PARADOX.txt

PARADOX
by
asterisks appearing at the ends of lines, and in


     A GENERAL NOTE ABOUT SCENE NUMBERING

     The scene numbering in this script contains large blocks of
     “reserved” numbers for the following reason:

     Every time we travel to a different time period (except for
     the 1985 prologue), the scene numbers jump to a new 3-digit
     numb er, as follows:

     1 — 7: 1985 Prologue


     8 — 61: 2015

     201 — 238: “Biff 198"


     300 — 386: 1955


     501 — 578: 1888


     701 — 713: 1985

     This is intended to make breakdowns easi er because simply by
     looking at a scene number, you can tell what time period we
     are in.

                                                       FADE IN:
     MAIN TITLE SEQUENCE over selected footage from “Back To The
     Future:” including the charac ters, the D eLorea n, and oth
     er pertinen t image s... finally bringing u s into

     1 INT. McFLY GARAGE/EXT. McFLY HOUSE — DAY
     W e are recreating the closing mom ents of “Back to the
     Future:”
     The garage door op ens, reve aling MA RTY OUT SIDE, w ho
     enter s and re acts to seeing his black Toyota truck for the
     first time.
     SUPE R TIT LE: “Sa turday, Oc tober 26 , 1985. 10 :38 A.M .”

                                              JENN IFER (O .S.)
     How about a ride, m ister?
     Mar ty turns and s ees JEN NIF ER s tand ing in th e driv ewa
     y.

                          MARTY
               Jennifer! Oh, are you a sight fo r
               sore eye s! Let m e look at you!
     Marty goes to her.
     Jennifer doesn’t quite understand Marty’s reaction.

                          JENNIFER
               Marty, you’re acting like you
               haven’t seen me in a week!

                          MARTY
               I haven’t.

                          JENNIFER
               Are you o kay? Is e verything all
               right?

                          MARTY
                    (looks back at the house,
                     smiles)
               Oh, yeah ! Everything is great.
     MARTY em braces JENNIFER in front of the house.
     They’re about to kiss — then, 3 sonic booms and the “Mr.
     Fusion” modified DELOREAN SCR EEC HES into th e driv ewa y!
     DOC BRO WN jumps out, frantic, dressed in his wild future
     garb and wraparound glasses.

                          DOC
               Marty! You’ve got to come back with
               me.

                          MARTY
               Where?

                                                            DOC
     Back to the future!
     Doc pulls a beer can and bana na pe els out of the garbage
     and dumps them into the “Mr. Fusion Unit.

                          MARTY (CONT’D)
               W ait a minu te, what are you
               doin’, Do c?

                          DOC
               I need fuel! Go ahead, quick , get
               in the car!

                          MARTY
               No, no, no, Doc, I just got here,
               Jennifer’s here — we’re gonna take
               the new truc k out for a spin...

                          DOC
               Well, bring her along! This
               concerns her, too!

                          MARTY
               W ait a minute, Doc, what are you
               talking about, Doc? W hat happens
               to us in the future? Do we become
               assholes or something?

                          DOC
               No, no, you and Jennifer both turn
               out fine. It’s your kids , Mar ty.
               Something’s gotta be done about
               your kids!

     Marty and Jennifer exchange a look.

     THE DELO REAN backs out of the M cFly drivew ay and into th e
     street.


     INT. DELOREAN

     DOC engages switches and time circuits; MARTY and JENNIFER
     sit together in the passenger seat.

                          MARTY
               Doc, you’d better back up. We don’t
               have enough road to get up to 88.

                          DOC
               Roads? Where we’re going, we don’t
               need roads.

     Doc flips another switch.


     EXT. STREET — DELOREAN

     The wheels rotate 90 degrees, and the DMC lifts up and off
     the ground!


     EXT. MCFLY HOUSE FRONT DOOR

     BIFF, 42, comes bounding out of the McF ly house with a
     DISTINCTIVE BOOK OF MATCHES, “Biff’s Auto Detailing.”

                          BIFF
               Say, Marty, I want to show you
               these new matchbooks I had printed
               up—

     Biff stops short and reacts with astonishm ent at the sight
     of the flying car.

                          BIFF (CONT’D)
               A flying DeL orean...?


     BIFF’S P.0.V. OF THE SKY — FLYING DELOREAN — DAY
     6 The flying vehicle ac celerates and blas ts into the
     future, vanishing from 1995, leaving behind FIRE 6

     TRA ILS in the a ir which qu ickly burn o ut!
     7 BIFF reacts. His eyes narrow with suspicion. Sinister
     suspicion.

                                                           BIFF
     What the hell is going on here?

                                                        CUT TO:


     INT. FLYING DMC — D AY

     Thru the windshield is a STACCATO TRIPLE FLASH OF W HITE
     LIGHT, followed by PO UR ING RAIN whic h wip es ou t
     visibility.

     Doc flips on the windshield wipers — to discover they’re
     flying right into the path of an oncoming FLYING TRUCK!

     Marty and Jennifer SCREAM!

     Doc jerks the wheel, narrowly avoiding a collision.

     The angry TRUCK DRIVER sticks his head out the window.

                                                   TRUCK DRIVER
     Stay in your own lane, maxole!

     As Do c ma neuver s the DM C to the c orrect sid e of the F
     LOA TING LANE MAR KERS , Marty and Jennifer turn to see what
     almost hit them.

                          MARTY
               W hat was that?

                          DOC
               Team ster.

                          AIR TRAFFIC CONTROL (V.O. RADIO)
               DeLorean, vector 12, this is air
               traffic control. You’ve made
               unauthorized entry into commercial
               transport airspace. Why the hell
               wasn’t your transponder on, over?

                          DOC
               Roger, we’re experiencing minor
               technical transponder difficulty. W
               e’re desc ending n ow for a r
               epair, ove r and ou t.

                                                          MARTY
     What the hell’s going on, Doc? Where are we?

                          DOC (CONT’D)
               The future.

                          MARTY
               The future??

     Doc p oints to the tim e display: “O ct 21, 201 5 4:29 pm .”

                          DOC
               Hill Valley, California: 2015.

                          MARTY
               2015?

                          JENNIFER
               2015?!?

     Doc quickly holds a penlight device to Jennifer’s face which
     STROBES blue light. Jennifer imm ediately pas ses ou t.

                          MARTY
               Doc, what are you doing?

                          DOC
               Relax, Marty, it’s just a sleep
               inducing alpha rhythm generator. I
               don’t want her to see too much of
               the future.

                                                          MARTY
     Jeez, Doc, then why bring her?

                          DOC (CONT’D)
               I had to do something. She saw the
               time machine, and I cou ldn’t ju st
               lea ve he r ther e with that in
               form ation . This way, when she
               wakes up, she’ll think it was all a
               dream.

                          MARTY
               Well...you’re the Doc.


     EXT. ABOVE HILL VALLEY, 2015

     The FLYING DMC descends through the clouds.


     EXT. ALLEY — DAY

     The D eLorea n lands in a long ALL EY. It still has a b it of
     residue FRO ST on it.


     INT. DELOREAN

     Doc turns off some of the switches.

                                                            DOC
     First you’re gonna have to get out and change clothes.

                          MARTY
               Doc, it’s pouring rain.

                          DOC
               Oh, right...
                    (checks his watch)
               W ait 3 mo re seco nds...

     In 3 sec onds th e rain abru ptly stops, to b e replace d by
     bright su nlight!

                          DOC (CONT’D)
               Right on the tick. Too bad the post
               office isn’t as efficient as the
               weather service.

     Doc and Marty throw open their gullwing doors.


     EXT. ALLEY

     As they get out of the DeLorean, Doc peels plastic material
     off his face — as if removing a disguise.

     Marty stares in disbelief.

                          DOC
               Exc use the d isgu ise, M arty, bu
               t I was afra id you w ouldn ’t
               recognize me. I went to a
               rejuvenation clinic; had ‘em take
               some wrinkles out, got a hair
               repair — added a good 30 to 40
               years to my life. I also had my
               spleen and colon replaced. What do
               you think?

     Doc now looks YOUNGER and healthier. He “models” his younger
     face.

                          MARTY
               You look good, Doc. Real good.
                    (star ts do wn th e alley)
               The fu ture! W hoa, I gotta check
               this out!

                          DOC
               All in good time, Marty. We’re on a
               tight schedule here. Here’re your
               clothes.

     Doc takes out a F UTUR ISTIC GYM BAG, then goes a round to
     get Jennifer out of the car. *

                          MARTY
               So, Do c, like wha t about m y
               future? I m ake it big, righ t?

                          DOC
               Marty, please, that’s not why we’re
               here.

                          MARTY
               You can tell me, Doc. W hat am I —
               like, a rich rock star?

                          DOC
               Please, Marty, no one should know
               too much about their own des tiny.

                          MARTY
                    (takes this as a “no”)
               Oka y...well, at least, I’m ric h,
               right?

                          DOC
                    (sighs)
               Damn. Maybe I shouldn’t be doing
               this. Maybe I should just forget
               this whole thing and take you both
               back home.

                          MARTY
               Hey, I’m sorry, Doc. I’m just
               excited, that’s all. Everybody
               wants to know about their future.

                          DOC
               That’s what I’m afraid of.
                    (sighs)
               W ell, we’re here. Let’s hope my
               plan works. Change c lothes: We’ve
               got a mission to accomplish.

     As Marty starts unbuttoning his shirt, Doc lifts the
     unconscious JENNIFER out of the DeLorean and pu ts her do wn
     in a do orway alco ve behin d a futuristic waste p rocess ing
     unit.

                                                          MARTY
     You mea n we’re just gonna leave her?

                          DOC (CONT’D)
               It’s too risky to take her with me.
               Don’t worry, she’ll be safe. She’s
               out of sight, and it’ll just be for
               a few minutes.
     From his po cke t, Doc pulls o ut FU TU RIS TIC BINO CU LAR S
     — a thin p lastic card with e ye lens es th at loo ks lik e a
     ch eap toy.
     Doc runs down to the opposite end of the alley and starts
     looking around for something.
     We INTER CUT Marty as he dons the future clothes:
     The shirt “buttons” with velcro.
     The ja cket se ems too big for M arty, until he touc hes a p
     ressur e pad on the sleeve , “Un-size form fit.” Ins tantly,
     th e slee ves a utom atica lly shor ten a nd th e jac ket ta
     ilors its elf to M arty’s body, to his d elight!
     Doc continues looking around intently through the binocs. At
     last he focuses on something.


     13 DOC’S P.O.V. THRU BINOCULARS OF
     the back of a young man’s head: he’s wearing a FUTURISTIC
     YELLOW CAP. (The binocular matte includes digital reado uts
     for dis tance, tem perature , etc.)

     14 DOC nods, satisfied. He hurries back to the DMC.
     Meanwhile, MARTY can’t figure out how to “tie” his future
     (Nike) shoes. He examines them, and touc hes a p ad. Th e
     shoe zip-laces itse lf shut!

                          MARTY
               Powe r laces! A ll right!
     Marty is now fully dressed in future garb.

                                                          MARTY
     Ok ay, Do c, so wha t’s the deal?

                                                            DOC
     In exactly 2 minutes, you go around the corner, into the
     “Cafe 80's.”

                          MARTY (CONT’D)
               Cafe 80's?

                          DOC
               It’s one of th ose no stalgia plac
               es, but no t done ve ry well. Go in
               and orde r a Pe psi — here ’s a
               fift y.
     Doc hands Marty a future 50-dollar bill, with rainbow
     holographic borders.

                          >DOC
                    (continuing)
               Then wait for a gu y name d
               “Griff.”

                          MARTY
               “Griff.”

                                                            DOC
     Right. Griff’s going to ask you about tonight — are you in or
     out? Tell him you’re out. Whatever he says, whatever happens,
     say: no, you’re not interested. Then leave, come back here
     and wait for me. Don’t talk to anybody, don’t touch anything,
     don’t do anything, don’t interact with anyone.

     Doc rummages around in the DeLorean and pulls out a bag.

                                                          MARTY
     I don’t get it, Doc. I thought this has something to do with
     my kids.

                                                            DOC
     Precisely. In those clothes, you’re the spitting image of
     your future so n — w ith one last finis hing touc h...

     From the bag, Doc pulls a yellow cap identical to the one he
     saw a moment ago and puts it on Marty’s head.

                                                            DOC

     |Perfec t!
     (his watch BEEPS)
     Damn, I’m late!

     Doc rush es ba ck d own the fa r end of the alley.

                          MARTY (CONT’D)
               Doc, wait! Where you going?

                          DOC
               To intercept the real Marty Junior.
               You’re taking his place!

     Doc disappears a round the corner.

     Marty shrugs.

                          MARTY
               Marty Junior. With a name like
               that, how can he go wrong?

     He takes a deep breath and steps out of the alley onto:


     EXT. HILL VALLEY COURTHOUSE SQUARE, 2015 — DAY

     Yes, it’s COURTHOU SE SQUARE — familiar enough to recognize,
     but vastly changed...for the better:

     The streets are now GIGANTIC SIDEW ALKS, for pedestrians and
     bicycles only — no cars, which are restricted to ELEVATED
     STREE TS. (There are “No Parking” and “No Landing” signs
     posted).

     In the center, the village green has been restored and
     improved, with a DUCK POND and a FOUNTAIN.

     The renovated COURTHOUSE is now the entrance to COURTHOUSE MA
     LL, boasting over 75 underground shops; the CLOCKTOW ER has
     the same clock, cleaned up, restored, and preserved behind
     hermetically sealed plexiglass (it’s a tourist attraction)
     ...and still stopped at 10:04.

     The TEXACO STATION is now a 2-LEVEL GAS STATION. A car lands
     on the upper level and a series of ROBOT ARMS imm ediately go
     to work washing the windshield and checking the tires.

     A PLASTIC SURGER Y FRANCHISE, “Bottoms Up,” advertising FACE
     LIFTS and a sale on Breast Implants.

     A ROBO TICS SH OP displays robots and acce ssories (sales,
     service, rentals).

     Billboards for “TWA Vietnam Vacations,” “Pepsi Plus (it’s
     vitamin enriched),” and “G.E.

     Super condu ctors.”

     A HO LOG RAP HIC TH EAT ER p laying “ JAW S 14 ” (Th is tim
     e, it’s re ally, rea lly pers ona l) * directed by Max
     Spielberg.

     A VIDE O SO FTW ARE S TOR E adve rtising the “V ideo Clas
     sic: A Ma tch Ma de in Spa ce.”

     And the perennial FINANCE COMPANY offering Easy Credit: some
     things never change.

     The people in general seem in better physical condition — few
     are fat or wear glasses (although there are plenty of wild
     sunglasses and videoglasses).

     There are Kids with painted faces — a contemporary fad.

     A group of HARE-KRISHNAS are chanting in the square.

     And PU BLIC U TILIT Y W ORK ERS a re tearing u p the stree t.

     16 MARTY stares wide-eyed, taking it all in. He walks past
     17 AN ANT IQUE ST ORE in which the display window is filled
     with “RARE ANT IQUES” —

     comm on household objects of the 19 70's and 80's: a Betam
     ax, Perrier bottles, a Super-8 Movie camera, a Macintosh
     computer, mannequins with old clothes, and a BOOK: “SPORTS
     ALMAN AC 1950— 2000.” (There’s also a sign: “W e buy antique
     coins and bills.”)
     18 MARTY spots the “CAFE 80’s” located where Lou’s Malt Shop
     was in 1955.

     He goes in.


     INT . CAF E 80 ’S

                                                            19*

     Marty enters and looks around.

     The decor incorporates icons of the 1980'S (“Baby On Board”
     signs, “oldies” music, Miami Vice colors, etc.). The front
     portion is like a fast food operation. pictorial menus above
     the counter show various food items.

     There are “W atchman” type video screen s for each seat.
     Instead of waitresses, there are ROBOT/DRO IDS With VIDEO
     SCREEN heads behind the counter. The screen flashes and the
     face of RONALD REAGAN appears on it, in a “Max Headroom”
     computer synthesized image.

     DROID (VIDEO)
     Welcome to Cafe 80'S where it’s always Morning in America —
     eve n in the afte rnoon...

     The “M orning In A mer ica” cam paign co mm ercial plays b
     ehind “R eagan .”

     Mar ty stare s in am azem ent, ta ken abac k by th e sta
     rtling te chn ology.

                          DROID (REAGAN)
               Our special today is Mesquite
               grilled sushi, cajun style, dipped
               in a Thai cilantro sauce.

     Sudde nly, the ima ge bec ome s AYAT OLLA H KH OME NI.

                                             DRO ID (KH OME NI)

     |No! It is the Great Satan Special! I demand you have Tofu!
     (becomes MICHAEL JACKSON)
     Hey... Be cool. Don’t be bad. We’re all friends here.

                          MARTY
               Uh, c ould I have ...a Pe psi?

     Mar ty hold s up h is Fifty.

                                                 DROID (REAGAN)
     Cash ? W ell, it’s much easier to ju st use you r thum b...

                          MARTY (CONT’D)
               Huh? Uh, no, I’ll pay cash.

                                                 DROID (REAGAN)
     W ell, the re’s a hand ling su rcha rge o n cas h, bu t,
     well, o kay, we’ll. take cash.

     Marty puts the bill down on a tray on the counter. It’s
     sucked into a machine. There are some electronic sounds, some
     whirring noises, and then a PEPSI PERFECT in a futuristic
     container is dispensed via the food delivery system.

                          DROID (REAGAN)
               And your chang e, round ed off to
               th e neare st dollar...

     Two 1 -dollar bills com e out of the unit.

     Marty takes his change. He takes the Pepsi and examines it.
     He can’t figure out how to open it.

                          VOIC E (O.S .)
               Hey, M cFly!

     The voice and tone are familiar — too familiar. Marty turns.

                          MARTY
               Biff!

     Yes, it’s BIFF TANNEN, 78 years old, white hair, craggy
     features. He’s at a table, eating sushi and watching a SPORTS
     EVENT on his watchman screen. Biff gives him a look and nods
     kno wing ly.

     Marty approaches him, staring in disbelief at his aged
     features.

                                                           BIFF
     Yeah. I’ve seen you around. You’re Marty McFly’s kid, huh?

                          MARTY (CONT’D)
               Huh? W hat?

                          BIFF
               Marty Junior. You look like him,
               too. Tough break, kid: it must be
               rough being named after a complete
               butthead.

                          MARTY
               What’s that supposed to mean?

     Biff ta kes his C ANE — th e top is a sc ulpte d CL ENC HED
     FIST — a nd k noc ks it o n Ma rty’s forehead.

                          BIFF
               Hello? Anybody home? Think, McFly,
               think! Your old man: Mr. Loser.

                          MARTY
               W hat? A loser?

                          BIFF
               That’s rig ht. A loser w ith a
               capital “L.”

                          MARTY
               That can’t be! I happen to know
               that George McFly is no longer a
               loser.

     Outside, through the window, a beat up ‘89 BMW Convertible
     Hover conversion pulls up to the cafe with 4 GU YS in it. The
     vehicle pa rks an d the guys get out.

                          BIFF
               No, George McFly’s never been a
               loser. But I’m not talking abo ut
               Ge orge McF ly. I’m ta lking abou t
               his k id — your o ld man: Ma rty
               McFly. Senior.
                    (a beat as Biff shakes his
                     head)
               He jus t took his life a nd flush
               ed it com pletely down the toilet.

     Marty stands there in stunned shock.

                          MARTY
               M-m -m e? M arty?

     Now a KID, 19, who bears a startling resemblance to Biff,
     steps in.

                          KID
               Hey, Gramps, I told you two coats
               of wax on my car, not just one.

                          BIFF
               Hey, I just put the 2nd coat on
               last week.

                          KID
               Yeah, with your eyes closed. Come
               out here and scan it. It’s a lo-res
               job.

     Marty look s back and forth betwee n the two in ama zeme nt.

                          MARTY
               Uh, are you two related?

     Again Biff knocks on Marty’s head with his cane.

                          BIFF
               Hello? Anybody home? Whaddaya
               think, Griff just calls me grandpa
               for his health.

     Marty looks at Biff’s grandson with an “oh shit” reaction.

                          MARTY
               He’s Griff...?!?

                          GRIFF
               Gramps, nuke the bab-sesh and get
               out here, ‘orrita! What the hell am
               I payin’ you for?
                    (to M arty)
               And M cFly: don’t go anywher e.
               You’re n ext!

     Biff heads for the door.

                                                           BIFF
     Liste n, Gr iff, do n’t you go loa nin’ th at Mc Fly kid any
     m one y — even though he probably needs it...him and his old
     man both.

     Biff exits, leaving Marty dumbfounded.

     Marty watches through the window as Griff points out to Biff
     some problem with the finish on his beat up junker. Also
     present are Griff’s gang, a girl and 2 guys: SPIKE, WHITEY
     and HACK.

     On a V IDEO SCR EEN, a Rock Video “O ldie” com es on: “P ower
     of Love.”

     Marty wa tches a nd nod s to the be at.

     3 nearby GIRLS, about 13, shake their heads.

                          GIRL #1
               Oh, shred that! I only scan that
               kinda vid at my grandma’s!

                          GIRL #2
               Yeah , wha t do th ey call it? Roc
               k an d rail?

                          GIRL #3
               It doesn’t even sound like music!

                          GIRL #1
               Yeah, thank God we didn’t have to
               live in the 80’s. It must have been
               terrible.

     Marty feels very old.

     Nearby is an ARCA DE VIDEO GAME from the 80’s: “GUN FIGHT
     ER.” It’s one of those where you shoo t a light gun at th e
     video s creen. A KID, abo ut 8. is lookin g at it. He ca n’t
     figure it out.

                          KID
               How do you play this thing?

                          MARTY
               I’ll show you, kid. I’m a crack
               shot at this one. Where do you put
               in the quarter?

                          KID
               Quarter? W hat’s a quarter?

     Marty touches his thumb to a thumbplate where the money would
     normally go and the game starts up. So that’s how you “u se
     your thu mb.”

     Marty zaps every targe t, no swe at. He’s a c rack s hot.

                                                            KID
     You mean you have to use your hands? That’s like a baby toy!

     Marty really feels old.

     Marty takes a few more shots, the REAL MAR TY J UN IOR pass
     es by o ut the wind ow, o n his way into the cafe. He’s
     unnoticed by Griff, Biff and the boys, who are absorbed in
     the car.

     MARTY sees him coming. He’s horrified.

                          MARTY
               Damn!

     Marty runs behind the counter and ducks down, hiding.

     JUNIOR enters.

     Marty gets a good look at his future son.

     JUNIOR, 17, although dressed like Marty, carries himself
     quite differently. In a word, he’s a me ss: h is jac ket d
     oes n’t fit rig ht (the uni-fit syste m is brok en), h e has
     food stain s all ov er him , and unkempt hair sticks out of
     his yellow cap. He’s a combination of Marty’s looks with the
     pers ona lity of you ng G eorg e Mc Fly.

                          DROID (REAGAN)
               Welcome to Cafe 80’s where it’s
               always—

                          JUNIOR
               Pepsi P erfect.

     Junior pays for it by putting his thumb to a thum bplate
     device on the counter, and the delivery unit d ispe nse s a P
     eps i.

     Now GR IFF and the GU YS enter.

                          GRIFF
               Hey, M cFly!

     Jun ior tur ns an d sm iles w eak ly.

                          JUNIOR
               Hi, Griff; guys. How’s it going?

                                                          GRIFF
     Hey, McFly, your shoe’s unvelked.

     Junior falls for it; Griff slaps him and he and his boys all
     laugh. Junior laughs, too.

     Marty winces at the humiliation.

                          GRIFF
               So, M cFly, h ave yo u m ade your d
               ecis ion ab out... t onigh t’s
               little op portu nity?

     Marty reacts with increased concern.

                          JUNIOR
               Uh, we ll, I’m still not sure. S
               eem s kinda dange rous...

                          SPIKE
               W hat’s wro ng? You got no sc roat?

                          GRIFF
               W hat’s it gonn a be M cFly? You in
               or out?

                          JUNIOR
               Well... I don’t really think I
               should, but I guess I should
               discuss it with my fath—

                          GRIFF
               Are yo u sayin g “no ,” Mc Fly?

                          JUNIOR
               Uh, we ll, yes. That is, I’m
               saying, “no, th ank you .”

     Marty sighs relief.

                          GRIFF
               W rong answ er, M cFly.

     As he says it, Griff picks up Marty Junior and THROWS H IM
     OVER THE CO UNTER right next to where Marty is hiding!

     The guys all laugh.

     Some of the patrons react with concern; some make phone calls
     on their wrist or headgear phones to 911.

                          DROID (REAGAN)
               Now, now, let’s behave ourselves.

     MARTY stares at his unconscious future son, lying there.

     Marty takes a deep breath and stands up. Griff grabs him by
     the jacket and pulls him over the counter.

                          GRIFF
               Now, let’s hear the right answe r,
               or you’re go nna ge t a knuc kle
               brioch e...

     Marty shoves Griff, and clenches a fist, about to throw a
     punch.

     Griff and the guys react with surprise at such unusua l
     behavior for Marty Junior.

                          GRIFF (CONT’D)
               Well, well, well, since when did
               you become the physical type?

     Marty rem emb ers who he’s sup posed to be and unclenc hes
     his fis t.

                          MARTY
               Look , Griff, the an swer’s “n o.”

                          GRIFF
               No?

                          MARTY
               N-O.

     Marty turns around and starts for the door.

                          GRIFF
               What’s wrong, McFly? Chicken?

     Marty stops just before he reaches the door. His body tenses,
     his face tightens, his anger rises...

