| 1. | |
| 1 EXT. A SAVANNAH STREET - DAY (1981) 1 | |
| A feather floats through the air. The falling feather. | |
| A city, Savannah, is revealed in the background. The | |
| feather floats down toward the city below. The feather | |
| drops down toward the street below, as people walk past and | |
| cars drive by, and nearly lands on a man's shoulder. | |
| He walks across the street, causing the feather to be | |
| whisked back on its journey. The feather floats above a | |
| stopped car. | |
| The car drives off right as the feather floats down | |
| towardthe street. | |
| The feather floats under a passing car, then is sent flying | |
| back up in the air. A MAN sits on a bus bench. The feather | |
| floats above the ground and finally lands on the man's | |
| mudsoaked shoe. | |
| The man reached down and picks up the feather. His name is | |
| FORREST GUMP. He looks at the feather oddly, moves aside a | |
| box of chocolates from an old suitcase, then opens the | |
| case. | |
| Inside the old suitcase are an assortment of clothes, a | |
| pingpong paddle, toothpaste and other personal items. | |
| Forrest pulls out a book titled "Curious George," then | |
| places the feather inside the book. Forrest closes the | |
| suitcase. | |
| Something in his eyes reveals that Forrest may not be all | |
| there. | |
| Forrest looks right as the sound of an arriving bus is | |
| heard. | |
| A bus pulls up. Forrest remains on the bus bench as the bus | |
| continues on. | |
| A BLACK WOMAN in a nurse's outfit steps up and sits down at | |
| the bus bench next to Forrest. The nurse begins to read a | |
| magazine as Forrest looks at her. | |
| FORREST | |
| Hello. My name's Forrest Gump. | |
| He opens a box of chocolates and holds it out for the | |
| nurse. | |
| 2. | |
| FORREST | |
| You want a chocolate? | |
| The nurse shakes her head, a bit apprehensive about this | |
| strange man next to her. | |
| FORREST | |
| I could eat about a million and a | |
| half of these. My momma always | |
| said, "Life was like a box of | |
| chocolates. You never know what | |
| you're gonna | |
| get." | |
| Forrest eats a chocolate as he looks down at the nurse's | |
| shoes. | |
| FORREST | |
| Those must be comfortable shoes. | |
| I'll bet you could walk all day in | |
| shoes like that and not feel a | |
| thing. | |
| I wish I had shoes like that. | |
| BLACK WOMAN | |
| My feet hurt. | |
| FORREST | |
| Momma always says there's an awful | |
| lot you could tell about a person | |
| by their shoes. Where they're | |
| going. | |
| Where they've been. | |
| The black woman stares at Forrest as he looks down at his | |
| own shoes. | |
| FORREST | |
| I've worn lots of shoes. I bet if I | |
| think about it real hard I could | |
| remember my first pair of shoes. | |
| Forrest closes his eyes tightly. | |
| FORREST | |
| Momma said they'd take my anywhere. | |
| 2 INT. COUNTRY DOCTOR'S OFFICE - GREENBOW, ALABAMA - DAY 2 | |
| (1951) | |
| 3. | |
| A little boy closes his eyes tightly. It is young Forrest | |
| as | |
| he sits in a doctor's office. | |
| FORREST (V.O.) | |
| She said they was my magic shoes. | |
| Forrest has been fitted with orthopedic shoes and metal leg | |
| braces. | |
| DOCTOR | |
| All right, Forrest, you can open | |
| your eyes now. Let's take a little | |
| walk around. | |
| The doctor sets Forrest down on its feet. Forrest walks | |
| around stiffly. Forrest's mother, MRS. GUMP, watches him as | |
| he clanks around the room awkwardly. | |
| DOCTOR | |
| How do those feel? His legs are | |
| strong, Mrs. Gump. As strong as | |
| I've | |
| ever seen. But his back is as | |
| crooked | |
| as a politician. | |
| Forrest walks foreground past the doctor and Mrs. Gump. | |
| DOCTOR | |
| But we're gonna straighten him | |
| right | |
| up now, won't we, Forrest? | |
| A loud thud is heard as, outside, Forrest falls. | |
| MRS. GUMP | |
| Forrest! | |
| 3 EXT. GREENBOW, ALABAMA 3 | |
| Mrs. Gump and young Forrest walk across the street. Forrest | |
| walks stiffly next to his mother. | |
| FORREST (V.O.) | |
| Now, when I was a baby, Momma named | |
| me after the great Civil War hero, | |
| General Nathan Bedford Forrest... | |
| 4. | |
| 4 EXT. RURAL ALABAMA 4 | |
| A black and white photo of General Nathan Bedford Forrest. | |
| The photo turns into live action as the General dons a | |
| hooded sheet over his head. | |
| The General is in full Ku Klux Klan garb, including his | |
| horse. | |
| The General rides off, followed by a large group of Klan | |
| members dressed in full uniform. | |
| FORREST (V.O.) | |
| She said we was related to him in | |
| some way. And, what he did was, he | |
| started up this club called the Ku | |
| Klux Klan. They'd all dress up in | |
| their robes and their bedsheets and | |
| act like a bunch of ghosts or | |
| spooks | |
| or something. They'd even put | |
| bedsheets on their horses and ride | |
| around. And anyway, that's how I | |
| got | |
| my name. Forrest Gump. | |
| 5 EXT. GREENBOW 5 | |
| Mrs. Gump and Forrest walk across the street. | |
| FORREST (V.O.) | |
| Momma said that the Forrest part | |
| was | |
| to remind me that sometimes we all | |
| do things that, well, just don't | |
| make no sense. | |
| Forrest stops suddenly as his brace gets stuck. Forrest's | |
| brace is caught in a gutter grate. Mrs. Gump bends down and | |
| tries to free Forrest. Two old cronies sit in front of a | |
| barber shop and watch. | |
| MRS. GUMP | |
| Just wait, let me get it. | |
| Mrs. Gump struggles to pull the stuck brace from the grate. | |
| 5. | |
| MRS. GUMP | |
| Let me get it. Wait, get it this | |
| way. Hold on. | |
| Forrest pulls his foot out of the grate. | |
| MRS. GUMP | |
| All right. | |
| Mrs. Gump helps Forrest up onto the sidewalk. She looks up | |
| and notices the two old man. | |
| MRS. GUMP | |
| Oooh. All right. What are you all | |
| staring at? Haven't you ever seen a | |
| little boy with braces on his legs | |
| before? | |
| Mrs. Gump and Forrest walk along the sidewalk past the two | |
| old men. Mrs. Gump holds tightly onto Forrest's hand. | |
| MRS. GUMP | |
| Don't ever let anybody tell you | |
| they're better than you, Forrest. | |
| If God intended everybody to be the | |
| same, he'd have given us all braces | |
| on our legs. | |
| FORREST (V.O.) | |
| Momma always had a way of | |
| explaining things so I could | |
| understand them. | |
| 6 EXT. OAK ALLEY/THE GUMP BOARDING HOUSE 6 | |
| Mrs. Gump and Forrest walk along a dirt road. A row of | |
| mailboxes stands left. | |
| FORREST (V.O.) | |
| We lived about a quarter mile of | |
| Route 17, about a half mile from | |
| thetown of Greenbow, Alabama. | |
| That's in the county of Greenbow. | |
| Our house had been in Momma's | |
| family since hergrandpa's grandpa's | |
| grandpa had comeacross the ocean | |
| about a thousandyears ago. | |
| Something like that. | |
| 6. | |
| Mrs. Gump and Forrest walk along the Gump Boarding House | |
| driveway. | |
| FORREST (V.O.) | |
| Since it was just me and Momma and | |
| we had all these empty rooms, Momma | |
| decided to let those rooms out. | |
| Mostly | |
| to people passing through. Like | |
| from, | |
| oh, Mobile, Montgomery, place like | |
| that. That's how me and Mommy got | |
| money. Mommy was a real smart lady. | |
| MRS. GUMP | |
| Remember what I told you, Forrest. | |
| You're no different than anybody | |
| else is. | |
| Mrs. Gump heads Forrest to the porch. She bends down to | |
| look | |
| Forrest in the eye. | |
| MRS. GUMP | |
| Did you hear what I said, Forrest? | |
| You're the same as everybody else. | |
| You are no different. | |
| 7 INT. ELEMENTARY SCHOOL / PRINCIPAL'S OFFICE - DAY 7 | |
| PRINCIPAL | |
| Your boy's... different, Mrs. Gump. | |
| Now, his I.Q. is seventy-five. | |
| MRS. GUMP | |
| Well, we're all different, Mr. | |
| Hancock. | |
| The principal sighs, then stands up. | |
| 8 INT. HALLWAY 8 | |
| Forrest sits outside the principal's office and waits. | |
| FORREST (V.O.) | |
| She wanted me to have the finest | |
| education, so she took me to the | |
| Greenbow County Central School. I | |
| met the principal and all. | |
| 7. | |
| The principal stands in front of Mrs. Gump. Forrest, | |
| sitting | |
| left, listens. | |
| PRINCIPAL | |
| I want to show you something, Mrs. | |
| Gump. Now, this is normal. | |
| The principal holds up a chart with a designations | |
| according | |
| to I.Q. and points to the center of the graph, labeled | |
| "Normal." A red line below the normal area is labeled | |
| "State | |
| Acceptance." The principal points to the section below the | |
| acceptance line labeled "Below." | |
| PRINCIPAL | |
| Forrest is right here. The state | |
| requires a minimum I.Q. of eighty | |
| to | |
| attend public school, Mrs. Gump. | |
| He's gonna have to go to a special | |
| school. Now, he'll be just fine. | |
| MRS. GUMP | |
| What does normal mean, anyway? He | |
| might be a bit on the slow side, | |
| but my boy Forrest is going to get | |
| the same opportunities as everyone | |
| else. He's not going to some | |
| special schoolto learn to how to | |
| re-tread tires. | |
| We're talking about five little | |
| points here. There must be | |
| something can be done. | |
| 9 INT. HALLWAY 9 | |
| Forrest sits outside the principal's office. | |
| PRINCIPAL | |
| We're a progressive school system. | |
| We don't want to see anybody left | |
| behind. | |
| 10 INT. PRINCIPAL'S OFFICE 10 | |
| 8. | |
| PRINCIPAL | |
| Is there a Mr. Gump, Mrs. Gump? | |
| MRS. GUMP | |
| He's on vacation. | |
| 11 EXT. GUMP BOARDING HOUSE - NIGHT 11 | |
| Forrest sits on a swing outside the house. Loud organic | |
| male | |
| grunts are heard coming from inside the house. Forrest sits | |
| on the swing as the grunts continue. The principal steps | |
| out | |
| of the Gump House and wipes the sweat from his face. | |
| Forrest is sitting on the porch. | |
| PRINCIPAL | |
| Well, your momma sure does care | |
| about | |
| your schooling, son. Mm-mm-mm. | |
| The principal wipes the sweat from his neck, then looks | |
| back | |
| at Forrest. | |
| PRINCIPAL | |
| You don't say much, do you? | |
| Forrest grunts, imitating him. The principal, embarrassed, | |
| turns and walks away. | |
| 12 INT. GUMP BOARDING HOUSE/FORREST'S BEDROOM 12 | |
| Mrs. Gump reads from the book "Curious George" as Forrest | |
| sits on the bed and listens. | |
| MRS. GUMP | |
| Finally, he had to try it. It | |
| looked easy, but, oh, what | |
| happened. First | |
| there... | |
| FORREST | |
| 9. | |
| Momma, what's vacation mean? | |
| MRS. GUMP | |
| Vacation? | |
| FORREST | |
| Where Daddy went? | |
| MRS. GUMP | |
| Vacation's when you go somewhere, | |
| and you don't ever come back. | |
| Forrest lies down on his bed and looks up. | |
| FORREST (V.O.) | |
| Anyway, I guess you could say me | |
| and | |
| Momma was on our own. | |
| 13 EXT. GUMP BOARDING HOUSE - DAY 13 | |
| A cab driver closes the trunk of the car as two women walk | |
| toward the house. A milkman steps down from the porch. | |
| FORREST (V.O.) | |
| But we didn't mind. Our house was | |
| never empty. There was always folks | |
| comin' and goin'. | |
| MRS. GUMP (V.O.) | |
| Suppa. | |
| 14 INT. GUMP BOARDING HOUSE 14 | |
| Mrs. Gump steps forward and speaks to all the boarders. | |
| MRS. GUMP | |
| It's suppa, everyone. Forrest... | |
| A MAN WITH A CANE steps left across the hall. | |
| MAN WITH CANE | |
| My, my. That sure looks special. | |
| Mrs. Gump looks into a sitting room and informs the | |
| boarders | |
| about dinner. | |
| 10. | |
| MRS. GUMP | |
| Gentlemen, would you care to join | |
| us | |
| for supper? Hurry up and get it | |
| before | |
| the flies do. I prefer you don't | |
| smoke that cigar so close to | |
| mealtime. | |
| FORREST (V.O.) | |
| Sometimes we had so many people | |
| stayin' with us that every room was | |
| filled with travelers. You know, | |
| folks livin' out of their | |
| suitcases, | |
| and hat cases, and sample cases. | |
| MRS. GUMP | |
| Well, you go ahead and start. I | |
| can't | |
| find Forrest. | |
| Mrs. Gump walks up the stairs. | |
| MRS. GUMP | |
| Forrest... Forrest... | |
| FORREST (V.O.) | |
| One time a young man was staying | |
| with us, and he had him a guitar | |
| case. | |
| Mrs. Gump looks into Forrest's room. She hears singing | |
| coming | |
| from another room and walks over to a closed door. Mrs. | |
| Gump | |
| opens the door, revealing a young man with long sideburns | |
| as | |
| he plays the guitar and sings. Forrest holds onto a broom | |
| and dances oddly. The young man is ELVIS PRESLEY. | |
| ELVIS PRESLEY | |
| (sings) | |
| "Well, you ain't never caught a | |
| rabbit, and you ain't no friend of | |
| mine." | |
| Forrest's legs rock back and forth to the guitar. | |
| 11. | |
| MRS. GUMP | |
| Forrest! I told you not to bother | |
| this nice young man. | |
| ELVIS | |
| Oh, no, that's all right, ma'am. I | |
| was just showin' him a thing or two | |
| on the guitar here. | |
| MRS. GUMP | |
| All right, but your supper's ready | |
| if y'all want to eat. | |
| ELVIS | |
| Yeah, that sounds good. Thank you, | |
| ma'am. | |
| Mrs. Gump leaves and closes the door. Elvis sits back down. | |
| Forrest stands left, and looks himself in a mirror. | |
| ELVIS | |
| Say, man, show me that crazy little | |
| walk you just did there. Slow it | |
| down some. | |
| Forrest begins to dance again as Elvis plays the guitar and | |
| sings. | |
| ELVIS | |
| (sings) | |
| "You ain't nothin' but a hound, | |
| hound | |
| dog..." | |
| FORREST (V.O.) | |
| I liked that guitar. | |
| Forrest dances as he watches himself in the mirror. | |
| FORREST (V.O.) | |
| It sounded good. | |
| ELVIS | |
| (sings) | |
| "...cryin' all the time" | |
| Forrest rocks up and down on his braced legs, then begins | |
| to | |
| step. | |
| 12. | |
| ELVIS | |
| (sings) | |
| "You ain't nothin' but a hound | |
| dog..." | |
| FORREST (V.O.) | |
| I started moving around to the | |
| music, | |
| swinging my hips. This one night me | |
| and Momma... | |
| 15 EXT. GREENBOW - NIGHT 15 | |
| Mrs. Gump and Forrest walk along a sidewalk. A television | |
| inside a store window reveals Elvis Presley as he performs | |
| "Houng Dog" on a stage. | |
| FORREST (V.O.) | |
| ...was out shoppin', and we walked | |
| right by Benson's Furniture and | |
| Appliance store, and guess what. | |
| The television reveals Elvis as he thrusts his hips and | |
| sings. | |
| ELVIS | |
| (sings) | |
| You ain't nothin' but a hound | |
| dog... | |
| Mrs. Gump and Forrest watch the television. Elvis dances | |
| around in the same manner Forrest did. A woman in the | |
| audience | |
| screaming and applauding. | |
| ELVIS | |
| (sings) | |
| You ain't nothin' but a hound | |
| dog... | |
| MRS. GUMP | |
| This is not children's eyes. | |
| Mrs. Gump walks away, pulling Forrest with her. Forrest | |
| stops | |
| and takes one last look. Elvis continues to perform over | |
| the | |
| 13. | |
| television. | |
| ELVIS | |
| (sings) | |
| "Well, you ain't never caught a | |
| rabbit | |
| and you ain't no friend of mine." | |
| FORREST (V.O.) | |
| Some years later, that handsome | |
| young | |
| man who they called "The King," | |
| well, | |
| he sung too many songs, had himself | |
| a heart attack or something. | |
| 16 EXT. SAVANNAH/BUS BENCH - DAY 16 | |
| Forrest is still sitting on the bus bench. The black nurse | |
| looks at him. | |
| FORREST | |
| Must be hard being a king. You | |
| know, | |
| it's funny how you remember some | |
| things, but some things you can't. | |
| 17 EXT. COUNTRY ROAD/ALABAMA - MORNING (1954) 17 | |
| Mrs. Gump and Forrest wait for the school bus. The bus | |
| pulls | |
| up as Mrs. Gump prepares Forrest for his first day of | |
| school. | |
| MRS. GUMP | |
| You do your very best now, Forrest. | |
| FORREST | |
| I sure will, Momma. | |
| FORREST (V.O.) | |
| I remember the bus ride on the | |
| first | |
| day of school very well. | |
| The bus driver opens the door and looks down. Forrest walks | |
| to the steps of the bus and looks at the bus driver. She is | |
| 14. | |
| smoking a cigarette. | |
| BUS DRIVER | |
| Are you comin' along? | |
| FORREST | |
| Momma said not to be taking rides | |
| from strangers. | |
| BUS DRIVER | |
| This is the bus to school. | |
| FORREST | |
| I'm Forrest Gump. | |
| BUS DRIVER | |
| I'm Dorothy Harris. | |
| FORREST | |
| Well, now we ain't strangers | |
| anymore. | |
| The bus driver smiles as Forrest steps up into the bus. | |
| 18 INT. BUS 18 | |
| Forrest steps up onto the bus. Mrs. Gump waves to Forrest | |
| as | |
| the bus drives away. Forrest begins to walk down the aisle. | |
| TWO YOUNG BOYS look up from the seat. | |
| BOY #1 | |
| This seat's taken. | |
| BOY #2 | |
| It's taken! | |
| Forrest looks around. A larger girl slides over so Forrest | |
| can't sit next to her. She shakes her head. Forrest looks | |
| to | |
| the other side where a boy sits alone on a larger seat. | |
| They | |
| boy glares up at Forrest. | |
| BOY #3 | |
| You can't sit here. | |
| 15. | |
| FORREST (V.O.) | |
| You know, it's funny what a young | |
| man recollects. 'Cause I don't | |
| remember being born. | |
| 19 EXT. SAVANNAH/BUS BENCH - DAY 19 | |
| Forrest continues talking as he sits on the bus bench. | |
| FORREST (V.O.) | |
| I, I... don't recall what I got for | |
| my first Christmas and I don't know | |
| when I went on my first outdoor | |
| picnic. But, I do remember the | |
| first | |
| time I heard the sweetiest voice... | |
| 20 INT. BUS - MORNING (1954) 20 | |
| Young Forrest is still standing in the aisle on the bus. | |
| FORREST (V.O.) | |
| ...in the wide world. | |
| GIRL | |
| You can sit here if you want. | |
| Forrest looks back at JENNY CURRAN, a young girl about | |
| Forrest's age. | |
| FORREST (V.O.) | |
| I had never seen anything so | |
| beautiful | |
| in my life. She was like an angel. | |
| JENNY | |
| Well, are you gonna sit down, or | |
| aren't ya? | |
| Forrest sits down next to Jenny. | |
| JENNY | |
| What's wrong with your legs? | |
| FORREST | |
| Um, nothing at all, thank you. My | |
| legs are just fine and dandy. | |
| FORREST (V.O.) | |
| I just sat next to her on that bus | |
| 16. | |
| and had conversation all the way to | |
| school. | |
| JENNY | |
| Then why do you have those shoes | |
| on? | |
| FORREST | |
| My momma said my back's crooked | |
| like | |
| a question mark. These are going to | |
| make me as straight as an arrow. | |
| They're my magic shoes. | |
| FORREST (V.O.) | |
| And next to Momma, no one ever | |
| talked | |
| to me or asked me questions. | |
| JENNY | |
| Are you stupid or something. | |
| FORREST | |
| Mommy says stupid is as stupid | |
| does. | |
