and snaps his fingers in time to the tune.

He likes it.

INT. AGENT’S OFFICE

Marty finishes the number. The Agent is not impressed.

AGENT

Well, kid, it’s interesting, I’ll

say that. But it’s not commercial.

MARTY

Not commercial? Mister, don’t you

know what you’re listening to?

This is rock ’n roll!

58

AGENT

Call it what you want to kid, but

don’t call it music, ’cause it sure

ain’t that!

MARTY

But you don’t understand---

AGENT

No buts, kid. I’ve been in this

business my whole life and I know

what people want. The smooth

sound, that’s what sells. Como,

Crosby, Dinah Shore. Gimme a

melody, and a nice slow tempo. Now

beat it!

The agent shoves Marty out the door!

INT. OUTER OFFICE

Marty is stunned. In a moment, the door opens and his case is

thrown out too!

Reginald goes over to him.

REGINALD

That sound I just heard coming

through the door, that was like

nothing I ever heard before! I

mean, you got something there,

young man!

MARTY

Who are you?

REGINALD

Reginald Washington is my name; I

manage some of the local bands

around town, and I think you’ve

got something we can promote all

the way to the top! Now, I’ve got

a real important cat comin’ in

from a New York Record Company on

Monday the 18th, and I want you to

play that music for him. I think

the time has come for a sound like

that.

59

Marty grins. Reginald takes a business card and writes the

particulars on it.

REGINALD

That’s March 18th, Noon. Be at my

office. What’s your name?

MARTY

Marty Mc---Marty Lewis.

REGINALD

Marty Lewis. See you on the 18th.

Reginald gives him the card and they shake hands. Marty is

elated.

MARTY

Right on, brother!

Reginald has never heard that expression before.

REGINALD

I think you’re a little mixed up.

There is absolutely no way that I

could be your brother.

Reginald walks off. Marty looks at the card and smiles.

INT. MARTY’S BEDROOM AT BROWN’S HOUSE - NIGHT

Marty, dressed once again in his 1980’s clothes, is practicing

on the guitar in front of the mirror.

He hears the door opening downstairs, so he quickly puts the

guitar in the corner, messes up his hair, takes Reginald’s

business card from off the bed and sticks it in the pocket of

his Porsche jacket which is laying on a chair.

INT. BROWN’S HOUSE - FRONT ALCOVE - NIGHT

Marty comes running downstairs and finds a very sullen Professor

Brown pouring himself a drink. Brown looks at him.

PROF. BROWN

Well, I found an energy source that

can generate the 4200 rads that we

need...an atomic bomb.

60

MARTY

Professor, be serious, would you?

PROF. BROWN

I am serious. If we could get you,

the Time Machine, and the Power

Converter in the vicinity of an

atomic blast, we could send you

back to the future.

MARTY

You’re talking crazy! An Atomic

blast would melt me and the time

machine in a matter of seconds!

PROF. BROWN

You forget---time travel is

instantaneous. The time machine

would melt, but you would have

already travelled through time. Of

course, it’s a moot point

regardless. The only place atomic

bombs are detonated is at the

Army’s Nevada Test Site, and those

tests are kept absolutely top

secret.

Something suddenly occurs to Marty and he bolts back upstairs.

INT. MARTY’S BEDROOM - BROWN’S HOUSE

Marty rushes into the bedroom and goes through the pockets of

his Porsche jacket. He pulls out the textbook page he passed to

Suzy Parker and unfolds it. Reginald’s business card falls out

of the same pocket.

INSERT - THE TEXTBOOK PAGE

Underneath the picture of the mushroom cloud is the caption,

“Last above ground atomic test, 15 megatons, March 18, 1952,

Atkins, Nevada.”

MARTY

compares this to the business card: the dates are the same.

He considers his problem, then makes his decision: he crumples

up the textbook page and throws it in the trash can.

61

Now Professor Brown enters.

PROF. BROWN

Marty, what’s wrong?

He slipped the card back in the jacket and shrugged, trying to

seem nonchalant.

MARTY

Oh---nothin’. I thought I left the

water running.

Professor Brown catches a glimpse of the guitar in the corner,

then has a closer look.

PROF. BROWN

Say, where did this guitar come

from?

MARTY

Oh---that---I found it in the

closet.

PROF. BROWN

I don’t recall ever seeing it

before.

MARTY

Well, it was there.

PROF. BROWN

Curious. Very curious....

CUT TO:

INT. MARTY’S BEDROOM - BROWN’S HOUSE - MORNING

Morning light streams in through the window. Marty awakens. This

time, he’s sleeping in the bed instead of on it. He smiles.