                          SPIKE
               I told you he’s g ot no sc roat.

                          >HACK
                    (pulls Marty’s yellow hat
                     off)
               Sure, why’dya think he wears
               yellow?

     Marty is seething.

                                                          MARTY
     W hat did you call me, Griff?

                          GRIFF
               Chic ken , McF ly!

     Griff and the guys make “clucking” sounds.

     Marty turns around with resolve.

                          MARTY
               Nobody calls me chicken!

     Griff pick s up a plate from the ta ble an d hur ls it at M
     arty. M arty do dge s it; G riff ch arge s him ; then Marty
     trips Griff!

     Griff falls to the floor.

     The re’s a mo me nt of s tunn ed sile nce from Griff ’s boys
     . This is clea rly unc hara cteris tic behavior for Marty
     Junior.

     Griff gets back o n his feet a nd rises in front of M arty,
     slowly stand ing to his full he ight.

                          GRIFF
               All right, punk, you’ve been
               looking for—

                          MARTY
               Hey — look!

     Griff falls fo r it and turns , and M arty throws a punc h...
     but Griff ra ises his a rm an d block s it.

     A beat, then Marty knees him in the groin!

     Griff wails in pain and drops to his knees.

     Marty runs for it, ramming into Griff’s gang, who fall down
     like dominoes!

     Marty bolts out of the cafe.


     20-24 OMITTED

                                                          20-24


     EXT. CAFE 80’S — DAY

     Marty runs past Biff, who is doing some work on Griff’s car.


     26 MARTY SPOTS TW O GIRLS BEHIND THE HEDGE, APPARENTLY ON
     KIDDIE SKATEBOARD-SCOOTERS.

     MA RT Y jum ps ov er the hedg e and grab s one of ‘em ,
     pulling off th e det ach able s coo ter ha ndle and
     converting it into a skateboard.

                          MARTY
               Hey, kid, I need your—

     Marty stops short as he examines the pink board: there’s a
     loop strap for one foot but it has NO W HEELS!

     Its brand name: “(-----) HOVERBOAR D!”

                          MARTY (CONT’D)
               Hoverboard?

     He throws it down and it hovers a few inches above the
     ground!

                          MARTY (CONT’D)
               All right!

     Marty hops on it and kicks it up to speed: it functions just
     like a skateboard! He glides diagonally into the square,
     along the path that juts out into the pond.


     26-A EXT. CAFE

                                                          26-A*

     Now GRIFF and the GANG com e running out of the cafe.

     They spot Marty hoverboarding out toward the pond.

                                                          GRIFF
     There he is! Hey, McFly! You’re a dead file!

     Marty looks back at them and just smiles, confident that he’s
     escaped.


     27 BIFF WATCHING, SCRATCHES HIS HEAD AS MEMORIES RETURN.

                          BIFF
               There ’s som ething fam iliar about
               all this...


     EXT. TOWN SQUARE

     Griff and the guys run to Griff’s BMW and pull 4 HOVERBOA RDS
     from the back seat: wicked looking models that look a whole
     lot faster than Marty’s!

     Marty quits gloating an d gets m oving! T he path h e’s on en
     ds as a n island in the pond: M arty * cuts sideways and
     continues O VER the water toward the C OURT HOUS E — but the
     board

     slows... then stops.

     He’s stalle d abo ve the pond , 15 fe et fro m th e edg e! M
     arty loo ks b ehind him .

                          HACK
               McFly, you bojo, those boards don’t
               work on water — unless you’ve got
               power!

     Griff pulls o ut the MEA NES T LO OK ING HO VER BO ARD in
     exis tenc e: TH E PIT BUL L! it’s powered with 2 jets, it’s
     got fins, and has spikes around it — it resembles a chain
     saw!

     Griff throws it down. It hums and hovers to life with an
     electronic GROWL!

     Griff hops on it and does the hoverboard version of a
     wheelie, just to show off how skilled he is.

     Marty reacts with fear. He tries to kick off the water. He
     almost falls off — it’s like balancing on a log.

     Griff smiles sadistically at the helpless Marty. Now Spike,
     Wh itey and Hack fall in behind Griff.

                                                          GRIFF
     Hook on.

     The guys pull tow lines out from the back of Griff’s board.

     Griff whips out a collapsible BASEBALL BAT.

                          GRIFF
               I’m gonna take his hea d off!

     Griff kick s his f oot a gains t the e ngine . He a cce
     lerate s for ward , towin g his b oys be hind h im.

     Aga in, Ma rty tries to pa ddle w ith his foot, t o no a
     vail!

     Griff raises the bat and takes a batter’s stance.

     The guys fan out behind Griff, cackling sadistically. Marty,
     panicked, turns and sees Griff and the g uys be aring dow n
     on h im!

     Griff goe s into his ba cksw ing...

     Marty is pe trified...

     Griff star ts his swin g...

     Then Marty pulls his foot from the strap, and simply STEPS
     OFF THE HOVERBOARD, AND DROPS INTO THE POND!

     As Marty’s head hits the water, Griff’s board whizzes across,
     missing him by millimeters!

     Griff can’t stop his swing — he loses his balance in his
     follow-thru, causing himself and the guys to go flying wildly
     and completely out of control at the Courthouse!

     2 guys are knocked into columns, one goes through the door,
     and another through a window!

     ALARM S go off!

     Marty comes up from underwater as the 3 empty hoverboards of
     Griff’s guys drop to a hover nea rby.

     UNIFORMED SECURITY GUAR DS come rushing out of the Courthouse
     to apprehend the punks.

     Marty sighs in relief at his escape. He paddles ashore with
     the little girl’s pink board.

     He climbs out and spots the little girl and hands back her
     board.

                          MARTY
               Thanks a lot, kid.

                          LITTLE GIRL
               Keep it. I’ve got a Pit Bull now!

     Indeed , she has Griff’s bo ard and she ho vers aw ay on it.

     As Marty walks off with the pink hoverboard, his JACKET PUFFS
     UP W ITH AIR: the “Drying Mod e.” H ot air e ven b lows his
     fa ce fr om the c ollar! In se con ds, th e jac ket’s com
     plete ly dry.


     29 OMITTED

                                                            29*


     EXT. TOW N SQUARE — DAY

     MARTY sighs in relief at his escape.

     He tucks the hoverboard under his arm and starts walking back
     across the square toward the alley.

     Behind him, a MAN is walking around with a portable THUMB UN
     IT, soliciting.

                          MAN
               Save the clock tower! Sa ve the
               clock tower!

     Mar ty pas ses a larg e DIA MO ND VISIO N sc reen whic h sho
     ws a com pute r grap hic “SportsFlash” of some BASEBALL FOOT
     AGE, and the headline:

     “CUBS SW EEP MIAMI IN WO RLD SERIES!”

     Marty can’t believe what he’s seeing.

                          MARTY
               The C ubs win th e W orld Series ?
               Agains t M ia m i?

     The Cloc ktow er M an ne xt to h im s hak es his head sym
     path etica lly.

                          MAN
               Yeah, a hundred-to-one sho t. Who
               wo ulda thought? Sure wish I could
               go back in time and lay some bets
               on them Cubbies.

                          MARTY
               No, I j ust m ean t that M iam i—
                    (sudden realization)
               W hat d id you j ust s ay?

                          MAN
               I said, I sure wish I could go back
               in time and put money on the Cubs.

     Marty’s face lights up with a great idea.

                                                          MARTY
     Yeah!

     Marty looks toward the ANTIQUE STORE.

                                                        CUT TO:


     30-A EXT. ANTIQUE STORE WINDOW

     30-A

     CLOSE ON an “antique” BOOK: “Grey’s SPORTS ALM ANAC: 50 Years
     of Sports Statistics, 1950— 2000. Inc ludes B aseba ll.
     Football, Ho rse Ra cing, Box ing.”

     A HAN D (MA RTY ’S) reach es in and pulls it out.

                                                        CUT TO:


     30-B MA RT Y EXIT ING TH E ANT IQUE S TORE, WITH A SILV ER B
     AG (MA DE OF SOM E NEW FUTUR ISTIC M ATERIA L) 30-B

     with the sto re logo, alon g with a rec eipt.

     Marty opens the bag and takes out the Sports Almanac.

     He smiles and looks back at OLD BIFF, who is still polishing
     Griff’s BMW.

                                                          MARTY
     A loser, am I?

     Mar ty puts the A lma nac back in the s ilver b ag alo ng w
     ith the rece ipt an d tow ard th e alley.


     31-32 OMITTED

     31-32


     32-A OLD BIFF GLANCES UP FROM THE CAR AND GIVES MARTY A LOOK.

     32-A*

     As Old Biff turns his attention back to the BMW, he sees THE
     REAL MAR TY JUNIOR coming out of Cafe 80’s.

     Old Biff does a double-take, looks back over at Marty, then
     again at Marty Junior, who hurries off in anot her d irectio
     n, ne ver n oticin g Old Biff o r Ma rty.

                                                       OLD BIFF
     What the hell? Two of ‘em?

     Old B iff is su spic ious . He m oves caut ious ly towa rd M
     arty.


     33 MARTY TURNS THE CORNER INTO THE ALLEY ONLY TO STOP SHORT
     BECAUSE POLICE VEHICLE IS ON

     the scene. 2 FEMALE (unarmed) 2 COPS, REESE and FOLEY, are
     examining the unconscious JENNIFER.

                                                          REESE
     Tranked out, I’d say. Smell her ears.

                          >FOLEY
                    (smells Jennifer’s ears)
               Nothing.

                                                          REESE
     Run a thumb check.
     Foley has a pressure pad device (brand name: “Identi-Pad”)
     and pushes Jennifer’s thumb to a silver thumbplate.
     A COMPUT ER SYNTHESIZED VO ICE replies.

                          COM PU-V OICE (V.O.)
               Name : McFly, Jennifer Jane Parker.
               Addres s: 1131 Park Lane, Hilldale.
               Date of Birth: October 29, 1968.
               Arrests: none. Warrants: none.
               Convictions: none.

                          FOLEY
               Hey, did it just say her birthday
               was 1968? She’s got one helluva
               job! Wonder who her doctor is. My
               mother-in-law could use a lift like
               this.

                          REESE
               She couldn’t afford work like that.
               Well, she’s clean; that means we
               take her home.
     They carry her to their vehicle.

     34 MART Y watches in horror as the Police Vehicle takes off
     with Jenn ifer.

                          MARTY
               Oh, no!
     Marty runs back into town square.

                          DOC (O.S.)
               Marty! Over here!
     Marty turns and spots Doc coming around the corner by the
     Cafe 80’s. He has a NEW SPAPER (USA TOD AY — Hill Valley
     Edition). Doc is now in 1985 clothes.

                          MARTY
               Doc! W e’re in seriou s shit!

                          DOC
               I know! My plan failed! Marty, what
               went wrong in there?
     Doc points to the Cafe.

                          MARTY
               In there? Well, for one thing, the
               real Marty Junior showed up.

                          DOC
               Great Scott! The s leep inducer!
               Because I used it on Jennifer,
               there wasn’t enough power left to
               knock your son out for the full 20
               minutes. Damn!

                                                          MARTY
     Doc, besides that — Oh my God!
     Marty has noticed the newspaper which Doc is holding. Marty
     grabs it and reads.


     35 INSERT — NEW SPAPER
     “LOCAL YOUTH JAILED IN ATTEMPTED THEFT,” accompanied by a
     photo of MARTY JUNIOR.

     Below that, “Youth Gang Denies complicity,” with picture of
     GRIFF and the punks.


     36 MARTY SHAKES HIS HEAD, HORRIFIED.

                                                          MARTY
     Doc, what’s this supposed to mean?

                          DOC
               It’s wh at I bro ugh t you h ere to
               prev ent. T his is t om orro w’s
               newspaper. I just went forward a
               day to find out if you were suc ces
               sful.

                          MARTY
               But th is is aw ful!

                          DOC
                    (nods)
               It gets worse. As a result of this,
               your daughter goes into a state of
               severe depression and commits—

                                                          MARTY
     My daughter? I have a daughter? What does she do?

                          DOC (CONT’D)
               Never mind — you kno w too m uch
               alrea dy. It’s all my fault. I just
               assumed if we could get your son to
               say no to those guys...

                          MARTY
               Doc, he did say no . And just a s
               he w as go nna chan ge his mind,
               that’s when I got into it. I wonder
               if it says anything a b ou t—

     Marty takes another look at the newspaper; this time, his
     eyes nearly bug out of his head.

                          MARTY (CONT’D)
               Doc , wha t did th is hea dline s
               ay?

                          DOC
               “Local Yo uth Jailed In Attem pted
               T heft.”

                          MARTY
               Well, look again.

     It now says “LOCAL YO UTHS JAILED FO R RECK LESS HO VERBO
     ARDING .” Below are pictures of GR IFF and the gang , but not
     Marty Jun ior. There ’s also a pic ture of so me p roperty
     damage to the Courthouse.

     DOC looks a t the story an d pictures , then look s at the C
     ourthou se at the a ctual prop erty damage. He pulls out the
     CARD BINOCULARS.


     36-A P.O.V. THRU BINOCULARS

                                                           36-A

     An AUTOMAT ED DROID FAX-CAM PHOTOG RAPHER (with the newspaper
     logo on it) flies down, lands and takes the ve ry picture
     that will appear in this newspaper!


     36-B BACK TO SHOT

                                                           36-B

     Suddenly, Doc has a revelation.

                          DOC
               Of c ours e! T he rip ple ef fect!
               Tim e trav el into the fu ture is
               always the extrapo lation of cur
               rent even ts of the im med iate
               presen t. In my ca se, I left this
               tim e at a m ome nt before this
               hoverboard incident took place —
               yet I returned after it occurred.
               Just as the presen t affects the
               future, the future reverbe rates ba
               ck into the past.
               And because this hoverboard
               incident has now occu rred, Griff
               now goes to jail: therefore, your
               son won’t go with him tonight and
               this robbery will never take place!
               And that’s why the newspaper is now
               altered.

                                                          MARTY
     Kinda like that picture of me and Dave and Linda that kept
     disappe aring bac k in 195 5...?

                                                            DOC
     Precisely! Marty, we’ve succeeded! Not exactly as I planned,
     but no matter: mission accomplished! Let’s get Jennifer and
     go home.

                          MARTY
               Tha t’s jus t it, Doc — th e polic
               e too k he r awa y!

                          DOC
               Great Scott, are you sure?

                                                          MARTY
     About a minute before I found you.

                          DOC (CONT’D)
               Damn! Those cops were the reason I
               didn’t land the DeL orea n her e.
               So me of the mo difica tions I’ve m
               ade on it aren ’t exa ctly stre et
               leg al.

     Doc uses a WR IST REMOTE C ONTRO L UNIT to pilot the DeLorean
     down from behind a building.


     EXT. NEARBY ON THE STREET

                                                            37*

     OLD BIFF has been watching Marty and Doc... and now sees the
     DELOREAN descending.

                          BIFF
               A flying DeL orean? I haven’t se en
               one of those in 30 years...

     Suddenly, Biff’s face lights with recognition — as he
     realizes that he’s seen it before. His eyes * narrow with
     suspicion.


     EXT. TOWN SQUARE — DOC AND MARTY

     Doc continues piloting with the wrist remote. Once the DMC
     lands, Doc uses the FUTABA REMOTE C ONTRO L UNIT (from Twin
     Pines Mall) to drive the car over to them.

                                                          MARTY
     I think the cops said they were gonna take her home.

                          DOC
               Home ? Great Scott! If anyone’s hom
               e who recognizes her — you, o r
               your f am ily, and they tra um
               atize h er... o r wor se, if
               Jennifer actually encounters her
               future self, the consequences could
               be disastrous!

                          MARTY
               What do you mean?

                          DOC
               The shock of coming face to face
               with oneself 30 years older is
               enoug h to traum atize anyone . She
               wo uld proba bly go into shock —
               her heart could stop, she could
               drop dead and that would create a
               time parado x which would unravel
               the very fabric of the space-time
               continuum and destroy the entire
               Universe.
                    (a beat)
               Granted, that’s the worst case
               scenario. The destruction might in
               fact be very localized, limited to
               merely our own galax y.

                          MARTY
                    (laug hs un com forta bly)
               Oh, hey, well, that’s a relief.
     Doc brings the DeLorean over to them.

                          DOC
                    (notices Marty’s silver
                     bag)
               What’s in that bag?

                          MARTY
               This ? Oh , noth ing, ju st a s
               ouve nir... a book that lo oks like
               it migh t be interes ting....
     Doc takes it, opens it and pulls out the book.

                          DOC
               “50 Years of Sports statistics.”
               Hardly recreational reading ma
               terial, M arty.

                          MARTY
               Okay, well, I figured it couldn’t
               hurt to bring back a little info on
               the future, you know, in case of a
               cash flow problem, I’d place a few
               be ts...

                          DOC
               Marty, I didn’t inve nt time tra
               vel for finan cial gain...

     39 BIFF is eavesdropping behind them and he reacts to this.

                                                           BIFF
     Tim e travel...?


     40 ON DOC AND MARTY

                                                            DOC

     |....Th e inte nt he re is to gain a clear er pe rcep tion o
     f hum anity:
     where we’ve been, where we’re going, the pitfalls and the
     possibilities, the perils and the promise... perhaps even an
     ans wer to that u niver sal qu estio n: W hy?

                                                          MARTY
     Oh, hey, I’m all for that, Doc, but what’s wrong with making
     a few bucks on the side?

                                                            DOC
     Because the risks far outweigh any potential rewards.

     Doc puts the book back in the bag and tosses it into a nearby
     trash receptacle.

     Marty sigh s with disa ppointm ent as he sees h is schem e of
     wea lth lost.

     Doc opens h is gullwing door. EINSTEIN, Doc’s dog , is in the
     car!

                          DOC
               Move over, Einstein!

                                                          MARTY
     Einie ! W here ’d you c om e fro m, b oy?

     Doc and Marty, still with the hoverboard, climb into the
     DeLorean with the dog.

                                                            DOC
     I’d left him here in a suspended animation kennel when I went
     back to 1985 to bring you here. Einstein never knew I was
     gone! W e’ll be hom e soon , boy. Just sit tigh t.

     They take off.
     41 ANGLE — TRASH CO NTAINER

     The s ilver bag with the Spo rts Book sits in the tras h
     conta iner. Now , a pair of ha nds res cue it: BIFF’S HANDS.

     BIFF examines the book with a sinister smile, then looks up
     at the departing DeLorean.

                                                           BIFF
     So, Doc Brown invented a time machine.

     He sp ots a TA XI near by, discha rging a far e. Biff wav es
     his ca ne and goes o ver to it.

                          BIFF
               TAX I!

     Biff climbs in.

                          BIFF (CONT’D)
               Follow that DeLorean!

     The c ab flies off in pursuit.

                                                        CUT TO:


     EXT. HILLDALE HOUSING PROJECT — DUSK

     Beyo nd a S ign, “H illdale, ” stre tche s a sp rawl o f iden
     tical c luste r town hou ses . Orig inally bu ilt in

     the 1980's as a “classy” yuppie development, the place is
     showing its seams.

     The F LYING POLIC E CAR lands an d drives into the deve lopm
     ent.


     EXT. TOWNHOUSE CLUSTER — DUSK/NIGHT

     The P OLIC E CAR in parke d outside of num ber 113 1, “McF
     ly.”

     REESE a nd FOLE Y are carrying the still unconscious JE
     NNIFER to the front door.

                          REESE
               Hilldale: they oughta tear this
               whole place down. Breeding ground
               for tranks, Lo-bos and zipheads.

     Foley rings the doorbell. No answer.

                          FOLEY
               They’ve got identi-pad. We could
               just take her in.

                          REESE
               Are yo u kirg o? T hat’s a viola
               tion o f the P rivac y Act. W e cou
               ld get our crags numped! If we
               can’t revive her, we leave her
               here.
                    (gently slaps Jennifer’s
                     face)
               Miss? Miss?

     Jennifer starts to revive. She’s groggy and disoriented.

                          JENNIFER
               Uhhh ...where a m I?

                          REESE
               You’r e hom e, Mis s. Yo u got a
               little tra nke d, bu t ever ything
               ’s fine. Can you walk?

                          JENNIFER
               I—I don ’t know...

                          REESE
               Would you like us to take you
               inside?

                          JENNIFER
               Ohh h... ok ay.

     Foley takes her hand and pushes her thumb to the ident-plate
     below the doorbell. The door opens.

                          COMPU-VOICE
               W elcome hom e, Jennifer.

     The cops help her inside.


     INT. LIVING ROOM

     They enter the darkened room.

                                                          REESE
     Ma’am, you should reprogram. It’s dangerous to enter without
     lights on.

                          JENNIFER
               Lights on?

     In response to her words, LIGHTS automatically come on!

     The room is furnished mostly with a lot of (old) items from
     the late ‘80s or early ‘90s — but there are s om e m ore ra
     dica l obje cts a s we ll.

     The police put Jennifer down on the sofa. She’s still not all
     here.

                          REESE
               Just take it easy and you’ll be
               fine. And you be careful in the
               future.

                          JENNIFER
               The fu ture...?

     The cops he ad for the door.

                          FOLEY
               So lo ng, M rs. M cFly.

                          JENNIFER
               So long.

     They exit and the door automatically closes behind them.

     Suddenly, Jennifer sits up in disbelief.

                          JENNIFER (CONT’D)
               Mrs. McFly?!?

     She looks around the room.

     There’s a window, showing the grounds of a large estate
     outside — manicured lawn, gardens, gazebo... The image seems
     a bit surreal because it’s DAYTIME.

     STAIRS go up.

     Jennifer goes to a bookcase and browses. On the shelf are a
     row of VID-BOOKS (a format yet to be invented). There is a
     prerecorded copy of “A MATCH MADE IN SPACE .” The other
     titles are handwritten and include:
     “W edding — Jennife r & Mar ty.”
     “Fam ily Vacations — 19 95— 2005.”
     “Ge orge & Lo rrain e 50t h An niver sary”
     “The K ids: Marty, Jr . & Marle ne — Vol. 1, 2, 3.”

     She takes the one labeled “wedding” and opens it. Inside the
     cover is an LCD screen which starts playing back video tape
     of Marty and Jennifer walking down the aisle.

                          JENNIFER (CONT’D)
               Oh my God!

     In response, a GIRL’S VOICE calls down from upstairs.

                          MAR LENE (O.S.)
               Mom? Is that you?

     The voice sounds EXACTLY LIKE JENNIFER’S!

     Jennifer reacts with alarm.

                          >JENNIFER
                    (to herself)
               I’ve gotta get out of here!

     Jen nifer quick ly puts the vid -boo k ba ck o n the shelf
     and r uns for th e fro nt do or. Sh e can ’t figure out how
     to open it — there’s no door knob.

     Suddenly, the DOORBELL RINGS.

     Now F OOT STE PS from upstairs... a nd a SH ADO W ...

                          MAR LENE (O.S.)
               Mom? Mom?

     Jennifer hides in the front closet and closes the louvered
     door. She can see out of it. Her jaw drops and her eyes go
     wide as she sees:

     MAR LENE McF LY, 17, wh o looks like...

     Well, if Marty was a girl, this might be her. Big breasts,
     and somewhat chunky, she looks like she overdid it on the
     weight training. (She does have her mother’s hair, though!)

     Marlene pushes the thumb pad by the front door: it opens.
     45 ON J ENN IFER w atching fr om c loset.

                          MAR LENE (O.S.) (CONT’D)
               Oh, hi, Grandma Lorraine.

                          OLD LOR RAIN E (O.S .)
               Hi, swee theart. I brou ght dinne
               r. Are your fo lks hom e yet?

                          MAR LENE (O.S.)
               Mom should be home any minute. Dad
               — who knows?

                          >JENNIFER
                    (realizes who this means)
               “Mom...!”
               46 JENNIFER’S P.O.V.

     of the activity at the front door: OLD LORRAINE, 77, has a
     bag/package of future take-out food.

                          MARLENE
               Grandpa! You threw your back out
               again!

     Indeed, OLD GEORGE, 77, ENTERS UPSIDE DO WN in a futuristic
     HARNESS! The brand name: O rtho-lev.

                                                     OLD GEORGE
     Yes. .. playin g slam ball.

     Both Lorra ine an d Ge orge have white hair, a nd m ore w
     rinkle s, bu t gen erally lo ok h ealth y.

                          MARLENE (CONT’D)
               I’ll take care of this, Grandma.

     Marlene takes the food from Lorraine and goes to the kitchen.

     Lorr aine lo oks at the wind ow w ith the esta te view : the
     IM AG E RO LLS — a vertic al hold problem. There’s also video
     tearing at the top.

                          OLD LORRAINE
               Look, this window’s still broken.

     Lorraine picks u p a rem ote con trol unit and o perates it.

     The window image changes to the SOUTH SEAS, then to the SWISS
     ALPS; then to NEW YORK CITY at night. Finally the image goes
     off, and the REAL window view appears — the side of the
     neighbor’s townhouse with garbage cans.

                          OLD GEORGE
               Maybe we sho uld buy them a new o
               ne. W e can a fford it.

     JENNIFE R cautiously opens the closet door.

                          OLD LORRAINE
               No, George, Marty would take that
               as an insult. He’d think you were
               reminding him that he can ’t afford
               it.

                          OLD GEORGE
               I just want to help out.

                          OLD LORRAINE
               Well, you know Marty. He’s always
               so overly concerned about what
               people think about him, what they
               say about him behind his back. How
               many times have we heard it: “Mom,
               I can’t let ‘em thin k I’m c heap.
               I ca n’t let ’em think I’m not w
               ith it.”