| Jenny puts her hand out toward Forrest. Forrest reaches | |
| over | |
| and shakes her hand. | |
| JENNY | |
| I'm Jenny. | |
| FORREST | |
| I'm Forrest Gump. Forrest Gump. | |
| FORREST (V.O.) | |
| From that day on, we was always | |
| together. Jenny and me was like | |
| peas | |
| and carrots. | |
| 21 EXT. OAK TREE - DAY 21 | |
| Young Jenny and Forrest run toward a large oak tree. | |
| FORREST (V.O.) | |
| She taught me how to climb... | |
| Jenny sits on a large branch and calls down to Forrest. | |
| 17. | |
| JENNY | |
| Come on, Forrest, you can do it. | |
| Forrest dangles from the branch. | |
| FORREST (V.O.) | |
| ...I showed her how to dangle. | |
| Jenny and Forrest sit on a tree branch and read. | |
| FORREST | |
| "...a good little monkey and..." | |
| FORREST (V.O.) | |
| She helped me to learn how to read. | |
| Forrest hangs upside down from a branch and swings back and | |
| forth. Forrest's braces are wedged in the tree. | |
| FORREST (V.O.) | |
| And I showed her to swing. | |
| 22 EXT. OAK TREE - NIGHT 22 | |
| The silhouete of the oak tree, Jenny and Forrest as they | |
| sit | |
| on a branch. | |
| FORREST (V.O.) | |
| Sometimes we'd just sit out and | |
| wait | |
| for the stars. | |
| FORREST | |
| Momma's gonna worry about me. | |
| Jenny puts her hand on Forrest's hand. | |
| JENNY | |
| Just stay a little longer. | |
| FORREST (V.O.) | |
| For some reason, Jenny didn't never | |
| want to go home. | |
| FORREST | |
| Okay, Jenny. I'll stay. | |
| FORREST (V.O.) | |
| 18. | |
| She was my most special friend. | |
| 23 INT. SAVANNAH/BUS STOP - DAY 23 | |
| Forrest nods as he remembers. | |
| FORREST | |
| My only friend. | |
| Forrest continues talking to the black woman. She doesn't | |
| seem to be listening as she reads her magazine. She looks | |
| up | |
| from her magazine. | |
| FORREST | |
| Now, my Momma always told me that | |
| miracles happen every day. Some | |
| people | |
| don't think so, but they do. | |
| 24 EXT. OAK ALLEY - ANOTHER DAY (1954) 24 | |
| Jenny and Forrest walk. A dirt clod hits Forrest in the | |
| back | |
| of the head. Jenny looks as Forrest rubs his head. THREE | |
| YOUNG BOYS get off their bikes and pick up more rocks. | |
| BOY #1 | |
| Hey... dummy! | |
| Forrest is hit in the eye with another dirt clod. Forrest | |
| falls backward onto the ground as the boys glare at him. | |
| BOY #2 | |
| Are you retarded, or just plain | |
| stupid? | |
| BOY #3 | |
| Look, I'm Forrest Gump. | |
| Jenny helps Forrest back up. Boy #1 and Boy #2 throw more | |
| dirt clods at Forrest. | |
| JENNY | |
| 19. | |
| Just run away, Forrest. | |
| Another dirt clod hits Forrest in the arm. | |
| JENNY | |
| Run, Forrest! | |
| Forrest tries to run along the road, but his braces makes | |
| it | |
| impossible. He hobbles along as Jenny yells after him. | |
| JENNY | |
| Run away! Hurry! | |
| Boy #1 and Boy #2 turn back toward the bikes. | |
| BOY #2 | |
| Get the bikes! | |
| BOY #3 | |
| Hurry up! | |
| The boys pick up their bikes and ride after Forrest. | |
| BOY #3 | |
| Let's get him! Come on! | |
| BOY #2 | |
| Look out, dummy, here we come! | |
| The boys ride after Forrest. Jenny stands and watches. | |
| BOY #2 | |
| We're gonna get you! | |
| JENNY | |
| Run, Forrest! Run! | |
| Forrest hobbles along the dirt road. | |
| JENNY | |
| Run, Forrest! | |
| Forrest looks over his shoulder. The three boys race on | |
| their | |
| bikes. | |
| BOY #1 | |
| Come back here, you! | |
| 20. | |
| Forrest begins to run faster with his braces on. Forrest | |
| continues running as the boys chase him. Blood drips down | |
| from a cut on his head. The boys on the bikes are gaining | |
| on | |
| Forrest. Forrest hobbles along. He begins to gain speed. | |
| JENNY | |
| Run, Forrest! Run! | |
| SLOW MOTION -- | |
| Forrest runs from the chasing room. He looks over his | |
| shoulder | |
| in fear. | |
| The boys on the bikes peddle faster as they gain on | |
| Forrest, | |
| running. | |
| Forrest tries to run even faster to get away. Suddenly his | |
| braces shatter, sending steel and plastic flying into the | |
| air. | |
| Forrest runs and look down at his legs in surprise. | |
| Forrest continues to run faster as the metal braces and | |
| straps | |
| fly off his legs. | |
| Forrest runs free of his braces and begins to pick up | |
| speed. | |
| The chasing boys ride over the remains of Forrest's braces. | |
| FORREST (V.O.) | |
| Now, you wouldn't believe it if I | |
| told you. | |
| 25 EXT. SAVANNAH/ BUS BENCH - DAY 25 | |
| FORREST | |
| But I can run like the wind blows. | |
| 21. | |
| The black woman continues to read her magazine. Forrest | |
| smiles | |
| as he remembers. | |
| FORREST | |
| From that day on, if I was going | |
| somewhere, I was running! | |
| 26 EXT. OAK ALLEY - DAY (1954) 26 | |
| Forrest sprints away from the boys. The boys stop the chase | |
| and watch in disbelief. Forrest is already at the far end | |
| of | |
| the road, clear of the chasing boys. | |
| BOY #2 | |
| He's gettin' away! Stop him! | |
| Boy #1 throws his bike down in frustration. Forrest runs | |
| across a field. | |
| 27 EXT. COUNTRY ROAD 27 | |
| Forrest runs past a chain gang in their prison uniforms. | |
| They are cutting at the weeds on the side of the road. | |
| 28 EXT. GREENBOW 28 | |
| Forrest runs across the street. THE TWO OLD MEN sit in | |
| front | |
| of the barber shop. | |
| OLD CRONY | |
| That boy sure is a running fool. | |
| 29 EXT. JENNY'S HOUSE 29 | |
| Forrest runs down a driveway toward Jenny's small house. | |
| FORREST (V.O.) | |
| Now remember how I told you that | |
| Jenny never seemed to want to go | |
| 22. | |
| home? Well, she lived in a house | |
| that was as old as Alabama. Her | |
| Momma | |
| had gone up to heaven when she was | |
| five and her daddy was some kind of | |
| a farmer. | |
| Forrest knocks on Jenny's door. | |
| FORREST | |
| Jenny? Jenny? | |
| Forrest look around the field at the left. He notices Jenny | |
| and runs toward her. | |
| FORREST (V.O.) | |
| He was a very lovin' man. He was | |
| always kissing and touchin' her and | |
| her sisters. And then this one | |
| time, | |
| Jenny wasn't on the bus to go to | |
| school. | |
| Forrest runs to Jenny. | |
| FORREST | |
| Jenny, why didn't you come to | |
| school | |
| today? | |
| JENNY | |
| Hsh! Daddy's takin' a nap. | |
| Jenny grabs Forrest's hand and runs into the field. Jenny's | |
| DAD drunk, steps out onto the porch and shouts. | |
| JENNY'S DAD | |
| Jenny! | |
| JENNY | |
| Come on! | |
| JENNY'S DAD | |
| Jenny, where'd you run to? You'd | |
| better come back here, girl! | |
| Jenny's dad steps out toward the field. Jenny leads Forrest | |
| into the thick tobacco field. Jenny's dad runs through the | |
| field searching for Jenny with a liquor bottle in his hand. | |
| 23. | |
| JENNY'S DAD | |
| Where you at? | |
| Jenny and Forrest run into a corn field as Jenny's dad | |
| tries | |
| to chase her. | |
| JENNY'S DAD | |
| Jenny! Jenny! Where you at? Jenny! | |
| Jenny drops to her knees and pulls Forrest down with her. | |
| JENNY | |
| Pray with me, Forrest. Pray with | |
| me. | |
| JENNY'S DAD | |
| Jenny! | |
| JENNY | |
| Dear God, make me a bird so I can | |
| fly far, far, far away from here. | |
| Dear God, make me a bird so I can | |
| fly far, far, far away from here. | |
| FORREST (V.O.) | |
| Momma always said that God is | |
| mysterious. | |
| JENNY'S DAD | |
| Jenny! Get back here! | |
| FORREST (V.O.) | |
| He didn't turn Jenny into a bird | |
| that day. Instead... | |
| 30 EXT. TRAILER PARK/ALABAMA - DAY (1955) 30 | |
| A police officer escorts Jenny to her grandmother's | |
| trailer. | |
| Jenny's grandmother meets Jenny outside and leads her | |
| toward | |
| the trailer. | |
| FORREST (V.O.) | |
| ...he had the police say Jenny | |
| didn't | |
| have to stay in that house no more. | |
| She went to live with her grandma | |
| 24. | |
| just over on Creekmore Avenue, | |
| which | |
| made me happy 'cause she was so | |
| close. | |
| 31 EXT. GUMP HOUSE - NIGHT (1955) 31 | |
| Jenny climbs over a second-floor railing and enters the | |
| house. | |
| FORREST (V.O.) | |
| Some nights, Jenny'd sneak out and | |
| come over to my house, just 'cause | |
| she said she was scared. Scared of | |
| what, I don't know... | |
| 32 INT. GUMP HOUSE/FORREST'S BEDROOM 32 | |
| Jenny lies in bed next to young Forrest. She hugs him. | |
| FORREST (V.O.) | |
| ...but I think it was her grandma's | |
| dog. He was a mean dog. Anyway, | |
| Jenny | |
| and me was best friends... | |
| 33 EXT. GREENBOW/OAK ALLEY - DAY (1961) 33 | |
| Forrest and Jenny are teenagers now. They walk along an | |
| oaklined road. | |
| FORREST (V.O.) | |
| ...all the way to high school. | |
| Suddenly Forrest is hit in the back with a rock. Forrest | |
| and | |
| Jenny turn around. | |
| OLDER BOY #1 | |
| Hey, stupid! | |
| JENNY | |
| Quit it! | |
| A teenage boy throws another rock as a pickup truck pulls | |
| up | |
| behind him. Jenny turns and looks at Forrest. | |
| 25. | |
| JENNY | |
| Run, Forrest, run! | |
| OLDER BOY #1 | |
| Hey. Did you hear me, stupid? | |
| JENNY | |
| Run, Forrest! | |
| Forrest drops his books and runs down the road. The teenage | |
| boy jumps into the back of the pickup truck with another | |
| boy | |
| as the truck speeds after Forrest. Jenny steps left and | |
| gets | |
| out of the way. | |
| OLDER BOY #2 | |
| Come on, he's getting away! Move | |
| it! | |
| JENNY | |
| Run, Forrest! Run! | |
| OLDER BOY #1 | |
| You better be runnin', stupid. | |
| Forrest runs along the road. The truck speeds after him. | |
| OLDER BOY #2 | |
| Come on, dummy! | |
| OLDER BOY #1 | |
| Haul ass, dummy! | |
| Older Boy throws rocks at Forrest. | |
| OLDER BOY #1 | |
| Yeah, you better be runnin'! | |
| 34 INT. TRUCK 34 | |
| BOY | |
| Ya-hoo! | |
| 35 EXT. OAK ALLEY 35 | |
| The boys in the back of the truck throw rocks at Forrest as | |
| 26. | |
| they drive up to him. | |
| OLDER BOY #1 | |
| Move it, jack rabbit! | |
| The truck follows right on Forrest's heels. A rebel flag | |
| license plate adorns the truck's grill. | |
| OLDER BOY #1 | |
| Come on! | |
| Forrest runs along the road as the truck chases him. The | |
| boys in the back of the truck pound on the roof as the | |
| truck | |
| turns right, after Forrest. The truck drives into a field. | |
| Forrest runs toward a fence. | |
| BOY | |
| Run! Faster! Yeah! Go! Go! Come on, | |
| Forrest! Yeah! | |
| JENNY | |
| Run, Forrest! | |
| Forrest leaps over a five-foot fence as the boys try to | |
| catch | |
| him. | |
| 36 EXT. SAVANNAH/BUS BENCH - DAY (1981) 36 | |
| Forrest looks left as he continues telling his life story. | |
| FORREST | |
| Now, it used to be, I ran to get | |
| where I was goin'. I never thought | |
| it would take me anywhere. | |
| 37 EXT. HIGH SCHOOL/ROAD - DAY (1961) 37 | |
| Forrest runs along the road in front of the high school. | |
| The | |
| truck continues to chase him as the boys pound on the roof. | |
| OLDER BOY | |
| 27. | |
| Come on. Whoo-hoo! | |
| The truck speeds past Forrest as he turns from the road and | |
| runs onto the high school football field. Forrest runs | |
| across | |
| the field during a football scrimmage. | |
| In the stands watching the scrimmage is the legendary | |
| University of Alabama football coach BEAR BRYANT, wearing | |
| his trademark plaid hat. | |
| A group of assistant coaches sit around him, as well as the | |
| high school football coach. The quarterback throws the ball | |
| into the air. | |
| Forrest runs past the quarterback. The receiver catches the | |
| ball. Forrest runs past the receiver as an opposing player | |
| tackles the stunned receiver. | |
| The football coach stands, followed by the assistant | |
| coaches. | |
| FOOTBALL COACH | |
| Who in the hell is that? | |
| HIGH SCHOOL COACH | |
| That there is Forrest Gump. Coach. | |
| Just a local idiot. | |
| Forrest runs under the field goal post and through the end | |
| zone. | |
| FORREST (V.O.) | |
| And can you believe it? I got to go | |
| to college, too. | |
| 38 EXT. UNIVERSITY OF ALABAMA STADIUM - DAY (1962) 38 | |
| The crowd roars with excitement as a football is kicked | |
| off. | |
| The football players run around on the field. The crowd of | |
| 28. | |
| cheering fans create a huge sign that reads: "GO." | |
| Forrest is in a University of Alabama football uniform. He | |
| looks up into the cheering crowd as his teammate fields the | |
| kickoff. The teammate runs over to Forrest and hands him | |
| the | |
| ball. | |
| FOOTBALL COACH | |
| Okay! Run! | |
| The football coach, the assistants, and Alabama players | |
| cheer | |
| for Forrest. | |
| FOOTBALL COACH | |
| Run, you stupid son-of-a-bitch! | |
| Run! | |
| Forrest runs across the field. He speeds past the defending | |
| players. Forrest runs past the opposite players. The crowd | |
| cheers wildly, holding up cards, making a large sign that | |
| reads: "Go." | |
| They turn the cards over, creating the word: "ALABAMA." The | |
| football coach runs along the sidelines as he yells. | |
| FOOTBALL COACH | |
| You stupid son-of-a-bitch! Run! Go! | |
| Run! | |
| Forrest cuts and runs toward the sidelines. Two opposing | |
| players collide. The football coach, the assistants and the | |
| players all motion for Forrest to run toward the end zone. | |
| FOOTBALL COACH | |
| Run! Turn! Go! | |
| Forrest turns up the sidelines and runs toward the end | |
| zone. | |
| Some opposing players fall down. Forrest runs along the | |
| 29. | |
| sidelines. The opposing players try to catch him. | |
| Forrest runs into the end zone as an opposing player dives | |
| at his feet. The referee holds up his arm, signaling a | |
| touch | |
| down. The crowd cheers wildly. | |
| Forrest continues to run, smashing through the band | |
| members, | |
| then all the way toward the team tunnel. The football coach | |
| looks at an assistant coach. | |
| FOOTBALL COACH | |
| He must be the stupidest son-of-a- | |
| bitch alive. But he sure is fast! | |
| FORREST (V.O.) | |
| Now, maybe it was just me but | |
| college | |
| was very confusing times. | |
| 39 INT. GREENBOW/BARBER SHOT - BLACK & WHITE TELEVISION (JUNE 39 | |
| 11, 1963) | |
| An anchorman named CHET HUNTLEY appears over the | |
| television. | |
| CHET HUNTLEY | |
| (on TV) | |
| Federal troops enforcing a court | |
| order integrated the University of | |
| Alabama today. | |
| 40 EXT. UNIVERSITY OF ALABAMA - DAY 40 | |
| Forrest walks through a crowd of people. | |
| CHET HUNTLEY | |
| Governor George Wallace had carried | |
| out his symbolic threat to stand in | |
| the schoolhouse door. | |
| GOVERNOR WALLACE | |
| We hereby denounce and forbid this | |
| illegal and unwarranted action by | |
| the central government. | |
| 30. | |
| 41 INT. GREENBOW/BARBER SHOP 41 | |
| A black & white television reveals George Wallace as he | |
| stands in the doorway of the schoolhouse. | |
| KATZENBACH | |
| (on TV) | |
| Governor Wallace, I take it from | |
| that, uh... | |
| 42 EXT. UNIVERSITY OF ALABAMA 42 | |
| Forrest steps over to a young man as the crowd looks at the | |
| demonstration. | |
| KATZENBACH | |
| ...statement that you are going to | |
| stand in that door, and that you | |
| are | |
| not going to carry out the orders | |
| of | |
| this court, and that you are going | |
| to resist us from doing so. I would | |
| ask you once again to | |
| responsibility | |
| step aside and if you do not, I'm | |
| going to assure you... | |
| FORREST | |
| Earl, what's going on? | |
| EARL | |
| Coons are tryin' to get into | |
| school. | |
| FORREST | |
| Coons? When raccoons try to get on | |
| our back porch, Momma just chase | |
| 'em | |
| off with a broom. | |
| EARL | |
| Not raccoons, you idiot, niggas. | |
| And | |
| they want to go to school with us. | |
| FORREST | |
| With us? They do? | |
| Forrest walks toward the schoolhouse. | |
| 31. | |
| 43 INT. COACHES' OFFICE 43 | |
| A football coach looks at a black and white television as a | |
| newsman outside the schoolhouse speaks to the camera. | |
| NEWSMAN | |
| (on TV) | |
| ...block the doorway, President | |
| Kennedy ordered the Secretary of | |
| Defense then to use the military | |
| force. | |
| BLACK AND WHITE FOOTAGE | |
| The footage cuts to Governor Wallace as he speaks to | |
| General | |
| Graham. | |
| NEWSMAN | |
| Here by videotape is the encounter | |
| by General Graham, Commander of the | |
| National Guard, and Governor | |
| Wallace. | |
| Forrest stands next to George Wallace and listens. | |
| GOVERNOR WALLACE | |
| We must have no violence today, or | |
| any other day, because these | |
| National | |
| Guardsmen are here today as Federal | |
| Soldiers for Alabamans. And they | |
| live within our borders and they | |
| are | |
| all our brothers. We are winning in | |
| this fight because we are awakening | |
| the American people to the dangers | |
| that we have spoken about so many | |
| times, just so evident today, the | |
| trend toward military dictatorship | |
| in this country. | |
| 44 EXT. UNIVERSITY OF ALABAMA 44 | |
| Some of the Alabama policeman and citizens clap their hands | |
| as the National Guardsmen stand at attention with their | |
| weapons in front of them. Forrest walks through the crowd. | |
| 32. | |
| Two black students were being led toward the schoolhouse. | |
| NEWSMAN | |
| And so at day's end the University | |
| of Alabama in Tuscaloosa had been | |
| desegregated and students Jimmy | |
| Hood and Vivian Malone had been | |
| signed upfor summer classes. | |
| The young black girl drops one of her books. Forrest | |
| notices | |
| and steps past the policeman toward the book on the ground. | |
| Forrest steps out from the crowd and picks up the book. He | |
| brings it up to the girl. | |
| FORREST | |
| Ma'am, you dropped your book. | |
| Ma'am. | |
| 45 INT. COACHES' OFFICE - NIGHT (1963) 45 | |
| A coach looks at the television. The television reveals | |
| Forrest as he stands at the schoolhouse door. He looks | |
| around, then waves. | |
| CHET HUNTLEY | |
| (on TV) | |
| Governor Wallace did what he | |
| promised | |
| to do. By being on the Tuscaloosa | |
| campus, he kept the mob from | |
| gathering | |
| and prevented violence. | |
| An assistant coach looks at the television, then at the | |
| other | |
| coaches. | |
| ASSISTANT COACH | |
| Say, wasn't that Gump? | |
| The football coach and two assistant coaches look. Forrest | |
| dries himself off with a towel as he steps from the | |
| showers. | |
| CHET HUNTLEY | |
| 33. | |
| (on TV) | |
| NBC News will present a special | |
| program on the Alabama integration | |
| story at 7:30 p.m. tonight... | |
| ASSISTANT COACH | |
| Naw, that couldn't be. | |
| FOOTBALL COACH | |
| It sure as hell was. | |