INT. KITCHEN

Marty pours himself a cup of coffee from the drip coffee pot,

and victoriously pulls the stopper out of the milk bottle. His

mood is very positive, and he sings as he adds milk to his

coffee.

62

MARTY

(singing)

So you wanna be a rock ‘n roll

star...

Once again, the DOORBELL RINGS. Marty reacts with a “Not again”

look and goes to answer it.

INT. AT THE FRONT DOOR

Marty is shaking his head as he opens the door.

MARTY

Look, Professor, I’m not-----oh.

It’s Eileen. Marty is dumbfounded. She smiles at him. She’s

carrying books, obviously on her way to school.

EILEEN

Hi, Marty.

MARTY

Uh, hi...

EILEEN

Eileen.

MARTY

(it’s hard for him to say)

Right. Eileen.

EILEEN

(A little unsure of herself)

You remember me...?

MARTY

Oh, sure, I remember you.

EILEEN

Well, I was on my way to school,

and I just wanted to stop by and

see if you were feeling okay. You

seemed like you were in pretty bad

shape the other night.

MARTY

Oh, I’m feeling much better now.

63

EILEEN

How long are you planning on staying?

MARTY

Actually, it looks like I’m gonna

be stuck here for awhile.

EILEEN

(hopefully)

Then you’ll be going to school

here...?

MARTY

School? I never thought of school!

If I went to school I could blend

in with everybody else, couldn’t I?

She doesn’t know how to react.

MARTY

What time does school start around

here?

EILEEN

9:00---oh, I’m late! Maybe I’ll see

you later.

MARTY

Yeah. Maybe so.

She smiles, then hurries off to school.

EXT. HIGH SCHOOL - DAY

It’s the same school we saw in 1982, but the trees are smaller

and there is no grafitti or broken windows. Only a few students

are loitering in front---school is in session.

MARTY, dressed once again for 1952, goes up the front steps

carrying a notebook. As he gets to the door, the BELL RINGS,

indicating a passing period.

INT. SCHOOL HALL - MARTY, STUDENTS

Students pour into the hall from the classrooms. Marty marvels

at what his “contemporaries” look like.

Marty proceeds through the corridor and pauses at a classroom

door. He decides to enter.

64

INT. SCIENCE CLASSROOM

It’s the same science classroom Marty was in earlier, only

everything looks much newer, and the chalkboards are black

instead of green.

Marty goes over to his old desk---of course, it’s now in

excellent condition. He runs his hand across the desktop.

VOICE

You there! What are you doing in

this class?

The voice is familiar---Marty looks up: it’s Mr. ARKY, 30 years

younger! Marty’s eyes nearly fall out of his head! Young Mr.

Arky is energetic and dynamic, the kind of teacher who’s going

to change the world.

MARTY

Mr. Arky? Mr. Arky!

MR. ARKY

Yes, that’s my name. Who are you,

young man? Are you supposed to be

here?

MARTY

Uh---yeah. I’m new here, and I’m

supposed to be in this class.

MR. ARKY

You have a name?

MARTY

Marty. Marty Lewis.

CLOSE ON AN INKWELL

as a FOUNTAIN PEN is dipped in and sucks in ink.

WIDER ANGLE - SCIENCE CLASS

as Marty stares with amazement at the STUDENT next to him

filling her pen.

Mr. Arky is in the middle of his lecture.

65

MR. ARKY

...and it is, of course, due to

Science that we Americans enjoy

the highest standard of living in

the history of the world. When we

think of the technological

advances made in just the past 30

years, it boggles the mind to

imagine what the world will be

like in another 30 years.

I think I can safely say that we

can all look forward to a world of

plenty, a world free of disease

and starvation. There’ll be entire

cities built under the sea, cars

that can go 2 or 300 miles an

hour.

Marty can’t believe what he’s hearing. The rest of the class

seems pretty bored.

MR. ARKY (CONT’D)

You girls will be able to cook an

entire meal, clean the entire

house, and do all of your laundry

and ironing by push-button. You

may even have a robot to assist

you in all your duties as a wife.

A WISE GUY calls out form the back.

WISE GUY

I hope those robots won’t be

assisting in all my wife’s duties!

There is laughter from the back of the class.

MR. ARKY

Well, Biff, since you seem so

eager to get into this discussion,

perhaps you’d like to tell us what

you think you’ll be doing in 30

years?

Yes, it’s young BIFF TANNEN sitting in the back of the class,

looking just like what he is: the school’s biggest troublemaker.

Sitting around him are his THREE CRONIES: GUMS, so named because

he’s missing his two front teeth; MATCH, who is perpetually