                          OLD GEORGE
               “I can’t let ‘em think I’m
               chicken?”

     They exchange a look.

     Jennifer spots FRENCH DO ORS in the DEN at the opposite end
     of the house. She steps out of the closet and cautiously
     creeps that way, being careful to stay out of view of
     Lorraine and George.

                          OLD LORRAINE
               George, that accident with the
               Rolls Royce was 30 years ago.

                          OLD GEORGE
               And Marty hasn’t learned a thing.
               He still won’t admit that the who
               le thin g wa s his o wn fa ult. If
               M arty ha d jus t use d a little
               common sense, that accident would
               have never happened. That accident
               started a chain reaction that sent
               Marty’s life straight do wn the
               toilet.

                          OLD LORRAINE
               You’re right. The man in that Roll
               Royce wouldn’t have pres sed char
               ges or su ed him , Mar ty wou ldn’t
               h ave b roke n his hand, he
               wouldn’t give n up on h is mus
               ic...

                          OLD GEORGE
               And Marty wouldn’t have spent all
               those years feeling sorry for
               himself, complaining how life gave
               him such a raw deal. He just gave
               up.

                                                   OLD LORRAINE
     You’r e righ t, Ge orge . If not for th at ac cide nt, M arty
     pr oba bly would have ma de some thing of himself.

     Now MARTY JUN IOR comes running down the stairs.

     Jennifer tenses, concerned — she’s right out in the open!

     Junior runs right past her, not even looking at her.

                                                         JUNIOR
     H i, Mo m .

     Junior goes into the Den.

                          COM PU-V OICE (V.O.)
               Welcome hom e, Marty, oh, master of
               the house, King of the castle, Lord
               of the manor.

     Jennifer reacts with a “you gotta be kidding” expression.
     Then, realizing she’s still out in the open, she darts thru
     an open door into the BATHROOM.

     She close s the door , leavin g it ope n eno ugh to pe ek o
     ut. T he fr ont d oor o pen s, an d the re’s OLD MAR TY, 47,
     g reying, a little tired, but s till good lookin g. He we ars
     a futu re busine ss suit.

                          OLD MARTY
               Hi, everybody, I’m home! Aw, Dad,
               you threw your back out again. I
               really think you should get that
               spine operation.

                          OLD GEORGE
               I know, I know, but who’s got 3
               extra hours to spend at the hos
               pital?

                          OLD LORRAINE
               How are th ings at wo rk, M arty?

                          OLD MARTY
               Oh, same old, same old.

     JENNIFER notices another door in the bathroom. She looks
     through it and sees the DEN where MARTY JUNIOR is watching 8
     DIFFERENT PROGRAMS AT ONCE on a LARGE VID EO W ALL SCR EEN —
     w hich sits s lightly c rook ed on the w all.

                                                      OLD MARTY
     Junior, dinner time.

                          MARTY JUNIOR
               But I’m watching TV!

                          OLD MARTY
               Well, get your glasses. We eat at
               the table when your grandparents
               are here.

                                                   MARTY JUNIOR
     Aw, Dad, I can only watch 2 shows at once on my glasses!

     Old Marty straightens out the tilted screen.

                                                      OLD MARTY
     Yeah, you kids really have it tough. When I was your age, if
     I wanted to watch 2 show s at onc e, I had to p ut 2 sets n
     ext to each other.


     47 OMITTED


     EXT. HILLDALE DEVELOPMENT ENTRANCE — NIGHT

     The D ELO REAN enters the townho use de velopm ent.


     49 OMITTED


     EXT. MCFLY TOWNHOUSE — NIGHT

     The DMC parks near the McFly townhouse.

     Marty and Doc get out of the DMC.

                          MARTY
               So I live in Hilld ale? G reat! The
               y just b uilt it! E veryb ody sa ys
               it’s a re al hip p lace to live! W
               ay to g o, Mc Fly!

     Doc has Jennifer’s purse (which was left behind when he moved
     her). He puts it in front of Einstein’s nose.

                          DOC
               All right. Einie, pick up Jen
               nifer’s sce nt. You go t it?

     Einstein barks.

                                                            DOC
     Good. Let’s find her.
     Marty: stay here. Change clothes. If I need you, I’llholler.

                          MARTY
               B u t, Do c —

                                                            DOC
     We can’t risk you running into yourself. C’mon, Einie.

     Marty watches as Doc and Einstein head toward the townhouse.


     EXT. HILLDALE DEVELOPMENT ENTRANCE — NIGHT

     The T AXI no w arrives at the entra nce to the develop men t.


     INT. TAXI

     BIFF sits in the b ack of the cab, clutc hing t he silv er bo
     ok b ag. H is can e is be side him .

     He spots the DeLorean a little distance away. Marty is beside
     it, changing clothes.

                                                           BIFF
     You can let me off here.

                          CAB DRIVER
                    (offers him a thumbplate)
               Tha t’ll be $7 4.50 . I’d be care
               ful in th is neig hbo rhoo d, old
               timer.


     INT. TOWNHOUSE — NIGHT

     The McFly family minus old Jennifer is at the dinner table.

     Old Lorraine puts a little 4-inch PIZZA HUT box into a
     “Hydrator” and pushes a button.

                          OLD LORRAINE
               ...so I t hou ght it w ould b e
               nice if we th rew a little pa rty
               for h im.

     The Hydrator beeps; Lorraine opens it and pulls out a
     beautiful steaming 15-inch pizza.

                          OLD MARTY
               Mom, before we plan a party for
               Uncle Joey, let’s see if be makes
               parole.

     Old Lorraine serves the pizza.

     Marty Junior and Marlene are both wearing video glasses. The
     glasses are opaque from the outside, with LCD readouts
     showing what channel the viewer is watching.

     Junior’s re adout s ays “ESP N — Ch 211 -D.” It’s a foo tball
     gam e, and Ju nior reac ts to. it, YELLING “Fumble! I can’t
     believe it! Take him outta the game!” etc.

                          OLD LORRAINE
               George, rotate your axis, please.
               It’s not good for your digestion to
               eat while you’re inverted.

     Old George pushes a control on his harness which turns him
     right side up.

     JENNIFER, who can see the family from the bathroom, goes
     through the 2nd bathroom door into the den, and creeps toward
     the French Doors.

                          OLD MARTY
               Pass me a slice of the kelp,
               please.

                          MARLENE
               No, I don’t want to, so nump off!

                          OLD LORRAINE
               Marlen e! Don ’t talk to your fath
               er like that!

                          MARLENE
               Gra ndm a, I’m on th e pho ne, o
               kay?

     Marlene’s glasses display says “Telephone mode.” Now Old
     Marty’s beeper goes off. Red lights also flash on the kids’
     glasses.

                          KIDS
                    (in unison)
               Dad! Telephone!! It’s Needles.

     Old Marty checks his beeper, then gets up.

                          OLD MARTY
               I’ll take it in the den.

     He pauses at a mirror and adjusts his tie and checks his
     hair, then goes into the den.

     Immediately, Jennifer has to go back into the bathroom.


     53-A INT. THE DEN

                                                          53-A*

     OLD M ARTY EN TERS a nd pushes a rem ote controller.

     The 8 image display is reduced to a small corner of the
     screen as the image of NEEDLES, 47, appears in the center, at
     an office work station. To the side a computer readout with
     his vital and personal statistics. It’s video telephone.

                                                NEEDLES (VIDEO)
     Hey, th e Big M! H ow’s it hang in’, Mc Fly?

                          OLD MARTY
               Hey, Needles.


     EXT. AT THE DELOREAN

     MARTY, now back in his 1985 clothes, impatiently looks in the
     direction Doc went. Should he take a c loser look or not?

     Yeah. He quietly follows, leaving the DeLorean unattended and
     out of his view.

     Imm ediat ely, BIF F, clu tchin g the silver bag, com es up
     to the DeL orea n, se es th at the coas t is clear and opens
     the driver’s side door.


     INT. DEN

     Old Marty continues his conversation with Needles while
     Jennifer watches from the bathroom.

                          NEEDLES (VIDEO)
               McF ly, wha t are yo u afr aid of ?
               If this thing work s, it’ll so lve
               all your financial problems.

                          OLD MARTY
               And if it doesn’t work, I could get
               fired. It’s illegal, Needles. What
               if “the Jits” is monitoring?

                          NEEDLES (VIDEO)
               “The Jits’ll” never find out. Come
               on, just stick your card in the
               slot and I’ll handle it. Unless you
               want everyone in the division to
               think you’re... chicken.

     Marty’s blood rises. He tenses up.

                                                      OLD MARTY
     Nobody calls me chicken!

                          NEEDLES (VIDEO) (CONT’D)
               All right, prove it.

     Marty def iantly takes o ut a CA RD w ith BAR C ODE S and h
     olds it up for Need les to see . Marty * then inserts it in a
     slot next to the screen.

                          OLD MARTY
               Here. Scan it! I’m in.

     We hear an ELECTR ONIC TONE, then Marty withdraws the card.

                          NEEDLES
               Thanks, McFly. See you at the plant
               tomorrow.

     The screen blanks. As Marty turns to leave the room, there
     are some electronic tones and a new image breaks in on the
     conversation: MR. FUJITSU, a Japanese man in his early 30's.

                          FUJITSU (VIDEO)
               McFly!!

     Marty turns — he’s surprised and concerned.

                          OLD MARTY
               Mr. Fujitsu, sir! Good evening,
               sir!

                          FUJITSU (VIDEO)
               McF ly, I was monitoring that scan
               you just interfaced. You’re
               terminated.

                          OLD MARTY
               Term inated? B ut sir! It was n’t
               my idea ! Need les was behind it!

                          FUJITSU (VIDEO)
               And you cooperated. It was illegal
               and you knew it. You’re fired,
               McFly. Goodbye.

                          OLD MARTY
               But, sir—

                          FUJITSU (VIDEO)
               McFly: Read my fax!

     The s creen s udden ly goes to a g iant display of a piece of
     c omp any stationa ry, addres sed to Marty, which says in big
     block letters, “YOU’RE FIRED!

     Simultaneously, a copy comes out of the FAX UNIT in Marty’s
     den!

     An id entic al cop y com es ou t in the Fax ma chin e in the
     bath room ! (T here ’s a fa x m ach ine in every room .)
     Jennife r pulls it out and looks a t it in amaze men t.

     Fujitsu “hangs up.” His image disappears and a “painting”
     appears: the “Art Channel” (which broadcasts ever chan ging
     images of fam ous paintings).

     Old Marty stares at his copy of the fax in disbelief.

                          VOIC E (O.S .)
                    (whispers)
               Jennifer!!

     Startled, Jennifer shoves the fax in her pocket and turns:
     DOC BROWN is in the bathroom window.
     (In the back grou nd, w e can see O ld Lor raine also p
     ulling a copy o f the s am e fax from the u nit in the kitch
     en and reading it.)

                          DOC
               Go out the front door! I’ll meet
               you there!

                          JENNIFER
               It won’t open!

                          DOC
               Push your thumb to the plate!

     She nods, then creeps out the first door, keeping low as she
     goes toward the front doo r.

                                                   OLD LORRAINE
     Marty, what’s the meaning of this fax?

                                                      OLD MARTY
     Believe me, Mom, it wasn’t my fault. I just always seem to
     get a raw deal on everything.

     Jennifer makes it to the front door. Next to it is another
     fax machine in which is another copy of the “You’re Fired”
     notice.

     Jennifer is about to put her thumb to the thumb plate.

                          COM PU-V OICE (V.O.)
               W elcome hom e, Jennifer.

     The door opens and Jennifer FINDS HERSELF FACE TO FACE WITH
     HER OLDER SELF!

     Young Jennifer’s eyes widen, her jaw drops and she gasps at
     her future appearance:

     At 47, the years have not been kind; booze has taken its
     toll, too. Puffy, wrinkled, circles under the eyes, she
     reminds us of Lorraine at the beginning of part one.

                          JENNIFER
               Oh, God, I’m OLD!

     Young Jennife r’s eyes glaze over, her b reathing s hortens
     ...

     Old Jen nifer reac ts identically...

     Then both of then simultaneously keel over forward in a
     faint: Young Jennifer falling out the door, to the outside,
     Old Jennifer falling into the house.

     DOC BRO WN runs up just in time to catch the young Jennifer.
     He drags her out, and the front door automatically closes.

     CAMERA m oves across the unconscious Old Jennifer. Then a
     pair of feet arrive: OLD MART Y. As he exam ines his wife,
     MARLEN E and JUN IOR also com e over.

                                                      OLD MARTY
     Looks like your mother’s tranked again.
     56 EXT. McFLY TOWNHOUSE — NIGHT

     Doc carries the uncons cious Jennifer.

                          DOC
               Marty! Come quick!

     Marty runs up and helps Doc carry Jennifer. They can’t yet
     see that the DELOREAN IS GONE.

                          MARTY
               Is she alive?

                          DOC
               She’s in shock, as I predicted, but
               otherwise she seems unhurt. L et’s
               get he r back to 1985, a nd then
               I’m going to destroy the time
               machine.

                          MARTY
               Des troy it? B ut wh at ab out a ll
               that s tuff a bou t hum anity,
               findin g out whe re we ’re go ing,
               a nd w hy?

                          DOC
               The risks are just too great — as
               this incident proves. And I was
               beha ving r esp ons ibly! Ju st im
               agine the d ang er if th e tim e
               machine were to fall into the wrong
               hands!

     Now the DELOREAN pulls into the same parking place. The
     gullwing door opens and OLD BIFF climbs out. He has a BRUISE
     on his forehead. He grabs his cane — it’s stuck. He yanks, we
     hear a “SNAP” and he frees it. He hobbles away, OUT OF FRAME.

     Doc and M arty now approach with Jennifer.

                          DOC (CONT’D)
               No, M arty, time trav eling is too
               da ngerou s. It’s time fo r me to
               devote myself to studying the other
               great mystery of the Universe:
               women.

                          MARTY
               Doc, if you can solve that one, let
               me know.

                                                        CUT TO:
     57 INSERT — TIME DISPLAYS

     as th e “DE STI NAT ION TIM E” is e ntere d: Oc tobe r 26, 1
     985 . (W e m ight n otice that “L ast T ime Depa rted” is No
     vem ber 12, 1 955.)


     INT. THE DELOREAN

     Marty sits in the DMC with the unconscious Jennifer on his
     lap. Einstein is behind them, chewing on a SILVER BAG.

     Doc is entering the data.

                          DOC
               W e’ll come back after dark. T he
               less we’re seen, the better. Einie,
               get that junk out of your mouth.

     Doc pulls it out of the dog’s mouth.


     EXT. THE DELOREAN — NIGHT

     The DeLo rean pulls out, then its wheels drop down into the
     flying mode, and it blasts off!

     OLD BIFF sees it go, then he clutches his chest in pain and
     collapses.


     60 OMITTED


     INT. FLYING DELOREAN — NIGHT

     The DeLorean is flying through clouds. Doc makes his final
     adjustments.

                                                            DOC
     Altitude, 7000 feet. That should be high enough. Marty,
     Einie, brace yo urselves for tem poral disp lacem ent!

     Doc hits the accelerator and the speedometer rockets up to
     88!

     The flux capac itor glows b rightly...
     62 THRU THE W INDSHIELD P.O.V.

     FLOATING LANE M ARKERS can be seen — then the flux capacitor
     discharges a burst of intense w hite light, the De Lorean
     rocks , and the lan e ma rkers a re gone . All we see is
     night, and distant lights below.

                          MARTY
               Did we make it? Are we back?

     Suddenly, there’s an INCREDIBLE ROAR — a 747 THUNDERS RIGHT
     OVER THEM, buffeting them and nea rly wiping them out!

     They watch it depart through the windshield.

                                                            DOC
     We’re back.

                          CUT TO:
                    (NOTE: Scene numbers
                     62—200 are reserved)


     EXT. THE FLYING DELOREAN — NIGHT

     The flying DMC descends to a 1985 RESIDENTIAL STREET. Its
     wheels fold down, it lands, and keeps driving.


     202 OMITTED


     EXT. JENNIFER’S HOUSE — NIGHT

     The m ailbox ha s “The Parke rs” on it.
     204 W IDE R — reve aling t he D eLo rean idling in the d
     rivew ay.

     Doc and Marty are carrying the unconscious Jennifer toward a
     HAMMOCK in the yard.

                          DOC
               Let’s put her in the hammock.

                          MARTY
               But she left from my house.

                          DOC
               Tru e, bu t whe n she revive s her
               e at h er ow n hou se, a nd it’s
               dark , the d isorie ntatio n will
               he lp con vince her th at it wa s
               all a d re am .

                          MARTY
               Okay, you’re the Doc.

     They put her in the hammock. Jennifer remains asleep.

     Marty looks at the house curiously, as if something’s wrong.
     There are SECURITY BARS on all the windows.

                                                          MARTY

     |I must be crazy. I don’t remember bars on these windows.
     (shrugs)
     Oh, well, I guess—
     (sniffs the air)
     Jeez, something really stinks!

     Doc sniffs and makes a face.

                                                            DOC
     Must be a fire somewhere. We’d better get going.

                                                          MARTY
     W e’re just gonna leave her?

                          DOC
               She’ll be fine. I’ll take you home,
               you can change clothes and come
               back for her in your truck.

                          MARTY
               You’re the Doc.

                                                        CUT TO:


     EXT. LION GATES OF LYON ESTATES — NIGHT

     The DMC drives through the familiar Lions gates. The street
     is strewn with trash — more than usu al.


     EXT. MCFLY HOME — NIGHT

     Marty gets out of the DeLorean.

                          DOC
               If you need me, I’ll be back at my
               lab, dismantling this thing. Let m
               e kn ow if yo u hav e any t roub le
               con vincin g her it was all a dr ea
               m .

                          MARTY
               Or a nightmare.

     Doc drives off.

     Marty cocks his head — it sounds like there’s GUNFIRE in the
     distance.

     He walks up to the front door. It’s locked.

     He takes out his door key and tries to open it — but the key
     won’t fit. Marty fiddles with it, to no avail.

                          MARTY (CONT’D)
               W hat th e hell?

     He sh rugs, the n goes around to the side o f the hou se. Th
     ere’ s a larg e PAD LOC K on the gate * which Marty has never
     seen before. He shrugs, climbs up on a garbage can and jumps
     over the gate.
     207 MA RT Y goe s to h is bed room wind ow a nd trie s it: it
     op ens . He c limb s in — then loses his 207

     balance and falls.

     Immediately, he’s greeted by a SCREAM!


     INT. BEDROOM

     Marty has fallen into a BED with a 12 YEAR OLD BLACK GIRL!
     She keeps SCREAMING!

     Marty is shocked!

                          GIRL
               MOMMA ! DAD! HELP!!!

                                                          MARTY
     Hey, who are you? W hat are d oing in m y—roo m...?

     Marty suddenly realizes that this is NOT HIS ROOM.
     Everything’s different — it’s a girl’s room.

                          GIRL (CONT’D)
               HELP!!! Daddy, help!!!

     She starts throwing things at a totally confused Marty. Now
     the door bursts open and her PARENTS rush in: DAD has a
     BASEBALL BAT! W ith them is HAROLD, aged 7.

                          DAD
               Freeze, sucker!

     Marty is terrified! He raises his hands.

                          MARTY
               Okay, take it easy. I don’t want
               any trouble.

                          DAD
               Well, you got trouble now, you no
               good trash! What are you doing in
               here with my daughter?

                          MARTY
               Nothing! It’s all a mistake! I’m in
               the wrong house!

                                                         HAROLD
     Whoop him, Dad! He’s lying!

                          DAD
               Shut up, Harold.
                    (to his daughter)
               Loretta — did he touch you?

                          GIRL
               He jumped on me!

                                                          MARTY
     Please, I’m sorry! I just made a mistake!

                                                            DAD
     Damn right, you made a mistake!

     He s wing s the bat a t Mar ty!

     Marty dodges and Dad’s swing destroys some of his daughter’s
     possessions!

                                                           GIRL
     Dad, stop! You’re breakin’ m y stuff!

     Dad takes another swing: He again misses Marty and takes out
     more of Loretta’s things!

     Loretta starts hitting her father.

     Marty runs out of the room.


     EXT. FRONT OF THE HO USE

     Marty runs out the front door. He pauses at the street to
     look at the house. It sure seems like his house.

     Sud den ly, DAD com es ou t bran dish ing th e bat , his F AM
     ILY b ehind him .

     Marty starts running.

                                                            DAD
     That’s rig ht, you kee p runnin’, su cker! And you te ll that
     white trash realty c om pan y that I a in’t se lling, you
     hear ? W e ain’t gonna be force d out!

     Marty tak es off do wn the s treet.

     Yes, it’s definitely GUNFIRE in the distance.
     210-
     212 OMITTED
     210-
     212


     212-A EXT. ANOTHER STREET — NIGHT

     212-A

     MARTY walks along, confused.

     A car dr ives by, full of SC REAM ING K IDS thro wing bee r
     bottles into th e street.

                                                          MARTY
     It’s gotta be the wrong year.

     Marty notices that the house he’s in front of has a NEWSPAPER
     on the PORCH.


     EXT. ON THE PORCH

     Marty runs up on the porch, picks up the paper and opens it.
     He checks the date.
     214 INSERT — NEWSPAPER (HILL VALLEY TELEGRAPH)

     The d ate is “Satu rday, Oc tober 26 , 1985.”
     215 MARTY is stunned.

     215*

                          MARTY
               1985? It can’t be!

     There’s an offscreen sound of a PUMP SHOTGU N COCKING, and a
     gun barrel is shoved against Marty’s head.

                          MAN (O.S.)
               So you’re the son of a bitch who’s
               been stealing my newspapers!

     The voice is familiar. Marty turns and finds himself facing

                          MARTY
               MR. STRICKLAND!

     Yes, it’s STRICKLAND, and he looks even meaner than we
     remember, particularly because of a large, ugly KNIFE SCAR
     across his face. He’s wearing a FLAK JACKET over his
     bathrobe.

     Strickland looks at him without recognition.

                                                     STRICKLAND
     Do I know you?

                          MARTY (CONT’D)
               Yes, sir, it’s m e, Ma rty! M arty
               M cFly!

                                                     STRICKLAND
     Who?

                          MARTY (CONT’D)
               Mar ty McF ly! You kno w, fro m H
               igh S cho ol! Yo u’re a lways
               giving me tardy slips. You just
               gave me detention last week.

                                                     STRICKLAND
     Last week? Now I know you’re lying. There hasn’t been a High
     School in Hill Valley for 6 years!

     On Marty’s astonished reaction, we

                                                        CUT TO:
     215-A HILL V ALLE Y HIGH SCH OOL ...

                                                          215A*

     ...that is, wh at’s le ft of it. It’s been BUR NED and F IRE
     BO MB ED! A su bsta ntial p ortion of it is in RUINS an d
     most of wha t’s still standing is blackened with soot and ash
     . The windows are boarde d up, and the who le place is s
     urround ed by a BA RBED W IRE FE NCE .

     215-B MART Y stares at it in disbelief.

                                                          215B*

                          MARTY (CONT’D)
               This is nuts.

     He shakes his head, then walks on, staggered. We hold on the
     burned out school, then we

                                                        CUT TO:
     216 MARTY on the run again as he now arrives at


     EXT. COURTHOUSE SQUARE — NIGHT

     The sign, “Hill Valley — A Nice Place to Live” is riddled
     with bullet holes.

     Marty step s past it and becom es even more shock ed as h e
     discov ers...

     The Courthouse has been converted into a GIGANTIC LAS VEGAS
     STYLE HIGH RISE HO TEL CO MP LEX ! It’s g arish , over don e,
     ou trage ous , and it’s ca lled “B IFF T ANN EN’S PLEASURE
     PARAD ISE — Hotel — Resort — Casino — Girls.” The huge
     flashing lit sign includ es an anim ated POR TR AIT OF BIFF
     lighting a ciga r with a $100 bill!

     The place is doing tremendous business. MARTY is dumbfounded.

     BIKERS rev their Harleys and drag up and down the streets.

     In the dista nce , large IND UST RIA L SM OK EST ACK S sp ew
     th ick p ollutio n into the n ight s ky.

     Marty sees that the whole square is now a sleazy nightmare of
     BARS, ADULT BOOK STORES, PAWN SHOPS, BAIL BONDSMEN and PORNO
     THEATERS.

     TW O BOU NCER S, who we m ay recognize as 2 of Biff’s boys
     from 1955, MA TCH an d 3-D (who now wears garish jeweled 3-D
     glasses), are throwing a young MAN out of the Paradise Hote
     l.

                          3-D
               And don’t ever come beggin’ for
               drinks in here again! Friggin’
               lush!

     The d runke n fellow pick s hims elf up off th e pavem ent.

                          DRUNK
               Hey, can’t you guys take a joke?

     Marty rea cts: there ’s som ething VE RY fam iliar about this
     c haracte r...

     The drunk pulls a pint bottle out of his ragged coat, drains
     what’s left in it, and throws it at the hote l.

     Marty gasps as he realizes who it is:

     DAVE McFLY, 22, his own brother! Red nose, puffy face, Dave
     is really plastered.

                          MARTY
               Dave!

                          DAVE
               Marty! Hey, bro, what’s happening!
               Hey, you’re lookin’ kinda ragged
               there — what, did you sleep in your
               clothes again last night?

                          MARTY
               Dave, m y God, wh at’s happ ened to
               yo u? W hat’s hap pened to the
               town? What’s going on around here?

                                                           DAVE
     Oh, all this? It’s the Biker’s Convention. So, Marty, when’d
     you get back?

                          MARTY (CONT’D)
               Back? Back from where?