| CHET HUNTLEY | |
| ...standard Eastern Daylight Time. | |
| Now a word from Anacin. | |
| Forrest steps up to the coaches' area and grabs a clean | |
| towel. | |
| The coaches turn and stare at Forrest. Forrest gives them | |
| one of his silly waves, then walks away. | |
| COLOR FOOTAGE - Governor Wallace waves to the crowd as he | |
| stands behind a podium with his wife. | |
| FORREST (V.O.) | |
| A few years later, that angry | |
| little | |
| man at the schoolhouse door thought | |
| it would be a good idea, and ran | |
| for | |
| President. | |
| COLOR FOOTAGE - Governor Wallace mingles in a crowd. | |
| Gunshots | |
| are fired, wounding him. Some men wrestle the shooter. | |
| Wallace | |
| lies wounded on the ground. | |
| FORREST (V.O.) | |
| But, somebody thought that it | |
| wasn't. | |
| 46 EXT. SAVANNAH/BUS BENCH - DAY (1981) 46 | |
| Forrest sits on the bench as the black woman looks at him. | |
| A | |
| WHITE WOMAN with a bay sits left. | |
| 34. | |
| FORREST | |
| But he didn't die. | |
| A bus pulls up to the bus stop. The BLACK WOMAN looks down | |
| at her watch. | |
| BLACK WOMAN | |
| My bus is here. | |
| FORREST | |
| Is it the number 9? | |
| BLACK WOMAN | |
| No, it's the number 4. | |
| The Black Woman gets up and steps over to the bus. | |
| FORREST | |
| It was nice talkin' to you. | |
| The white woman sits closer to Forrest. | |
| WHITE WOMAN | |
| I remember when that happened, when | |
| Wallace got shot. I was in college. | |
| FORREST | |
| Did you go to a girls' college, or | |
| to a girls' and boys' together | |
| college? | |
| WHITE WOMAN | |
| It was co-ed. | |
| FORREST | |
| 'Cause Jenny went to a college I | |
| couldn't go to. It was a college | |
| just for girls. | |
| 47 EXT. GIRLS' COLLEGE/JENNY'S DORM - NIGHT (1963) 47 | |
| Forrest sits outside Jenny's dorm in the rain. | |
| FORREST (V.O.) | |
| But, I'd go and visit her every | |
| chance | |
| I got. | |
| A car pulls up. A song is heard from the radio. Forrest, | |
| 35. | |
| holding a box of chocolates, looks at the car. The two | |
| people | |
| inside the car begins to kiss and embrace each other. Jenny | |
| is inside the car with a boy. She leans back against the | |
| passenger side door as they struggle to get comfortable. | |
| JENNY | |
| Ouch! That hurts. | |
| Forrest gets up and runs toward the car. He tries to look | |
| in | |
| the window as he steps over to the driver's side door. He | |
| opens the door and begins to punch the boy inside. Jenny | |
| jump out of the car and runs over to Forrest. | |
| JENNY | |
| Forrest! Forrest! Forrest, stop it! | |
| Stop it! | |
| BILLY | |
| Jesus! | |
| JENNY | |
| What are you doing? | |
| FORREST | |
| He was hurtin' you. | |
| Jenny's date, named BILLY, gets out of the car angrily. | |
| BILLY | |
| What the hell is going on here? | |
| JENNY | |
| No, he's not! | |
| BILLY | |
| Who is that? Who is that? | |
| JENNY | |
| Get over there! | |
| Jenny turns and looks at Billy. He shoves Jenny's hands | |
| away | |
| from him. | |
| 36. | |
| JENNY | |
| Billy, I'm sorry. | |
| BILLY | |
| What in the hell, git, would you | |
| git | |
| away from me! | |
| JENNY | |
| Don't... Wait a second! | |
| BILLY | |
| Git, just git away from me! | |
| JENNY | |
| Don't go! Billy, wait a second! | |
| Billy gets back into the car. | |
| JENNY | |
| He doesn't know any better! | |
| Billy pulls away as Jenny steps toward Forrest. | |
| JENNY | |
| Forrest, why'd you do that? | |
| Forrest holds out the box of chocolates. | |
| FORREST | |
| I brought you some chocolates. I'm | |
| sorry. I'll go back to my college | |
| now. | |
| JENNY | |
| Forrest, look at you! Come on. Come | |
| on. | |
| Jenny grabs Forrest hand and leads him toward the dorm. | |
| 48 INT. JENNY'S DORM/HALLWAY 48 | |
| Jenny and Forrest sneak to Jenny's door. | |
| FORREST | |
| Is this your room? | |
| JENNY | |
| Shh! | |
| Jenny unlocks the door and they step inside. | |
| 37. | |
| 49 INT. JENNY'S DORM ROOM 49 | |
| Jenny pulls a robe off of her sleeping roommate's bed. | |
| Jenny | |
| hands the robe to Forrest, sitting on Jenny's bed. | |
| JENNY | |
| Do you ever dream, Forrest, about | |
| who you're gonna be? | |
| FORREST | |
| Who I'm gonna be? | |
| JENNY | |
| Yeah. | |
| FORREST | |
| Aren't I going to be me? | |
| JENNY | |
| Well, you'll always be you, just | |
| another kind of you. You know? I | |
| want to be famous. | |
| Jenny picks up a towel, then walks back toward Forrest. | |
| Jenny | |
| dries the water from her hair. | |
| JENNY | |
| I want to be a singer like Joan | |
| Baez. | |
| I just want to be an empty stage | |
| with my guitar, my voice... just | |
| me. | |
| Jenny takes off her slip and sits on the bed next to him. | |
| She is only wearing her bra and panties. Forrest looks at | |
| Jenny like he's never seen a woman in her underwear before. | |
| JENNY | |
| And I want to reach people on a | |
| personal level. I want to be able | |
| to | |
| say things, just one-to-one. | |
| Forrest looks down at Jenny's breasts. Jenny realizes that | |
| he is looking at her. | |
| 38. | |
| JENNY | |
| Have you ever been with a girl, | |
| Forrest? | |
| FORREST | |
| I sit next to them in my home | |
| economics class all the time. | |
| DJ | |
| (over radio) | |
| You're listening to WHHY in | |
| Birmingham, the clear A.M. voice of | |
| Northern Alabama. I'm Joel Dorn... | |
| Forrest looks at Jenny as she removes her bra. Forrest | |
| looks | |
| away, a bit shamed. Jenny takes his hand and guides it up | |
| to | |
| her breast. | |
| DJ | |
| (over radio) | |
| ...coming to you on a night that is | |
| anything but clear. The weatherman | |
| says that rain's gonna fall all | |
| night | |
| long so stay with us, get warm, get | |
| cozy, get under the covers to the | |
| cool sounds of WHHY. | |
| Forrest looks over at Jenny's breasts, the shudder as he | |
| has | |
| an orgasm. | |
| FORREST | |
| Ohh... Oh... I'm sorry. Sorry. | |
| JENNY | |
| It's okay. | |
| DJ | |
| (over radio) | |
| ...444-6789, with ya till sunrise, | |
| playing the music you want to hear | |
| when you want to hear it. If you | |
| have a request or dedication, give | |
| us a call. We guarantee you'll hear | |
| your requests within one hour. | |
| Forrest breathes heavily. Jenny puts her bra back on. | |
| 39. | |
| JENNY | |
| It's all right. | |
| Jenny leans over and puts her head on Forrest's shoulder. | |
| DJ | |
| (over radio) | |
| Candy is on the line tonight. | |
| Candy's | |
| answering the phones, give Candy | |
| your request, your dedication, and | |
| ask her why she won't go out with | |
| me, would you? Here's more music. | |
| JENNY | |
| It's okay. | |
| FORREST | |
| Oh, I'm dizzy. | |
| A song is coming over the radio. Jenny hugs Forrest. | |
| JENNY | |
| I bet that never happened in home | |
| ec. | |
| FORREST | |
| No. | |
| Jenny laughs and kisses Forrest on the cheek. Forrest and | |
| Jenny hug on the bed as Jenny's roommate pretends to be | |
| asleep, but is listening, horrified, with her eyes open. | |
| FORREST | |
| I think I ruined your roommate's | |
| bathrobe. | |
| JENNY | |
| I don't care. I don't like her, | |
| anyway. | |
| 50 EXT. UNIVERSITY OF ALABAMA/FOOTBALL STADIUM - DAY (1963) 50 | |
| Forrest runs across the field as the defending team chases | |
| him. The crowd yells for Forrest. They flip a sign that | |
| reads: | |
| "Go Forrest." | |
| 40. | |
| CROWD | |
| Run! Run! Run! | |
| Forrest runs along the field. The crowd cheers. | |
| CROWD | |
| Run! Run! Run! | |
| Forrest runs into the end zone. The band members rush | |
| toward | |
| Forrest with their hands up, signaling him to stop. The | |
| crowd | |
| flips over cards, creating a sign that reads "STOP." | |
| CROWD | |
| Stop! | |
| Forrest stops in the end zone as he hears the crowd yells. | |
| The band motions for Forrest to stop and stay in the end | |
| zone. A group of defending players fall over each other in | |
| the end zone. Forrest looks as the crowd cheers wildly. | |
| FORREST (V.O.) | |
| College ran by real fast 'cause I | |
| played so much football. | |
| BLACK AND WHITE PARAMOUNT NEWSREEL - DAY (1963) | |
| The White House with the words "The eyes and ears of the | |
| world Paramount News" superimposed. | |
| FORREST (V.O.) | |
| They even put me on a thing called | |
| the All-America Team where you get | |
| to meet the President of the United | |
| States. | |
| BLACK AND WHITE NEWSREEL | |
| PRESIDENT KENNEDY holds an autographed football as the All- | |
| American Team stands behind him. Forrest is among the | |
| players | |
| in suits. | |
| 41. | |
| ANNOUNCER | |
| (over newsreel) | |
| President Kennedy met with the | |
| Collegiate All-American Football | |
| Team at the Oval Office today. | |
| 51 INT. WHITE HOUSE RECEPTION AREA - DAY (1963) 51 | |
| The All-American players mingle around the food table. | |
| Forrest | |
| steps up to the table. A large spread of food and soda is | |
| on | |
| the table. | |
| FORREST (V.O.) | |
| Now, the real good thing about | |
| meeting | |
| the President of the United States | |
| is the food. | |
| Forrest takes a bottle of Dr. Pepper from the buffet table. | |
| Numerous bottle of Dr. Pepper are displayed on the table. A | |
| servant opens the bottle for him. | |
| FORREST (V.O.) | |
| They put you in this little room | |
| with just about anything you'd want | |
| to eat or drink. And since number | |
| one, I wasn't hungry, but | |
| thirsty... | |
| Forrest begins to guzzle the Dr. Pepper. | |
| FORREST (V.O.) | |
| ...and number two, they was free, I | |
| musta drank me about fifteen Dr. | |
| Peppers. | |
| Forrest sets down an empty Dr. Pepper bottle next to a | |
| large | |
| number of other empty bottles. Forrest holds his stomach | |
| and | |
| burps. | |
| BLACK AND WHITE FOOTAGE - President Kennedy shakes hands | |
| 42. | |
| with the All-American football players. | |
| PRESIDENT KENNEDY | |
| Congratulations. How does it feel | |
| to | |
| be an All-American? | |
| 1ST PLAYER | |
| It's an honor, Sir. | |
| Another player steps up to the President and shakes the | |
| President's hand. | |
| PRESIDENT KENNEDY | |
| Congratulations. How does it feel | |
| to | |
| be an All-American? | |
| 2ND PLAYER | |
| Very good, Sir. | |
| PRESIDENT KENNEDY | |
| Congratulations. How does it feel | |
| to | |
| be an All-American? | |
| 3RD PLAYER | |
| Very good, Sir. | |
| The player walks away. Forrest steps up to the President. | |
| The President shakes his hand. | |
| PRESIDENT KENNEDY | |
| Congratulations. How do you feel? | |
| FORREST | |
| I gotta pee. | |
| President Kennedy turns and smiles. | |
| PRESIDENT KENNEDY | |
| I believe he said he had to go pee. | |
| 52 INT. WHITE HOUSE/BATHROOM 52 | |
| Forrest urinates in the bathroom, then lowers the lid and | |
| flashes. Forrest washes his hands, then notices an | |
| autographed | |
| 43. | |
| photo from Marilyn Monroe and a photo of John with his | |
| brother | |
| Bobby. | |
| FORREST (V.O.) | |
| Sometime later, for no particular | |
| reason, somebody shot that nice | |
| young | |
| President when he was ridin' in his | |
| car. | |
| ARCHIVAL FOOTAGE - DAY SLOW MOTION - President Kennedy | |
| rises | |
| in a convertible and smiles. | |
| FORREST | |
| And a few years after that... | |
| ARCHIVAL FOOTAGE - Robert Kennedy stands at a podium as | |
| people | |
| around him applaud. | |
| FORREST (V.O.) | |
| ...somebody shot his little | |
| brother, | |
| too, only he was in a hotel | |
| kitchen. | |
| 53 EXT. SAVANNHA/BUS BENCH - DAY (1981) 53 | |
| Forrest sits on the bench and shakes his head. | |
| FORREST | |
| It must be hard being brothers. I | |
| wouldn't know. | |
| 54 EXT. UNIVERSITY OF ALABAMA - DAY - GRADUATION DAY (1966) 54 | |
| Students in their caps and gowns step forward the podium to | |
| receive their diplomas. Forrest's name is called. He steps | |
| up and accepts his diploma. | |
| DEAN | |
| Forrest Gump. | |
| 44. | |
| FORREST (V.O.) | |
| Now can you believe it? After only | |
| five years of playing football, I | |
| got a college degree. | |
| The dean shakes Forrest's hand vigorously. Forrest looks | |
| out | |
| into the crowd. | |
| DEAN | |
| Congratulations, son. | |
| Mrs. Gump, sitting in the audience, cries. | |
| FORREST (V.O.) | |
| Momma was proud. | |
| Forrest and Mrs. Gump have their picure taken in front of a | |
| large statue. A military recruiter spots Forrest and steps | |
| up to him. | |
| MRS. GUMP | |
| Forrest, I'm so proud of you. Here, | |
| I'll hold this for you. | |
| Mrs. Gump takes the diploma from Forrest. The recruiter | |
| slaps | |
| Forrest on the shoulder and hands him some military | |
| literature. | |
| MILITARY RECRUITER | |
| Congratulations, son. Have you | |
| given | |
| any thought to your future? | |
| FORREST | |
| Thought? | |
| Forrest looks at a pamphlet with a photo of "Uncle Sam" and | |
| the caption "EXCELLENT CAREERS FOR EXCELLENT YOUNG MAN. | |
| Apply | |
| now at your local U.S. Army Recruiting Center." | |
| FORREST (V.O.) | |
| Hello, I'm Forrest... | |
| 45. | |
| 55 INT. ARMY BUS - DAY (1966) 55 | |
| Forrest steps onto the army bus. Rain pours outside as the | |
| army bus driver yells at Forrest. | |
| FORREST | |
| ...Forrest Gump. | |
| ARMY BUS DRIVER | |
| Nobody gives a hunk of shit who you | |
| are, fuzzball! You're not even a | |
| lowlife scum sucking maggot! Get | |
| your faggoty ass on the bus. You're | |
| in the Army now! | |
| Forrest is about to sit on the first available seat, but | |
| the | |
| recruit sitting there refuses Forrest. | |
| RECRUIT #1 | |
| This seat's taken. | |
| Forrest tries to sit on the next seat, but the 2nd recruit | |
| slides over, blocking him. | |
| RECRUIT #2 | |
| It's taken. | |
| Forrest steps forward, looking much like he did on his | |
| first | |
| bus ride to school years ago. | |
| FORREST (V.O.) | |
| At first, it seemed like I made a | |
| mistake. | |
| A large black recruit with a strange look on his face, much | |
| like Forrest's, looks up from his seat. His name is BUBBA. | |
| FORREST (V.O.) | |
| ...seeing how it was my induction | |
| day and I was already gettin' | |
| yelled | |
| at. | |
| Bubba moves his case over, making room for Forrest to sit | |
| 46. | |
| down. | |
| BUBBA | |
| You can sit down... if you want to. | |
| FORREST (V.O.) | |
| I didn't know who I might meet or | |
| what they might ask. | |
| Bubba hands Forrest a handkerchief. | |
| BUBBA | |
| You ever been on a real shrimp | |
| boat? | |
| FORREST | |
| No, but I been on a real big boat. | |
| BUBBA | |
| I'm talkin' about a shrimp catchin' | |
| boat. I've been workin' on shrimp | |
| boats all my life. I started out my | |
| uncle's boat, that's my mother's | |
| brother, when I was about maybe | |
| nine. | |
| I was just lookin' into buyin' a | |
| boat of my own and got drafted. My | |
| given name is Benjamin Buford Blue. | |
| Bubba and Forrest shake hands. | |
| BUBBA | |
| People call me Bubba. Just like one | |
| of them redneck boys. Can you | |
| believe | |
| that? | |
| FORREST | |
| My name's Forrest Gump. People call | |
| me Forrest Gump. | |
| FORREST (V.O.) | |
| So Bubba was from Bayou La Batre, | |
| Alabama, and his momma cooked | |
| shrimp. | |
| 56 INT. LOUISIANA/KITCHEN - DAY (1966) 56 | |
| Bubba's mother, a robust woman in a cook's uniform, carries | |
| a bowl of shrimp into a dining room. She sets it down on a | |
| 47. | |
| table in front of a wealthy white man. | |
| FORREST (V.O.) | |
| And her momma before her cooked | |
| shrimp. | |
| 57 INT. SOMEWHERE IN THE SOUTH/KITCHEN - DAY (EARLY DAYS OF 57 | |
| SLAVERY) | |
| Bubba's grandmother carries a bowl of shrimp into a dining | |
| room. She sets it down on a table in front of a wealthy | |
| white | |
| man. | |
| FORREST (V.O.) | |
| And her momma before her momma | |
| cooked | |
| shrimp, too. Bubba's family knew | |
| everything... | |
| 58 INT. ARMY BUS - DAY (1966) 58 | |
| FORREST (V.O.) | |
| ...there was to know about the | |
| shrimpin' business. | |
| BUBBA | |
| I know everything there is to know | |
| about the shrimpin' business. | |
| Matter | |
| of fact, I'm goin' into the | |
| shrimpin' | |
| business for myself after I get out | |
| the Army. | |
| FORREST | |
| Okay. | |
| 59 INT. BARRACKS - DAY 59 | |
| A DRILL SERGEANT is in Forrest's face as Forrest stands in | |
| line with the other recruits. | |
| DRILL SERGEANT | |
| Gump! What's your sole purpose in | |
| this Army? | |
| 48. | |
| FORREST | |
| To do whatever you tell me, Drill | |
| Sergeant! | |
| DRILL SERGEANT | |
| Godamnit, Gump! You're a goddamned | |
| genius! That's the most outstanding | |
| answer I've ever heard. You must | |
| have a godamned I.Q. of a hundred | |
| and sixty! You are godamned gifted, | |
| Private Gump! | |
| The Drill Sergeant moves down the line to the next man. | |
| DRILL SERGEANT | |
| Listen up, people... | |
| FORREST (V.O.) | |
| Now, for some reason, I fit in the | |
| Army like one of them round pegs. | |
| It's not really hard. You just make | |
| your bed real neat and remember to | |
| stand up straight. | |
| DRILL SERGEANT | |
| That is one very intelligent | |
| individual! You lock your scuzzy | |
| bodies up behind that private and | |
| do | |
| exactly what he does and you will | |
| go | |
| far in this man's army! | |
| FORREST (V.O.) | |
| And always answer every question | |
| with "Yes, Drill Sergeant!" | |
| DRILL SERGEANT | |
| Is that clear? | |
| FORREST & RECRUITS | |
| Yes, Drill Sergeant! | |
| ANOTHER DAY | |
| The recruits are sitting at the base of their bunks | |
| assembling | |
| their rifles. Bubba speaks to Forrest. | |
| BUBBA | |
| What you do is you just drag your | |
| nets across the bottom. On a good | |
| 49. | |
| day, you can catch over a hundred | |
| pounds of shrimp. If everything | |
| goes | |
| all right, two men shrimpin' ten | |
| hours, less what you spends on gas, | |
| you can... | |
| Forrest finishes assembling his rifle as the other recruits | |
| are still working on theirs. | |
| FORREST | |
| Done, Drill Sergeant! | |
| DRILL SERGEANT | |
| Gump! | |
| The Drill Sergeant rushes up to Forrest. | |
| DRILL SERGEANT | |
| Why did you put that weapon | |
| together | |
| so quickly, Gump? | |
| FORREST | |
| You told me to, Drill Sergeant. | |
| The Drill Sergeant looks at his stop watch. | |
| DRILL SERGEANT | |
| Jesus Christ! This is a new company | |
| record. If it wouldn't be a waste | |
| of | |
| such a damn fine enlisted man, I'd | |
| recommended you for O.C.S., Private | |
| Gump. You are gonna be a General | |
| some day, Gump! Now, disassemble | |
| your weapon and continue! | |
| The Drill Sergeant walks away as Forrest begins to | |
| disassemble | |
