		      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

7	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."