                                                           DAVE

     |Well, if you don’t know, how do you expect me to tell you?
     (laug hs lou dly; the n con spira torially)
     Hey, let’s go have a few, huh? You got money, don’t ya?

     Dave pulls him toward a tavern.

                          MARTY (CONT’D)
               What are you talkin’ about, Dave,
               I’m under age!

                                                           DAVE
     Under age? Quit kiddin’ around! You been over 14 since — sinc
     e — well, s ince your 1 4th b irthda y!

     Dave ro ars at this “jo ke.”

                          MARTY (CONT’D)
               14? Listen, Dave, I gotta find Mom
               and Dad.

                          DAVE
               Dad? You gotta find Dad? That’s
               sick, Marty, that’s really sick.
               What’s the matter with you, anyway?
               And since when are you and Mom on
               speaking terms again?

                          MARTY
               Speaking terms? Look, do you know
               where she is? Can you tell me where
               I can find Mom?

                          DAVE
                    (shrugs)
               Same place as usual, I guess. In
               there.

     Dave points to BIFF TANNEN’S PARADISE MO TEL. Marty stares at
     the hotel, confused.

     He turns back to Dave, but Dave is already going into the
     bar. Marty is about to stop him, but then decid es no t to. H
     e aga in look s at B iff’s H otel.

     Marty app roache s it.

     Adjacent to the hotel is the BIFF TANNEN MUSEUM . Marty takes
     a look at the outside display area in front of the ticket
     window.


     218-221 OMITTED
     218-
     221


     221-A EXT. MUSEUM DISPLAY AREA

                                                          221-A

     Out fron t is Biff ’s BL ACK RO ADS TER that h e dro ve in 1
     955 , resto red a nd ch erry.

                                             NAR RAT OR (O .S.)

     |...of course, we’ve all heard the legend. But who is the
     man?
     Inside, you will learn how Biff Tannen became one of the
     richest and most powerful men in America!

     Marty turns:

     A promo film for the museum is running on a large VIDEO
     MONITOR.

     Marty m oves in c loser and watche s...


     221-B PROMO FILM FOR THE BIFF TANNEN MUSEUM

                                                          221B*
     A photo montage, in color and black-and-white, promoting the
     exhibits inside, including stills of BABY BIFF, B UFO RD T
     ANN EN, BIF F posin g with celeb rities...

                                             NAR RAT OR (V .O.)
     Learn th e am azing histor y of the Ta nnen fa mily, starting
     w ith his grandfather, Buford “Mad Dog” Tannen, fastest gun
     in the west. See Biff’s humble beginnings and how a trip to
     the race track o n his 21s t birthday m ade him a millionaire
     overnigh t... Share in the excitement of a fabulous winning
     streak that earned him the nickna me, “T he Luc kiest M an on
     E arth.”
     While Marty watches, a WO MAN in the ticket booth notices
     him, eyes him curiously, then picks up a phone.

                                             NAR RAT OR (V .O.)
     Learn how Biff parlayed that lucky winning streak into the
     vast empire called “Biffco.” Witness how Biff changed the
     face of Hill Valley, making it a center of industrial growth.
     Discover how in 1969 BIFF successfully lobbied to legalize
     gambling throughout the land, to put the dream he had
     realized into the reach of all Americans. Marvel at Biff’s
     ongoing relationships with th e rich and f am ous . Mee t the
     w om en w ho sh ared in his pas sion as he sear che d for
     true lo ve. A nd re live Bif f’s hap pies t mo me nt as in
     197 3 he r ealize d his lif elong rom antic dream by marrying
     his High School Sweetheart, Lorraine Bain es M cFly.
     There are images from the wedding with Biff and Lorraine
     coming out of a church.

                          BIFF
                    (on VIDEO)
               3rd time’s a charm !
     Biff kisses her full on the mouth.

                                                          221C*

     221-C MARTY goes nuts!

                          MARTY
               NO!!! NO!!!
     He steps back from the monitor, enraged and shocked.
     Suddenly, A HAND clamps down on his shoulder: Marty finds
     himself facing 3 thugs: SKINHEAD, MATCH and 3-D — Biff’s
     cohorts from 1955.

                                                       SKINHEAD
     Hold on there, squirt. You’re comin’ with us: upstairs.

                          MARTY (CONT’D)
               Let m e go, dam mit!

                          MATCH
               Loo k, we can d o this the e asy w
               ay or th e har d wa y.
     Marty stru ggles. 3-D pulls out a B LACK JACK and club s him!
     Many go es out like a light.

                          3-D
                    (shrugs, smiles)
               The easy w ay.

                                                        CUT TO:


     INT. DARKENED BEDROOM — NIGHT

     MA RT Y is lying in bed , lit by am bient light fr om a wind
     ow. F EM ALE HAN DS p lace a cold compress on his forehead.
     Marty groans and stirs.

                          MARTY
               Mom? Is that you?

                                                       LORRAINE
     Ssshh. Just relax, Marty. You’ve been as leep for alm ost 2
     hours.

                          MARTY (CONT’D)
               Ohhh, what a horrible nightmare...
               it was terrible.

                          LORRAINE
               W ell, you ’re sa fe an d sou nd no
               w. Ba ck h om e on t he go od old
               27th floor.

                          MARTY
               27th floor??

     Marty sits up in horror as Lorraine sits down beside him and
     turns on the bedside lamp revealing a very different
     LORRAINE: At 47, she’s made up like Tammy Bakker, with an
     OUTRAG EOUS W IG, lots of jewels and an expensive, glittering
     gown — low cut, emphasizing her cleav age: bre ast imp lants
     hav e given he r a very am ple bust.

                                                          MARTY
     MOM! You’re so — so — big!

     She puts a cigarette in a garish holder and lights up.

                                                       LORRAINE
     Everything’s going to be fine, Marty. Are you hungry? We can
     call room service...

     Marty looks around at the garishly decorated bedroom. The
     large picture window shows that we’re 15 stories up: this is
     the PENTHOUS E of the Paradise.

                                                       LORRAINE
     I forgot, you haven’t seen the penthouse since we redeco
     rated...

     From outside, we hear a MALE VOICE.

                          VOIC E (O.S .)
               Lorraine? Where are you?

                          LORRAINE
               It’s your father!

                          MARTY
               My father?


     223 BIFF
     BIFF, 48, kicks open the bedroom door. He’s dressed in a silk
     suit, with showy jewelry and cha ins. H is TH UG S are with h
     im.
     Biff g lares at Ma rty.
     Marty is absolutely shocked.

                          MARTY
               My father?

                          BIFF
               You’re supposed to be in
               Switzerland, you little son of a
               bitch! Did you ge t kicked out of
               ano ther boa rding sc hool? D amm
               it, Lorraine, do you know how m uch
               perfectly good dough I’ve blown on
               this no good kid of yours? On all 3
               of ‘em?

                                                       LORRAINE
     What the hell do you care? We can afford it! The least we can
     do with all that money is make a better life for our
     children!
     Lorraine pours h erself a g lass of s cotch a nd drains it.

                          BIFF (CONT’D)
               Marty’s your kid, n ot m ine, a nd
               all th e m one y in the w orld
               wouldn’t do jackshit for that lazy
               bum! He’s a butthead, just like his
               old man was!

                                                       LORRAINE
     Don’t you dare speak that way about George! You’re not even
     half the man he was!
     Biff glares at her, then slaps her.

                          BIFF (CONT’D)
               Never talk to me like that, you
               hear me ? Ever!
     Mar ty cha rges Biff, b ut Biff ’s boys restr ain him .

                          BIFF (CONT’D)
                    (to M arty)
               Always the little hothead, huh?

                          LORRAINE
               Damm it, Biff, that’s it. I’m
               leaving.
     Lorraine heads for the door.

                          BIFF
               Sure, walk out: And I’ll cut you
               off — you and your kids.
     Lorraine hesitates.

                          BIFF (CONT’D)
               I can get D ave’s pro bation rev
               oked and he’ll hav e to go to
               prison — maybe he’ll even end up
               sharing a cell with your brother
               Joey. And Linda — I’ll close her
               accounts and she can settle her d
               ebts with th e ban k all b y hers
               elf. An d Ma rty, we ll—

                                                       LORRAINE
     Ok ay, Biff , you w in. I’ll... st ay.

                          BIFF (CONT’D)
               Dam n righ t, you’ll s tay.
                    (to M arty)
               As for you, I’ll be back up he re
               in an hour. So you’d better not
               be...

     Biff storm s out.

     Marty turns to his mother in disbelief, his eyes full of
     unasked questions. Lorraine looks away from him, ashamed.

                          LORRAINE
               I had it com ing, Marty. I wa s
               wrong . He was right.

                          MARTY
               Mom , wha t are yo u sayin g? Yo
               u’re a ctua lly defe nding him ?

                                                       LORRAINE
     He’s my husband, and he take. care of all of us, and he
     deserv es our re spect.

                          MARTY (CONT’D)
               Your husband? Respect? How can he
               be your husband? How cou ld you le
               ave D ad fo r him ?

                          LORRAINE
               Leave D ad? M arty, are you fe
               eling all right?

                          MARTY
               No! I’m not feeling all right! I
               don’t understand one damned thing
               that’s going on around here and why
               nobod y can give me a sim ple
               straight answer!

                                                       LORRAINE
     They must have really hit you over the head hard.

                          MARTY (CONT’D)
               Mom , I just want to know one
               thing. Wh ere’s my father? W here
               ’s Ge orge McF ly?

                          LORRAINE
               Mar ty, Ge orge — yo ur fa ther —
               is in the sam e plac e he’s bee n
               for the p ast 1 2 year s: O ak P
               ark C em etery.

     On Marty’s expression of horror, we

                                                        CUT TO:


     EXT. OAK PARK CEMETERY — NIGHT

     Wind whips through the twisted dead trees, casting spooky
     moonlit shadows across the tombstones. MARTY runs wildly
     through the graveyard, reading tombstones, until he finds


     225 GEORGE’S TOMBSTONE

     “IN LO VING MEM ORY , GEO RGE DOU GLA S McF LY, April 1, 19
     36 — March 15, 1973 .”


     226 MARTY

                          MARTY
               1973! NO!!!!!
                    (drops to his knees,
                     sobbing)
               Please, God, no! This can’t be
               happening!
     A SHADOW falls across Marty — a human shadow, coming up from
     behind.

                          DOC (O.S.)
               I’m afra id it is happe ning, Ma
               rty, all of it.
     Marty turns. It’s Doc.

                          MARTY
               Doc!

                                                            DOC
     When I learned about your father, I figured you’d come here.

                                                          MARTY

     |Then you know what happened to him? You know what happe ned
     on ...
     (checks date on tombstone)
     ...March 15, 1973?

                          DOC
               Yes, Marty. I know.

                                                        CUT TO:


     226-A OMITTED

                                                          226A*


     227 INSERT — NEWSPAPER (HILL VALLEY TELEGRAPH)
     A library bound volume of local newspapers, open to March 16,
     1973.

                                        “GEORGE MCFLY MURDERED!
     “Author shot dead in apparent holdup enroute to receive book
     award.
     Police ba ffled, sea rch for w itnesses .”
     A ph oto o f Ge orge McF ly acco mp anies the s tory.


     INT. DOC’S LAB — NIGHT
     MARTY is reading it while Doc explains. They’re in Doc’s lab
     which is a shambles: it’s been vandalized, windows are
     boarded up, and the scene is lit by candles.
     The DeLorean is parked in the garage, and EINSTEIN is here,
     too.

                          DOC
               I went to the public library to try
               to make sense out of all the
               madness. The place was boarded up,
               shut down. So I broke in and
               borrowed some newspapers.

                                                          MARTY
     But, Doc, how can all this be happening? I mean, it’s like
     we’re in hell or something.

                          DOC (CONT’D)
               No, it’s Hill Valley, although I
               can’t imagine hell being much
               worse. The continuum has been
               disrupted, creating a new tem pora
               l even t seq uen ce re sultin g in
               this altern ate re ality —
               alternate to us, but reality for
               everyone else.

                          MARTY
               English, Doc.
     Doc hands him the SILVER BOOK BAG from the future.

                          DOC
               Recognize this? It’s the bag the
               sports book came in. I know because
               the receipt was still inside.
     Doc s hows h im the re ceipt.

                          DOC (CONT’D)
               I found them in the time machine
               along with this:
     Doc shows him the FIST ornament from Old Biff’s cane.


     229 INSERT — THE FIST ORNAMENT
     Engra ved on it is “B iff H. Tan nen.”


     230 BACK TO SHOT

                          MARTY
               This was the top part of Biff’s
               cane — in the future. And you found
               it in the DeLorean?

                          DOC
               Correct. It was in the time machine
               because Biff was in the time m
               achine, with the Sports Almanac.

                          MARTY
               Holy shit!
     In the back grou nd, D oc’s auto ma tic DO G F OO D M ACH INE
     , attac hed to a ca r batte ry, * activates and dispenses
     Einstein’s dinner.

                          DOC
               You see, while we were in the
               future, Biff got the sports book,
               stole the time machine, went back
               in time and gave the book to hims
               elf at som e point in the past! Lo
               ok....
     Doc shows Marty another newspaper. “HV Man Wins Big At
     Races!” There’s a PHOTO OF BIFF receiving his money at the
     pay window.

                          DOC (CONT’D)
               It says right here that Biff made
               his first million betting on a
               horse race in 1958. He wasn’t just
               lucky: he knew because he had all
               the race results in the Almanac!
               That’s how he made his entire
               fortune! Look at his pocket with
               the magnifying glass...
     Marty does so.
     231 INSERT — NEWSPAPER PHOTO

     Sticking out of Biff’s pocket can be seen the top part of the
     ALMANAC!
     232 BACK TO SHOT

                                                          MARTY

     |That bastard stole my idea! Doc, he must have overheard me
     when I told you abou t—
     (realization)
     This whole thing’s my fault. If I hadn’t bought that book,
     none of this would have happened.

                          DOC (CONT’D)
               W ell, that’s all in the pas t.

                          MARTY
               You mean in the future.

                          DOC
               Whatever, it demonstrates precisely
               how time travel can be misused and
               why the time machine must be
               destroyed... after we straig hten
               all of this o ut.

                                                          MARTY
     Right! We’ve gotta go back to the future and stop Biff from
     ever stealing the time machine!

                          DOC (CONT’D)
               We can’t — because if we travel
               into the future from this point in
               tim e, it wo uld be the fu ture o f
               this r eality, in whic h Biff is
               wealthy and married to your mother,
               and in which this has happened to
               me.

     Doc shows him another newspaper from 1983.
     232-A INSERT — NEW SPAPER

                                                          232-A

     Head line: “EMM ETT BRO W N CO MMIT TED . Crack pot Inven tor
     Dec lared Leg ally Insane.” There’s a picture of Doc in a
     strait jacket. (There’s also another article: “NIXON TO SEEK
     5TH TE RM. Vows to E nd Vietnam W ar by 1985.”)


     BACK TO SHOT
     232-B Marty is horrified.

                                                          232-B

                                                            DOC
     No, Marty, our only chance to repair the present is in the
     past — at the point whe re the tim e line ske wed into th is
     tangen t.
     Somehow, we must find out the specific circumstances of how,
     wh ere, and when you ng Biff go t his hand s on that S ports
     Almanac.

     Marty looks at the 2 newspapers and fills with resolve.

                          MARTY
               I’ll ask him .

                                                        CUT TO:


     INT. BIFF’S PENTHOUSE — NIGHT

     BIFF is in a Jacuzzi with 2 SHOWG IRLS while watching “A
     Fistful of Dollars” on a big screen TV.

                          BIFF
               Great flick. Great friggin’ flick.

     Suddenly, the screen goes black.

                          BIFF (CONT’D)
               Hey, w hat th e hell— ?

     MART Y steps forward with the remo te controller.

                          MARTY
               Party’s over, Biff.

                                                           BIFF
     You! W hat a re you doing here ? Ho w the hell did you ge t
     in here, anyway? How’d you get past my security downstairs?

                          MARTY (CONT’D)
               I managed.

                          BIFF
               W ell, you got just 1 0 seco nds to
               ge t your ass th e hell outta here
               or yo u’re gonn a have to be carrie
               d out.

     Biff picks up a nearby phone.

                                                          MARTY
     There ’s a little matter I need to ta lk to you ab out.

                          BIFF (CONT’D)
               Mone y, right? W ell, forget it.

                          MARTY
               Not money, no.
                    (a be at, the n delib
                     erate ly)
               Gray’s Sports Almanac.

     Biff s tops and s tares at Ma rty very in tently.

                                                          MARTY
     You know what I’m talking about: it’s a book, paperback,
     silver cover and jacket, with ------- letters.

     Biff puts the phone down.

                          BIFF
               You heard him, girls: party’s over.

                                                        CUT TO:
     A-234 CLOSE ON A MATCHBOOK

                                                          A-234

     “Biff T ann en’s Plea sure Para dise .” It’s a ma tchb ook
     for th e Ho tel.


     INT. PENTHOUSE — BIFF’S PRIVATE OFFICE — NIGHT

     MARTY is examining the matchbook, which was picked up from a
     table in BIFF’S PRIVATE * OFFICE, which is plushly (and
     garishly) furnished.

     BIFF, now clad in a silk monogrammed robe, pours himself a
     Scotch.

                          MARTY
               “Biff’s Pleasure Paradise.” Very
               cute.

                          BIFF
               Start talkin’, kid. What else do
               you know about that book?

     Marty pockets the matchbook.

                          MARTY
               First you tell m e how you got it.
               How, w here, wh en...

     Biff s tares at him , then sm iles slyly.

                          BIFF
               All right.

     Biff gets up and goes to an OIL PORTRAIT of himself. It’s
     hinged — he opens it, revealing a WALL SA FE with 3
     combination locks.

                                                           BIFF
     November 12, 1955. That was when.

                          MARTY
               1955?

                          BIFF
               It was at school, at this dance.

                                                          MARTY
     The Enchantment Under the Sea Dance?

                          BIFF (CONT’D)
               How d o you kn ow abo ut that?

                          MARTY
               Oh, uh, my father told me about
               that dance... uh, before he died.

                                                           BIFF
     W ell, the re I wa s, m indin’ m y own busin ess , and this c
     razy old codger with a cane calls me over. He says he’s my
     distant relative; I don’t know if he is, he doesn’t even look
     like me. So * he says, “How would you like to be rich?” I
     says “sure,” so he lays this book on me.

     Biff opens the safe and pulls out a smaller fireproof
     airtight SEALED CONTAINER. He unlocks it, revealing one item
     inside: the SPORTS ALMANAC. It’s 30 years older, yellowed,
     stained, * and wo rn. It no longe r has the dust jack et.

     He lets M arty have a look at it.

                          BIFF
               He says this book’ll tell me the
               outcome of every sporting event
               till the end of the century. All I
               have to do is bet on the winner and
               I’ll never lose. Naturally, I think
               he’s full of it. So I say, what’s
               the catch ? And h e says, no catch.
               Ju st keep it a secret. T hen he
               says “Biff T annen , you’re one lu
               cky guy.” After that, he
               disappeared and I never saw him
               again.

     Biff takes the book back from Marty and locks it in the safe.

                          BIFF (CONT’D)
               Oh, he told me one m ore thing. H e
               said, so med ay a crazy wild-e yed
               sc ientis t or a k id m ay sho w up
               ask ing ab out th is book . And if
               that e ver hap pens...

     Biff p ulls a .3 8 RE VO LVE R ou t of his desk draw er an d
     aim s it at M arty.

                          BIFF (CONT’D)
               Funny, I ne ver thoug ht it would
               be you...

     Marty gulps.

                          MARTY
               Yeah, well, you’re forgetting one
               thing — Hey, look!

     Biff falls for it and looks; Marty grabs Biff’s scotch and
     throws it in his face!

     Marty bolts.

     BIFF FIRES a few shots, but Marty’s outta there! Biff picks
     up a phone.

                          BIFF
               Mar ty McF ly’s on h is wa y dow n.
               Ta ke c are o f him : perm ane
               ntly.

     The n Biff chas es af ter M arty.


     236 OMITTED


     INT. PENTHOUSE CORRIDOR

     Marty run s into the co rridor, pas t 2 (down ) ELEV ATO RS
     an d throug h door m arked “STA IRS.” He runs up.


     237 OMITTED


     EXT. HOTEL ROOF — NIGHT

     MARTY com es out onto the roof and runs to the edge. It’s an
     eerie environment, with the colo red lig ht fro m th e hot el
     sign and t he w eird s mo key p ollutio n tha t waft s thro
     ugh the s ky.

     Marty looks down: no escape.

     Now BIFF com es ou t onto the ro of, gu n in ha nd, s milin g
     as b e app roac hes Mar ty.

                          BIFF
               Go ah ead, kid . Jum p. A suicid
               e’ll be nice an d neat.

                          MARTY
               Yeah, an d what if I do n’t?

                          BIFF
                    (raises the gun)
               Lead poisoning.

     Marty looks down. He’s scared.

                                                          MARTY
     And what happens to you when the police match the bullet up
     to that gun?

                          BIFF (CONT’D)
                    (laughs)
               Kid, I own the police. Besides,
               they couldn’t match up the bullet
               that killed your old man.

     Marty is shocked at this revelation.

                          BIFF (CONT’D)
                    (chuckles)
               I suppose it’s poetic justice: 2
               McFlys with the same gun.

     Biff cocks the gun.

     Then, Marty jump s off the roof!

     Biff is amazed.

     He run s to the ed ge and looks d own...

     Suddenly, MARTY RISES UP, STANDING ON THE HOOD OF THE FLYING
     DELOREAN!

     Before Biff can re act...

     DOC throws open the gullwing door and cracks Biff in the
     face!

     Biff falls backward.

     Marty climbs into the DeLorean, closes the do or, and they
     fly off

     Biff just lays there, out cold.

                          CUT TO:
                    (NOT E: Scen e num bers 23
                     9 to 299 a re reser ved.)


     EXT. — NIGHT SKY

     Quie t. Pea cefu l.

     Suddenly, 3 staccato sonic booms erupt and the FLYING DELORE
     AN appears out of nowhere!

     It swoop s down , then its whe els fold do wn as it go es
     into its land ing mo de. Th ere is fros t on it. * The DeL
     orea n des cen ds an d land s beh ind th e 195 5 LYO N ES TAT
     ES B ILLB OA RD (“Live in the home of tom orrow... Today!”}

                                                        CUT TO:


     301-305 OMITTED
     301-
     305


     INT. SCHOOL GYM — DANCE (EXISTING FOOTAGE) — NIGHT

     “Enchantment Under The Sea” is in full swing, with Marvin
     Berry and the Starlighters playing “Night T rain.”


     306-A MARTY, WEARING A BLACK LEATHER JACKET AND HAT, IS
     KEEPING A LOW PROFILE BEHIND THE

     306-A

     refresh men t table as he looks a round th e gym. (H e has a
     pair of 198 5 mini-b inoculars .) *


     306-B GE OR GE IS AT ON E END OF THE GYM .

     306-B


     306-C MR. STRICKLAND IS ALSO HERE, WANDERING AROUND. 306-D
     306-F OMITTED
     306-C
     306-D
     306-F


     306-G YOUNG BIFF AND HIS GANG ARE ALSO HERE, OGLING SEVERAL
     GIRLIE MAGAZINES, LAUGHING
     306-G
     *

     and slapping each other.


     306-H MARTY REACTS UPON SEEING BIFF. HE PULLS OUT A 1989
     WALKIE-TALKIE.

     306-H

                                                          MARTY
     Yo, Doc! Come in!

                                                  INTERCUT WITH


     306-J EXT. LYON ESTATES BILLBOARD — NIGHT

     306-J

     DO C ha s the othe r walk ie-talk ie and resp ond s to M
     arty.

                                                            DOC
     I read you, Marty, over.


     306-K

                                                          MARTY

                          306-K
               I just spotte d young B iff, but no
               sign of Old B iff yet.

                                                            DOC
     Then don’t let young Biff out of your sight. When the old man
     finds him, you’ll be there.

                                                          MARTY
     Chec k, Doc . Over an d out.


     306-L MARTY PUTS THE WALKIE-TALKIE IN HIS POCKET AND
     CONTINUES WATCHING BIFF AND THE BOYS.

     306-L

     They surreptitiously pass a bottle of booze around.

     Skinhead notices that STRICKLAND is eyeing them suspiciously
     from across the gym. He nudge s Biff and points this o ut.

     Biff looks over at Strickland, then says something to the
     guys.

     They all EXIT through the FRONT DOOR.


     306-M STRICKLAND HAS SEEN THIS. HE’S SUSPICIOUS.

     306-M


     306-N MART Y HAS SEEN THIS ALSO. HE HEADS FOR THE SAME EXIT
     DOOR.

     306-N


     307 DELETED


     EXT. SCHOOL

     MARTY com es outside and looks around, while continuing to
     stay in the shadows and out of vision.

     He go es dow n steps to a landing and he s pots...


     308-A BIFF AND THE BOYS LOITERING ON THE STEPS ON THE NEXT
     LANDING BELOW WITH THEIR MAGAZINES, 308-A

     passing the bottle around.

     3-D finishes the booze and hand s the empty bottle to Biff.

                                                            3-D
     Drink up, Biff!

     Biff puts the bottle to his lips, then sees he’s been
     shortchanged.

     The guys laugh.

     Biff gives 3-D a slap.

                                                           BIFF
     That’s so funny, I forgot to laugh. Now go get another one!

                          MATCH
               Ain’t you comin’, Biff?

                                                           BIFF
     I’m r ead in’!

     The guys head off together around to the back of the
     building.