| his rifle. After the Drill Sergeant walks past Bubba, Bubba | |
| looks up at Forrest. Bubba continues talking about shrimp | |
| in | |
| his slow southern drawl. | |
| BUBBA | |
| Anyway, like I was sayin', shrimp | |
| is | |
| 50. | |
| the fruit of the sea. You can | |
| barbecue | |
| it, boil it, broil it, bake it, | |
| saute | |
| it. There, uh, shrimp kabobs, | |
| shrimp | |
| creole... | |
| ANOTHER DAY | |
| Bubba and Forrest shine their boots. | |
| BUBBA | |
| ...shrimp gumbo, panfried, deep | |
| fried, | |
| stir fried. There's pineapple | |
| shrimp, | |
| lemon shrimp, coconut shrimp, | |
| pepper | |
| shrimp... | |
| ANOTHER DAY | |
| Bubba and Forrest are on their hands and knees as they | |
| scrub | |
| the floor with toothbrushes. | |
| BUBBA | |
| ...shrimp soup, shrimp stew, shrimp | |
| salad, shrimp and potatoes, shrimp | |
| burger, shrimp sandwich... that's, | |
| that's about it. | |
| NIGHT | |
| Bubba lies in his bunk and looks up quietly. | |
| FORREST (V.O.) | |
| Nighttime in the Army is a lovely | |
| time. | |
| Forrest lies in his bunk and looks up. | |
| FORREST (V.O.) | |
| We'd lay there in our bunks, and | |
| I'd | |
| miss my momma. And I'd miss Jenny. | |
| A young private tosses a Playboy magazine onto Forrest. | |
| YOUNG PRIVATE | |
| 51. | |
| Hey, Gump. Get a load of the tits | |
| on | |
| her! | |
| Forrest pick up the magazine and turns the page, revealing | |
| Jenny as she poses with a school sweater on, and that's | |
| all. | |
| The pictorial is titled: "Girls of the South." Forrest | |
| looks | |
| up with shock. He cranes his head up for a closer look. | |
| FORREST (V.O.) | |
| Turns out, Jenny had gotten into | |
| some trouble over... some photos of | |
| her in her college sweater. And she | |
| was thrown out of school. | |
| SONG | |
| "My baby does the hanky-panky..." | |
| 60 INT. NASHVILLE/NIGHT CLUB - NIGHT (1966) 60 | |
| Forrest, in his army uniform, steps into the foyer of the | |
| club. | |
| FORREST (V.O.) | |
| But that wasn't a bad thing. | |
| Because | |
| a man who owns a theater in | |
| Memphis, | |
| Tennessee, saw those photo and | |
| offered | |
| Jenny a job singing in a show. The | |
| first chance I got, I took the bus | |
| up to Memphis to see her perform in | |
| that show. | |
| EMCEE steps out onto the stage. | |
| EMCEE | |
| That was Amber, Amber Flame. Give | |
| her a big hand, guys. Good job, | |
| Amber. | |
| And now, for your listening and | |
| viewing pleasure, direct from | |
| Hollywood, California, our very own | |
| beatnik beauty, let's give a big | |
| round of applause to the luscious | |
| 52. | |
| Bobbie Dylan. | |
| CROWD | |
| Bobbie... Bobbie... | |
| The emcee walks back off the stage and the curtain opens, | |
| revealing Jenny as she sits on a stool on the stage. She | |
| holds a guitar up and begins to play. She is topless. | |
| JENNY | |
| (sings) | |
| "Yes, and how many seas must the | |
| white dove said, before she sleeps | |
| in the sand." | |
| FORREST (V.O.) | |
| Her dream had come true. She was a | |
| folk singer. | |
| JENNY | |
| (sings) | |
| "Yes, how many times must the | |
| cannonballs fly before they're | |
| forever | |
| banned." | |
| MAN #1 | |
| You gotta lose the guitar, darling. | |
| MAN #2 | |
| Hey, come on, baby. Shake it up. | |
| Shake it up now. | |
| MAN #3 | |
| Hey, somebody ought to get her a | |
| harmonica. | |
| The men laugh. | |
| JENNY | |
| (sings) | |
| "The answer, my friend is blowing | |
| in | |
| the wind. The answer is blowing | |
| in... | |
| MAN # | |
| ...skin, honey. This isn't Captain | |
| Kangaroo. | |
| MEN | |
| 53. | |
| Yeah! Come on! | |
| Man #5 reaches up and tries to stick some money in Jenny's | |
| shoe. | |
| MAN #5 : | |
| Hey, honey, I got something here | |
| for | |
| you. | |
| Jenny kicks his hand. He yells angrily as he sits back | |
| down, | |
| then tosses his drink on her. | |
| MAN #5 | |
| Goddamnit! | |
| JENNY | |
| Hey! Hey! Stupid jerk! I'm singing | |
| a | |
| song here. Polly, get out here! | |
| MAN # | |
| Hey, show us some stuff, honey! | |
| JENNY | |
| Shut up! Oh, shut up! | |
| Forrest walks up to Man #5 and grabs him and tosses him | |
| down | |
| on the ground. Man #4 tries to grab Forrest, but Forrest | |
| shoves him down too. | |
| JENNY | |
| Forrest, what are you doing here? | |
| What are you doing? | |
| Forrest climbs up onto the stage and picks Jenny up, guitar | |
| and all, and carries her. | |
| FORREST | |
| Come on. | |
| JENNY | |
| What are you doing? Forrest, let me | |
| down! | |
| 54. | |
| Jenny struggles and frees herself from Forrest. Forrest | |
| steps | |
| back in surprise. Jenny shoves the guitar at Forrest. Jenny | |
| walks off as Forrest holds the guitar. He follows after | |
| her. | |
| 61 EXT. MEMPHIS BRIDGE - NIGHT 61 | |
| Forrest follows Jenny over a bridge outside the night club. | |
| JENNY | |
| You can't keep doing this, Forrest. | |
| You can't keep tryin' to rescue me | |
| all the time. | |
| FORREST | |
| They was tryin' to grab you. | |
| JENNY | |
| A lot of people try to grab me. | |
| Just -- | |
| you can't keep doing this all the | |
| time! | |
| FORREST | |
| I can't help it. I love you. | |
| JENNY | |
| Forrest, you don't know what love | |
| is. | |
| Jenny turns and looks over the bridge. | |
| JENNY | |
| You remember that time we prayed, | |
| Forrest? We prayed for God to turn | |
| me into a bird so I could fly far, | |
| far away? | |
| FORREST | |
| Yes, I do. | |
| JENNY | |
| You think I can fly off this | |
| bridge? | |
| FORREST | |
| What do you mean, Jenny? | |
| JENNY | |
| 55. | |
| Nothing. | |
| Jenny turns and looks at the light of an approaching | |
| vehicle. | |
| She steps into the street. | |
| JENNY | |
| I gotta get outta here. | |
| Jenny runs and flags down the approaching vehicle. | |
| FORREST | |
| But wait. Jenny! | |
| JENNY | |
| Forrest, you stay away from me, | |
| okay? | |
| You just stay away from me, please. | |
| A pickup truck pulls over as Jenny looks at the driver. | |
| JENNY | |
| Can I have a ride? | |
| DRIVER | |
| Where you going? | |
| JENNY | |
| I don't care. | |
| DRIVER | |
| Get in the truck. | |
| FORREST | |
| So bye-bye, Jenny. They sendin' me | |
| to Vietnam. It's this whole other | |
| country. | |
| Jenny walks toward Forrest. She looks at the driver. | |
| JENNY | |
| Just hang on a minute. | |
| Jenny walks up to Forrest. | |
| JENNY | |
| Listen, you promise me something, | |
| okay? Just if you're ever in | |
| trouble, | |
| don't try to be brave, you just | |
| run, | |
| okay? Just run away. | |
| 56. | |
| FORREST | |
| Okay. Jenny, I'll write you all the | |
| time. | |
| Jenny takes a last look at Forrest, then climbs into the | |
| truck. Forrest watches Jenny in the pickup as it drives | |
| away. | |
| FORREST (V.O.) | |
| And just like that. | |
| 62 EXT. GREENBOW/GUMP BOARDING HOUSE/RIVER - DAY 62 | |
| Forrest, dressed in his uniform, sits on a log and looks | |
| out | |
| at a river. | |
| FORREST (V.O.) | |
| ...she was gone. | |
| Mrs. Gump walks toward Forrest and sits down next to him on | |
| the log. Forrest leans down, placing his head on his | |
| mother's | |
| shoulder. | |
| MRS. GUMP | |
| You come back safe to me, do ya | |
| hear? | |
| 63 EXT. VIETNAM/MEKONG DELTA - MORNING (1967) 63 | |
| The shadow of a helicopter over the rice field below. A | |
| soldier is manning a gun from inside the helicopter. The | |
| solider looks left, Forrest and Bubba ride in the | |
| helicopter. | |
| 64 EXT. FIREBASE/4TH PLATOON 64 | |
| The helicopter circles overhead, then lands at the | |
| firebase. | |
| SONG | |
| "Some folks are born made to wave | |
| 57. | |
| the flag. Ooh, they're red, white | |
| and blue. And when the band plays | |
| "Hail to the Chief," ohh, they | |
| point | |
| the cannon at you all. It ain't me. | |
| It ain't me. I ain't no Senator's | |
| son, no. It ain't me. It ain't | |
| me..." | |
| Bubba and Forrest jump out of the helicopter with their | |
| gear/ | |
| They walk and look around oddly. | |
| FORREST (V.O.) | |
| Now, they told us that Vietnam was | |
| gonna be very different from the | |
| United Sates of America. | |
| The soldier places a case of beer on a large stack of | |
| cases. | |
| He takes two beers out and walks away. In the background, | |
| soldiers are barbecuing steaks and drinking beer. | |
| FORREST (V.O.) | |
| Except for all the beer cans and | |
| the | |
| barbecue, it was. | |
| BUBBA | |
| Y'know, I bet there's shrimp all in | |
| these waters. They tell me these | |
| Vietnams is good shrimp. You know, | |
| after we win this war, and we take | |
| over everything we can get American | |
| shrimpers to come on here and | |
| shrimp | |
| these waters. We'll just shrimp all | |
| the time, man. So much shrimp, why, | |
| you wouldn't believe it. | |
| Lieutenant DAN TAYLOR steps out of a tent. Shirtless, he | |
| holds a roll of toilet paper in his hand. | |
| LT. DAN | |
| You must be my F.N.G.'s. | |
| BUBBA AND FORREST | |
| Morning', sir! | |
| 58. | |
| LT. DAN | |
| Ho! Get your hands down. Do not | |
| salute | |
| me. There are goddamned snipers all | |
| around this area who would love to | |
| grease an officer. I'm Lieutenant | |
| Dan Taylor. Welcome to Fourth | |
| Platoon. | |
| Lt. Dan looks at Bubba. | |
| LT. DAN | |
| What's wrong with your lips? | |
| BUBBA | |
| I was born with big gums, sir. | |
| LT. DAN | |
| Yeah, well, you better tuck that | |
| in. | |
| Gonna get that caught on a trip | |
| wire. | |
| Where you boys from in the world? | |
| BUBBA & FORREST | |
| Alabama, sir! | |
| LT. DAN | |
| You twins? | |
| Forrest and Bubba look at each other oddly, they don't get | |
| the joke. | |
| FORREST | |
| No, we are not relations, sir. | |
| LT. DAN | |
| Look, it's pretty basic here. | |
| Lt. Dan starts to walk. Bubba and Forrest grab their gear | |
| and follow him. | |
| LT. DAN | |
| You stick with me, you learn from | |
| the guys who been in country | |
| awhile, | |
| you'll be right. There is one item | |
| of G.I. gear that can be the | |
| difference between a live grunt and | |
| a dead grunt. | |
| 59. | |
| Lt. Dan stops and looks at the boys. | |
| LT. DAN | |
| Socks, cushion, sole, O.D. green. | |
| Try and keep your feet dry when | |
| we're | |
| out humpin'. I want you boys to | |
| remember to change your socks | |
| wherever | |
| we stop. The Mekong will eat a | |
| grunt's | |
| feet right off his legs. | |
| Lt. Dan steps over to a large black soldier named SERGEANT | |
| SIMS. | |
| LT. DAN | |
| Sergeant Sims! Goddamnit, where is | |
| that sling-rope I told you to | |
| order. | |
| SGT. SIMS | |
| I put in requisitions at Battalion. | |
| LT. DAN | |
| Yeah, yeah, yeah, well you call | |
| those | |
| sonabitches again, call them again | |
| and again and again. I don't care | |
| how much it takes... | |
| FORREST (V.O.) | |
| Lt. Dan sure knew his stuff. I felt | |
| real lucky he was my lieutenant. He | |
| was from a long, great military | |
| tradition. Somebody in his family | |
| had fought and died in every single | |
| American war. | |
| 65 EXT. VALLEY FORGE/THE REVOLUTIONARY WAR - DAY (1778) 65 | |
| A distant relative of Lt. Dan's, wearing a revolutionary | |
| war | |
| uniform, falls dead in the snow. | |
| 66 EXT. GETTYSBURG/THE CIVIL WAR - DAY (1863) 66 | |
| Another relative, wearing a civil war uniform and bearing a | |
| 60. | |
| striking resemblance to Lt. Dan, falls down dead. | |
| 67 EXT. NORMANDY/WORLD WAR II - DAY (1944) 67 | |
| Another relative, wearing a World War II, falls down dead | |
| on | |
| the beach at Normandy. | |
| 68 EXT. VETNAM/MEKONG DELTA/FIREBASE - DAY (1967) 68 | |
| LT. DAN | |
| Goddamnit, kick some ass! | |
| SGT. SIMS | |
| I'm on it, Lieutenant. | |
| LT. DAN | |
| Get on it! | |
| Lt. Dan steps back up to Bubba and Forrest. | |
| FORREST (V.O.) | |
| I guess you could say he had a lot | |
| to live up to. | |
| Lt. Dan walks along the walkway and Bubba and Forrest | |
| follow. | |
| LT. DAN | |
| So, you boys are from Arkansas, | |
| huh? | |
| Well, I've been through there. | |
| Little | |
| Rock's a fine town. Now, go shake | |
| down your gear, see the platoon | |
| sergeant, draw what you need for | |
| the | |
| field. | |
| Lt. Dan steps inside the latrine, still holding the roll of | |
| toilet paper. | |
| LT. DAN | |
| If you boys are hungry, we got | |
| steaks | |
| burnin' right here. | |
| Lt. Dan sits down out of sight in the latrine, then stands | |
| 61. | |
| up, looking at the boys. | |
| LT. DAN | |
| Two standing orders in this | |
| platoon. | |
| One, take good care of your feet. | |
| Two, try not to do anything stupid, | |
| like gettin' yourself killed. | |
| Lt. Dan sits back down out of sight in the latrine. Bubba | |
| and Forrest look at each other. | |
| FORREST | |
| I sure hope I don't let him down. | |
| 69 EXT. RICE FIELD - ANOTHER DAY 69 | |
| Forrest, Bubba, and other soldiers in the Fourth Platoon | |
| walk across the rice field. Some Vietnamese rice farmers | |
| are | |
| working as the soldiers walk past. | |
| FORREST (V.O.) | |
| I got to see a lot of countryside. | |
| We would take these real long | |
| walks. | |
| 70 EXT. JUNGLE/DIRT ROAD - ANOTHER DAY 70 | |
| Forrest's unit walks along a dirt road. | |
| SONG | |
| And we were always lookin' for this | |
| guy named Charlie. I can't get no | |
| relief. | |
| Suddenly Lt. Dan holds up his fist, a signal for the unit | |
| to | |
| stop. He motions for them to get down. | |
| LT. DAN | |
| Hold it up! | |
| SGT. SIMS | |
| Hold up, boys! | |
| 62. | |
| Forrest gets down and looks around. | |
| FORREST (V.O.) | |
| It wasn't always fun. Lt. Dan | |
| always | |
| gettin' these funny feelings about | |
| a | |
| rock or a trail, or the road, so | |
| he'd tell you to get down, shut up! | |
| LT. DAN | |
| Get down! Shut up! | |
| FORREST (V.O.) | |
| So we did. | |
| Lt. Dan motions for the lead soldier to get down. Lt. Dan | |
| crouches down. Lt. Dan looks at the soldiers and points to | |
| his eyes. He lies down on the dirt road and crawls. | |
| FORREST (V.O.) | |
| Now, I don't know much about | |
| anything, | |
| but I think some of American's best | |
| young men served in this war. There | |
| was Dallas, from Phoenix. | |
| Cleveland, | |
| he was from Detroit. | |
| CLEVELAND | |
| Hey, Tex. Hey, Tex. Man, what the | |
| hell's going on? | |
| Tex holds up his hand, motioning that he doesn't know. | |
| FORREST (V.O.) | |
| And Tex was, well, I don't remember | |
| where Tex come from. | |
| LT. DAN | |
| Ah, nothin'. Fourth Platoon, on | |
| your | |
| feet! Still got ten clicks to go to | |
| that river. | |
| Forrest stands up and begins to walk with the platoon. | |
| LT. DAN | |
| All right, move out! Comin' out. | |
| Look alive out there. | |
| 63. | |
| FORREST (V.O.) | |
| The good thing about Vietnam is | |
| there | |
| was always someplace to go. | |
| LT. DAN (V.O.) | |
| Fire in the hole! | |
| 71 EXT. VIETNAM/VIET CONG FOXHOLE - ANOTHER DAY 71 | |
| Lt. Dan walks away as Forrest rushes over, aims two pistols | |
| in the hole, then climbs inside. | |
| FORREST (V.O.) | |
| And there was always something to | |
| do. | |
| LT. DAN | |
| Mount 'em up. | |
| SGT. SIMS | |
| Spread out! Cover his back. | |
| ANOTHER DAY - The platoon walks through a rice paddy, waits | |
| deep in water. It begins to rain. | |
| FORREST (V.O.) | |
| One day it started raining, and it | |
| didn't quit for four months. | |
| 72 EXT. JUNGLE 72 | |
| The rain pours down on Forrest and Bubba as they sit in a | |
| foxhole. | |
| FORREST (V.O.) | |
| We been through every kind of rain | |
| there is. Little bitty stingin' | |
| rain... | |
| ANOTHER DAY - The platoon walks through the jungle as rain | |
| pours down on them. | |
| FORREST (V.O.) | |
| ...and big ol' fat rain. | |
| 64. | |
| ANOTHER DAY - The platoon shelters themselves as they walk | |
| through the wind and rain. | |
| FORREST (V.O.) | |
| Rain that flew in sideways. | |
| ANOTHER DAY - Forrest and other soldiers walk chest-deep | |
| through a river. The rain splatters back up from the river, | |
| hitting the soldiers. Forrest holds his hand up to protect | |
| his face. | |
| FORREST (V.O.) | |
| And sometimes rain even seemed to | |
| come straight up from underneath. | |
| 73 EXT. ENCAMPMENT - NIGHT 73 | |
| The rain pours down on the men of the platoon as they sit | |
| in | |
| a camp. Bubba sits down next to Forrest. | |
| FORREST (V.O.) | |
| Shoot, it even rained at night. | |
| Bubba leans his back up against Forrest's back. | |
| BUBBA | |
| Hey Forrest... | |
| FORREST | |
| Hey Bubba... | |
| BUBBA | |
| I'm gonna lean up against you, you | |
| just lean right back against me. | |
| BUBBA | |
| This way, we don't have to sleep | |
| with our heads in the mud. You know | |
| why we a good partnership, Forrest? | |
| 'Cause we be watchin' out for one | |
| another. Like brothers and stuff. | |
| Hey, Forrest, there's somethin' | |
| I've | |
| been thinkin' about. I got a very | |
| important question to ask you. How | |
| would you like to go into the | |
| 65. | |
| shrimpin' business with me? | |
| FORREST | |
| Okay. | |
| BUBBA | |
| Man, I tell you what, I got it all | |
| figured out, too. So many pounds of | |
| shrimp to pay off the boat, so many | |
| pounds for gas, we can just live | |
| right on the boat. We ain't got to | |
| pay no rent. I'll be the captain; | |
| we | |
| can just work it together. Split | |
| everything right down the middle. | |
| Man, I'm tellin' you, fifty-fifty. | |
| And, hey, Forrest, all the shrimp | |
| you can get. | |
| FORREST | |
| That's a fine idea. | |
| FORREST (V.O.) | |
| Bubba did have a fine idea. | |
| ANOTHER NIGHT - Some soldiers patrol the area. Forrest lies | |
| in a pup tent and writes a litter as the rain pours down. | |
| He | |
| uses his flashlight to see. | |
| FORREST (V.O.) | |
| I even wrote Jenny and told her all | |
| about it. I sent her letters. Not | |
| every day, but almost. I told her | |
| what I was doin' and asked her what | |
| she was doing, and I told her how I | |
| thought about her always. | |
| 74 EXT. JENNY'S GRANDMOTHER'S TRAILER - DAY 74 | |
| Jenny steps out of the trailer with a backpack and a | |
| guitar. | |
| She hugs a hippie guy, then jumps into the back of a | |
| Volkswagen bus with another guy. | |
| FORREST (V.O.) | |
| And how I was looking forward to | |
| getting a letter from her just as | |
| 66. | |
| soon as she had the time I'd always | |
| let her know that I was okay. | |
| 75 EXT. VIETNAM - NIGHT 75 | |
| Forrest writes a letter in his tent. | |
| FORREST (V.O.) | |
| Then I'd sign each letter, "Love, | |
| Forrest Gump." | |
| 76 EXT. JUNGLE - DAY 76 | |
| The Fourth Platoon makes their way through the jungle and | |
| rain. | |
| SONG | |
| "There's something happenin' here. | |
| What it is ain't exactly clear. | |
| There's a man with a gun over | |
| there, | |
| telling' me I got to beware." | |
| FORREST (V.O.) | |
| This one day, we was out walking, | |
| like always, and then, just like | |
| that, somebody turned off the rain | |
| and the sun come out. | |
| Forrest looks up as the sun suddenly appears. Forrest's | |
| platoon is attacked. A bullet kills the soldier standing | |
| next to Forrest. Bombs explode all around as the soldiers | |
| scramble to the ground. | |
| LT. DAN | |
| Take cover! | |
| Forrest crawls over a berm as bullets fly overhead and | |
| explodeall around him. Forrest rolls over and pulls his | |
| pack off Lt. Dan lies next to Forrest. | |
| LT. DAN | |
| Get that pig up here, goddammit! | |
| BUBBA | |
| Forrest, you okay? | |
| Two soldiers with a machine gun fire into the jungle. Lt. | |
| 67. | |
| Dan shouts into the radio. Forrest begins firing his weapon | |
| into the jungle. | |
| LT. DAN | |
| ...Strongarm, please be advised... | |
| Two soldiers pull a wounded soldier into the jungle. | |
| BUBBA | |
| Medic, we got a man down! | |
| LT. DAN | |
| Strongarm, this is Leg Lima 6, | |
| over! | |
| LT. DAN | |
| Roger, Strongarm, be advised we | |
| have | |
| incoming from the treeline at point | |
| blue plus two. A.K's and rockets... | |
| The machine gunner fires into the treeline. Another soldier | |
| helps him with the ammunition. The machine gun jams. | |
| SOLDIER WITH BIG MACHINE GUN | |
| Misfire! Misfire! | |
| LT. DAN | |
| Goddammit, Mac! Get that pig | |
| unfucked | |
| and get it in the treeline! | |
| A rocket explodes on the machine gunner and the other | |
| soldier, killing them. Forrest looks down and covers his | |
| head as rockets explodes all around him. | |
| LT. DAN | |
| (into radio) | |
| Ah, Jesus! My unit is down hard and | |
| hurting! 6 pulling back to the blue | |
| line, Leg Lima 6 out! Pull back! | |
| Pull back! | |
| BUBBA | |
| Forrest! Run! Run, Forrest! | |
| LT. DAN | |
| Pull back! | |
| BUBBA | |
| Forrest! Run! Run, Forrest! Run! | |
| 68. | |
| Run! | |
| SGT. SIMS | |
| Pull back! Let's go! | |
| Lt. Dan gets up and grabs Forrest by the collar. | |
| LT. DAN | |
| Run, goddammit, run! | |
| The platoon gets up and runs toward the cover of the | |
| jungle. | |
| Rockets explode all around the field. Forrest runs into the | |
| jungle. The soldiers run through the jungle as bullets | |
| explode all around. A soldier is blown up by a rocket. A | |
| soldier runs through the jungle. Forrest runs past the | |
| soldier. | |
| SOLDIER | |
| Medic! Medic! Jesus, can I get a | |
| medic? | |
| FORREST (V.O.) | |
| I ran and ran, just like Jenny told | |
| me to. | |
| Rockets explode in the jungle as Forrest runs out toward a | |
| clearing. | |
| FORREST (V.O.) | |
| I ran so far and so fast that | |
| pretty | |
| soon I was all by myself, which was | |
| a bad thing. | |
| FORREST | |
| Bubba! | |
| Forrest turns around, then runs back into the jungle. | |
| FORREST (V.O.) | |
| Bubba was my best good friend. I | |
| had | |
| to make sure he was okay. | |
| Rockets explode in the jungle. Forrest runs back into the | |
| jungle to look for Bubba. | |
| 69. | |
| 1ST SOLDIER | |
| Any friendlies out there? | |
| 2ND SOLDIER | |
| Yeah, I've got three over there. | |
| 1ST SOLDIER | |
| Where the hell are you? | |
| Forrest stops and aims his weapon. He looks around, scared. | |
| FORREST | |
| Bubba? | |
| Something moves. Forrest turns and looks, then rushes over. | |
| FORREST (V.O.) | |
| And on my way back to find Bubba, | |
| well, there was this boy laying on | |
| the ground. | |
| FORREST | |
| Tex! | |
| Tex lies on the ground, his face distorted with pain. | |
| FORREST | |
| Okay. | |
| Forrest reaches down and picks up Tex from the ground. | |
| Forrest pulls Tex up over his shoulder, then runs. | |
| FORREST (V.O.) | |
| I couldn't just let him lay there | |
| all alone, scared the way he was, | |
| so | |
| I grabbed him up and run him out of | |
| there. | |
| Forrest carries Tex out of the jungle and into the | |
| clearing. | |
| He sets Tex down on the bank of a river, and runs back into | |
| the jungle. | |
| FORREST (V.O.) | |
| And every time I went back looking | |
| for Bubba, somebody else was | |
| saying, | |
| "Help me, Forrest. Help me." | |
| Forrest drops another wounded soldier down at the bank of | |
| 70. | |
| the river next to Tex, and then runs back toward the | |
| jungle. | |
| Forrest grabs the third wounded soldier up from the ground | |
| and turns him over. It is DALLAS. | |
| DALLAS | |
| Can't hear... Can't hear... | |
| Dallas is dropped off at the bank next to the other wounded | |
| soldiers. Forrest turns to go back to the jungle. | |
| 2ND WOUNDED SOLDIER | |
| No sweat, man. Just lay back. | |
| You're | |
| gonna be okay. You're gonna be | |
| okay. | |
| FORREST (V.O.) | |
| I started to get scared that I | |
| might | |
| never find Bubba. | |
| STRONGARM | |
| (over radio) | |
| You're danger close for crack air, | |
| over. | |
| Forrest trips over something and falls to the ground. He | |
| looks up to find two bloody legs. It is Lt. Dan, who is | |
| wounded. He speaks into the radio. | |
| LT. DAN | |
| (into radio) | |
| Roger, Strongarm, I know my | |
| position | |
| is danger close! We got Charlie all | |
| over this area! I gotta have those | |
| fast movers in here now! Over! | |
| STRONGARM | |
| (over radio) | |
| Six, Strongarm, we want... | |
| FORREST | |
| Lieutenant Dan, Coleman's dead! | |
| LT. DAN | |
| 71. | |
| I know he's dead! My whole | |
| goddamned | |
| platoon is wiped out! | |
| STRONGARM | |
| (over radio) | |
| Leg Lima 6, Leg Lima 6, how copy | |
| you | |
| this transmission? Over. | |
| Forrest tries to pick up Lt. Dan, who tries to push Forrest | |
| away. | |
| LT. DAN | |
| Goddammit! What are you doing? | |
| Leave | |
| me here! Get away. Just leave me | |
| here! Get out! | |
| Forrest pulls Lt. Dan over his shoulder and runs through | |
| the | |
| jungle. | |
| STRONGARM | |
| Leg Lima 6, Leg Lima 6. This is | |
| Strongarm, be advised, your fast | |
| movers are inbound at this time, | |
| over. | |
| FORREST (V.O.) | |
| Then it felt like something just | |
| jumped up and bit me. | |
| Forrest falls down. | |
| FORREST | |
| Ah, something bit me! | |
| Forrest gets up as Lt. Dan yells. Lt. Dan fires his pistol | |
| at the unseen enemy as Forrest pulls him away. | |
| LT. DAN | |
| You dink son-of-a-bitch! I can't | |
| leave the platoon! I told you to | |
| leave me there, Gump. Forget about | |
| me. Get yourself out! Did you hear | |
| what I said! Goddammit, pull me | |
| down! | |
| Get your ass out of here! | |
| 72. | |
| Forrest drops Lt. Dan down at the bank, next to the other | |
| wounded soldiers. Lt. Dan grabs Forrest by the shirt, | |
| angry. | |
| LT. DAN | |
| I didn't ask you to pull me out of | |
| there, goddamn you! What the hell | |
| do | |
| you think you're going? | |
| FORREST | |
| To get Bubba. | |
| LT. DAN | |
| I got an air strike inbound right | |
| now. They're gonna nape the whole | |
| area. | |
| Forrest gets up and runs as Lt. Dan yells after him. | |
| LT. DAN | |
| Gump, you stay here, goddammit! | |
| That's | |
| an order! | |
| FORREST | |
| I gotta find Bubba! | |
| Forrest runs through the jungle searching for Bubba. | |
| Forrest | |
| slows down and looks around carefully. | |
| BUBBA | |
| Forrest... | |
| FORREST | |
| Bubba... | |
| Bubba looks up as he lies on the ground. | |
| BUBBA | |
| I'm okay. | |
| Bubba holds a palm frond over his wound. Forrest removes | |
| the | |
| frond to look at the wound. Bubba's chest has been blown | |
| open. | |
| 73. | |
| FORREST | |
| Oh, Bubba, no... | |
| BUBBA | |
| Naw, I'm gonna be all right. | |
| Forrest looks around as he hear the voices of the enemy. | |
| FORREST | |
| Come on. Come on. Come here... | |
| Forrest carries Bubba through the jungle. The sound of | |
| approaching planes fills the air. | |
| BUBBA | |
| I'm okay, Forrest. I'm all right. | |
| The roar of approaching planes is deafening. Forrest looks | |
| up in fear. Three planes dive down toward the jungle. They | |
| fire napalm as the jungle explodes with massive fireballs. | |
| Forrest runs, carrying Bubba. The fireballs explode behind | |
| him. The entire jungle area is in flames as Forrest runs. | |
| Forrest carries Bubba to the bank of the river. Lt. Dan and | |
| the other wounded soldiers wait for a rescue helicopter. | |
| LT. DAN | |
| Helo's inbound. Pop smoke, get it | |
| up | |
| there! | |
| FORREST (V.O.) | |
| If I'd a known this was gonna be | |
| the | |
| last time me and Bubba was gonna | |
| talk, I'd a thought of something | |
| better to say. | |
| Forrest looks down at Bubba. A soldier releases a smoke | |
| canister. | |
| FORREST | |
| Hey, Bubba... | |
| BUBBA | |
| 74. | |
| Hey, Forrest. Forrest, why'd this | |
| happen? | |
| FORREST | |
| You got shot. | |
| FORREST (V.O.) | |
| Then Bubba said something I won't | |
| even forget. | |
| BUBBA | |
| I wanna go home. | |
| FORREST (V.O.) | |
| Bubba was my best good friend. And | |
| even I know that ain't something | |
| you | |
| can find just around the corner. | |
| Bubba was gonna be a shrimpin' boat | |
| captain, but instead he died right | |
| there by that river in Vietnam. | |
| The helicopter fly overhead. | |
| 77 EXT. BUS STATION - DAY 77 | |
| Forrest continues with his life story. A MAN is sitting | |
| next | |
| to Forrest on the bus bench. | |
| FORREST | |
| That's all I have to say about | |
| that. | |
| MAN | |
| It was a bullet, wasn't it? | |
| FORREST | |
| A bullet? | |
| MAN | |
| That jumped up and bit you. | |
| FORREST | |
| Oh, yes sir. Bit me directly in the | |
| buttocks. They said it was a | |
| million | |
| dollar wound, but the Army must | |
| keep | |
| that money, 'cause I still ain't | |
| 75. | |
| seen a nickel of that million | |
| dollars. | |
| The only good thing about being | |
| wounded in the buttocks... | |
| 78 FLASHBACK - INT. US. ARMY HOSPITAL/VIETNAM - DAY 78 | |
| Forrest holds two ice cream cones in his hands as he is | |
| wheeled on a rolling stretcher. | |
| FORREST (V.O.) | |
| ...is the ice cream. They gave me | |
| all the ice cream I could eat. And | |
| guess what. A good friend of mine | |
| was in the bed right next door. | |
| Forrest, lying on his stomach, is wheeled to his bed. | |
| Forrest's butt sticks up and is bandaged. Forrest looks at | |
| Lt. Dan lying on the bed. Forrest holds out an ice cream | |
| cone for Lt. Dan. | |
| FORREST | |
| Lieutenant Dan, I got you some ice | |
| cream. Lieutenant Dan, ice cream. | |
| Lt. Dan, annoyed, takes the ice cream cone and drops it | |
| into | |
| his bed pan. Forrest slides himself onto his bed. A NURSE | |
| reaches toward Lt. Dan. | |
| MALE NURSE | |
| It's time for your bath, | |
| Lieutenant. | |
| The male nurse places Lt. Dan's hands on a pull-up bar, | |
| then | |
| picks up Lt. Dan, whose legs have been amputated. | |
| MALE NURSE | |
| Harper... | |
| Another nurse wheels the rolling bed under Lt. Dan. The | |
| male | |
| 76. | |
| nurse sets Lt. Dan down on the rolling bed. Forrest looks | |
| up | |
| at Lt. Dan as he is wheeled away. A soldier reads the names | |
| from a pile of letters. | |
| SOLDIER | |
| Cooper, Larson, Webster, Gump, | |
| Gump... | |
| FORREST | |
| I'm Forrest Gump. | |
| The soldier hands Forrest a large pile of letters. | |
| "Undeliverable as addressed. No forwarding order on file." | |
| Jenny Curran Rural Route 2 Greenbow, Ala. 39902 Forrest | |
| looks | |
| down at the pile of letters. | |
| 79 INT. ARMY HOSPITAL/VIETNAM - DAY 79 | |
| A group of wounded soldiers hang out in the hospital, | |
| recuperating. Forrest sits and watches "Gomer Pyle" on the | |
| television. | |
| SOLDIER | |
| Gump, how can you watch that stupid | |
| shit? Turn it off! | |
| ANNOUNCER | |
| From the D.M.Z. to the Delta, you | |
| are tuned to the American Forces | |
| Vietnam Network. This is Channel 6, | |
| Saigon. | |
| Forrest turns the TV off and he is hit on the back of the | |
| head by a ping-pong ball. | |
| SOLDIER | |
| Good catch, Gump. You know how to | |
| play this? | |
| Forrest shakes his head. | |
| 77. | |
| SOLDIER | |
| Come on, let me show you. Here. | |
| The wounded ping-pong player hands Forrest a paddle. | |
| Forrest | |
| and the wounded ping-pong player step toward the ping-pong | |
| table. | |
| SOLDIER | |
| Now the secret to this game is, no | |
| matter what happens, never, never | |
| take your eye off the ball. | |
| He holds the ball up and moves it back and forth. Forrest | |
| keeps his eyes on the ball. | |
| SOLDIER | |
| All right... | |
| The wounded ping-pong player tosses the ball down onto the | |
| table. Forrest begins to hit the ball back to the other | |
| player. | |
| FORREST (V.O.) | |
| For some reason, ping pong came | |
| very | |
| natural to me. | |
| SOLDIER | |
| See, any idiot can play. | |
| FORREST (V.O.) | |
| So I started playing it all the | |
| time. | |
| Forrest hits ping-pong balls. | |
| FORREST (V.O.) | |
| I played ping-pong even when I | |
| didn't | |
| have anyone to play ping-pong with. | |
| The balls at land in a bed pan positioned on a chair. A | |
| group of wounded soldier sit and watch Forrest play with | |
| himself. | |
| 78. | |
| Forrest hits two balls at a time against the opposite side | |
| of the table. | |
| FORREST (V.O.) | |
| The hospital's people said it made | |
| me look like a duck in water, | |
| whatever that means. Even | |
| Lieutenant Dan would come and watch | |
| me play. | |
| Lt. Dan stares out the window. Forrest lies in his bed | |
| asleep. | |
| A hand reaches and grabs him. | |
| FORREST (V.O.) | |
| I played ping-pong so much, I even | |
| played it in my sleep. | |
| Lt. Dan pulls Forrest to the floor, and holds Forrest down. | |
| LT. DAN | |
| Now, you listen to me. We all have | |
| a | |
| destiny. Nothing just happens, it's | |
| all part of a plan. I should have | |
| died out there with my men! But | |
| now, | |
| I'm nothing but a goddamned | |
| cripple! | |
| A legless freak. Look! Look! Look | |
| at | |
| me! Do you see that? Do you know | |
| what it's like not to be able to | |
| use | |
| your legs? | |
| FORREST | |
| Well... Yes, sir, I do. | |
| LT. DAN | |
| Did you hear what I said? You | |
| cheated me. I had a destiny. I was | |
| supposed to die in the field! With | |
| honor! That was my destiny! And you | |
| cheated me out of it! You | |
| understand what I'm saying, Gump? | |
| This wasn't supposed to happen. Not | |
| to me. I had a destiny. I was | |
| Lieutenant Dan Tyler. | |
| FORREST | |
| Yo-You're still Lieutenant Dan. | |
| 79. | |
| Lt. Dan looks at Forrest, lets go of Forrest and rolls. | |
| Lt. Dan sits up as Forrest looks at him. | |
| LT. DAN | |
| Look at me. What am I gonna do now? | |
| What am I gonna do now? | |
| 80 INT. REC ROOM/VIETNAM HOSPITAL - ANOTHER DAY 80 | |
| Forrest plays ping-pong by himself. An OFFICER walks up to | |
| him. | |
| OFFICER | |
| P.F.C. Gump? | |
| Forrest immediately grabs the ball and places it down on | |
| the | |
| table under its paddle. Stands at attention. | |
| FORREST | |
| Yes, sir! | |
| OFFICER | |
| As you were. | |
| The officer holds up an envelope. | |
| OFFICER | |
| Son, you've been awarded the Medal | |
| of Honor. | |
| 81 INT. VIETNAM HOSPITAL WARD 81 | |
| Forrest steps up to Lt. Dan's bed. | |
| FORREST | |
| Guess what, Lieutenant Dan, they | |
| want to give me a me... | |
| Forrest stops in mid-sentence as he looks down at the bed. | |
| A | |
| heavily bandaged soldier with bloodstains lies there. | |
| Forrest | |
| turns and look at the NURSE. | |
| 80. | |
| FORREST | |
| Ma'am, what'd they do with | |
| Lieutenant | |
| Dan? | |
| NURSE | |
| They sent him home. | |
| FORREST (V.O.) | |
| Two weeks later, I left Vietnam. | |
| 82 INT. BARBER SHOP/GREENBOW - DAY 82 | |
| ANCHORMAN | |
| (on T.V.) | |
| The ceremony was kicked off with a | |
| candid speech by the President | |
| regarding the need for further | |
| escalation of the war in Vietnam. | |
| President Johnson awarded four | |
| Medals | |
| of Honor to men from each of the | |
| Armed Services. | |
| The television reveals Forrest as he is awarded the Medal | |
| of | |
| Honor by President Johnson. | |
| PRESIDENT JOHNSON | |
| America owes you a debt of | |
| gratitude, | |
| son. | |
| Color footage revealing President Johnson as he places the | |
| award around Forrest's neck and shakes hands. | |
| PRESIDENT JOHNSON | |
| I understand you were wounded. | |
| Where | |
| were you hit? | |
| FORREST | |
| In the buttocks, sir. | |
| PRESIDENT JOHNSON | |
| Oh, that must be a sight. | |
| President Johnson leans and whispers into Forrest's ear. | |
| PRESIDENT JOHNSON | |
| 81. | |
| I'd kinda like to see that. | |
| 83 INT. BARBER SHOP 83 | |
| The television revealing Forrest as he drops his pants, | |
| bends | |
| over and shows the bullet wound on his bare buttocks. | |
| President Johnson looks down and smiles. The three men in | |
| the barber shop look up in disbelief. Mrs. Gump looks up in | |
| shock. | |
| PRESIDENT JOHNSON | |
| Goddamn, son. | |
| 84 EXT. LINCOLN MEMORIAL - DAY 84 | |
| Forrest walks by the Lincoln Memorial. A fence surrounds | |
| the | |
| Memorial, as well as armed military guards. | |
| FORREST (V.O.) | |
| After that, Momma went to the hotel | |
| to lay down, so I went out for a | |
| walk to see our national capital. | |
| ISABEL | |
| Hilary, all right, I've got the | |
| vets, | |
| what do you want me to do with | |
| them? | |
| HILARY | |
| What are you doing here so late? | |
| Forrest takes a photo of the memorial as a woman named | |
| Hilary | |
| gathers together some veterans against the Vietnam War. | |
| HILARY | |
| We've been waiting for you for half | |
| an hour, so just get them in a | |
| line, | |
| will you. Hey, hey, come on, | |
| pictures | |
| later. You look great. Oh come on, | |
| 82. | |
| get in this line, come on, come on | |
| right in line. Come on, let him | |
| here, | |
| let him in here. | |
| Hilary grabs Forrest and puts him in the line with the | |
| other | |
| vets against the war. | |
| FORREST (V.O.) | |
| It's a good thing Momma was | |
| resting, | |
| 'cause the street was awful crowded | |
| with people looking at all the | |
| statues | |
| and monuments. And some of them | |
| people | |
| were loud and pushy. | |
| Hilary leads the line of vets toward the large anti-Vietnam | |
| War rally. | |
| HILARY | |
| Okay, follow me! Come on. | |
| The group of vets walk as Forrest tries to take another | |