     Biff continues paging through his magazine. MARTY keeps
     watching.

                          VOIC E (O.S .)
               Biff! Hey, Biff!

     Biff looks around for the source of the voice.

                          VOIC E (O.S .) (CONT’D)
               Over here, Biff!

     It’s OLD BIFF sitting in a nearby parked CAR motioning to
     young BIFF.


     308-B MARTY M OVES IN CLOSER AND PULLS OUT HIS BINOCULARS.

                                                          308-B


     308-C MARTY’S P.O.V. OF THE CAR (BINOCULARS)

                                                          308-C

     Young Biff steps over to the car.

                          BIFF
               Yeah? What’s your problem, old man?

                          OLD BIFF
               How wou ld you lik e to m ake a lot
               of mo ney?

                          BIFF
               Yeah? Doin’ wha t?

                          OLD BIFF
               Get in and I’ll tell you.

                                                           BIFF
     What is this, Pops? And how do you know my name?

                          OLD BIFF (CONT’D)
               W e’re re lated . Now , get in the
               c ar, bu tthea d, an d I’ll exp
               lain it to you.

     Biff hesitates a moment, then goes over to the passenger side
     and gets in.


     308-D MARTY WATCHES THROUGH THE BINOCULARS WITH ANTICIPATION.
     HE CAN’T HEAR THEIR CONVERSATION. 308-D

     Marty pulls out the walkie-talkie.

                          MARTY
               Doc, come in!


     A-309 INT. — LAB WITH DOC AT THE BILLBOARD

                                                          A-309

                          DOC
               Roger, Marty, go ahead.

                                                          MARTY
     It’s happening, Doc! Old Biff’s here. He’s talking to young
     Biff right now!

                          DOC (CONT’D)
               All righ t, Ma rty. Re me mb er, do
               n’t m ake a m ove u ntil after Old
               Biff gives young Biff the book and
               leaves. W e must let Old Biff
               believe he’s succeeded so that
               he’ll leave 1955 and bring the
               DeLorean back to the future.


     B-309 INTERCUT MARTY’S P.O.V. OF THE CAR

                                                          B-309

     Old Biff shows the Alm anac to a very skeptical young Biff.

                          MARTY
               I see the book now!

                                                            DOC
     Oh, and Marty: you must be especially careful not to let
     yourself be seen by your father, your mother, or your other
     self!

                          MARTY (CONT’D)
               My other self?

     Marty realizes what DOC m eans. He looks down to the parking
     area and sees:


     A-310 EXT. SCHOOL PARKING LOT (BINOCULARS POV)

                                                          A-310

     The YELLOW PACKARD with LORRAINE and the “other” Marty (we’ll
     refer to him as ‘55 MAR TY) is pu lling into the sc hool park
     ing lot!


     A-311 MA RT Y SHA KES HIS HE AD AT THE W EIRDN ESS OF IT ALL.

                                                          A-311

                          MARTY
               This is getting strange.

     Marty then goes back to wa tching the 2 Biffs in the car.

     Old Biff gives young Biff the Almanac.

     Young Biff gets out of the car.

                          OLD BIFF
               Biff T ann en, yo u’re o ne luc ky
               gu y.

     Young Biff slams the do or.

     Old Biff revs up the car, backs up and drives out of there.

     Young Biff looks at the book and shakes his head at the
     departing Old Biff as if he’s a nut case.

                          BIFF
               What a butthead!

     Biff shoves the book in the back of his pants, then pulls out
     his girlie mag and saunters over against a chain link fence
     at the stairs landing.

     Biff le ans again st the fenc e and look s at th e m aga
     zine. T he A lma nac is stic king out o f his pants. It’s a
     perfect opportunity for Marty to get the book.


     A-312 MARTY

                                                          A-312

     quietly whispers into the walkie-talkie.

                          MARTY
               All right, Doc, the old guy just
               left and I’m gonna make m y mov
               e...

     Marty poc kets the walkie-talk ie and leap s over the parape
     t.

     He dro ps into the stairwell on th e oppo site side of the
     fenc e which B iff is leaning a gainst.

     Bif if re acts to the soun d. he look s aro und , see s not
     hing, then cont inues look ing at his magazine.

     Marty moves into position.

     He se es the alm anac in B iff’s pants, e asily able to gra b
     it.

     He rea ches fo r it...

     And then STR ICKLAND steps out of the adjoining building and
     starts toward Biff.

                                                     STRICKLAND
     Well, well, Mr. Tannen, how nice to see you here.

     Biff turns, h ides the m agazine b ehind his back a nd tries
     to a ct innoce nt.

                          BIFF
               W hy, Mr. Strickland, sir, nice to
               see you here, sir.

     Strickland sniffs Biff’s breath.

                                                     STRICKLAND
     Is that liquor I smell, Tannen?

                          BIFF (CONT’D)
               I wouldn’t know, sir. I don’t know
               what liquor smells like becau se
               I’m to o young to drink it.

                                                     STRICKLAND
     I see. And what do we have ... here?

     Strickland reaches behind Biff’s back and pulls out the
     SPORTS ALMAN AC. He looks at the cover.

                                                     STRICKLAND

     |Sports s tatistics. Intere sting sub ject.
     (looks thru it, shakes head)
     Homework, Tannen?

                                                           BIFF
     No, it ain’t homework ‘cause I ain’t at home.

                          >STRICKLAND
                    (sho ves h im)
               You’ve got a real attitude problem,
               you know that, Tannen? Just watch
               it, because one day I’m gonna have
               you right where I want you: in
               detention, slacker!

     Stric klan d wa lks o ff with the A lma nac , pas t the P ack
     ard a nd to ward the s cho ol!

     MAR TY ca n’t believe it!

                          BIFF
               Butthead!

     Biff take s a bea t, then goe s off in the d irection that h
     is guys we nt.


     313 OMITTED


     314 MARTY RUNS AFTER STRICKLAND.

     Stric klan d goe s into the s cho ol.

     Marty follows. As he approaches the Packard, he ducks down so
     that be is not se en by ‘55 M arty * and Lorraine who are
     inside.

     Once clear of the Packard, Marty goes into the building
     Strickland had entered.


     315 AT THE BILLBOARD

     Doc pace s anx ious ly.

     Dista nt thu nde r. Do c look s up a t the s ky.

                          DOC
               The storm !

                                                        CUT TO:


     INT. DARKENED SCHOOL HALLWAY — NIGHT
     MAR TY cre eps do wn the h allway to the sin gle lit door. He
     peeks through it.


     MARTY’S P.O.V. OF INT. STRICKLAND’S OFFICE
     STRICKLAND’S OFFICE is a double office: an outer and inner
     office, separated by a glass partition.
     Marty is able to see Mr. Strickland in the inner office. His
     desk has an open kneehole.

     318 MARTY quietly enters the outer office. He peeks through
     the partition and sees

     318-A STRICKLAND who puts the Almanac on his desk, sits down
     on his swivel chair and opens a

                          318-A
               drawer. He pulls out a WHISKEY
               BOTTLE.
               Strickland takes a nip and swivels
               around. H is back is to the door.

     319 MA RT Y goe s to th e doo r, stoo ps do wn a nd da she s
     in. H e dro ps do wn a longs ide S trick land’s 319
     desk.
     Strickland reacts as if he’s heard a noise. A beat, then he
     shrugs and takes another nip.
     Marty crams through the kneehole and reaches through with his
     hand in an effort to reach the Almanac which is on top of the
     desk.
     Just as Marty is about to reach it, Strickland turns. Marty
     withdraws his hand.
     Stric klan d sw ivels in his ch air an d stic ks h is leg th
     roug h the kne eho le, alm ost k ickin g Ma rty in the face.
     Strickland leans back in his chair, looking away from the
     desk.
     Again M arty attem pts to grab the book ; again, Strick land
     m oves an d thwarts the attem pt.
     At last, Strickland corks the bottle and puts it back in the
     drawer.
     Strickland stands: he’s ready to leave.
     Marty smiles. Finally he’s going to get his chance.
     Strickland moves away from the desk. A beat, then Strickland
     looks back at the desk and TAKES THE ALMANAC WITH HIM!
     Marty is horrified!
     He watches as Strickland heads for the door.
     Then Strickland simply tosses the book in the trash can and
     EXITS!
     Marty sighs relief.
     As soon as the door to the hall closes, Marty goes for the
     trash can and pulls out the book.
     He’s got it! There’s that red cover: “SPORTS ALMAN AC!”
     Marty sighs relief. He picks it up, opens it and sees
     PROVOCATIVE PICTURES OF SCANTILY CLAD WOMEN!
     Marty doesn’t get it. Then he discovers it’s the GIRLIE
     MAGAZINE disguised with the ALMANAC COVER JACKET!

                          MARTY
               Shit!
                    (into walkie-talkie)
               Doc! Troub le! I blew it!


     X-319 INTERCUT WITH DOC AT THE BILLBOARD

                                                          X-319

                          DOC
               Where’s the book?

                          MARTY
               Biff m ust s till have it on him !

                          DOC
               W here’s Biff?

                          MARTY
               I don’t know!
     Throu gh the w indow in the backg round w e see G EOR GE M
     CFLY hiking up his pants , about to approach the Packard.

                                                            DOC
     Don’t you have any idea where he is?

                                                          MARTY
     No, Doc — he could be anywhere by now. For all I know he
     could have hopped a Greyhound and left town!
     Behind Marty, through the window, George steps up to the
     Packard, opens the door and confronts BIFF.

                          DOC
               Great S cott. This is serious shit!

                          MARTY
               Tell m e abou t it!

                                                            DOC
     Think, Marty, think! Where would Biff have gone?

                          MARTY (CONT’D)
               Doc , if I kn ew th at, I’d g o
               afte r him !

                          DOC
               Mar ty, if we have to abort this
               mission, we risk jeopardizing the
               entire space-time continuum.

                                                          MARTY
     Doc, I just don’t know where to—
     From outside, Marty hears yelling.

                          LOR RAIN E (O.S .)
               Stop it. Biff, you’ll break his
               arm!

     Marty looks out the window.


     319-A MARTY’S P.O.V. OF

     319-A

     BIFF twisting GEORGE’s arm back into a hammerlock at the
     Packard, with LOR RAIN E trying to stop it.
     319-B MARTY lights up with an idea.

     319-B

                                                          MARTY
     Of course! I got one chance, Doc! I’ll call you back!

                          DOC (V.O. RADIO)
               Rog er, 10 -4. M ess age ack now
               ledge d, sta nding by.

     Marty runs to the door, unlocks the deadb olt, and takes off.


     EXT. HILL VALLEY HIGH SCHOOL — NIGHT

     MART Y comes running out from the scho ol toward


     EXT. THE PACKARD — NIGHT

     The confrontation between BIFF and GEORGE continues.

                                                       LORRAINE
     Leave him alone!

     Lorraine tries to stop him, but Biff knocks her down.

     Biff laughs.

     George reacts with rage. His fingers close into a fist, his
     teeth clench, and then he lets Biff have it, right in the
     face!
     322 MARTY is delighted.

                                                          MARTY
     Way to go, George!

     Marty suddenly ducks as he sees
     323 THE “OTHER ” MARTY (we’ll refer to him as ‘55 MARTY) run
     in to see the aftermath of the 323

     fight and react with amazement as
     323-A BIFF is k nock ed sen seless and falls to th e pavem
     ent.

                          323-A
               324 MAR TY ag ain reacts to “hims
               elf.”

                                                          MARTY
     Talk a bout deja vu...!
     325 MARTY’S P.O.V. OF

     George and Lorraine walking off arm and arm toward the school
     as a crowd gathers around the unconscious Biff.

     ‘55 Marty checks the disappea ring photo, then turns around
     and runs off.

     326 MARTY runs over to the crowd around Biff and pushes
     through.

                                                          MARTY
     Let me through, I know CPR.

                          GIRL
               CPR? What’s CPR?
     Marty pushes his way in there, and bends dow n over Biff.


     327 ON BIFF AND MARTY
     Biff GR OAN S. He’s c omin g to. He b links...

                                                          MARTY
     Everybody, move back . Give him som e air.
     The crowd moves back.

                          BIFF
               Hey, what the — YOU!!
     As Biff recognizes Marty, Marty punches Biff again!
     Biff again loses consciousness!
     Marty rolls him over, lifts up his jacket, and there’s the
     SPORTS ALMANAC , just as Biff had tucked it into his pants.
     Marty pulls it out, checks that it’s the real thing and sighs
     relief. He stands.

                                                          MARTY
     It’s okay, everybody, he’s gonna be fine.
     Marty moves aw ay from the crowd, book in hand, breathing
     easier.
     When he’s a good distance away, he pulls out the walkie-
     talkie.

                          MARTY
               Yo, Doc ! Succ ess! I’ve got it!


     328 AT THE BILLBOARD
     DOC BRO WN responds to the walkie-talkie.

                          DOC
               Thank goo dness! I’ll be on my way
               as soon as I reload M r. Fusion.
               I’ll pick you up on the football
               field!

                          MARTY
               The football field! Ten-four!
     Doc begins loading trash into Mr. Fusion.


     EXT. SCHOOL — NIGHT
     MART Y shoves the Alm anac into his JACKET POCKE T. “EART H
     ANG EL” can be heard com ing fro m in side the g ym.

     Marty goes running around toward the back of the school, and
     runs smack into SKINHEAD, 3-D and MA TCH co ming from around
     the corner!

     Mar ty imm ediat ely run s bac k the othe r way!

                          SKINHEAD
               Hey! T hat was him! In disguise !
               He go t out!

                                                          MATCH
     Let’s get h im!

     The y chas e Ma rty!

     Marty runs INTO THE S CHOOL!
     330-
     339 OMITTED
     330-
     339


     INT. SCHOO L GYM

     Marty ducks into the school gym and stays off to the side,
     trying to be inconspicuous.

     On sta ge, ‘55 M arty is introduc ing “John ny B. Goo de.”

     Biff’s boys come into gym and look around.

     They spot ‘55 Marty on stage.

                          3-D
               Look! How’d he get on stage?

                          SKINHEAD
               I don’t know. But sooner or later
               be’s gotta get down. And we’ll be
               waitin’ for him, right off stage.
               C’mon!

     Biff’s guys make their way to side of the stage (stage left)
     as ‘55 Marty and the Starlighters kick into “John ny B. Goo
     de.”

     Marty reacts in horror. He calls into the walkie-talkie.

                          MARTY
               Doc! Biff’s guys chased m e into
               the gym and now they’re laying for
               me.


     340-A EXT. LYON ESTATES BILLBOARD (INTERCUT) — DOC

                                                          340-A

                                                            DOC
     Then go out anothe r door.

                          MARTY
               No, they’re laying for the other
               me: the me that’s on stage, playing
               Johnny B. Goode!

                                                            DOC
     Great Scott! If they succeed, you’ll miss the lightning bolt
     at the c lock towe r, you w on’t g et ba ck to the fu ture.
     .. and we’ll have a major paradox.

                                                          MARTY
     A paradox? You mean one of those things that could destroy
     the Universe?

                                                            DOC
     Prec isely!

                                                          MARTY
     This is hea vy!

                                                            DOC
     Marty: you have to stop those guys at all costs — but without
     being seen by your other self, or your parents!


     340-B INT. GYM

     340-B

                                                          MARTY
     Ten-four.

     Kids are dancing to Johnny B. Goode.

     Marty tries to cut across the dance floor, but he spots
     George and Lorraine dancing.

     Instead, Marty goes behind the refreshment table and makes
     his way to the opposite side of the stage from wh ere Biff’s
     guys are (stage right).

     Marty checks to see that ‘55 Marty is looking in the other
     direction, then he dashes up the stairs and goes BACKSTAGE.


     340-C INT. GYM — BACKSTAGE

     340-C

     Marty can see Biff’s guys waiting at the other end.

     Marty looks around, trying to figure out what to do. Then he
     looks UP and sees a CATWALK * that runs above the stage.
     THREE SANDB AGS on a rope are situated right above Biff’s
     boys. *

     Marty has an idea. He climbs u p the stage-right catwalk
     ladder.


     340-
     340-
     CA


     CA EXT. LYON ESTATES BILLBOARD — NIGHT

     The DELOREAN levitates up from behind the billboard and
     blasts off toward town.


     340-D OMITTED

     340-D


     340-E INT. SCHOOL GYM — ON THE CATWALK ABOVE THE STAGE

     340-E

     Marty cautiously makes his way across the catwalk, above ‘55
     Marty and the Starlighters.

     One of the catwalk planks is rotted — Marty steps on it, it
     cracks and Marty loses his balance: * he alm ost fa lls ove r
     ‘55 M arty!

     Marty regains his balance and makes it to the other end of
     the catwalk. He unties the ropes * holding the sandbags.

     Biff’s boys a re dire ctly be low h im.


     340-F MARTY FIRES THE SANDBAGS AT BIFF’S GUYS.

     340-F

     Number one takes out Skinhead.

     Number two wipes out Match.

     Number three knocks out 3-D.

     Marty grabs the rope and swings down the backstage left area.

     He run s out the e xit.


     340-G BACKSTAGE ALCOVE

     340-G

     As Marty runs down the stairs it the alcove, he calls into
     the walkie-talkie.

                                                          MARTY
     Suc ces s, Do c! E veryth ing’s c ool!


     340-H OMITTED

     340-H


     340-J EXT. NIGHT SKY — APPROACHING STORM

     340-J

     The DELOREAN flies through the clouds. It’s quite turbulent,
     with lightning flashing and rolling thunder.


     340-K INT. FLYING DELOREAN — NIGHT

     340-K

     DO C an swe rs M arty.

                                                            DOC
     Not quite, Marty! I’m in the clouds over the football field,
     but with a ll this tu rbule nce , I’m a fraid I’ll sm ash up
     if try t o land . I’ll throw you a rope!


     340-L INT. BACKSTAGE ALCOVE

     340L*

                                                          MARTY
     On my way, Doc!

     Marty runs out the exit fire door. Just as he exits, LORRAINE
     enters to meet ‘55 MARTY coming down.


     340-M EXT. SCHOOL

     340-M

     MAR TY co mes outside. H e glance s back in the windo w wher
     e he se es...


     340-N MARTY’S P.O.V. THRU. WINDOW

     340-N

     ‘55 Marty saying goodbye to Lorraine.

                                                      ‘55 MARTY
     I had a feeling about you two.

                                                       LORRAINE
     I have a feeling, too.


     341-350 OMITTED
     341-
     350


     351 MARTY SM ILES.

                          DOC (V.O.)
               Hurry, Marty! The lightning’s
               coming closer — it may be attracted
               to the DeLorean!

     Marty looks up at the sky and starts for the football field.

                          BIFF (O .S.)
               Hey, butthead!!!

     Marty stops and turns: BIFF is near the fire door. He has a
     bloody mouth.

                          BIFF (CONT’D)
               C’mon, let’s have it out! You and
               me!

                          MARTY
               No thanks!

     Marty takes off.

                          BIFF
               W hat’s the m atter ? Ch icke n?

     Marty stops short, tensing up.

                          >BIFF
                    (continuing)
               Too chicken to take me on, one on
               one?

     Marty turns around, filled with resolve.

                          MARTY
               Nobody calls me chicken.

     Marty tak es off his jacket a nd throw s it down. T he walk
     ie-talkie is in the pocke t.

     He approache s Biff.

     Biff sm iles. Behind his back he has BRAS S KNU CKLE S on his
     fis t.

                          DOC (V.O. RADIO)
               Hurry, Marty! Don’t stop for
               anything! It’s getting dangerous!
               The lightning’s getting closer
               every second!

     But Marty can’t hear it. He comes closer to Biff.


     INT. SCHOOL GYM — BACK STAGE (EXISTING FOOT AGE)

     Inside, ‘55 Marty concludes his goodbye to George and
     Lorraine.

                                                      ‘55 MARTY

     |...if you guys ever have kids, and one of them when he’s 8
     years old accidentally sets fire to the living room rug: Go
     easy on him .


     EXT. SCHOOL — FIRE DOOR

     Biff and Marty stand facing each other off.

     Beh ind his back , Biff g rips th e bra ss k nuc kles
     tightly.

                                                           BIFF
     C’mon. Take a poke at me, chicken.

     Suddenly, the FIRE DOOR IS FLUNG OPEN BY ‘55 MARTY, and
     WHACKS BIFF IN THE HEAD!

     ‘55 Marty runs off like a streak, oblivious to what’s just
     happened.

     Biff hits the ground, out cold, and drops the brass knuckles.

     Marty realizes what almost happened.

                          MARTY
                    (yells to his departing
                     self)
               Than ks a lot!

                          ‘55 MA RTY (O.S.)
               You’re welcome!

     Marty grabs his jacket and goes running toward the football
     field. The LIGHTNING and THUNDER continue.

                          DOC (V.O. RADIO)
               Hur ry up, M arty!
     354-
     367 OMITTED
     354-
     367


     INT. FLYING DELOREAN

     DO C co ntinu es to fight th e turb ulenc e, stru ggling to
     ste ady th e cra ft. Th e pas sen ger d oor is open; a ROP E
     is looped around the seat and da ngles out the door.

     Suddenly, a WHITE FLA SH OF LIGHTNING and tremendous
     THUNDERCLAP rock the DeLorean sideways!


     EXT. FOOTBALL FIELD/STADIUM — NIGHT

     MARTY com es running onto the football field. Lightning and
     thunder continue.

     The R OPE is hanging down fro m within the low lying clou ds.
     It dang les near th e 50 yard line , a few feet off the
     ground.
     369-A MAR TY run s for it.

                                                          369-A

                          MARTY
               I’m comin’, Doc!!

     The rope whip s aro und wildly.

     Marty pou rs it on. 20 yard s to go, 10 yards...

     Marty jumps and grabs the rope. Success!

     Suddenly, a HUGE BOLT OF LIGHTNING STRIKES THE FLYING
     DELOREAN!

     Marty drops. The rest of the rope falls to the ground.

     Marty looks up.

     The DeLorean is gone without a trace!

     MARTY gasps. He picks up the other end of the rope: severed
     clean.

     Everything gets quie t.

     Marty stares upward in stunned silence, waiting for the
     DeLorean to reappear.

     Nothing happens.

     Marty takes out the walkie-talkie.

                          MARTY (CONT’D)
               Yo, Doc? Come in, Doc!

     No response.

                          MARTY (CONT’D)
               Hello, Doc, do you read me, over?

     Just static.

                          MARTY (CONT’D)
               Doc, answer me, please!

     As if in response, there’s a blinding flash of LIGHTNING with
     a deafening crack of THUNDER, followed by RAIN. Hard, steady,
     cold rain.

     Marty runs for cover and ducks into a


     370 STADIUM TUNNEL

     Marty looks out from the tunnel onto the field. The storm
     continues.

     Marty just watches. He’s confused, worried, scared.

                          MARTY
                    (yells)
               DOC!!!!!

     His voice barely carries in the rain.

     Marty sighs.

     He pulls the SPORTS ALMAN AC out of his pocket. He looks at
     it and shakes his head. *

                          MARTY (CONT’D)
               Me and my great ideas.

     Marty stoops down, puts the book on the ground, pulls out the
     Biff Tannen MATCHBO OK and * lights the book on FIRE.

     Behind Marty, far in the background, we may notice an eerie
     silhouette: the figure of a MAN * approaching.

     Marty watches as the Almanac is consumed by flames. He
     glances at the matchbook.


     370-A INSERT — MATCHBOOK

                                                          370A*

     The writing on the matchb ook cover chan ges from sa ying
     “Biff Tannen’s Paradise” to “Biff Tann en’s Au to Detailing.”
     370-B MARTY brightens. He reaches inside his jacket for
     something... while behind him, the
     370B*
     *

     approa ching figu re mo ves clos er, evok ing the fee ling of
     imp ending d oom ...

     Marty pulls out the 1973 Newspape r.

     The headline, “GEORGE M cFLY MURDERED ” dissolves and becomes
     “GEORGE M cFLY HON ORE D. Loca l Author R eceives Civic Awa
     rd.”

     Marty sighs relief.

                          MARTY
               That tak es care of that.

     The MAN behind him moves ever closer. We can’t see his face,
     but he wears a HAT, TRENCHCOAT, and carries a BRIEFCASE.

                          TRE NCH COA T (O.S .)
               Mar ty McF ly?

     Mar ty turns arou nd w ith a s tart. H e sta res a t the m
     an. W ho is t his gu y?

                                                     TRENCHCOAT
     Is you r nam e Ma rty Mc Fly?

     Marty looks at the guy. He’s never seen him before.

                          MARTY
                    (suspicious)
               Yeah...

     Tre nch coa t step s into the d ry tunn el. He ’s abo ut 25 ,
     a bu reau crat typ e. He look s ove r Ma rty.

                                                     TRENCHCOAT
     Five foot four, brown hair... Well, I’ll be damn ed. Marty,
     I’ve got a letter for you.

     He opens his briefcase and pulls out a CLIPBOARD and an
     ANCIENT YELLOWED ENVELOPE sealed with a WAX SEAL.

                          MARTY (CONT’D)
               A lette r? T hat’s imp oss ible! W
               ho ar e you, anyw ay?

                                                     TRENCHCOAT
     I’m from western Union, and actually, a bunch of us in the
     office were hoping you could sh ed som e light on the subjec
     t.
     You see, this envelope’s been in our company’s possession for
     almost 70 years. It was given to us with explicit
     instructions that it be delivered to a young man with your
     description ans werin g to th e nam e of M arty at t his ex
     act lo catio n at th is exact minute on November 12, 1955. We
     had a bet going as to whether this “Marty” would actually be
     here. Looks like I lost.