| picture. A vet behind him pushes him along. | |
| HILARY | |
| Let's move it out. | |
| VET | |
| Hey, buddy, come on. We could use | |
| your help. | |
| Forrest walks in the line. A banner reads "Veterans against | |
| the War in Vietnam." | |
| FORREST (V.O.) | |
| Everywhere I went, I had to stand | |
| in | |
| line. | |
| HILARY | |
| Follow me, let's go! | |
| Hilary leads the vets through a crowd of people outside the | |
| 83. | |
| rally. Another woman, named Isabel, leads the vets toward | |
| the back of a stage. | |
| ISABEL | |
| All right, come on, guys. | |
| HILARY | |
| Stand here. | |
| VET | |
| Hey, you're a good man for doin' | |
| this. Good! | |
| FORREST | |
| Okay. | |
| A man, wearing an American flag shirt, stands on the stage. | |
| He is anti-war activist ABBIE HOFFMAN. | |
| ABBIE HOFFMAN | |
| We must declare to that fucking | |
| impostor in the White House -- | |
| Johnson. We ain't going to work on | |
| your farm no more! Yeah! | |
| FORREST (V.O.) | |
| There was this man, giving a little | |
| talk. And for some reason, he was | |
| wearing an American flag for a | |
| shirt... | |
| ABBIE HOFFMAN | |
| Now, I'm going to bring up some | |
| soldiers that are going to talk | |
| about | |
| the war, man... | |
| FORREST (V.O.) | |
| ...and he liked to say the "F" | |
| word. | |
| A lot. "F" this and "F" that. And | |
| every time... | |
| ABBIE HOFFMAN | |
| ...that war has come home, and we | |
| have to stop these politicians... | |
| FORREST (V.O.) | |
| ...he said "F" word, people, for | |
| some reason, well, they'd cheer. | |
| ABBIE HOFFMAN | |
| 84. | |
| ...these guys just told Lyndon | |
| Johnson | |
| where to stick this fucking war! | |
| Yeah! | |
| Forrest looks up at the cheering crowd. Abbie turns and | |
| motions for Forrest to come up on the stage. | |
| ABBIE HOFFMAN | |
| Come on, man. Come up here, man. | |
| HILARY | |
| Come on. Come on. Yeah, you! | |
| Hilary pulls Forrest up onto the stage. | |
| HILARY | |
| Come on, get up there. Come on. | |
| Move, | |
| move. Let's go! Let's go. | |
| The other vets follow Forrest pushes onto the stage and | |
| push | |
| him toward the microphones. | |
| VET | |
| Come on, go. You can do it. Just | |
| get | |
| up there. Go on. That's it. | |
| Thousands of cheering protesters stand around the | |
| Washington | |
| Monument. Forrest looks at the crowd. Abbie Hoffmann steps | |
| up to Forrest. | |
| ABBIE HOFFMAN | |
| Tell us a little bit about the war, | |
| man. | |
| FORREST | |
| The war in Vietnam? | |
| ABBIE HOFFMAN | |
| The war in Viet-fucking-nam! | |
| Abbie raises his fist as the crowd cheers wildly. | |
| FORREST | |
| 85. | |
| Well... | |
| FORREST (V.O.) | |
| There was only one thing I could | |
| say | |
| about the war in Vietnam. | |
| FORREST | |
| ...there was only one thing I could | |
| say about the war in Vietnam. | |
| Forrest looks at the crowd as he speaks. A policeman looks | |
| around as he sneaks over to the audio circuit board. | |
| FORREST | |
| In Vietnam war... | |
| The policeman pulls the patch cords out of the audio board. | |
| Forrest's amplified voice becomes inaudible. Forrest | |
| continues | |
| to speak into the microphone, even though no one can hear | |
| what he is saying. Hilary looks over and notices the | |
| policeman. Hilary rushes over toward the audio board, | |
| pushes | |
| the policeman away and grabs his night stick. Another | |
| protester grabs the policeman and pulls him away. | |
| POLICEMAN | |
| Hey, what the hell are you doing? | |
| HILARY | |
| I'll beat your head in, you | |
| goddamned | |
| oinker! | |
| Isabel, Hilary and another protester try to plug the | |
| tangled | |
| mess of wires back into the audio board. | |
| ISABEL | |
| Christ, what'd they do with this? | |
| Forrest continues to speak into the microphone. The crowd | |
| 86. | |
| grows restless. | |
| CROWD | |
| We can't hear you! We can't hear | |
| anything! | |
| HILARY | |
| This one! This one! Give me that! | |
| Hilary plugs in the right patch cord. | |
| HILARY | |
| That's it. | |
| FORREST | |
| ...and that's all I have to say | |
| about | |
| that. | |
| Forrest looks at the massive crowd. They are silent. Abbie | |
| Hoffman steps over to Forrest and pats him on the shoulder. | |
| ABBIE HOFFMAN | |
| That's so right on, man. You said | |
| it | |
| all. What's your name, man? | |
| FORREST | |
| My name is Forrest Gump. Forrest | |
| Gump. | |
| ABBIE HOFFMAN | |
| Forrest Gump! | |
| Abbie raises his fist into the air. Abbie steps away from | |
| Forrest. The crowd cheers. | |
| CROWD | |
| Forrest Gump! | |
| JENNY | |
| (screaming) | |
| Forrest! Forrest! | |
| Jenny wades out into the reflection pool and waves her hand | |
| into the air. Forrest recognizes her. | |
| FORREST | |
| Jenny! | |
| 87. | |
| Forrest rushes off the stage as Jenny makes her way out | |
| into | |
| the pool. | |
| JENNY | |
| Forrest! | |
| Forrest jumps down into the crowd and runs. Jenny smiles as | |
| she tries to run through the water. The crowd parts as | |
| Forrest | |
| runs into the pool. Jenny rushes toward him. | |
| JENNY | |
| Hey! Hey! | |
| The massive crowd cheers for the embracing couple in the | |
| pool. | |
| FORREST (V.O.) | |
| It was the happiest moment of my | |
| life. | |
| 85 EXT. WASHINGTON MONUMENT/PROTESTER'S ENCAMPMENT - NIGHT 85 | |
| Forrest and Jenny walk past the protesters who are camping | |
| out on the lawn. | |
| FORREST (V.O.) | |
| Jenny and me were just peas and | |
| carrots again. She showed me | |
| around, | |
| and even introduced me... | |
| 86 INT. BLACK PANTHER HEADQUARTERS/STOREFRONT, D.C. - NIGHT 86 | |
| Forrest stands at an open window and looks at the White | |
| House. | |
| FORREST (V.O.) | |
| ...to some of her new friends. | |
| A Black Panther, named RUBEN, steps over and pulls the | |
| shades | |
| down. | |
| 88. | |
| RUBEN | |
| Shut that blind, man. And get your | |
| white ass away from that window. | |
| Don't you know we in war here? | |
| Another Black Panther named MASAI grabs Forrest and pats | |
| him | |
| down. | |
| JENNY | |
| Hey man, he's cool. He's cool. He's | |
| one of us. He's one of us. | |
| MASAI | |
| Let me tell you about us. | |
| WESLEY | |
| Where the hell have you been? | |
| JENNY | |
| I ran into a friend. | |
| MASAI | |
| Our purpose here is to protect our | |
| black leaders from the racial | |
| onslaught of the pig who wishes to | |
| brutalize our black leaders, rape | |
| our women, and destroy our black | |
| communists. | |
| BLACK PANTHER | |
| Masai, phone. Talk to these guys. | |
| WESLEY | |
| Who's the baby killer? | |
| JENNY | |
| This is my good friend I told you | |
| about. This is Forrest Gump. | |
| Forrest, | |
| this is Wesley. Wesley and I live | |
| together in Berkeley, and he's the | |
| president of the Berkeley chapter | |
| of | |
| S.D.S. | |
| MASAI | |
| Let me tell you something else. | |
| WESLEY | |
| I want to talk to you. | |
| 89. | |
| JENNY | |
| Okay, but... | |
| WESLEY | |
| No. Now! Goddammit! | |
| MASAI | |
| We are here to offer protection and | |
| help for all of those who need our | |
| help, because we, the Black | |
| Panthers, | |
| are against the war in Vietnam. | |
| Yes, | |
| we are against any war where black | |
| soldiers are sent to the front line | |
| to die for a country that hates | |
| them. | |
| Yes, we are against any war where | |
| black soldiers go to fight and come | |
| to be brutalized and killed in | |
| their | |
| own communities as they sleep in | |
| their beds at night. Yes, we are | |
| against all these racists and | |
| imperial | |
| dog acts. | |
| JENNY | |
| You are a fucking asshole! | |
| Wesley hits Jenny across the face. Slow motion -- Jenny | |
| falls | |
| back. Slow motion -- Forrest steps forward with rage. | |
| Slow motion -- Wesley turns and looks at Forrest. Forrest | |
| tackles Wesley and slams him onto a table. Jenny turns and | |
| looks as Masai pulls out a gun. | |
| JENNY | |
| Forrest! Quit it! Quit it! Forrest! | |
| Stop it! | |
| Jenny rushes over to Forrest and pulls Forrest off Wesley. | |
| JENNY | |
| Stop it! | |
| Jenny tries to help Wesley as he moans on the floor. Wesley | |
| knocks Jenny's hand away. He gets up, holding his bloody | |
| 90. | |
| lip. | |
| WESLEY | |
| Oh, God. I shouldn't have brought | |
| you here. I should have known it | |
| was | |
| just gonna be some bullshit hassle. | |
| FORREST | |
| He should not be hitting you, | |
| Jenny. | |
| JENNY | |
| Come on, Forrest. | |
| Jenny steps out the door as Forrest picks up his hat. | |
| FORREST | |
| Sorry I had a fight in the middle | |
| of | |
| your Black Panther party. | |
| The group of Black Panthers glare at Forrest. Forrest turns | |
| and walks out the room. | |
| 87 EXT. WASHINGTON D.C. - NIGHT 87 | |
| Forrest and Jenny walk past the White House. Protesters | |
| hold | |
| a candlelight vigil behind them. | |
| JENNY | |
| He doesn't mean it when he does | |
| things | |
| like this. He doesn't. | |
| FORREST | |
| I would never hurt you, Jenny. | |
| JENNY | |
| I know you wouldn't, Forrest. | |
| FORREST | |
| I wanted to be your boyfriend. | |
| They walk in silence. Jenny touches Forrest's uniform. | |
| JENNY | |
| That uniform is a trip, Forrest. | |
| You | |
| 91. | |
| look handsome in it. You do. | |
| FORREST | |
| You know what? | |
| JENNY | |
| What? | |
| FORREST | |
| I'm glad we were here together in | |
| our national capitol. | |
| JENNY | |
| Me too, Forrest. I have so much to | |
| tell you, you won't believe what's | |
| been going on... | |
| FORREST (V.O.) | |
| We walked around all night, Jenny | |
| and me, just talkin'. | |
| 88 EXT. ROUTE 66 - FLASHBACK - DAY 88 | |
| Jenny stands in the rain, hitchhiking. A car pulls over to | |
| pick her up. Jenny and other other girls get into the car. | |
| FORREST (V.O.) | |
| She told me about all the | |
| travellin' | |
| she's done. | |
| 89 EXT. COMMUNE IN NEW MEXICO - NIGHT 89 | |
| A hippie gives Jenny a sugar cube of acid as they sit in | |
| front of a roaring fire. | |
| FORREST (V.O.) | |
| And how she'd discovered ways to | |
| expand her mind and learn how to | |
| live in harmony... | |
| 90 EXT. HOLLYWOOD/WALK OF FAME - DAY 90 | |
| A star with the name "Jean Harlow" on the sidewalk. Jenny | |
| and two other girls sing on the sidewalk and collect change | |
| 92. | |
| from the passersby. Jenny plays the guitar. | |
| FORREST (V.O.) | |
| ...which must be out west | |
| somewhere, | |
| 'cause she made it all the way to | |
| California. | |
| JENNY | |
| (sings) | |
| "Smile on your brother, everybody | |
| get together, try to love on | |
| another | |
| right now" | |
| A young hippie looks over his faded Volkswagen at the | |
| girls. | |
| YOUNG HIPPIE | |
| Hey, anybody want to go to San | |
| Francisco? | |
| JENNY | |
| I'll go. | |
| YOUNG HIPPIE | |
| Far out! | |
| 91 EXT. WASHINGTON D.C. - DAWN 91 | |
| Forrest and Jenny walk through the park. | |
| FORREST (V.O.) | |
| I was a very special night for the | |
| two of us. I didn't want it to end. | |
| 92 EXT. PARKING LOT - EARLY MORNING 92 | |
| Jenny carries a backpack as she prepares to board a bus | |
| back | |
| to Berkeley. | |
| FORREST | |
| I wish you wouldn't go, Jenny. | |
| JENNY | |
| I have to, Forrest. | |
| WESLEY | |
| Jenny? Things got a little out of | |
| 93. | |
| hand. It's just this war and that, | |
| that lyin' son-of-a-bitch Johnson. | |
| I | |
| would never hurt you. You know | |
| that. | |
| FORREST | |
| You know what I think? I think you | |
| should go home to Greenbow. | |
| Alabama! | |
| JENNY | |
| Forrest, we have very different | |
| lives, | |
| you know. | |
| Forrest looks down at Jenny. He pulls his Medal of Honor | |
| from around his neck. | |
| FORREST | |
| I want you to have this. | |
| Forrest places the Medal of Honor in Jenny's hand. Jenny | |
| looks up at him. | |
| JENNY | |
| Forrest, I can't keep this. | |
| FORREST | |
| I got it just by doing what you | |
| told | |
| me to do. | |
| JENNY | |
| Why're you so good to me? | |
| FORREST | |
| You're my girl. | |
| JENNY | |
| I'll always be your girl. | |
| Jenny and Forrest hug each other. Wesley waits for Jenny. | |
| Jenny turns and walks up to Wesley. They walk toward the | |
| entrance of the bus. Forrest smiles as Jenny looks at her. | |
| Jenny climbs up into the bus. Wesley glares at Forrest. | |
| 94. | |
| Forrest gives Wesley the "evil eye." Jenny through the near | |
| window of the bus, knocks on the window. Forrest turns and | |
| looks. Jenny waves to Forrest. Forrest looks up and smiles | |
| sadly. Jenny gives Forrest the peace sign as the bus pulls | |
| away. The sign on the back of the bus reads "Berkeley to | |
| D.C." Forrest gives Jenny the peace sign. | |
| FORREST (V.O.) | |
| And just like that, she was gone | |
| out | |
| of my life again. | |
| 93 INT. VETERANS ADMINISTRATION HOSPITAL/REC ROOM - DAY 93 | |
| A footage of Neil Armstrong's first step on the moon on | |
| television. | |
| NEIL ARMSTRONG | |
| That's one small step for man, one | |
| giant leap for mankind. The, uh, | |
| the | |
| surface is fine and powdery. I can, | |
| I can pick it up loosely. | |
| Forrest demonstrates a ping-pong to some wounded vets. | |
| FORREST (V.O.) | |
| I thought I was going back to | |
| Vietnam, | |
| but instead, they decided the best | |
| way for me to fight communists was | |
| to play ping-pong. So I was in the | |
| Special Services, traveling around | |
| the country cheering up all them | |
| wounded veterans and showing them | |
| how to play... | |
| 94 EXT. BUS STOP - PRESENT - DAY 94 | |
| Forrest looks at a man. | |
| FORREST | |
| ...ping-pong. I was so good that | |
| some years later... | |
| 95. | |
| 95 EXT. CHINA/PING-PONG TOURNAMENT - FLASHBACK - DAY 95 | |
| Forrest plays ping-pong against a Chinese player. A large | |
| mural of Mao Tse-tung hangs on the wall. A crowd of | |
| communist | |
| leaders sit and watch. | |
| FORREST (V.O.) | |
| ...the Army decided I should be on | |
| the All-American Ping-Pong Team. We | |
| were the first Americans to visit | |
| the land of China in like a million | |
| years or something like that, and | |
| somebody said that world peace was | |
| in our hands. But all I did was | |
| play | |
| ping-pong. When I got home... | |
| 96 EXT. BUS STOP - PRESENT - DAY 96 | |
| FORREST | |
| ...I was national celebrity. | |
| Famouser | |
| even than Captain Kangaroo. | |
| Color footage of the DICK CAVETT Show. Dick Cavett stands | |
| up | |
| as he introduces Forrest. | |
| DICK CAVETT | |
| Here he is, Forrest Gump, right | |
| here. | |
| Forrest makes his way onto the stage, shakes hands with | |
| Dick | |
| Cavett. | |
| DICK CAVETT | |
| Mr. Gump, have a seat. | |
| Forrest sits down between JOHN LENNON and Dick Cavett. | |
| DICK CAVETT | |
| Forrest Gump, John Lennon. | |
| JOHN LENNON | |
| Welcome home. | |
| 96. | |
| DICK CAVETT | |
| You had quite a trip. Can you, uh, | |
| tell us, uh, what was China like? | |
| John Lennon lights a cigarette. | |
| FORREST | |
| Well, in the land of China, people | |
| hardly got nothing at all. | |
| JOHN LENNON | |
| No possessions? | |
| FORREST | |
| And in China, they never go to | |
| church. | |
| JOHN LENNON | |
| No religion, too? | |
| DICK CAVETT | |
| Oh. Hard to imagine. | |
| JOHN LENNON | |
| Well, it's easy if you try, Dick. | |
| Forrest looks oddly at John Lennon. | |
| FORREST (V.O.) | |
| Some years later, that nice young | |
| man from England was on his way | |
| home | |
| to see his little boy and was | |
| signing | |
| some autographs. For no particular | |
| reason at all, somebody shot him. | |
| 97 EXT. STUDIO - LATER 97 | |
| A guard lets Forrest out a side entrance door. Forrest | |
| steps, | |
| an then stops as he hears s man sitting in a wheelchair | |
| speak | |
| to him. | |
| LT. DAN | |
| They gave you the Congressional | |
| Medal | |
| of Honor. | |
| 97. | |
| FORREST | |
| Now that's Lieutenant Dan. | |
| Lieutenant | |
| Dan! | |
| Forrest looks at Lt. Dan. He is a dirty with long hair. | |
| LT. DAN | |
| They gave you the Congressional | |
| Medal | |
| of Honor! | |
| FORREST | |
| Yes sir, they sure did. | |
| LT. DAN | |
| They gave you an imbecile, a moron | |
| who goes on television and makes a | |
| fool out himself in front of the | |
| whole damn country, the | |
| Congressional | |
| Medal of Honor. | |
| FORREST | |
| Yes, sir. | |
| LT. DAN | |
| Well, then, that's just perfect! | |
| Yeah, well I just got one thing to | |
| say to that. Goddamn bless America. | |
| Lt. Dan's wheelchair begins to slide down the ramp and | |
| spins | |
| around on the icy ground. Forrest looks down at Lt. Dan | |
| crashes at the bottom of the ramp. | |
| FORREST | |
| Lieutenant Dan! | |
| 98 EXT. NEW YORK CITY STREETS - NIGHT 98 | |
| Taxi cabs crowd the street as Forrest pushes Lt. Dan along | |
| the sidewalk. | |
| FORREST (V.O.) | |
| Lieutenant Dan said he was living | |
| in | |
| a hotel. And because he didn't have | |
| no legs, he spent most of his time | |
| 98. | |
| exercising his arms. | |
| LT. DAN | |
| Take a right, take a right. | |
| A taxi driver honks his horn as Forrest wheels Lt. Dan out | |
| in front of the taxi. | |
| TAXI DRIVER #1 | |
| Hey! Come on already! | |
| LT. DAN | |
| Ah! | |
| FORREST | |
| What are you doing here in New | |
| York, | |
| Lieutenant Dan? | |
| LT. DAN | |
| I'm living off the government tit. | |
| Sucking it dry. | |
| A taxi skids to a stop, almost hitting them as they cross | |
| the street. The taxi honks at Lt. Dan. Lt. Dan slaps the | |
| bumper of the taxi. | |
| LT. DAN | |
| Hey! Hey! Hey! Are you blind? I'm | |
| walking here! Ah, get out... | |
| TAXI DRIVER #2 | |
| Why don't you go home before you | |
| kill yourself? Get out of the way! | |
| LT. DAN | |
| Come on, go! Go! Go! | |
| 99 EXT. LT. DAN'S HOTEL ROOM - LATER 99 | |
| A Bob Hope Christmas special in Vietnam on television. Lt. | |
| Dan and Forrest watch the television. | |
| FORREST (V.O.) | |
| I stayed with Lieutenant Dan and | |
| celebrated the holidays. | |
| 99. | |
| BOB HOPE | |
| You have a great year and hurry | |
| home. | |
| God bless you. | |
| LT. DAN | |
| Have you found Jesus yet, Gump? | |
| FORREST | |
| I didn't know I was supposed to be | |
| looking for him, sir. | |
| Lt. Dan chuckles, drinks the rest of a bottle of wine and | |
| tosses it down. He looks at Forrest. He wheels himself over | |
| to television and turns it off. | |
| LT. DAN | |
| That's all these cripples, down at | |
| the V.A., that's all they ever talk | |
| about. | |
| Lt. Dan picks up another bottle of port wine, but it is | |
| empty. | |
| He tosses it onto the floor. | |
| LT. DAN | |
| Jesus this and Jesus that. Have I | |
| found Jesus? They even had a priest | |
| come and talk to me. He said God is | |
| listening, but I have to help | |
| myself. | |
| Now, if I accept Jesus into my | |
| heart, | |
| I'll get to walk beside him in the | |
| Kingdom of Heaven. | |
| Lt. Dan tosses the empty liquor bottle down and picks | |
| another | |
| bottle. He becomes enraged as he throws the bottle and | |
| looks | |
| at Forrest. | |
| LT. DAN | |
| Did you hear what I said? Walk | |
| beside | |
| him in the Kingdom of Heaven. Well, | |
| kiss my crippled ass. God is | |
| listening. What a crock of shit. | |
| 100. | |
| FORREST | |
| I'm going to heaven, Lieutenant | |
| Dan. | |
| LT. DAN | |
| Huh? Ah, well, before you go, why | |
| don't you get your ass down to the | |
| corner and get us another bottle of | |
| wine. | |
| FORREST | |
| Yes, sir. | |
| 100 INT. TIMES SQUARE BAR - NIGHT 100 | |
| A television shows DICK CLARK as he emcees the Times Square | |
| New York Eve celebration. | |
| DICK CLARK | |
| We are at approximately 45th Street | |
| in New York City at One Astor | |
| Plaza. | |
| This is the site of the old Astor | |
| Hotel. Down below us, well over a | |
| hundred thousand people are milling | |
| about, cheering with horns and | |
| whistles and hats... | |
| LT. DAN | |
| What the hell's in Bayou La Batre? | |
| FORREST | |
| Shrimpin' boats. | |
| LT. DAN | |
| Shrimpin' boats? Who gives a shit | |
| about shrimpin' boats? | |
| FORREST | |
| I gotta buy me one of them | |
| shrimpin' | |
| boats as soon as I have some money. | |
| I made me a promise to Bubba in | |
| Vietnam, that as soon as the war | |
| was | |
| over, we'd go in partners. He'd be | |
| the captain of the shrimpin' boat | |
| and I'd be his first mate. But now | |
| that he's dead, that means that I | |
| gotta be the captain. | |
| 101. | |
| LT. DAN | |
| A shrimp boat captain. | |
| FORREST | |
| Yes, sir. A promise is a promise, | |
| Lieutenant Dan. | |
| LT. DAN | |
| Now hear this! Private Gump here is | |
| gonna be a shrimp boat captain. | |
| Well, | |
| I tell you what, Gilligan, the day | |
| that you are a shrimp boat captain, | |
| I will come and be your first mate. | |
| FORREST | |
| Okay. | |
| LT. DAN | |
| If you're ever a shrimp boat | |
| captain, | |
| that's the day I'm an astronaut. | |
| Two sleazy women, named LENORE and CARLA, walk up to Lt. | |
| Dan. | |
| LENORE | |
| Danny, what are you complaining | |
| about? | |
| CARLA | |
| What are you doing, huh? | |
| LENORE | |
| Mr. Hot Wheels. Who's your friend? | |
| FORREST | |
| My name is Forrest, Forrest Gump. | |
| LT. DAN | |
| This is Cunning Carla, and Long- | |
| Limbs | |
| Lenore. | |
| Carla puts a "Happy New Year" crown on Lt. Dan's head. | |
| Lenore | |
| fixes her makeup. | |
| CARLA | |
| So where you been, baby-cakes, huh? | |
| Haven't seen you around lately. You | |
| 102. | |
| know, you should have been here for | |
| Christmas 'cause Tommy bought a | |
| round | |
| on the house and gave everybody a | |
| turkey sandwich. | |
| LT. DAN | |
| Well, well, I had, uh, company. | |
| LENORE | |
| Hey, hey! We was, we was just | |
| there. | |
| That's at Times Square. | |
| Lenore leans and speaks into Forrest's ear. | |
| LENORE | |
| Don't you just love New Year's? You | |
| get to start all over. | |
| CARLA | |
| Hey, Lenore. | |
| LENORE | |
| Everybody gets a second chance. | |
| FORREST (V.O.) | |
| It's funny, but in the middle of | |
| all | |
| that fun, I began to think about | |
| Jenny. | |
| DICK CLARK | |
| (on television) | |
| ...getting wild out there. It's | |
| beginning to... | |
| 101 INT. APARTMENT/L.A. - NIGHT 101 | |
| The New Year's Eve celebration over the T.V. | |
| DICK CLARK | |
| (over television) | |
| ...pour here in Times Square. It's | |
| been off-and-on all night, but | |
| these | |
| people hang in there. | |
| Jenny fills her bag with her belongings. | |
| FORREST (V.O.) | |
| Wondering how she was spending her | |
| 103. | |
| New Year's night out in California. | |
| A man lies passed out on the bed. Jenny looks at her black | |
| eye in a mirror, then leaves the apartment. The TV shows | |
| the | |
| ball in Times Square. | |
| CROWD | |
| (over television) | |
| 102 INT. TIMES SQUARE BAR - NIGHT 102 | |
| The ball is lowered, lighting up a sign that reads "1972." | |
| CROWD | |
| (over television) | |
| ...1! Happy New Year! | |
| The people in the bar cheer and kiss each other. They blow | |
| horns and toss confetti into the air. Forrest looks around | |
| as Carla and Lenore lean over and kiss him. | |
| PATRONS | |
| (sing) | |
| "Should auld acquaintance be forgot | |
| and never brought to mind... | |
| FORREST | |
| Happy New Year, Lieutenant Dan! | |
| PATRONS | |
| (sing) | |
| Should auld acquaintance be forgot | |
| and days of auld lang syne." | |
| 103 INT. LT. DAN'S HOTEL ROOM - LATER 103 | |
| Carla removes her top and sits on top of Dan in his | |
| wheelchair. They kiss and play around. Forrest sits in a | |
| chair. Lenore leaps on him and begins to kiss Forrest. She | |
| reaches down to Forrest's crotch. Forrest stands up | |
| nervously, | |
| 104. | |
| causing Lenore to fall down on the floor. Lenore stands up, | |
| angry. | |
| LENORE | |
| What are you, stupid or something? | |
| What's your problem? What's his | |
| problem? Did you lose your pecker | |
| in | |
| the war or something? | |
| CARLA | |
| What, is your friend stupid or | |
| something? | |
| LT. DAN | |
| What did you say? | |
| CARLA | |
| I said, is your friend stupid or | |
| something? | |
| LT. DAN | |
| Hey! Don't call him stupid! | |
| Lt. Dan throws Carla back onto the bed. | |
| CARLA | |
| Don't push me like that! | |
| LENORE | |
| Hey, don't you push her! | |
| LT. DAN | |
| You shut up! Don't you ever call | |
| him | |
| stupid! | |
| CARLA | |
| What's the matter, baby? Why you | |
| treating me like shit? | |
| LT. DAN | |
| Get the hell out of here! | |
| LENORE | |
| You stupid gimp. You belong in | |
| "Ripley's Believe It Or Not." | |
| LT. DAN | |
| Get the hell out of here! Go on! | |
| LENORE | |
| 105. | |
| You should be in a side show! | |
| LT. DAN | |
| Go on! Get out of here! Get out of | |
| here! | |
| LENORE | |
| You big loser! | |
| CARLA | |
| Come on, Lenore. We don't need this | |
| shit! | |
| LENORE | |
| You're so pathetic. | |
| LT. DAN | |
| Get out of here! | |
| Lt. Dan falls out of his wheelchair and lands down on the | |
| floor. Carla and Lenore laugh as they leave the apartment. | |
| CARLA | |
| You retard! | |
| LENORE | |
| You loser! You freak! | |
| Forrest tries to help Lt. Dan. Lt. Dan pushes Forrest away. | |
| LT. DAN | |
| No! | |
| Forrest steps back as Lt. Dan flips back over, then pulls | |
| himself back up onto his wheelchair. He breathes heavily. | |
| FORREST | |
| I'm sorry I ruined your New Year's | |
| Eve party, Lieutenant Dan. She | |
| tastes | |
| like cigarettes. | |
| FORREST (V.O.) | |
| I guess Lieutenant Dan figured | |
| there's | |
| some things you just can't change. | |
| He didn't want to be called | |
| crippled, | |
| just like I didn't want to be | |
| called | |
| stupid. | |
| 106. | |
| LT. DAN | |
| Happy New Year. | |
| 104 EXT. WHITE HOUSE - NIGHT 104 | |
| An ANCHORMAN reports in front of the White House. | |
| ANCHORMAN | |
| The U.S. Ping-Pong Team met with | |
| President Nixon today at an Oval | |
| Office ceremony... | |
| FORREST (V.O.) | |
| And wouldn't you know it... | |
| PRESENT - BUS STOP | |
| Forrest looks at the fat man on the bus bench. | |
| FORREST | |
| ...a few months later they invited | |
| me and the ping-pong team to visit | |
| the White House. So I went again. | |
| And I met the President of the | |
| United | |
| States again. | |
| 105 INT. WHITE HOUSE - DAY 105 | |
| A plaque, presented to Forrest, reads "Presented to Forrest | |
| Gump, member of the United States table tennis team as | |
| player | |
| of the year for 1971. President NIXON holds the plaque. | |
| FORREST (V.O.) | |
| Only this time they didn't get us | |
| rooms in a real fancy hotel. | |
| PRESIDENT NIXON | |
| So are you enjoying yourself in our | |
| national capital, young man? | |
| FORREST | |
| Yes, sir. | |
| PRESIDENT NIXON | |
| Well, where are you staying? | |
| FORREST | |
| 107. | |
| It's called the Hotel Ebbott. | |
| PRESIDENT NIXON | |
| Oh, no, no, no, no. I know of a | |
| much | |
| nicer hotel. It's brand-new. Very | |
| modern. I'll have my people take | |
| care of it for you. | |
| 106 INT. WATERGATE HOTEL ROOM - NIGHT 106 | |
| Forrest speaks on the phone. | |
| SECURITY GUARD | |
| Security, Frank Wills. | |
| Forrest steps over to a window. Flashlights are moving | |
| around | |
| in an office across from Forrest's room. | |
| FORREST | |
| Yeah, sir, you might want to send a | |
| maintenance man over to that office | |
| across the way. The lights are off, | |
| and they must be looking for the | |
| fuse box or something, 'cause them | |
| flashlights they're, they're | |
| keeping | |
| me awake. | |
| SECURITY GUARD | |
| Okay, sir. I'll check it out. | |
| FORREST | |
| Thank you. | |
| SECURITY GUARD | |
| No problem. | |
| FORREST | |
| Good night. | |
| SECURITY GUARD | |
| Good night. | |
| Forrest hangs up the phone. The camera tilts down, | |
| revealing | |
| the hotel stationary, which reads "The Watergate Hotel." | |
| 108. | |
| 107 INT. GYMNASIUM - DAY 107 | |
| President Nixon makes a resignation speech on TV. | |
| PRESIDENT NIXON | |
| (over television) | |
| Therefore, I shall resign the | |
| Presidency effective at noon | |
| tomorrow. | |
| The television cuts to a shot of President Nixon standing | |
| outside Air Force One with his hands in the peace sign. | |
| PRESIDENT NIXON | |
| (over television) | |
| Vice President Ford will be sworn | |
| in | |
| as President at that hour in this | |
| office. As I recall the high hopes | |
| for America with which we began | |
| this | |
| second term, I feel a great sadness | |
| that I will not be here in this | |
| office... | |
| Forrest is playing ping-pong by himself at the gymnasium. | |
| An | |
| officer steps up to him. | |
| OFFICER | |
| Sergeant Gump! | |
| FORREST | |
| Yes, sir! | |
| OFFICER | |
| As you were. I have your discharge | |
| papers. Your service is up, son. | |
| The officer hands Forrest an envelope, then walks away. | |
| FORREST | |
| Does this mean I can't play ping | |
| pong no more? | |
| OFFICER | |
| For the Army it does. | |
| FORREST (V.O.) | |
| And just like that, my service in | |
| the United States Army was over. So | |
| 109. | |
| I went home. | |
| Forrest takes his paddle and runs out of the gymnasium. | |
| 108 EXT. GUMP HOUSE - DAY 108 | |
| Mrs. Gump walks out of the house and smiles. Forrest walks | |
| up to the house, wearing his uniform. | |
| FORREST | |
| I'm home, Momma. | |
| MRS. GUMP | |
| I know, I know. | |
| 109 INT. GUMP HOUSE 109 | |
| Mrs. Gump and Forrest walk into the house. | |
| MRS. GUMP | |
| Louise, he's here. He's here, | |
| everybody. | |
| FORREST (V.O.) | |
| Now, when I got home, I had no idea | |
| that Momma had had all sorts of | |
| visitors. | |
| In the house are stacks of ping-pong paddles and life-sized | |
| cardboard cutouts of Forrest playing ping-pong. The name on | |
| the ping-pong paddles boxes reads: "Gump-Mao table tennis." | |
| MRS. GUMP | |
| We've had all sorts of visitors, | |
| Forrest. Everybody wants you to use | |
| their ping-pong stuff. One man even | |
| left a check for twenty-five | |
| thousand | |
| dollars if you'd be agreeable to | |
| saying you like using their paddle. | |
| FORREST | |
| Oh, Momma. I only like using my own | |
| paddle. Hi, Miss Louise. | |
| LOUISE | |
| Hey, Forrest. | |
| 110. | |
| MRS. GUMP | |
| I know that. I know that. But it's | |
| twenty-five thousand dollars, | |
| Forrest. | |
| I thought maybe you could hold it | |
| for a while, see if it grows on | |
| you. | |
| Oh, you look good, Forrest. You | |
| look | |
| real good. | |
| FORREST (V.O.) | |
| That Momma, she sure was right. | |
| It's | |
| funny how things work out. | |
| 110 EXT. BAYOU LA BATRE/BUBBA'S MOM'S HOUSE - DAY 110 | |
| Forrest walks up to a shack on the edge of the Bayou. A | |
| group | |
| of black kids play in the front yard. | |
| FORREST (V.O.) | |
| I didn't stay home for long, | |
| because | |
| I'd made a promise to Bubba. And I | |
| always try to keep my promise. So I | |
| went on down to Bayou La Batre to | |
| meet Bubba's family and make their | |
| introduction. | |
| Bubba's mother named MRS. BLUE and her other children look | |
| at Forrest. | |
| MRS. BLUE | |
| Are you crazy, or just plain | |
| stupid? | |
| FORREST | |
| Stupid is as stupid does, Mrs. | |
| Blue. | |
| MRS. BLUE | |
| I guess. | |
| 111 EXT. BUBBA'S GRAVE - DAY 111 | |
| Forrest steps over to Bubba's tombstone. | |
| 111. | |
| FORREST (V.O.) | |
| And of course, I paid my respect to | |
| Bubba himself. | |
| FORREST | |
| Hey, Bubba, it's me, Forrest Gump. | |
| I | |
| remember everything you said, and I | |
| got it all figured out. | |
| Forrest pulls out notes from his pocket. | |
| FORREST | |
| I'm taking the twenty-four | |
| thousand, | |
| five hundred and six-two dollars | |
| and | |
| forty-seven cents that I got... | |
| 112 EXT. BAYOU - DAY 112 | |
| Forrest walks across a yard where men are cleaning shrimp. | |
| FORREST (V.O.) | |
| ...well, that's left after a new | |
| hair cut and a new suit and I took | |
| Momma out to real fancy dinner and | |
| I | |
| bought a bus ticket and three | |
| Doctor | |
| Peppers. | |
| Forrest walks along a wooden pier. Forrest pays an old | |
| black | |
| shrimper a large wad of cash. | |
| OLD SHRIMPER | |
| Tell me something. Are you stupid | |
| or | |
| something? | |
| FORREST | |
| Stupid is as stupid does, sir. | |
| 113 EXT. BUBBA'S GRAVE 113 | |
| Forrest stands at the grave. | |
| FORREST | |
| Well, that's what's left after me | |
| 112. | |
| saying, "When I was in China on the | |
| All-America Ping-Pong Team, I just | |
| loved playing ping-pong with my | |
| Flex- | |
| O-Ping-Pong Paddle." Which | |
| everybody | |
| knows it isn't true, but Momma says | |
| it's just a little white lie so it | |
| wouldn't hurt nobody. So, anyway, | |
| I'm putting all that on gas, ropes | |
| and new nets and a brand-new | |
| shrimpin' | |
| boat. | |
| 114 EXT. BAYOU - DAY 114 | |
| Forrest steers his shrimping boat. The boat is old and | |
| rusty. | |
| Forrest unleashes his nets as his catch of the day drops to | |
| the deck. It is a bunch of garbage and shells. Forrest | |
| picks | |
| up one shrimp. | |
| FORREST (V.O.) | |
| Now, Bubba had told me everything | |
| he | |
| knows about shrimpin', but you know | |
| what I found out? Shrimpin' is | |
| tough. | |
| 115 EXT. DOCKS 115 | |
| Forrest pulls a couple of shrimp out of a bucket. | |
| FORREST | |
| I only caught five. | |
| OLD SHRIMPER | |
| A couple of more, you can have | |
| yourself a cocktail. | |
| The old shrimper begins to walk away, then stops and looks | |
| at Forrest. | |
| OLD SHRIMPER | |
| Hey, you ever think about namin' | |
| this old boat? | |
| 113. | |
| FORREST (V.O.) | |
| I'd never named a boat before, but | |
| there was only one I could think | |
| of. | |
| Forrest paints a name on the side of his boat. The name is | |
| "Jenny." | |
| FORREST (V.O.) | |
| The most beautiful name in the wide | |
| world. | |
| 116 INT. DISCO 116 | |
| Disco lights flash and people dance. A guy asks a girl to | |
| dance. | |
| GIRL | |
| Okay. | |
| Jenny sits at a table with some other people. She is | |
| snorting | |
| cocaine. | |
| FORREST (V.O.) | |
| Now, I hadn't heard from Jenny in a | |
| long while. But... | |
| 117 EXT. BAYOU LA BATRE - DAY 117 | |
| Forrest stands at the helm as the boat glides across the | |
| water. | |
| FORREST (V.O.) | |
| But I thought about her a lot. And | |
| I | |
| hoped that whatever she was doing | |
| made her happy. | |
| 118 INT. APARTMENT - NIGHT 118 | |
| Drug paraphernalia and a large wad of cash are spread out | |
| on | |
| a table. A man drops a syringe on the table. He reaches | |
| over | |
| 114. | |
| and touches Jenny. She is pale with dark lines under her | |
| eyes. | |
| 119 INT. BATHROOM 119 | |
| Jenny smears some lines of cocaine on a mirror. She looks | |
| at | |
| herself in the mirror. | |
| 120 EXT. BALCONY 120 | |
| Jenny steps out onto the high-rise balcony. She steps up on | |
| a table and stands on the edge of the balcony. A busy | |
| street | |
| lies many stories below. Jenny looks down to the | |
| intersection | |
| below. | |
| She slips over the edge, regains her balance, turns and | |
| looks | |
| back at the intersection below, and begins to get down from | |
| the edge. | |
| Jenny grabs a hold of the ledge and carefully climbs down. | |
| She sits down on a chair. Jenny rocks back and forth as she | |
| cries. She looks up at the sky. | |
| 121 EXT. BAYOU LA BATRE/FORREST'S BOAT - NIGHT 121 | |
| The moon shines above in the sky. Forrest lies in a hammock | |
| on his boat. | |
| FORREST (V.O.) | |
| I thought about Jenny all the time. | |
| 122 EXT. FORREST'S BOAT/BAYOU DOCK - DAY 122 | |
| Forrest stands at the helm of his boat and slowly glides by | |
| 115. | |
| the docks. Forrest looks around and notices something and | |
| bends down to get a clear view. Lt. Dan sits in his | |
| wheelchair | |
| on the deck. Forrest looks at Lt. Dan. He smiles, | |
| surprised. | |
| FORREST | |
| Hi! | |
| Forrest leaps off of his moving boat and into the water. | |
| The | |
| boat continues as Forrest clumsily swims. Lt. Dan sits in | |
| his wheelchair at the edge of the dock. Forrest flails his | |
| arms as he swims up to the dock. Lt. Dan waits for Forrest, | |
| smoking a cigar. Forrest climbs up a ladder onto the dock. | |
| FORREST | |
| Lieutenant Dan, what are you doing | |
| here? | |
| LT. DAN | |
| Well, I thought I'd try out my sea | |
| legs. | |
| FORREST | |
| Well, you ain't got no legs, | |
| Lieutenant Dan. | |
| LT. DAN | |
| Well, well, Captain Forrest Gump. I | |
| had to see this for myself. And I | |
| told you if you were ever a shrimp | |
| boat captain, that I'd be your | |
| first | |
| mate. Well, here I am. I am a man | |
| of | |
| my word. | |
| FORREST | |
| Okay. | |
| Forrest shakes Lt. Dan's hand. | |
| LT. DAN | |
| Yeah, but don't you be thinking | |
| that | |
| I'm gonna be calling you sir. | |
| 116. | |
| FORREST | |
| No, sir. | |
| Forrest's boat glides, crushing a dock. Forrest and Lt. Dan | |
| look at it. | |
| FORREST | |
| That's my boat. | |
| 123 EXT. BAYOU LA BATRE WATERS - DAY 123 | |
| Forrest's shrimping boat is alone on the gulf waters. | |
| LT. DAN | |
| I have a feeling if we head the | |
| east, | |