                          MARTY (CONT’D)
               Did you say 70 years?

                                                     TRENCHCOAT
     Uh, 67 to be exact. Sign on line 6, please.

     He ha nds M arty the clipbo ard and pen. M arty signs, the n
     hand s it back . The m an gives Marty the aged envelope.

     Marty breaks the seal and opens the letter. He looks over the
     yellowed pages and flips to the * end to check the signature.


     371 INSERT — LETTER

     “Your frien d in time, ‘D oc’ Em mett L . Brown.” Benea th
     the sign ature is a s tylized “E-L-B.”


     372 MAR TY CA N’T BELIEVE IT.

                                                          MARTY
     Doc!

     He turns to the beginning and starts reading.

                          >MARTY
                    (reads)
               “Dear Marty: If my calculations are
               correct, you will receive this
               letter immediately after you saw
               the DeLorean struck by lightning.
               First, let me assure that I am
               alive and well, living happily in
               the yea r 1888 th ese pa st few m
               onths...” 1888?!?

     Marty co ntinues re ading, rea cting with rising astonish men
     t.

     Tre nch coa t tries t o rea d it ove r Ma rty’s sh oulde r,
     but M arty wo n’t let h im.

                          >MARTY (CONT’D)
                    (muttering to himself)
               Too many jigowatts... Time circuits
               shorted... July, 1888!!

     Marty looks up from the letter and looks around and sees


     372-A MARTY’S P.O.V. OF

     372A*

     THE CLOCKTOWER in the distance, above the trees. The tiny
     figure of ‘55 DOCTOR BROW N can be seen on the ledge.


     372-B MART Y TAKES A DEEP BREATH, FOLDS THE LETTER, PUTS IT
     IN HIS JACKET AND RUNS OFF.

     372-B

                                                     TRENCHCOAT

     |Hey, can ’t you at least tell m e what this is all about?
     (a beat; shrugs)
     No.

                                                        CUT TO:


     EXT. TOWN SQUARE — NIGHT

     MARTY com es running into town square at 10:04, just in time
     to see the events he experienced in 1955 (in the first
     movie):

     The p ole-m ounted DeLo rean rac es towa rd the elec trical
     line...

     LIGH TNIN G strike s the cloc ktowe r...

     The DOC BRO WN of 1955 (‘55 DOC) connects the cables.

     The DeLorean hook engages the line, sending 1.21 jigowatts of
     electricity into the flux capac itor, and the time ve hicle
     vanis hes into th e future...

     Trails of FIRE are left behind.

     ‘55 Doc Brown gets up, sees what has happened and runs down
     the street, yelling eup horic ally!

                          ‘55 DOC
               Ya-Haaaaaa!!!!!!

     MARTY steps out from the side of the Courthouse and comes up
     behind ‘55 Doc.

                          MARTY
               Doc!

     ‘55 Doc turns, sees Marty and FREAKS OUT!

                          ‘55 DOC
               YAAAAAAAA!!!!!!!

                          MARTY
               Calm dow n, Do c! It’s me — M arty!

                          ‘55 DOC
               No! It can’t be you! I just sent
               you back to the future!

                          MARTY
               Right! You did send me back to the
               future. But I came back: back from
               the future.

                          ‘55 DOC
               Great S cott!

     Doc s taggers back, s tunned . He clutc hes his c hest, his b
     reath sh ortens, h is eyes roll bac k... * and he faints.

                          MARTY
               Doc!!!

     Am Marty bends down to attempt to revive the unconscious Doc,
     we CRANE BACK.

     Superimpose title: “TO BE CONCLUDED NEX T SUMMER in BACK TO
     THE FUT URE 3!”


     EXT. DOC BROWN’S HOUSE AND GARAGE — NIGHT

     W ide, estab lishing. Th e storm rages. D oc’s PA CKAR D is
     park ed outs ide.


     INT. DOC’S STUDY — NIGHT

     CLOSE ON T HE FIREPLACE The SPOR TS ALMANAC is thrown onto
     the burning log fire.
     376 MARTY pokes it with the poker, making sure that it all
     gets enveloped in flame.

     Then Marty takes out the 1973 newspaper. As the flames
     consume the almanac, the headline, “GEORGE M cFLY MURDERED ”
     becomes “GEORGE M cFLY HONORE D. Local Author Rece ives Boo k
     Awa rd.”

     Marty also pulls out the MATCHBOOK from Biff’s Paradise
     Hotel. The writing on it dissolves away and becom es “Biff’s
     A uto Deta iling.”

                                                          MARTY
     That’s ta kes c are of tha t...

     Doc is pacing, reading the letter aloud.

                          ‘55 DOC
                    (reads)
               “The lightning bolt caused a
               jigowatt overload which activated
               the flux ca pacitor, se nding m e
               back to l888. Up on landing , I
               bottomed out the car, destroying
               the drive train and flying
               circuits, m aking it im possible to
               get the c ar up to 88 under its own
               pow er. Lu ckily, I r ealize d tha
               t a loc om otive c ould p ush it *
               up to spe ed and I devised a plan
               to do s o...”
               Push it with a steam locom otive?
               Brilliant! A bsolutely brilliant!
               “Unfortunately, the lightning had
               also shorted out the enclosed
               destination time circ uit micro
               chip...”

     Doc pulls a partially blackened 1-inch square microchip from
     the envelope.

                          ‘55 DOC (CONT’D)
                    (reads)
               “Without it, I could not control my
               destination time. I was unable to
               repair it because suitable
               replacement parts will not be inven
               ted until 194 7.”
                    (shakes his head)
               1888. A mazin g. I actually end up
               living in the w ild west!

                                                          MARTY
     I’m s orry, D oc. It’s all m y fault. Y ou w ere th ere, w
     aiting ; I cou ld have run from B iff. But I let him get to
     me. An d now you’re stuck in the wes t.

                          ‘55 DOC (CONT’D)
               Stuck? No, Marty, this sounds like
               a wonderful way to spend my retirem
               ent years! W hy, ever sinc e I was
               a boy, I wanted to be a cowboy! I
               used to spend summers at my Uncle’s
               ranch. Uncle Abraham taught me how
               to ride and shoot and rope. He used
               to say to my parents. “Young Emmett
               belongs in the fresh air a nd wide
               o pen sp aces; n ot in a sch ool
               room .”

                          MARTY
               So how ’d you end u p as a s
               cientist?

                                                        ‘55 DOC
     W ell, when I was eleven, I read a book by the most visionary
     * author in the world: Jules Verne. “20,000 Leagues Under the
     Sea.” And I discovered SCIENCE. That’s when I decided what my
     future had to be. Jules Verne’s novels had a prof oun d eff
     ect o n m e. Yo u kn ow, I re ally sho uld pu t his portrait
     up th ere with T om, B en, Isaac and Albe rt...

                          MARTY (CONT’D)
               Keep reading, Doc.

                          ‘55 DOC
                    (reads)
               “Therefore, I have buried the time
               machine in the abandoned Delgado
               mine, adjacent to the Oak Park
               Cemetery, as shown on the enclosed
               map. Hopefully, it should remain
               undisturbed until you uncover it in
               1955.
               “Inside you will find repair ins
               tructions. M y 1955 co unterpa rt”
               — That’s me — ”should have no
               problem making the electrical
               repairs. Then he’ll have to push
               the time vehicle up to 88 and send
               you back to 1985. Then, Marty,
               destroy the time machine.
               “Do not, I repeat, do NOT attempt
               to come back here to get me. I am
               perfectly happy living here in the
               fresh air and wide ope n spa ces .
               I’ve ev en m et a w ond erfu l wom
               an I’m conside ring settling d own
               with...”
                    (amazed)
               A woman! I’ve found a woman?
               Amazing!

                          MARTY
               Yeah, you’d been talking about
               finding a woman... although you m
               ade it sou nd lik e it wa s gon na
               be a scie ntific investigation.

                          ‘55 DOC
               Man cann ot live b y scien ce alo
               ne. A wom an! T his is wonderful
               news! I certainly hope she likes
               Jules Verne.
                    (reads)
               “Thes e are m y wishes: p lease res
               pect them and follow them . And so
               , Marty, I now say farew ell and
               wish you God speed . You have been
               a good, kind, and loyal friend to
               me, and you’ve m ade a re al
               differenc e in my life...”
                    (chokes up)
               “I will always treas ure our re
               lationship, an d think on you with
               fond memories, warm feelings and a
               special place in my heart. Your
               friend in time, ‘Doc’ Emmett L.
               Brown. April 10, * 1888.”

     Doc is all choked up. He wipes a tear from his eye.

                          ‘55 DOC (CONT’D)
               I never knew I could write anything
               so touching.

     Marty chokes up seeing the Doc choked up.

                                                          MARTY
     I know, D oc, it’s... beautifu l...

     Doc ’s 195 5 dog , Cop ernic us, w him pers as w ell.

                          ‘55 DOC (CONT’D)
               It’s all right, Copernicus.
               Everything’s going to be fine.

                                                          MARTY
     Here’s th e ma p, Doc...

     Marty han ds it to him and Do c studies it.

                          ‘55 DOC (CONT’D)
                    (studying the map)
               According to this, the time
               vehicle’s been sealed off in a side
               tunnel. W e ma y have to blas t.

                                                        CUT TO:
     377 CLOSE ON A DETONATOR

     in Doc’s h ands. D oc twists it.


     EXT. SIDE OF HILL — DAY

     An E XPL OS ION blast s aw ay par t of a h ill!

     The rocks and debris, knock down several adjacent TOMBSTONES.
     379 ‘55 DOC AND MART Y, a safe distance away, are showered
     with dirt and debris.

     The storm is ove r: Do c’s P ACK ARD is par ked near by.

                          MARTY
               I think you w oke the dead w ith
               that blast.

                          ‘55 DOC
               Just a few tombs tones, Marty.
               We’ll set ‘em back up later. Bring
               the Polaroid. We’ll need to put
               everything back the way we foun d
               it.

     Marty takes a Polaroid camera; both also grab duffels full of
     tools and supplies and they app roac h the hole th ey’ve b
     lown in the h ill.

     The y walk right o ver a fallen tom bsto ne, th e sam e tom
     bsto ne E inste in wh imp ered besid e in 1985: Doc’s
     tombstone. We HO LD ON IT as they continue.
     “Here lies Emmett Brown.
     Date of birth, unknown.
     Shot in the back by Buford Tannen

     April 13, 18 88.”

                                                        CUT TO:


     INT. MINE TUNNEL

     Lit by LANT ERN S, MAR TY an d ‘55 DO C m ake the ir way
     along th e mine shaft.

                          ‘55 DOC
               I’ve gotta hand it to myself,
               hiding the time vehicle in a loca
               tion lik e this . The tem pera ture
               s tays c ons tant, v ery little hum
               idity... a perfect pr eserva tion
               environ men t. Brilliant!
     Doc checks the map.

                                                        ‘55 DOC
     Hm mm . Accord ing to this it sho uld be aro und he re...
     They look around but there’s no evidence of anything.

                          MARTY
               Doc! Look!
     Marty holds his lantern near a beam. Carved into it are the
     initials E.L.B.

                          ‘55 DOC
               My initia ls! It m ust b e righ t
               throu gh th is wa ll!
     They remove rock and timber, and push through the wall,
     revealing a HIDDEN CHAMBER.


     380-A INT. MINE — HIDDEN CHAMBER

                                                          380-A
     ‘55 Doc and Marty push their way into the chamber. They hold
     up their lanterns:
     The DELOREAN can be clearly seen. It’s covered with animal
     skins.
     Marty and Doc exchange a satisfied smile and begin removing
     the animal hides.

                                                        ‘55 DOC
     And it’s been buried here for 67 years! Astounding.
     They examine the car. Doc touches a tire: it cracks apart and
     crumbles.

                          MARTY
               Say, Doc, when you uncover
               something that hasn’t been inven
               ted ye t, is it still c ons idere d
               arc heo logy?

                          ‘55 DOC
                    (thinks, then shakes his
                     head)
               No. In san ity.

                                                        CUT TO:


     EXT. MINE/HILL — DUSK
     The PACKARD, with Doc at the wheel, pulls the DeLorean out of
     the mine via a tow cable.
     The DMC is dirty, and its tires are in shreds.
     MARTY m eanwhile is setting up toppled tombstones.
     He suddenly freezes in horror as he reads the one he’s just
     set up: Doc’s tombstone.
     Marty star es at it, then loo ks ove r at Doc . Should h e
     tell Doc o r not?

                          >DOC
                    (yells from a distance)
               C’mon, Marty, let’s go!
     Marty stays there, contemplating the situation. He pulls out
     Doc’s letter and checks the date.


     381-A INSERT — LETTER

                          381-A
               The lette r is dated “A pril 10,
               1888 .”

     381-B THE TOM BST ONE is dated “A pril 13, 1888 .”

     381-B

     381-C MARTY shakes his head.

     381-C

                          >MARTY
                    (to himself)
               3 days. You get shot 3 days after
               you write the letter. Some future.
     Marty wipes a tear from his eye.

                                                            DOC
     What is it, Marty? Is something wrong?

                                                          MARTY
     Uh, no, Doc. I’ll be right there. I... just have to tie my
     shoe.
     Blocking his action from Doc’s view, Marty raises the
     POLAROID cam era and snaps a PICTURE of the tombstone.


     382-383 OMITTED
     382-
     383


     384 INSERT — TIME DISPLAYS
     The Des tinatio n tim e of “O ctob er 27 , 198 5” ap pea rs
     on the d isplay.


     EXT. THE DELOREAN — HIGHW AY — DAY
     ‘55 Doc has entered the destination time into the DeLorean
     which has been modified with 1955 whitewall tires and a large
     4 foot square board full of VACUUM TUBE S, wires, capacitors,
     etc.
     mounted on the hood.
     It’s sittin g on t he R OA D ne ar the LYO N ES TAT ES B ILLB
     OA RD , with D oc’s PAC KAR D dire ctly behind it.
     Doc puts his hand over the softly glowing tubes.

                                                        ‘55 DOC
     W ell, the time c ircuits are a ll warme d up. I gue ss this
     is it.
     They embrace.

                                                        ‘55 DOC
     Funny. I’ll see you in the future, but since my future’s in
     the past, you won’t be seeing me.

                                                          MARTY
     I know, D oc...

     Marty hugs Doc tighter as he tries to hold back his tears.

                          ‘55 DOC
               It’s going to be fine, Marty.
               Everything’s going to be fine. Just
               don’t forge t to destroy the time m
               achine w hen you g et back to the
               future.

                          MARTY
               Look , Doc, ab out the futu re —
               you r future, I m ean...

                          ‘55 DOC
               Marty, don’t worry about my future.
               Living in the fresh air and wide.
               ope n spac es, I’ll probab ly live
               to the ripe old ag e of 90... mayb
               e 100! And k nowing I have a w oma
               n to shar e it with... W hy, my
               future couldn’t be brighter!

     Doc heads to the Packard.

                          MARTY
               Yeah...

                          ‘55 DOC
               Marty, m ay your future be as br
               ight.

     Doc gets into the Packard.

     Marty gets into the DeLorean.
     386 SERIES OF SHOTS — PACKARD/DELOREAN

     Doc revs up the Packard, puts it in gear, and honks.

     Marty shifts the DeLorean into neutral and releases the
     emergency brake.

     The Packard starts pushing the DeLorean forward.

     Marty at the wheel of the DeLorean. He pulls out Doc’s letter
     and looks at the date: April 10, * 1888.

     Doc at the wheel of the Pack ard. He shifts into high gear.

     The 2 vehicles, accelerating.

     Marty looks at the Polaroid of the tombstone and the date:
     April 13, 1888.

     The P acka rd spee dom eter clim bing: 40...45 ...50...

     Mar ty’s P.O .V. thr u the wind shie ld of th e high way.

     Marty rep rogram s the DE STIN ATIO N TIM E to APR IL...

     The DeLorean speedometer climbing right in step:


     55... 60... 65...


     APRIL 1...

     Doc’s foot on the Pack ard accelerator.
     APRIL 11...
     The s peedo mete r passe s 80...
     APRIL 11, 18...
     The DeLorean light displays kick on.
     APRIL 11, 188...
     The flux capacitor begins glowing.
     APRIL 11, 1888.
     The speedometer hits 88.
     Marty grits his teeth; the flux capacitor discharges.
     (Note: S cene n umb ers 387 to 500 are reserve d.)


     501 MARTY’S P.O.V. THRU THE W INDSHIELD
     W ith a burst o f white light, the 1 955 R URA L HIG HW AY
     instan tly becom es...

     |...a STAMPEDE of CAT TLE, COMING RIGHT AT MARTY!

     502 MART Y stares in wide-eyed terror!


     EXT. RURAL COUNTRY — 1888 — DAY
     The cattle separate around the DeLorean, which coasts to a
     stop in the midst of the moving herd!
     In moments the herd has passed.

     504 MARTY sighs relief, then gets out of the DeLorean. He
     looks back at the cattle.


     EXT. RURAL COUNTRY — D AY
     The herd thunders off.
     MARTY watches and shakes his head.
     He looks back at the time displays:


     505-A INSERT — TIME DISPLAYS

                          505-A
               Prese nt time is n ow “Ap ril 11,
               1888. 7 a.m.”
     *
     506-
     509


     506-509 OMITTED


     EXT. DIRT ROAD — DAY
     MARTY walks along the road.
     Ahead, a hand painted sign post with an arrow pointed in the
     same direction:
     “HILL VALLEY — 2 MILES”

     Marty continues onward.

                                                        CUT TO:


     EXT. HILL VALLEY — 1888 — DAY

     CLOSE ON N IKE SHOES running... then slowing to a stop.


     WIDEN

     Marty has arrived in tow n. He loo ks aro und with a maze men
     t.

     Hill Valley 1888 is a typical western town... yet even now
     bears a little resemblance to the town Marty’s familiar with.

     The town is built around a grassy square, where a flagpole
     flies the Stars and Stripes (38 stars). The streets are, of
     course, dirt and mud. Where there’s a sidewalk, it’s wooden.

     The COURT HOUSE is just starting construction; there are the
     MARBLE PILLARS, and some very rough framing.

     There’s a SALOON (roughly in the location that the cafe will
     be): a BLACKSMITH, STABLES, a HOTEL, a GENERAL STORE, a
     BARBER SHOP, a WELLS FARGO office and a BANK.

     The M ARSH AL’S O FFIC E: A sign on the do or reads : “CLO
     SED: G ONE FISHIN G.”

     There is PEDESTRIAN traffic, CARRIAGE traffic, MEN and BOYS
     on HOR SES, and a number of CHINESE.

     Some of them give Marty looks: his clothes don’t go
     unnoticed.

     Suddenly,a MAN runs through the street, yelling.

                          MAN
               He’s com in’! H e’s co min ’!

     Imm ediately, people clear the street, running into
     buildings, or running around the corner.

     Shopkeepers slam their doors and windows.

     Mar ty stan ds in t he m iddle o f the s treet , bew ildere
     d. Is a ll of this panic beca use of him ?

     Behind Marty, 4 H ORS EME N, all rough looking c haracte rs,
     com e thunde ring dow n the stree t.

     They halt just a few feet behind Marty and draw pistols.

                                                     BLACK BIFF
     W hatcha doin’ in m y street, runt?

     Marty turns and faces the men.

                          MARTY
               Huh?

     It’s BUFORD “BLACK BIFF” TANNEN: jet black hair and beard,
     and mean eyes, just like the pictu re we saw in the d ocu me
     ntary.

     He’s accompanied by 3 cronies, STUBBLE, CEEGAR and BUCK.

                          BLACK BIFF
               I charge cash money for any egg
               suckin’ tinhorn gutter trash
               standin’ in m y street when I come
               to town. How much you got?

                          MARTY
               Uh, noth ing...

                          BLACK BIFF
               Nothin’? Buck: check his teeth for
               gold or silver.

     BUCK dismounts and examines Marty’s teeth.

                          BUCK
               W ell, lookee a t these pe arly
               whites! I a in’t never se ed teeth
               this straight what warn’t store
               bought. Nothin’ here, Buford.

                          BLACK BIFF
               W hat’s that o n his s hoe s? S om
               e kin da inj un w ritin’?

                                                           BUCK
     It says “Ne e—K ay.”

                          BLACK BIFF (CONT’D)
               Well, shorty, why don’t you show us
               how good them fancy ass sho es ar e
               for danc in’.

                          MARTY
               Huh?

                          BLACK BIFF
               I said, DANCE!

     Black Biff fires a shot right in front of Marty’s feet...
     then another.

     Marty starts dancing — first a few hops, to the delight of
     Biff and the boys... then Marty goes into a Mich ael Jack son
     style m oonwa lk, as he m umb les the lyrics to “B illie
     Jean.”

     Biff and the guys trade looks at this bizarre style of
     dancing.

     Mar ty sud den ly twirls a roun d with a jum p and a yell. T
     he su dde n act ion S PO OK S BIF F’S HOR SE wh o neighs and
     buc ks, throw ing Biff into so me M ANU RE in the street.

     Blac k Bif f look s at th e dun g on h im. H e look s at M
     arty wit h fire in his eye s — his ex pres sion is almost
     psychotic.

     Biff’s cronies tense up. There’s going to be some serious
     trouble.

     Marty kn ows it, too, bu t he’s too pe trified to run. B iff
     gets to his feet.

                          BLACK BIFF (CONT’D)
               Buck: gimme a rope.

     Buck throws him a coil of rope.

                          MARTY
               What are you gonna do?

                          BLACK BIFF
               I’m g onn a m ake you ta ller, sh
               orty.

     Black Biff throws the rope around Marty’s neck, jumps on his
     horse, and starts off down the street.

     Mar ty runs behin d him , trying to kee p up w hile tryin g
     to g et the noos e off his ne ck, b ut he can’t run fast
     enough. He stumbles, and is dragged around the square. Black
     Biff laughs and yells, and his boys do likewise.

     Townspeople come out to see what’s going on.

     Black Biff guides his horse into the grassy square.

     He throws the rope over an overhanging tree branch and pulls.

     Mar ty strug gles , but h e can ’t free him self. H e’s pu
     lled to his fe et, an d the n up o ff the grou nd, a ll the
     time grabbing at the rope to keep from choking.

     Black Biff and gang are laughing, having a great time
     watching Marty struggle.

     Suddenly, another SHOT RINGS OUT and the rope above Marty is
     severed!

     Marty falls to the ground.

     Black B iff and ga ng turn in th e direction of the sh ot.

     DOC BRO WN is holding a WINCHE STER repeater modified with a
     TELESCOPIC SIGHT that looks like something out of Jules
     Verne. His hair is slicked down and he’s wearing the garb of
     a western BLACKSMITH.

                                                            DOC
     It’ll shoot the fleas off a dog at 500 yards, Tannen.

                                                          MARTY
     Doc!

                                                     BLACK BIFF
     W ell, we ll, if it ain’t th e blac ksm ith. I wa sn’t e xpe
     ctin’ to settle my score with you till tomorrow.

                          DOC
               The only thing we have to settle is
               that you leave him alone and get
               outta here.

                          BLACK BIFF
               I don ’t see whe re you ’re in a ny
               pos ition to be te llin’ m e
               anything. Bo ys...

     Biff’s guys a ll draw their gu ns on D oc.

                          BLACK BIFF (CONT’D)
               3 guns against 1. And I haven’t
               even drawn yet. The odds ain’t
               exactly in your favor, blacksmith.

     We hear the sound of SHOTGUNS COCKING.

                          CLAR A (O.S .)
               3 agains t two, Tann en...

     Everyone turns.

     A woman, CLARA, is standing in the street holding a most
     intimidating weapon: 4 SAWED-OFF SHOT GUN BARRE LS mounted in
     fan-shaped arrangement in a yoke on a 4-trigger stock.

     Clara looks like a school teacher, with a touch of quirkiness
     that makes her instantly likeable.

                          >CLARA
                    (continuing)
               Of course, I’ve got 4 barrels,
               loaded with double-aught buck,
               nails, broken glass, and shiny new
               dimes . That means , if I can see
               it, I can hit it. Invented by
               Emmett Brown for Home Def ens e and
               Sec urity. H e calls it “Th e Te rm
               inato r.” W ould you care for a
               demonstration?

     Biff considers his options, then smiles and wave s his boys
     off.

     They holster their guns.

                          BLACK BIFF
               I’ll be back day after tomorrow,
               blacksmith, to settle our score.
               That’s Friday the 13th.

                                                            DOC
     Just be cause your hors e threw a shoe is n o reaso n to shoo
     t a blacksmith.

                          BLACK BIFF (CONT’D)
               Don’t be tellin’ me my business,
               smithy! Like the Bible says, an eye
               for an eye, a tooth for a tooth,
               one dead blacksmith for one thrown
               shoe.
                    (to M arty)
               As for you, runt, you got a name?

                                                          MARTY
     Uh, Mar—

     Marty notices Doc shaking his head no.

                                                          MARTY
     Uh, Clint. Clint Eastwood.

                          BLACK BIFF (CONT’D)
               Well, Mr. Eastwood, I’ll see you
               out on the street Friday the 13th,
               front of the saloon. And you’d
               better be there!

                          MARTY
               Yeah, right. When? High noon?

                          BLACK BIFF
               Noon? I do my killin’ before
               breakfast. 8 o’clock!

     W ith that, Black Biff and h is gang rid e off. Clar a lowers
     “The T erm inator.”

                          CLARA
               Em me tt, som eda y you’ve got to
               teac h m e how to load this thing.

     Marty gets up, relieved to see Doc. He rubs his neck. He’s
     weak and little pale.

                          DOC
               Marty! It’s good to see you!

                          MARTY
               Hiya, Doc ...

                          DOC
               You look a little pale. Are you all
               right?

                          MARTY
               Sure, D oc, I’m...

     As Marty takes a step toward Doc, he passes out and hits the
     ground.


     512-515 OMITTED
     512-
     515


     515-A INT. BLACKSMITH SHOP — NIGHT

                                                          515-A

     MARTY, unconscious on a bed, now opens his eyes and looks
     around.

     Doc’s worksho p, lit by FAT LAM PS, contains tools, anvils, a
     forge and workbenche s. There are also various inventions
     that Doc has conco cted to modernize his surround ings:
     wooden gutters for indoor plumbing, a steam operated toilet,
     and a pulley system to open windows and control ventilation.

     Marty examines some of these inventions.

     Now CLARA enters with a TRAY OF FOOD.

                          CLARA
               Hello. Feeling better?

                          MARTY
               Oh, yeah ...

     She puts the tray on a table.

                          CLARA
               Here, Clint, eat. It’ll build your
               strength. And the salve I put on
               your nec k shou ld heal that ro pe
               burn very quick ly. Oh, my name’s
               Clara. Clara Clayton.

                          MARTY
               Hi. Pleased to meet you.

                                                          CLARA
     Emm ett told me you come from a strange, far away place.
     From the way your dressed, it must be San Francisco.

     Marty starts eating.

                                                          MARTY
     Oh, yeah. So where is the Doc?

                          CLARA
               The Doc?

                          MARTY
               Doc B rown — I mean , Emm ett.

                          CLARA
               He’s actually a doctor? He’s so
               modest — I knew he was mo re tha n
               jus t a blac ksm ith. Em me tt — th
               e Do c — is delivering a wagon he
               repaired for Farmer Peabody. I
               expect him ba ck pre sently. Ima
               gine that. Doctor Emmett Brown. He
               is the mo st brillia nt m an I’ve
               ever me t. Eve n wh en I d on’t kno
               w wh at he ’s talk ing ab out, I ju
               st love hear ing him talk about it.
               And he’s wonderful with the
               children.

                          MARTY
               Children? What children?

                          CLARA
               The s chool ch ildren. I teach
               schoo l part time, a nd Em mett
               helps with the science lessons. I
               love science, too. I’ve been
               fascinated with it ever since I
               read “20,000 Leagues Under the
               Sea.”

     Mar ty sm iles, a nd no ds k now ingly.

     Now DOC ENTERS.

                          DOC
               Clara, ha s Marty — uh, Clint—
                    (see s Ma rty)
               W ell, I see you two have alre ady
               me t.

                          MARTY
               Yeah, Clara’s made me feel right at
               home, Doc.

                          CLARA
               Well, now that you’re back, Emmett,
               I’ve got a night school lesson to
               give. Clint, I hope to see you
               later. Emmett, I know I’ll see you
               later.

     She gives Doc a kiss. Doc is slightly embarrassed. She
     leaves.

                          DOC
               She does n’t kn ow I’m from the fu
               ture o r abo ut the time ma chin e
               or a nythin g, so watc h wh at you
               say.

                          MARTY
               I figured.

                          DOC
               So what do you think of her?

                          MARTY
               She’s great, Doc!
                    (takes another bite of
                     food)
               And she’s a gre at co ok, to o. W
               hat is this s tuff a nywa y?

                          DOC
               Rattlesnake.

     Marty sp its it out.

                                                            DOC
     Actually, Clara may be mov ing back east. I really wan t her
     to stay, so I’m seriously considering popping the question.
     What do you think?

                                                          MARTY
     Uh, we ll, Doc, I think you ’d better ho ld off on tha t...
     Marty hands Doc the Polaroid photo.

                                                            DOC
     Great Scott! So Tannen’s actually going to shoot me on
     Friday! This changes everything!


     516 OMITTED


     516-A INT. DELOREAN

     516-A
     CLOSE ON the SHIFT LEVER as M arty’s hand pushes it to
     NEUTRAL.


     516-B CLOSE ON MARTY BEHIND THE W HEEL

     516-B

                                                          MARTY
     Ready, Doc!


     516-C WIDER — DIRT ROAD — NIGHT (DAY FOR NIGHT)

     516-C
     DOC sits on the DeLorean roof, jerks a set of reins and a
     TEAM OF 4 HORSES PULLS THE DELOREAN down the road while MARTY
     steers from inside!

                                                        CUT TO:


     INT. DOC’S BLACKSMITH WORKSHOP — DAY
     Doc h as the D eLorea n hoisted on a cha in-pulley rig. He is
     replacing the whe els with RAILROAD HANDCAR W HEELS.

                                                            DOC
     Am azing. Th is tube co ntraption is p recisely as I e
     nvisioned it.
     Then again, I built it, didn’t I? If only I’d had some of
     these parts wh en I cras hed. I was actually trying to co
     nstruct a steam operate d flux cap acitor. Spe aking o f
     parts...
     Doc open s a ca binet and p ulls ou t a cra te full o f vario
     us od ds an d end s fro m th e adv entu res in time: the PINK
     H OVE RBO ARD ...

                                                            DOC

     |W e’d better b e sure to bring this ba ck with u s...
     (pulls out a 1985 walkie-talkie)
     And this we’ll need to communicate tomorrow... you have the
     other one?

                                                          MARTY
     In the car. So, Doc, how’s this train thing going to work?

                                                            DOC
     I’ll show you. I constructed this model a few weeks ago when
     I though t I could still get ba ck...

     Marty follows Doc into a 2nd room where Doc removes a CANVAS
     COVER from a large table, revealing a home made table top
     model — a combination of toys, wooden blocks, a wind-up toy
     train, and other odds and ends.

                          MARTY
               Wow, you went to a lot of trouble!

                          DOC
               W ell, you kno w ho w it is w ith m
               ode l trains . Bes ides , the k ids
               around here love it.
               Now, in order to get a steam
               locomotive up to 88, we need a long
               s tretc h of tr ack on a d own hill
               gra de, w hich still exis ts in 198
               5. Th at’s h ere — Cars on S pur, w
               hich goes off th e m ain line at
               this switch track and out to Carson
               Ravine. We’ll load the D eLo rean
               onto the tra cks here , on C arso n
               Sp ur. T he tra in leaves th e
               station a t 7:57 tom orrow m
               orning...

                          MARTY
               Whew, I’m glad it’s before 8.

                          DOC
               Indeed. So: we’ll hijack — uh,
               borrow the train, uncouple the cars
               from the te nde r, thro w the switc
               h trac k, an d the n we ’ll butt
               the locomotive against the
               DeLorean. You’ll get in the
               DeLorean while I run the steam
               engine, pushing the DeLorean along
               Carson Spur. I’ll open up the
               throttle, putting her into a full
               highball, climb to the front of the
               locomotive, jump onto the DeLorean
               and get in, in time to reach 88
               miles per hour, at which time Mr.
               Fusion will kick on the flux cap
               acito r, gen eratin g the traditio
               nal 1. 21 jig owa tts wh ich w ill
               send us back to 1985.

                          MARTY
               W hat’s that re d x on the w indm
               ill?

                          DOC
               Tha t’s ou r failsa fe po int — the
               p oint o f no re turn. Up u ntil
               there, we still have enough time to
               stop the locomotive before it plun
               ges into th e rav ine. B ut on ce w
               e pas s tha t wind mill, it’s the
               future or bust.

                          MARTY
               Into the ravine? You mean there’s
               no bridge?

                          DOC
               They just started building it last
               month, and it won’t be com plete d
               unt il next year. B ut it still e
               xists in 198 5, sa fe an d in use.
               So as long as we hit 88 miles an
               hour before we reach the edge of
               the ravine, we’ll instantaneously
               arrive at a point in time when the
               bridge is completed: we’ll have
               track under us and coast safely
               across the gorge, putting us right
               near the Hill Valley Airport.

                          MARTY
               What about the locomotive?

     Doc winds up the toy locomotive, and sets it on the tracks:
     it pushes the wooden model DeLorean. As it reaches the ed ge,
     Doc picks up the D eLorean while the locomo tive falls off,
     crashing to the floor.

                          DOC
               It’ll be a specta cular wre ck. To
               o bad w e won’t be around to see
               it.


     518 OMITTED


     518-A EXT. GENERAL STORE — DAY

                                                          518-A

     MARTY, now dressed in western clothes, comes out of the
     general store carrying some food items.


     EXT. STREET

     MARTY walks down the street, being careful to avoid stepping
     in the horse dung.

     As he passes the BUTCHER SHOP, a CHICKEN runs out, chased by
     the BUTCHER with an AXE.

     Then Marty notices the BARBER at the aide of the BARBERSHOP
     chiseling lettering on a TOMBST ONE: “Here lies...” It’s the
     exact size and shape of Doc’s tombstone.

     Mar ty pulls the P olaro id from his po cke t and com pare s
     the two. Id entic al.

     Marty gulps and steps over.

                          MARTY
               Who died?

                          BARBER
               Nobody... yet. But tomorrow’s the
               13th, and on the 13th of every m
               onth, Blac k Biff kills so meb ody,
               wheth er he ne eds to or not.

                          MARTY
               Yeah...


     EXT. BLACKSMITH SHOP

     Marty is about to enter the shop. He steps back from the door
     and goes around to a window * and peeks in.


     520-A INT. BLACKSMITH SHOP (MARTY’S P.O.V.) — DAY

                                                          520-A

     CLARA is in here with DOC.

                          CLARA
               ...And I’ve de cide d not to leav e
               tow n tom orro w afte r all. I’m
               going to sta y in Hill V alley.

                          DOC
                    (shocked)
               You are??
                    (smiles weakly, feigns
                     pleasure)
               I mean, you are?

                          >CLARA
                    (nods)
               So I’d like to accept your
               invitation to go to the barn dance
               Saturday night, and I’d a1so like
               to cook you Sunday dinner.

                                                            DOC
     Oh, we ll, that’s... wonde rful...

                                                          CLARA
     You s ee, I d ecid ed you were right a bou t stayin g in H
     ill Valley.
     This town does have a future. The children need me and, well,
     of course, you’re here.

     She kiss es him .

     Doc blushes.


     520-B EXT. BLACKSMITH SHOP

     520-B

     MARTY sighs, concerned. The sound of CHISELING continues and
     Marty looks back down the stree t.


     520-C MARTY’S P.O.V. OF

     520-C

     the BARBER, still chiseling the tombstone.

                                                        CUT TO:


     EXT. TRAIN TRACK — DUSK

     DOC and MARTY offload the DeLorean from a wagon onto the
     train tracks: rails run down from the wagon tail gate to the
     tracks. Doc and Marty give the DMC a push and it rolls down
     the rails, right onto the track.

     Doc is in a funk.

     Marty looks at him with knowing concern.

                                                          MARTY
     Doc: you know you can’t stay. You don’t belong in this time.
     you’re supposed to get shot tomo rrow, remem ber?

                                                            DOC
     But since I know I’m s upp ose d to g et sh ot, I ca n pre
     vent it . All I have to do is get out of town for a day or
     two and lay low. By the time the 14th rolls around, I’ll
     definitely be out of danger and I can ...

     Long pause.

                                                          MARTY
     See Clara again?

                                                            DOC
     She’s a very special woman, Marty, the type I’ve been looking
     for all my life. Now that I’ve found her, I want to spend my
     future with her.

     Marty shows Doc the Polaroid.

                                                          MARTY
     But, Do c, this is your future if you stay here.

                                                            DOC
     Not necessarily, Marty. The future isn’t written. It can be
     changed. You kn ow that. Anyone can m ake their future
     whatever they want it to be.

                                                          MARTY
     Look, Doc, maybe... I don’t know if it’s right, but maybe we
     could tak e her with u s...?

                          DOC
               To the future?

     Marty nods. Doc thinks about it, then shakes his head.

                          DOC (CONT’D)
               I’m a sc ientist, Marty, so I mus t
               be scien tific about this . I
               cautioned you about disrupting the
               continuum for your own pers ona l
               bene fit; the refo re, I m ust d o
               no le ss. W e sha ll procee d as
               plan ned. An d as so on as w e
               return to 1985...
                    (steps over to the
                     DeLorean)
               I’m going to destroy this infernal
               machine. Traveling through time has
               b eco me mu ch to o pain ful.

                                                        CUT TO:


     EXT. WOODED AREA — “DELOREAN CAMP” — NIGHT

     Doc sits near a campfire, poking at it with a stick. Marty’s
     in his bedroll, bundled up, ready for sleep. In the
     background, the DeLorean is on the train tracks.

                                                          MARTY
     C’mon, Doc, get some shuteye.

                                                            DOC
     I’ve gotta go back and say goodbye to her.

                          MARTY
               W hat are you gonna say: “I’ve
               gotta g o back to the future ?” If
               you tell her the tru th, she’ll
               think you ’re lying. And if you lie
               to her, well, it’s just not right
               to lie to her. There’s just no way
               you can make her understand this
               thing.

                          DOC
               She ’ll unde rstan d, Ma rty. I kn
               ow s he w ill.

                          MARTY
               No, s he w on’t, D oc. H ell, I’m
               in it with you an d I ba rely und
               ersta nd it m yself. Y ou’re bette
               r off d oing n othin g. Yo u’ll
               just disappear, and she can draw
               her own conclusions. Belie ve m e,
               it’ll be less p ainfu l that w ay.

     Doc just sighs and stares at the fire.

                                                        CUT TO:


     EXT. NIGHT SKY

     A cle ar, be autifu l star- filled s ky.

     W e TILT DOW N to the C AMP SITE w here the fire has bu rned
     ou t.

     Mar ty is sle eping . W e pan over to Do c’s be droll: e mp
     ty.

                                                        CUT TO:


     EXT. SCHOOLHOUSE — NIGHT

     Doc is talking to Clara in the doorway of the schoolhouse, by
     the light of a single fat lamp.

     She’s wearing a robe; we can see a back room off the
     classroom with a bed.

     Clara is shocked at what Doc has said.

                                                          CLARA
     Goodbye? But Emmett, I don’t understand. I thought that
     you... that you an d I...

                          DOC
               I know, C lara, and I fe el the sam
               e way abo ut you, really I do. I
               wish it didn’t have to be this way,
               but the fact is, I don’t belong
               here. I have to go back to... where
               I came from.

                          CLARA
               And where would that be?

                          DOC
               I’m afra id I can’t tell you that.

                          CLARA
               But why no t?

                          DOC
               Bec aus e... be cau se I c an’t, th
               at’s a ll.

                          CLARA
               Plea se, E mm ett. If yo u sinc
               erely d o car e abo ut m e, tell m
               e the truth.

     Doc takes a deep breath. Should he or shouldn’t he?

                          DOC
               The truth.
                    (nods)
               All right. I’m from... the future.
               And tomorrow, I have to go back to
               the year 1985.

     She stares at him for a long moment, then slaps his face.

                          CLARA
               I’ve heard some whoppers in my day,
               but the fact that you would expect
               me to entertain a notion like that
               for even an instant is so degrading
               and insulting... All you had to say
               was “I don’t love you and I don’t
               want to see you any more.” That at
               lea st wo uld ha ve be en re spe
               ctful.

                                                            DOC
     But it wouldn’t have been the truth!

                                                          CLARA
     Goodbye, Emmett. That’s what you want, so goodbye and good
     riddance!

     She slams the door in his face.

     Doc is heartbroken. His eyes well up with tears.
     525 WIDER ANGLE — SCHOOLHOUSE

     Doc stan ds th ere a mo me nt, tryin g to th ink o f som
     ethin g to d o, so me thing to sa y.

     Fina lly, he tu rns a nd w alks sadly a way.

     Thru the window, we can see Clara at her desk, sobbing.

                                                        CUT TO:


     EXT. MAIN STREET — SALOON — NIGHT

     A dejected Doc saunters down the street and enters the
     saloon.


     INT. SALOON — NIGHT

     There is still some activity here, despite the lateness of
     the hour.

     Doc sidles up to the bar.

                          DOC
               W hisk ey!

     The B artende r pours a shot and puts it in front o f Doc.

                          DOC (CONT’D)
               Leave the bottle.

     The bartender puts down a full bottle.

     Doc throws back the shot and pours himself another. A
     SALESMAN wearing a DERBY looks over at Doc and shakes his
     head.

                                                       SALESMAN

     |It’s a wom an, right?
     (at Doc’s nod)
     I knew it. I’ve seen that look on a man’s face a thousand
     times, all over the country. All I can tell you, friend, is
     that you’ll get over her.

                                                            DOC
     Nope. Clara was one in a million. One in a billion. One in a
     googol-plex.

     Doc throws back a shot and pours another. Then he decides to
     drink straight out of the bottle.

                                                        CUT TO:


     EXT. CAMPSITE — DAW N

     Marty stirs, gets up, looks around. He sees Doc’s bedroll
     hasn’t been slept in.

                          MARTY
               Doc? Doc?
                    (rising alarm)
               Doc?

     Marty goes running down the train tracks toward town.

                                                        CUT TO:


     EXT. BLACK BIFF’S CAMPSITE — DAY

     Black Biff is saddling his horse.

                          CEEGAR
               It’s still e arly, bo ss. W hat’s
               your h urry?

                                                     BLACK BIFF
     I’m h ung ry.

                                                        CUT TO:


     EXT. BLACKSMITH SHOP — DAY

     Marty runs into the shop.

                          MARTY
               Doc? Yo, Doc?

     Marty run s out aga in and do wn the s treet.

                                                        CUT TO:


     INT. SALOON — DAY

     DO C is a slee p in a d runk en st upo r, hea d on t he ta
     ble, e mp ty bottle besid e him .

     Now MARTY runs in.

                                                          MARTY
     Doc! What the hell are you doing? We gotta get outta here!

     Marty tries to revive him, but Doc is out of it. Marty looks
     at the clock: 7:40.

                          MARTY
                    (to the bartender)
               Coffee! Black!

                                                        CUT TO:
     532 BLACK BIFF and company are riding toward town.

                                                        CUT TO:


     EXT. TRAIN STATION — DAY

     CLARA walks up to the HILL VALLEY TRAIN STATION, carrying a
     SUITCASE.

     She walks up to the ticket window.

                          CLARA
               I’d like to buy a ticket on the
               next train, please.

                          AGENT
               That’ll be the 7:57 to Sacramento.
               It should be arriving in 9 minutes.

     Clara looks at the clock behind him. It’s 7:42.

                                                        CUT TO:


     INT. SALOON — DAY

     Marty props up Doc and puts a cup of black coffee to his
     lips. Doc sips and makes a face.

                                                      BARTENDER
     Son, if you want him to sober up fast, you’re gonna need
     something a little stronger than coffee.

                          MARTY
               W hat do you sugge st?

                                                        CUT TO:
     535 A BOTTLE OF TABASCO SAUCE

     The Tabasco is on the bar: next to it is a JAR of JALAPENO
     JUICE, a bottle of MUSTARD SEED, some CAYENNE PEPPER, part of
     an ONION, and VINEGAR.

     The B ART END ER is m ixing the ingr edients in a glass.

                          BARTENDER
               In ab out 1 0 m inute s, he ’ll be
               as sobe r as a pries t on S und ay.

     Marty checks the clock. 7:44.

                                                          MARTY
     10 minutes. Why do we have to cut these things so damned
     close?

     The bartender hands the concoction to Marty, along with a
     CLOTHESPIN.

                                                      BARTENDER
     Put the clothespin over his nose. When he opens his mouth,
     pour it down his gullet. Then stand back.


     EXT. SALOON

     We hold for a moment, then we bear a bloodcurdling SCREAM
     from inside!

     DOC charges out of there, his face bright red!

     He runs over to a HORSE TROUGH, and sticks his head in!

     He stands, takes a bre ath, then keels over!

     Marty and the Bartender come out of the saloon and run over
     to Doc.

                          BARTENDER
               That was just the reflex action.
               It’ll take a few more minutes for
               the stuff to clear up his head.

     They start dragging him back to the saloon.

                                                        CUT TO:
     537 BLAC K BIFF and his m en ride pa st a sign: ‘H ill Valley
     City Limits.”

                                                        CUT TO:


     INT. SALOON

     Marty and the bartender drop Do c in a chair.

     There are a NUMBER OF PEO PLE in here.

                          MARTY
               You’re sure doing a lot of business
               for this early in the morning.

                                                      BARTENDER
     Always do right before a shooting.

     Marty looks at the clock: 7:46.

                          MARTY (CONT’D)
               C’mon, Doc . Get sober!

                                                        CUT TO:


     EXT. TRAIN STATION

     Clara watches as the train approaches the station.


     EXT. STREET AND SALOON

     Black Biff and his men dismount. Buck ties up the horses
     while Black Biff walks up to the saloon.

                          BLACK BIFF
               All right, Eastw ood! It’s F riday,
               and I’m calling you ou t!


     INTERCUT WITH


     INT. SALOON

     Everyone becomes quiet. All heads turn to look at Marty.
     Marty looks at the clock. 7:51.

                          MARTY
               Shit! He’s early!
                    (yells out)
               It’s not 8 o’cloc k yet!

                          BLACK BIFF
               It is by my wa tch! No w let’s
               settle this thing onc e and fo r
               all... or ain’t you got the
               gumption?

     Marty gulps.

                                                          MARTY
     Hey, listen. T he truth is, I’m not a very go od sho t. So I
     forfeit.

                          BLACK BIFF (CONT’D)
                    (to his men)
               Forfeit? What’s that mean?

                          BUCK
               Mean s you win w ithout a fight.

                          BLACK BIFF
               W ithout sho otin’? He c an’t do
               that!
                    (yells)
               Tell you what, dude. I’m only
               leavin’ one bullet in my gun. That
               means I only get one try to put it
               thru your heart and you can have
               six.

     Biff unloads 5 bullets and throws them through the saloon
     doors.

     They lan d on the flo or near M arty’s feet.

     Marty becomes aware that everyone’s looking at him. He tries
     to ignore them.

                          BLACK BIFF (CONT’D)
               You know what I think? I think you
               ain’t nothin’ but a gutless, yellow
               turd. And I’m giving you to the
               count of 10 to come out here and
               prove I’m wrong! One! Two! Three!


     INT. SALOON

     Marty is getting very concerned. Doc is still in a stupor.
     Marty slaps his face, trying to revive him .

                          MARTY
               C’mon, Doc! Sober up! Please!

                          BLACK BIFF
               Four!

                          TOOTHLESS
               You’d better face up to it, son.
               ‘Cause if you don’t go out there...

                          BLAC K BIFF (O.S.)
               Five.

                          MARTY
               What? W hat happens if I don’t go
               out there?

                          MOUSTACHE
               You’re a coward.

                          BLAC K BIFF (O.S.)
               Six.

                          BARBER
               And you’ll be branded for the rest
               of your days.

                          EYEPATCH
               Everyone everywhere’ll know that
               Clint Eastwood is the biggest
               yellow belly in the west! So, here:

     Eyep atch pulls h is PIS TO L and puts it on th e tab le in
     fro nt of M arty.

                          BLAC K BIFF (O.S.)
               Seven.

     Marty looks at the gun, then at the faces of the men in the
     saloon.

                          BLAC K BIFF (O.S.) (CONT’D)
               Eight.

     They’re all watching him expectantly. They don’t like
     cowards. They all want him to take the * gun.

                          BLAC K BIFF (O.S.) (CONT’D)
               Nine.

     They all wa nt to see a fight.

                          BLAC K BIFF (O.S.) (CONT’D)
               Ten.

                          >MARTY
                    (to the men in the saloon)
               Hey, I d on’t c ars w hat T ann en
               th inks ! He ’s a je rk! A nd I d
               on’t care what anybody else thinks
               either!
                    (to Doc)
               Doc, c ’mon , snap ou t of it!

                          BLAC K BIFF (O.S.)
               D’ya hear me? I said, that’s ten,
               you gutless yellow turd!

     The men in the saloon shake their heads.

                          MOUSTACHE
               Tannen’s right. The runt’s yellow.

                          EYEPATCH
               The most sickening display of
               cowardice I have ever seen.

     Now an IRISHMAN who has been in the background speaks up for
     the first time.

                                                         SEAMUS

     |Is he now? Well, I say there’s a difference between being
     yellow and being stupid. And only a stupid man would go out
     and get h ims elf sh ot for no go od re aso n. No , sir, I’d
     s ay this young fella’s got a noggin full of horse sense.
     (to Marty, offering his hand)
     Sir, I’m proud to make your acquaintance: McFly’s the name.
     Sea mu s Mc Fly.

     Marty is amazed to m eet his ancestor who bears a s triking
     resemblance to (Ge orge or Marty).

                          MARTY
               Seamus McFly. Right... from
               Ireland. I’ve heard of you. You
               start ed th e wh ole fa mily.

                          SEAMUS
               Beggin’ your pardon, sir, but I’m
               not yet married.

     An attractive BAR GIRL (who looks quite a bit like Lorraine)
     is giving Seamus a flirtatious smile.

                          MARTY
               You will be. Listen, Seamus, buddy,
               is there another way out of here?

                                                         SEAMUS
     Aye. There’s a way through the back, there is. Right through
     there.

     Now DO C suddenly sits up, wide-eyed and sober.

                          MARTY (CONT’D)
               Doc! You all right?

     Doc looks around, gets his bearings, nods.

                          DOC
               I think so. Whew!!
                    (rubs his head)
               W hat a headache! I confe ss, the
               one thing I really miss here is
               Tyle nol.

                          MARTY
               C’mon, we’ve gotta go out the back.

     Marty helps Doc up and they move toward the back. Marty looks
     back at Seamus.

                          MARTY (CONT’D)
               Than ks a lot!

                          SEAMUS
               Sure’n you’re welcome.


     543 MAR TY AN D DO C BREA K FOR IT, OUT THE BACK D OOR, AND
     RUN OUT INTO


     544 THE STREET

     DOC stumbles into some TRASH CONTAINERS, knocks them over,
     making a lot of NOISE.

     BUCK reacts, comes around the corner, and spots them.

                          BUCK
               HEY!!!

     Buck FIRES!

     MAR TY dives into the G ENER AL ST ORE across the street.


     INT. GENERAL STORE

     Marty rams into a CAS T IRON POT BE LLIED STO VE, and the
     stove door falls off.

     Mar ty catc hes his br eath and r ealize s Do c’s no t with h
     im.

                          BLAC K BIFF (O.S.)
               Liste n up, Eas twoo d! I aim to sh
               oot s om ebo dy tod ay. I’d pref er
               it be you. B ut if you ’re jus t
               too d am ned yellow, then it’ll
               have to be your blacksmith friend!

     Marty looks out the window.


     546 OUTSIDE

     Buc k an d Ce ega r are h olding DO C, an d Bla ck B iff ho
     lds a g un on him .

                          DOC
               Marty, forget about me and sa ve
               yourself!

     Marty pulls out the Polaroid and shudders. He thinks.

                                                     BLACK BIFF
     You got one minute to decide!

     We hear the TRAIN WHISTLE in the distance and we

                                                        CUT TO:


     EXT. TRAIN STATION

     Close on a CONDUCTOR.

                          CONDUCTOR
               All Aboarrrdddd!!


     548 WIDER

     The train lurches forward and slowly pulls out of the Hill
     Valley Station.


     INT. SLOWLY MOVING TRAIN CAR

     CLARA looks out the window, somewhat dazed.

     In front of her is the SALESMAN who was drinking with Doc
     last night talking to the man next to him .

                          SALESMAN
               ...but this poor feller had the
               worst case of broken heart I ever
               see n. Sa id he d idn’t k now how
               he’d g et thro ugh the re st of h
               is life, knowing how much he’d hurt
               her. It kinda got me right here,
               listenin’ to him go on and on about
               his Clara.

     Clara reacts.

                          CLARA
               Excuse me, but was this man tall,
               with wild eyes, disheveled hair...?

                          SALESMAN
               You kn ow him ...

                          CLARA
               I’m... Clara ...

                          SALESMAN
               W ell, Clara, if you have any
               feelings toward him whatsoe ver, go
               find him. I’ve never seen a m an
               more tore up o r in love than he
               was, and love like that doesn’t
               happen too often. Whatever happened
               between you two, I’d give him a 2nd
               chance.

     With that, Clara stands and PULLS THE EMERGENCY CORD!

                          CLARA
               Em mett!


     EXT . THE TRA IN

     The BRAKES lock up and the train screams to a stop!


     INT. PASSENGER CAR

     Passengers are thrown forward.

     Clara pushes her wa y through to get off.


     EXT . THE TRA IN

     Clara ge ts off the tra in and run s toward town. M eanwh
     ile, railroad per sonne l are trying to ascertain the
     problem, who pulled the cord, why, etc.

                                                        CUT TO:


     EXT. STREET

     Biff waits impatiently in the street while his men hold Doc.

     A number of onlookers crowd the doors and windows of the
     adjacent buildings.

                          BLACK BIFF
                    (yells)
               All right, runt, time’s up!

     MA RT Y ste ps ou t from behin d a bu ilding f ar do wn th e
     stre et. He ’s we aring a ser ape and h at in the Clint
     Eastwood tradition (these were items in the store).

                          MARTY
               I’m right here, Tannen.

     Marty’s ha nds are emp ty and he w ears no gunbe lt.

                          BLACK BIFF
               Where’s your iron?

                          MARTY
               I’m not wearing one. I thought we
               could settle this thing like men.

     With that, Marty clenches his fists.

                          BLACK BIFF
               You thought wrong, dude.

     Biff draws his pistol and FIRES right at Marty’s chest! Marty
     falls.

     Biff laughs . Biff walks down th e street tow ard the fa llen
     Marty. W hen Biff is a lmos t to him...

     Marty gets up!

     Biff c an’t b elieve it! He shoo ts ag ain, b ut his gun’s em
     pty.

     Biff th rows his gu n dow n, rus hes Mar ty and throw s a pu
     nch into his gut — and h owls in pain with the CRACK of his
     knuckle bones!

     Marty socks Biff in the face and kicks him in the groin. Biff
     goes down.

                          BLACK BIFF (CONT’D)
               Buck! Kill the blacksmith!

     Buck pulls his gun.

     Suddenly, an array of guns cock.

                                                         SEAMUS
     Sure’n I’d be droppin’ that gun if I were you.

     Seamus holds a shotgun on him, and a number of men from the
     saloon all have guns pointed at Biff’s men.

     Biff’s men wisely throw down their guns.

     Marty throws off his serape, revealing the CAST IRON DOOR
     from the pot bellied stove!

     A BO Y, 7, ru ns up to Ma rty, exc itedly.

                          BOY
               W ow! Arm or! How’d you think of
               that, mister?

                          MARTY
               I saw it in a Clint Eastwood movie.

                          BOY
               Movie? What’s a movie?

                          MARTY
               You’ll find out.

                          >MAN
                    (to the boy)
               Move along, D.W., move along.

                          BARBER
               That little Griffith boy, can’t
               hold him down.

                          MARTY
               You okay, Doc?

                          DOC
               Fine.

     Marty takes out the Polaroid.
     554 INSER T — POLA ROID

     The tom bstone with Doc’s nam e on it literally VANISHES from
     the photo, so that the picture shows the other to mbs tones b
     ehind it.


     555 BACK TO SHOT

     Biff, still on the ground, clutches his hand in pain.

                                                     BLACK BIFF
     It’s broke! My gun hand’s broke!

                          SEAMUS
               Well, if you’d like to be tryin’
               honest work, you can have a job on
               my farm, sloppin’ hogs and washin’
               wagons.

     The TRAIN W HISTLE blows in the distance.

                          MARTY
               Can w e ma ke it?

                          DOC
               W e’ll hav e to c ut ‘em off at
               Coyo te Pa ss!

     They run over to the horses of Biff and his gang. Marty and
     Doc each untie one, mount up and gallop off!

     And as they disappear down the street, CLARA com es running
     from arou nd the corner.

                          CLARA
               Emm ett??

                                                        CUT TO:


     EXT . THE TRA IN

     The train is moving forward again.


     EXT. WOO DED AREA

     Doc and Marty gallop through the woods.


     EXT. BLACKSMITH SHOP

     Clara runs into the blacksmith shop.

                          CLARA
               Em mett! Emm ett!


     INT. BLACKSMITH SHOP

     Clara looks around. No sign of Doc, but she notices the
     covered TABLE TOP MODEL. She pulls off the cover an d looks
     at it. She see s the poin t mark ed “Stop Train H ere.”

                                                        CUT TO:


     EXT. BOARDING THE TRAIN SEQUENCE

     DOC and MART Y gallop toward the train.

     The train is just ahead.

     Doc and M arty pull alongside and ride even with the last
     (passenger) car.

     Doc grabs for the ladder on the side of the last car and
     pulls himself aboard.

     Marty follow s suit.


     EXT . ATO P TH E MO VING TRA IN

     Doc and Marty run across the tops of the cars toward the
     locomotive.

     As they near the tender, they pull their bandanas up over
     their faces.


     562 IN THE LOCOMOTIVE

     The ENGINEER and FIREMAN are busy running the train.

     Suddenly, a GUN is thrust against the Engineer’s head.

                          DOC
               Do wh at I say and yo u won’t ge t
               hurt.

                          ENGINEER
               Is this a holdup?

                          DOC
               It’s a s cien ce ex perim ent. S
               top th e train just b efor e you h
               it that switchtrack up ahead.


     EXT. IN THE WOODS

     CLARA runs frantically through the woods.


     EXT . THE TRA IN

     The Train stops just before the switchtrack.

                          DOC
               Marty: throw the switch.
                    (to the Fireman)
               You: uncouple the cars from the
               tender.

     The F irema n goes running b ack the re to do it.
     565 AT THE SWITCH TRACK

     Marty yanks the switching mec hanism, switching the m ain
     track onto Carson spu r.


     566 IN THE CAB
     DOC s witches hats with the Engineer.

                          DOC
               You can get off now.
     The engineer jum ps off.
     Doc pushes the throttle forward and the locomotive and tender
     pull away from the rest of the train.
     MARTY climbs up onto the slowly moving train.

                                                        CUT TO:


     EXT. DELOREAN ON THE TRAC KS
     The DeLorean sits on the tracks, undisturbed. The LOCOMOTIVE
     comes chugging along behind it. T he BR AKES squea l as the
     en gine pulls to a stop just b ehind it.

     568 CLARA is still running through the woods, comes to a
     bluff. Looking down, she can see the 568
     ABANDONED TRAIN CARS with people milling around.
     She keeps running.


     569 LOCOMOTIVE AND DELOR EAN
     MARTY hands a LOG SH APED OBJECT , tightly wrapped with
     cloth, up to DOC in the cab.
     Doc has 2 others already on board.

                          MARTY
               W hat a re the se th ings anyw ay?

                          DOC
               My own version o f “Presto Logs.” C
               omp ressed wood w ith anthrac ite
               dust, che mica lly treated to burn
               hotter and longer. I use ‘em in m y
               forg e so I don’t have to sto ke
               it. 3 of the se in the furnace will
               make the fire burn hotter, kick up
               the boiler pressure and m ake the
               train go faster.

     570 CLARA is still running. In the distance she can now m ake
     out the back of the tend er.

     571 MA RT Y clim bs int o the DEL OR EAN and g ets b ehind
     the w hee l.


     572 IN THE LOCOMOTIVE
     DOC pulls out his walkie-talkie.

                          DOC
               Testing, Marty. Do you read?

     573 INTERCUT with MARTY, in the DeLorean, who has his walkie-
     talkie at hand.

                          MARTY
               That’s a big 10-4.

                          DOC
               Then let’s go home.

     Marty shifts into neutral and releases the emergency brake.

                          MARTY
               Rea dy to ro ll!

     Doc toots the WHISTLE, then releases the brake.

     Air shoots out of the cylinders.

     Doc opens the throttle.

     The pistons push the wheels.

     The locomotive inches slowly forward.

     The cowcatcher bumps up to the rear of the DeLorean and
     pushes it forward.

     Marty smiles.
     574 CLARA comes running up just as the locomotive pulls away.
     She spots Doc on the locomotive! 574

                          CLARA
               Emm ett!!!!

     But Doc can’t hear her over the sound of the train and his
     tooting of the whistle.

     Clara chases after the slowly accelerating train and GRAB S
     the ladder behind the tender.

     SHE’S ABOARD! She sighs and catches her breath.
     575 MOVING LOCOMOTIVE (INTERCUT WITH DELOREAN)

     Doc calls into the walkie-talkie.

                          DOC
               Marty: are the time circuits on?

     Marty turns the lever. The displays come on.

                          MARTY
               Check, Doc.

                          DOC
               Input the destination time: October
               27, 1985. 11 am.

     Marty punches it up on the keypad.

                          MARTY
               Check!

     CLARA climbs up onto the top of the tender, which is loaded
     with timber.

                          CLARA
               EMMETT !!!

     But Doc can’t hear her over the chugging of the locomotive!

     Clara walks across the wood, toward the locomotive, but loses
     her balance. She falls into the woodpile.

     The DELOREAN speedometer gauge is at 25.

                          MARTY
                    (into walkie-talkie)
               W e’re running steady at 25 miles
               per hour.

                          DOC
               All right. I’m throwing in the
               Presto logs. Once they get going,
               we’ll really get going.

     Doc throws the wrapped logs into the furnace.

                          DOC (CONT’D)
               I’m coming aboard.

     IN THE D ELORE AN, Marty reaches over an d opens the passe
     nger side gullwing door.

     Doc climbs out of the cab and along the side of the engine.
     Clara has regained her balance and is again climbing across
     the wood in the tender toward the locomotive.

     In the furn ace, the c loth aroun d the Pre sto Log s burns
     away and the logs the mse lves beg in to burn with a GREENISH
     FLAME.

     Green smoke comes out of the smoke stack.

     Doc sees it and smiles.

     The locomotive PRESSURE GAUGE suddenly increases.

     The locomotive accelerates!

     The DeLorean digital speedometer shows 36...37...38... Doc is
     about halfway to the front of the engine. The WALKW AY creaks
     and gives — the metal is brittle.

     Clara makes it across the wood, and climbs down into the
     locomotive cab.

                          CLARA
               EMMETT !!!

     Doc can’t hear her.

     She sticks her head out of the cab and waves at Doc.

     But Doc is looking toward the front of the train.

     Clara screams and waves wildly, but can’t get his attention.

     Doc is just about to the cowcatcher.

     The speedometer passes 45.

     Clara blows the whistle.

     Doc h ears the whistle and sudde nly realizes so meo ne m ust
     be blo wing it.

     Doc loo ks bac k and s ees C lara! He ’s totally astonish ed.

                          DOC
               Clara!!!

                          CLARA
               Emm ett!!! I love you!!!

     Marty looks back and sees Doc looking back. He calls into the
     walkie-talkie.

                          MARTY
               Yo, Doc, what’s happening?

     The s peedo mete r approa ches 5 5...

                          DOC
               It’s Clara! She’s on the train!

                          MARTY
               That’s impossible!

                          DOC
               She’s here! In the cab! I’ve gotta
               go back for he r!

     Doc starts to move back.

                          MARTY
               What are you gonna do?

                          DOC
               Hope that there’s enough time to
               stop the train and get her off
               before we hit the bridge!

     But Ma rty sees the W INDM ILL up ah ead — the failsafe
     point!

                          MARTY
               Doc! I see the windmill! And we’re
               going 60! You’ll never mak e it!

     Doc loo ks and sees th e windm ill ahead... and watche s as
     the y speed p ast it.

                          DOC
               Then we’ll have to take her with
               us! Keep calling out the speed!
                    (pockets walkie-talkie,
                     yells)
               Clara! Climb out here to me!

                          CLARA
               I don’t know if I can!

                          DOC
               You can do it! Just don’t look
               down!

     Clara gu lps and c limbs o ut.

                          MARTY
               65 m iles an hou r...

                          DOC
               Good . You’re do ing fine! N ice
               and s teady...

     Clara scoots along.

                          DOC (CONT’D)
               Keep c omin g...

     The ground is racing underneath. A fall means certain death.

                          MARTY
               70!

     Clara’s foot reaches the brittle section. The platform cracks
     and breaks!

     She loses her balance and SCREAMS!

     She falls — but her leg gets caught in a metal brace, leaving
     her HANGING UPSIDE DOWN, WITH HER HEAD INCHES AWAY FROM THE
     HUGE POUND ING PISTON WHEELS!

     Doc is horrified.

                          CLARA
               HELP!!!

                          MARTY
               75!

     She stru ggles to p ulls herse lf back u p, but she can’t.

                          CLARA
               Emm ett!! Help!!!

     Ahead, the ravine can be seen.

     Doc looks back and forth, trying to decide what to do.

                          MARTY
               80!

     Clara’s leg is slipping out of the brace.

                          CLARA
               I’m slipping!

                          MARTY
               Doc! Here! Catch!

     Marty opens his gullwing door and throws Doc the PINK
     HOVERBOARD !

     Doc c atches it!

     The s peedo mete r reads 8 4... 85...

     Throu gh the w indshield, the unfinishe d BRID GE ca n be se
     en...


     576 CLOSE ON CLARA

     hanging off the locomotive, terrified as she slips closer to
     the pounding pistons.

     Suddenly, DOC appears and pulls her off of there!


     577 WIDER

     Doc is on THE HOVERBOA RO with an amazed Clara in his arms!
     He hovers clear of the train...

     The speedometer hits 88!


     578 MUCH W IDER

     Doc o n the hov erboard with Clara in his arm s watch es
     as...

     The speeding locomotive pushes the DeLorean toward edge of
     the ravine, and

     Fire appears around the DeLorean wheels, and

     The coils glow blue, and

     The flux capacitor discharges, and

     The DeLorean is blasted back to future!

     And then the LOCOMOTIVE GOES OVER THE EDGE OF THE UNFINISHED
     BRIDGE, INTO THE RAVINE!

     It is a spectacular train wreck, capped with a tremendous
     BOILER EXPLOSION!

     Doc holds Clara tightly.

     They kiss.

     And then they h over boa rd of f into th e we stern sky.

                          CUT TO:
                    (Scene numbers 579 — 700
                     reserved)


     EXT. 1985 — CARSON RAVINE BRIDGE — DAY

     The BRIDGE as it is in 1985 — completed, spanning the ravine.

     3 SONIC BOOM S and WHITE F LASHES and the DELOREAN reappears
     on the bridge speeding along!

     The DeLorean coasts safely across the bridge, to the other
     side of the ravine, decelerating.


     EXT. RAILROAD TRACKS AT AIRPORT

     The slowing DeLorean coasts along the tracks near the small
     local AIRPORT, toward a HIGHWAY INTERSECTION.

     The CROSSING G ATES CLANG: they’re almost down.
     703 TRACKING W ITH THE DELOREAN

     MARTY coasts across the highway intersection, smiling,
     thinking the crossing gates are down for him ...

     Then we hea r the sound of a DIESE L HORN . Marty looks ahead
     in horror:
     704 HIS P.O.V. THRU THE WINDSHIELD OF

     A DIE SEL ENG INE bear ing do wn o n him !


     EXT. TRAIN TRACKS

     The head-on collision is unavoidable!

     The DeLorean slows, the gullwing door is thrown open and
     MARTY rolls out of the DeLorean just as the Diesel engine
     SMASHES into the DeLorean, TOTALLY DESTR OYING IT, sending
     wreckage everywhere!

     The Diesel keeps on going!

     706 MARTY catches his breath and looks around.

     Twisted me tal debris and pieces of the DeLorean a re strewn
     all over.

     There are small piles of burning heaps.

                          MARTY
               Oh, God, no! No!!!

     Marty drops to his knees, weeping.

                          MARTY (CONT’D)
               Well, Doc, it’s destroyed. Just
               like you wanted.

                                                        CUT TO:


     EXT. LYON GATES (1985) — DAY

     A very depressed Marty McFly walks through the familiar Lyon
     Gates and down the street toward his house.

     Up ahead, BIFF’S AUTO DETAILING TRUCK can be seen parked.
     BIFF is waxing someb ody’s car.

                          BIFF
               Hi, Marty. How’s everything.

                          MARTY
                    (without any enthusiasm)
               Fine.

                          BIFF
               Gone cowboy, eh?

                          MARTY
               Yeah.
     708 EXT. McFLY HOME, 1985 — DAY

     Marty walks up his driveway. The garage is open and his black
     Toyota truck is in there.

     But even the sight of his truck does nothing to buoy his
     spirits.

     As M arty ap proa che s the fron t doo r, GE OR GE and L OR
     RAI NE p ull into t he dr ivewa y in their BMW . They get out
     of the car.

                                                         GEORGE
     Marty — what on earth are you wearinq?

                          MARTY (CONT’D)
               Oh, that’s a long story.

                          LORRAINE
               Where’ve you been? I thought you
               and Jennifer were up at the lake.

                          MARTY
               Jennifer! Oh m y God, Jennifer!

                                                        CUT TO:


     EXT. JENNIFER’S HOUSE — DAY

     MARTY pulls up in his truck, gets out and runs over to the
     hammock. (There are now no security ba rs on the window .)

     He hesitates, then peeks into it: JENNIFE R is just as he
     left her. Marty sighs relief.

                                                          MARTY

     |Thank God!
     (sha kes her g ently)
     Jen? Jennifer?

     She MOANS but does not revive. He tries again. No go.
     Finally, he kisses her full on the mouth.

     She awakens with a start — scared, then just confused.

                          JENNIFER
               Mar ty!

                                                        CUT TO:


     INT. MARTY’S MOVING TRUCK

     MA RT Y drive s. Je nnife r is be side him .

                          MARTY
               How d o you feel? Are you all righ
               t?

                          JENNIFER
               I think so, w ow, I thoug ht I
               was...
                    (sighs)
               I guess it was a dre am, b ut it
               was so real. Abou t the future ...
               about us... and our kids. Our kids
               were a mess, and you got fired...
               It was terrible.

                          MARTY
               W ell, everything’s fin e now. S
               ort of...

     Marty stop s at a traffic ligh t.

     Now, a hot RED CAMARO pulls up alongside.

                          DRIVER
               Hey, the Big M! How’s it hangin’,
               McFly! Nice truck! Let’s see what
               she can do.

     The driver is NEEDLES, 17: Marty’s future co-worker. He races
     his engine.

                          >MARTY
               No thanks, Needles.
     Marty pulls fo rward a few fee t.

                                                        NEEDLES
     C’mon, McFly. What’s the matter: Chicken?
     Mar ty tens es, th en ba cks up ev en w ith Ne edles . Mar ty
     glare s at h im.
     Jennifer reacts with concern.
     Needles makes “clucking” noises.

                          MARTY
               Nobo dy calls m e chick en, Nee
               dles...
     Marty races his engine.
     Needles races his engine.

                          JENNIFER
               Marty, don ’t...
     Marty puts his hand on his stick shift.
     Marty look s at the sto plight. Red . The inter secting ligh
     t goes fro m G reen to Ye llow...
     Need les is read y...
     Marty has his clutch d own, rea dy to pop it.
     The two vehicles are like animals ready to charge.
     The light turns GREEN.
     The Cam aro ro ars o ff like a bat out o f hell!
     Marty’s truck just stays there.

                          MARTY
                    (shakes his head)
               But I’m not stupid, either.
     We hear a HORN HONK and a SCREECH O F BRAKES.


     711 MARTY’S P.O.V. THRU THE W INDSHIELD
     The Camaro narrowly avoids hitting a Rolls Royce that has
     pulled out of an intersecting drive way.

     712 MARTY is astonished. He sighs a “that was a close one”
     sigh.

                          MARTY
               Jeez! I woulda hit that Roll Royce!

                          JENNIFER
               Rolls Royce?
               She reaches into her pocket and
               pulls out the crumbled “You’re
               fired” fax.

     Jennifer looks at the fax page: the words “You’re fired”
     vanish from it; in fact all of the printing disappears!
     Jennifer exam ines it, amazed. It’s simply a blank piece of
     paper.

     She shakes her head, not sure if she imag ined it or wha t.

                          JENNIFER (CONT’D)
               It erased ...!

                          MARTY
                    (a beat)
               Maybe our future hasn’t be en
               written yet.

     She smiles.

                                                        CUT TO:


     EXT. TRAIN TRACKS NEAR AIRPORT (W RECKAGE SITE) — DAY

     The DeLorean wreckage is still strewn along the tracks.

     Marty’s truc k pulls up and M arty gets ou t.

     Jennifer doesn’t understand.

                          JENNIFER
               What are we doing here?

                          MARTY
               I’ll just be a minute.

     Marty pokes through the pieces... a fender, a train wheel,
     part of a seat, a twisted piece of meta l that says “M r.
     Fusion ,” a section of the tim e displays: “L ast time
     departe d.”

     Finally he finds what he’s looking for: the square case
     containing the FLUX CAPACITOR.

     Mar ty pick s it up and e xam ines it. The glass cove r is sh
     atter ed, a nd ins ide, th e flux capa citor is broken.

     Marty sighs.

     Suddenly, there’s a TREMENDOUS SONIC BOOM.

     Marty and Jennifer react with total incredulity at what they
     see:

     A STEAM LOCO MOTIVE is there on the tracks and DOC BROW N is
     in the cab, wearing an Engine er’s hat.

     Of course, it’s been modified with big Tesla coils,
     condensers, and equipment that looks right out of Jules
     Verne... including a Victorian style flux capacitor!

                                                            DOC
     Marty! It runs on steam!

     With Doc in the cab is CLARA, and 2 BOYS, aged 4 and 6. And
     EINSTEIN, the dog.

                          DOC
               Oh, I’m married now. Meet the
               family! Clara, you know, and these
               are my boys: Jules and Verne! Boys,
               this is Marty. And Jennifer.

     Marty is dumbstruck.

                          MARTY
               Hi.

     Marty walks over to the locomotive and stares in awe... and
     joy in seeing the Doc.

                          MARTY (CONT’D)
               Doc... it’s unbelievable. This is
               wonderful! And here I thought I’d
               never see you again.

                          DOC
               You can’t keep a good scientist
               down. After all, I had to come back
               for Einstein. And I didn’t want you
               to be worried about me.

                          JENNIFER
               Docto r Brown , I just want to k
               now on e thing: W hat happ ens to
               Marty and me in the future?

                                                            DOC

     |Tha t’s up to you . You r futu re ha sn’t b een writte n —
     no on e’s has. Fo r better or w orse, your future is w hat
     you m ake it.
     (a beat)
     So make it a good one. Both of you.

     Doc winks.

     Marty puts his arm around Jennifer and smiles.

                          MARTY
               W e will, Doc. A nd wha t about you
               ? Are you going... bac k to the
               future?

                          DOC
               Nope: already been there!

     Doc pushes a lever: the locomotive wheels fold down, and the
     ENTIRE LOCOMOTIVE LIFTS UP OFF THE TRACK!

     MART Y and JENN IFER both watch in open m outhed disbelief!

     DOC and his family wave to Marty as the locomotive ascends
     higher and FLIES OFF INTO THE SKY!


     ROLL END CREDITS.

                                                      FADE OUT.