| we'll find some shrimp. So, take a | |
| left. Take a left. | |
| Forrest looks up. Lt. Dan is sitting in the rigging. | |
| FORREST | |
| Which way? | |
| LT. DAN | |
| Over there! They're over there! | |
| Get, | |
| get on the wheel and take a left! | |
| FORREST | |
| Okay. | |
| LT. DAN | |
| Gump, what are you doing? Take a | |
| left! Left! That's where we're | |
| gonna | |
| find those shrimp, my boy! That's | |
| where we'll find 'em. | |
| Forrest empties the net. Their "catch" is debris that falls | |
| to the deck. | |
| FORREST | |
| Still no shrimp, Lieutenant Dan. | |
| LT. DAN | |
| Okay, so I was wrong. | |
| FORREST | |
| Well, how we gonna find them? | |
| 117. | |
| LT. DAN | |
| Well, maybe you should just pray | |
| for | |
| shrimp. | |
| 124 INT. SMALL CHURCH - DAY 124 | |
| The all-black gospel choir sings and claps their hands. | |
| FORREST (V.O.) | |
| So I went to church every Sunday... | |
| Lt. Dan is sitting in his chair at the back of the church. | |
| He takes swigs from a liquor bottle. | |
| FORREST (V.O.) | |
| Sometimes Lieutenant Dan came, too. | |
| Though I think he left the praying | |
| up to me. | |
| 125 EXT. BOAT - ANOTHER DAY 125 | |
| A catch of junk is dumped onto the deck. Lt. Dan lowers | |
| himself from the rigging. | |
| FORREST | |
| No shrimp. | |
| LT. DAN | |
| Where the hell's this God of yours? | |
| The wind begins to blow strong. | |
| FORREST (V.O.) | |
| It's funny Lieutenant Dan said | |
| that, | |
| 'cause right then, God showed up. | |
| 126 EXT. BOAT - NIGHT 126 | |
| Water sprays on deck during a hurricane. Lt. Dan on the | |
| rigging, shouts and shakes his fist as he is pelted by wind | |
| and rain. | |
| LT. DAN | |
| 118. | |
| You'll never sink this boat! | |
| FORREST (V.O.) | |
| Now me, I was scared. But | |
| Lieutenant | |
| Dan, he was mad. | |
| LT. DAN | |
| Come on! You call this a storm? | |
| Forrest slides back and forth as he attempts to steer the | |
| boat. | |
| LT. DAN | |
| Blow, you son-of-a-bitch! Blow! | |
| It's | |
| time for a showdown! You and me. | |
| I'm | |
| right here. Come and get me! You'll | |
| never sink this boat! | |
| 127 INT. GUMP HOUSE - DAY 127 | |
| An ANCHORMAN over TV, is standing in front of a pier. | |
| ANCHORMAN | |
| (over television) | |
| Hurricane Carmen came through here | |
| yesterday... | |
| 128 EXT. BAYOU DOCKS - DAY 128 | |
| The anchorman is standing in front of the ruined pier and | |
| boats. | |
| ANCHORMAN | |
| ...destroying nearly everything in | |
| its path. And as in other towns up | |
| and down the coast, Bayou La | |
| Batre's | |
| entire shrimping industry... | |
| 129 INT. GUMP HOUSE 129 | |
| ANCHORMAN | |
| ...has fallen victim to Carmen and | |
| has been left in utter ruin. | |
| Speaking | |
| 119. | |
| with local officials, this reporter | |
| has learned, in fact, only one | |
| shrimping boat actually survived | |
| the | |
| storm. | |
| Forrest's boat comes down the river. | |
| MRS. GUMP | |
| Louise. Louise, there's Forrest! | |
| FORREST (V.O.) | |
| After that, shrimpin' was easy. | |
| FORREST'S BOAT - DAY | |
| Lt. Dan and Forrest empty their net. A huge catch of shrimp | |
| falls onto the deck. Lt. Dan opens another big catch. | |
| Another catch drops open on top of yet another huge catch. | |
| Forrest and Lt. Dan smile. | |
| FORREST (V.O.) | |
| And since people still needed them | |
| shrimps for shrimp cocktails and | |
| barbecues and all... | |
| 130 EXT. BUS STOP - PRESENT 130 | |
| The man sitting on the bench listens to Forrest. An ELDERLY | |
| WOMAN sits next to the man. | |
| FORREST | |
| ...and we were the only boat left | |
| standing "Bubba-Gump" shrimp's what | |
| they got. We got a whole bunch of | |
| boats. Twelve Jenny's, a big ol' | |
| warehouse, we even have hats that | |
| says "Bubba-Gump" on 'em. "Bubba- | |
| Gump Shrimp." It's a household | |
| name. | |
| MAN | |
| Hold on there, boy. Are you telling | |
| me you're the owner of the Bubba- | |
| Gump Shrimp Corporation? | |
| FORREST | |
| Yes, sir. We've got more money than | |
| 120. | |
| Davy Crocket. | |
| MAN | |
| Boy, I've heard some whoppers in my | |
| time, but that tops them all. We | |
| was | |
| sitting next to a millionaire! | |
| The man laughs as he walks away. | |
| ELDERLY WOMAN | |
| Well, I thought it was a very | |
| lovely | |
| story. And you tell it so well. | |
| With | |
| such enthusiasm. | |
| FORREST | |
| Would you like to see what | |
| Lieutenant | |
| Dan looks like? | |
| ELDERLY WOMAN | |
| Well, yes, I would! | |
| Forrest shows her the cover of a "Fortune" magazine with | |
| Forrest and Lt. Dan on the cover. | |
| FORREST | |
| That's him right there. | |
| The elderly woman looks at the magazine and at Forrest with | |
| surprise. | |
| FORREST | |
| And let me tell you something about | |
| Lieutenant Dan. | |
| 131 EXT. BOAT/DECK - DAY 131 | |
| Forrest and Lt. Dan are working on the boat. | |
| LT. DAN | |
| Forrest, I never thanked you for | |
| saving my life. | |
| Forrest looks a little surprised. Lt. Dan smiles, then | |
| looks | |
| away. Lt. Dan pulls himself out of his chair to the railing | |
| 121. | |
| and jumps into the water. | |
| FORREST (V.O.) | |
| He never actually said so, but I | |
| think he made his peace with God. | |
| 132 EXT. BOAT 132 | |
| Forrest and Lt. Dan have dinner on the deck. The television | |
| shows an assassination attempt on President Gerald Ford. | |
| ANCHORMAN | |
| (over television) | |
| For the second time in seventeen | |
| days, President Ford escaped | |
| possible | |
| assassination today when a woman, | |
| Sarah Jane Moore, fired on him as | |
| he | |
| stepped out of a hotel in San | |
| Francisco. | |
| MARGO | |
| (over radio) | |
| Base to Jenny One. Base to Jenny | |
| One. | |
| LT. DAN | |
| Jenny One, go Margo. | |
| MARGO | |
| (over radio) | |
| Forrest has a phone call. | |
| LT. DAN | |
| Yeah, well you'll have to tell them | |
| to call him back. He is indisposed | |
| at the moment. | |
| MARGO | |
| (over radio) | |
| His momma's sick. | |
| ANCHORMAN | |
| (over television) | |
| Lynett Alice Fromme, a follower of | |
| Charles Manson better known as | |
| "Squeaky," attempted to assassinate | |
| the President as he was... | |
| Forrest dives into the water as he reacts. | |
| 122. | |
| 133 EXT. ROAD/GUMP HOUSE - DAY 133 | |
| Forrest carries a suitcase as he runs down the road. | |
| Forrest | |
| runs past the row of mailboxes and turns into the drive. | |
| Louise and others are on the front porch. | |
| FORREST | |
| Where's Momma? | |
| LOUISE | |
| She's upstairs. | |
| 134 INT. GUMP HOUSE - WOMAN'S BED ROOM 134 | |
| Forrest opens the door, the doctor stands next to Mrs. Gump | |
| in bed. | |
| MRS. GUMP | |
| Hi, Forrest. | |
| DOCTOR | |
| I'll see you tomorrow. | |
| MRS. GUMP | |
| Oh, all right. | |
| The doctor looks down at Forrest's legs. | |
| DOCTOR | |
| We sure got you straightened out, | |
| didn't we, boy? | |
| The doctor leaves and closes the door. Forrest takes off | |
| his | |
| hat and steps over to her. | |
| FORREST | |
| What's the matter, Momma? | |
| MRS. GUMP | |
| I'm dyin', Forrest. Come on in, sit | |
| down over here. | |
| FORREST | |
| Why are you dyin', Momma? | |
| 123. | |
| MRS. GUMP | |
| It's my time. It's just my time. | |
| Oh, | |
| now, don't you be afraid, | |
| sweetheart. | |
| Death is just a part of life. It's | |
| something we're all destined to do. | |
| I didn't know it, but I was | |
| destined | |
| to be your momma. I did the best I | |
| could. | |
| FORREST | |
| You did good, Momma. | |
| MRS. GUMP | |
| Well, I happened to believe you | |
| make | |
| your own destiny. You have to do | |
| the | |
| best with what God gave you. | |
| FORREST | |
| What's my destiny, Momma? | |
| MRS. GUMP | |
| You're gonna have to figure that | |
| out | |
| for yourself. Life is a box of | |
| chocolates, Forrest. You never know | |
| what you're gonna get. | |
| FORREST (V.O.) | |
| Momma always had a way of | |
| explaining | |
| things so I could understand them. | |
| MRS. GUMP | |
| I will miss you, Forrest. | |
| FORREST (V.O.) | |
| She had got the cancer and died on | |
| a | |
| Tuesday. I bought her a new hat | |
| with | |
| little flowers on it. | |
| 135 EXT. BUS STOP - PRESENT 135 | |
| The elderly woman and Forrest sit. The woman is crying and | |
| wipes her eyes with a hankie. | |
| 124. | |
| FORREST | |
| And that's all I have to say about | |
| that. | |
| A bus stops. Forrest looks at the elderly woman. | |
| FORREST | |
| Didn't you say you were waiting for | |
| the Number Seven bus? | |
| ELDERLY WOMAN | |
| There'll be another one along | |
| shortly. | |
| FORREST | |
| Now, because I had been a football | |
| star, and a war hero, and a | |
| national | |
| celebrity, and a shrimpin' boat | |
| captain, and a college graduate, | |
| the | |
| city of fathers of Greenbow, | |
| Alabama, | |
| decided to get together and offered | |
| me a fine job. | |
| 136 EXT. FOOTBALL FIELD - DAY 136 | |
| Forrest rides a lawn tractor as he moves the football field | |
| lawn. | |
| FORREST (V.O.) | |
| So, I never went back to work for | |
| Lieutenant Dan. | |
| 137 EXT. GUMP HOUSE MAILBOXES 137 | |
| Forrest takes out a letter and opens it. | |
| FORREST (V.O.) | |
| Though he did take care of my | |
| Bubba- | |
| Gump money. He got me invested in | |
| some kind of fruit company. And so | |
| then I got a call from him saying | |
| we | |
| don't have to worry about money no | |
| more. | |
| 138 EXT. BUS STOP 138 | |
| 125. | |
| FORREST | |
| And I said, "That's good. One less | |
| thing." | |
| 139 INT. CHURCH - DAY THE CHOIR AND MEMBERS ARE SINGING. 139 | |
| FORREST (V.O.) | |
| Now, Momma said there's only so | |
| much | |
| fortune a man really needs... | |
| 140 EXT. CHURCH 140 | |
| The sign reads: "Four Square Baptist Church." A new cross | |
| is | |
| placed on the steeple. New furniture is taken inside. | |
| REVEREND | |
| Praise the Lord. | |
| FORREST (V.O.) | |
| ...and the rest is just for showing | |
| off. So, I gave a whole bunch of it | |
| to the Four Square Gospel Church. | |
| 141 EXT. HOSPITAL - DAY 141 | |
| The sign reads: "Gump Medical Center Bayou La Batre, | |
| Alabama." | |
| The ribbon-cutting ceremony. | |
| FORREST (V.O.) | |
| And I gave a whole bunch to the | |
| Bayou | |
| La Batre Fishing Hospital. | |
| 142 EXT. BUBBA'S MOM'S HOUSE 142 | |
| A postman delivers a letter to Bubba's mom. She opens the | |
| letter. | |
| FORREST (V.O.) | |
| And even though Bubba was dead, and | |
| Lieutenant Dan said I was nuts. I | |
| gave Bubba's mommy Bubba's share. | |
| 126. | |
| She is surrounded by her many children. She looks at the | |
| check and faints. | |
| 143 EXT. BUS STOP 143 | |
| FORREST | |
| And you know what... | |
| 144 INT. FLORIDA CONDO 144 | |
| A door opens as a white woman serves Bubba's mom some | |
| shrimp. | |
| FORREST (V.O.) | |
| She didn't have to work in nobody's | |
| kitchen no more. | |
| MRS. BLUE | |
| Smells wonderful! | |
| 145 EXT. FOOTBALL FIELD 145 | |
| Forrest rides the mower. | |
| FORREST (V.O.) | |
| And 'cause I was godzillionaire and | |
| I liked doing it so much. I cut | |
| that | |
| grass for free. | |
| 146 EXT. GUMP HOUSE BALCONY - NIGHT 146 | |
| Forrest looks down the road as he steps onto the porch. | |
| FORREST (V.O.) | |
| But at nighttime, when there was | |
| nothing to do and the house was all | |
| empty, I'd always think of Jenny. | |
| Jenny's image walks, then vanishes. Forrest looks away. He | |
| turns and walks into the house. | |
| 147 EXT. GUMP HOUSE - DAY 147 | |
| Jenny walks across the lawn to Forrest. | |
| 127. | |
| FORREST (V.O.) | |
| And then, she was there. | |
| JENNY | |
| Hello, Forrest. | |
| FORREST | |
| Hello, Jenny. | |
| FORREST (V.O.) | |
| Jenny came back and stayed with me. | |
| 148 INT. GUMP HOUSE 148 | |
| Jenny lies asleep in bed. | |
| FORREST (V.O.) | |
| Maybe it was because she had | |
| nowhere | |
| else to go. Or maybe it was because | |
| she was so tired, because she went | |
| to bed and slept and slept like she | |
| hadn't slept in years. It was | |
| wonderful having her home. | |
| 149 EXT. COUNTRYSIDE - DAY 149 | |
| Forrest and Jenny walking. | |
| FORREST (V.O.) | |
| Every day we'd take a walk, and I'd | |
| jabber on like a monkey in a tree. | |
| And she'd listen about ping-pong | |
| and | |
| shrimpin' boats and Momma makin' a | |
| trip to heaven. I did all the | |
| talkin'. | |
| Jenny most of the time was real | |
| quiet. | |
| FORREST | |
| ...big ol' gobs of rain and little | |
| bitty stinging rain and rain... | |
| Jenny's old house stands at the end of the dirt road. It | |
| appears to be deserted. Jenny walks toward the house and | |
| stops. She stares at the house. Forrest walks toward Jenny. | |
| 128. | |
| Jenny suddenly heaves a rock angrily at the house. She | |
| throws | |
| other things at the house. | |
| JENNY | |
| How could you do this? | |
| She breaks a window. Jenny collapses to the ground and | |
| sobs. | |
| Forrest knees down next to her. | |
| FORREST (V.O.) | |
| Sometimes I guess there just aren't | |
| enough rocks. | |
| 150 EXT. OLD OAK TREE - DAY 150 | |
| Jenny and Forrest sit on a limb together. | |
| FORREST (V.O.) | |
| I never really knew why she came | |
| back, but I didn't care. It was | |
| like | |
| olden times. We was like peas and | |
| carrots again. | |
| 151 INT. GUMP HOUSE - DAY 151 | |
| Jenny sits by the vase of flowers and look out the window. | |
| FORREST (V.O.) | |
| Every day I'd pick pretty flowers | |
| and put them in her room for her. | |
| 152 EXT. GUMP HOUSE - DAY 152 | |
| Forrest closes his eyes as he sits on the porch. Jenny | |
| places | |
| a box of Nike running shoes in his lap. | |
| FORREST (V.O.) | |
| And she gave me the best gift | |
| anyone | |
| could ever get in the wide world. | |
| JENNY | |
| Okay, you can open your eyes. | |
| 129. | |
| FORREST | |
| New shoes. | |
| JENNY | |
| They make them just for running. | |
| 153 EXT. GUMP HOUSE - NIGHT 153 | |
| Through the windows, Forrest and Jenny are dancing as it | |
| rains outside. | |
| FORREST (V.O.) | |
| And she even showed me how to | |
| dance. | |
| And, well, we was like family... | |
| Jenny and me. | |
| 154 EXT. RIVER - NIGHT 154 | |
| Jenny and Forrest sit on a log together and look at the | |
| river. | |
| Jenny places her arms around Forrest. | |
| FORREST (V.O.) | |
| And it was the happiest time of my | |
| life. | |
| The fireworks explode in the sky. | |
| 155 INT. GUMP'S HOUSE - NIGHT 155 | |
| The Statue of Liberty is shown on the TV. Fireworks go off. | |
| Forrest and Jenny are watching the 4th of July celebration | |
| on TV. | |
| ANNOUNCER | |
| (over television) | |
| And this Fourth is witnessing one | |
| of | |
| the largest fireworks displays in | |
| the nation's two-hundred year | |
| history... | |
| JENNY | |
| You done watching it? | |
| 130. | |
| FORREST | |
| Mm-hmm. | |
| ANNOUNCER | |
| (over television) | |
| ...here in New York Harbor. After | |
| the spectacular display of tall | |
| ships | |
| earlier, the Statue of Liberty... | |
| Jenny stands up and kisses Forrest on the cheek. | |
| JENNY | |
| I'm going to bed. | |
| Jenny turns off the TV and walks outside. Forrest stands as | |
| he puts down his Dr. Pepper. Jenny walks toward the stairs. | |
| FORREST | |
| Will you marry me? I'd make a good | |
| husband, Jenny. | |
| JENNY | |
| You would, Forrest. | |
| FORREST | |
| But you won't marry me. | |
| JENNY | |
| You don't want to marry me. | |
| FORREST | |
| Why don't you love me, Jenny? I'm | |
| not a smart man, but I know what | |
| love is. | |
| Forrest turns and walks toward the door. Jenny turns and | |
| walks up the stairs. Forrest stands outside. | |
| 156 EXT. GUMP HOUSE - NIGHT 156 | |
| The house stands in the rain. | |
| 157 EXT. GUMP HOUSE - NIGHT 157 | |
| Forrest lies in his bed as the door opens. Jenny gets into | |
| bed next to Forrest. | |
| 131. | |
| FORREST | |
| Jenny? | |
| JENNY | |
| Forrest, I do love you. | |
| Jenny and Forrest kiss. Jenny takes off her nightgown as | |
| they make love. | |
| 158 EXT. GUMP HOUSE - MORNING 158 | |
| Jenny carries her purse and walks toward a waiting cab. | |
| CAB DRIVER | |
| Where are you running off to? | |
| JENNY | |
| I'm not running. | |
| 159 INT. GUMP HOUSE 159 | |
| The cab drives away as Forrest is asleep in his bed. The | |
| Congressional Medal lies on a table by a ping-pong paddle. | |
| Forrest holds a glass of milk and wears his bathrobe. He | |
| looks at the medal he had give to Jenny. Jenny's bed is | |
| made. | |
| Forrest stands in the doorway looking at the room and bed | |
| where Jenny had been. | |
| 160 EXT. FRONT PORCH - DAY 160 | |
| Forrest sit on a rocking chair with his running shoes on. | |
| He | |
| is still, as if in a trance. He slowly puts on his Bubba- | |
| Gump cap. Forrest stands. He walks off the porch. He begins | |
| to jog across the lawn. His speed increases as he runs | |
| farther | |
| away. Forrest runs down the drive away from his house. | |
| 132. | |
| FORREST (V.O.) | |
| That day, for no particular reason, | |
| I decided to go for a little run. | |
| Forrest runs to the end of the drive, then turns right and | |
| runs down the highway. | |
| FORREST (V.O.) | |
| So I ran to the end of the road, | |
| and | |
| when I got there, I thought maybe | |
| I'd run to the end of town. | |
| 161 INT. BARBER SHOP - DAY 161 | |
| The three men sit as they watch the television. Forrest | |
| runs | |
| through the main street of town. | |
| NEWSCASTER | |
| President Carter, suffering from | |
| heat exhaustion fell into the arms | |
| of security agents. | |
| FORREST (V.O.) | |
| And when I got there... | |
| 162 EXT. ALABAMA ROAD 162 | |
| The sign reads "Entering Greenbow County." | |
| FORREST (V.O.) | |
| ...I thought maybe I'd just run | |
| across | |
| Greenbow County. And I figured | |
| since | |
| I run this far, maybe I'd just run | |
| across the great... | |
| Forrest runs by a sign that reads "Mississippi welcomes | |
| you. | |
| The Magnolia State." | |
| FORREST (V.O.) | |
| ...state of Alabama. And that's | |
| what | |
| I did I ran clear across Alabama. | |
| 133. | |
| 163 EXT. BUS STOP - PRESENT 163 | |
| FORREST | |
| For no particular reason, I just | |
| kept on going. I ran clear to the | |
| ocean. | |
| 164 EXT. SANTA MONICA - DAY 164 | |
| The sign reads "Santa Monica yacht harbor sports fishing - | |
| boating - cafes." Forrest runs under the sign and onto the | |
| pier. | |
| FORREST (V.O.) | |
| And when I got there, I figured | |
| since | |
| I'd gone this far, I might as well | |
| turn around, just keep on going. | |
| 165 EXT. ATLANTIC OCEAN 165 | |
| Forrest runs to a pier at the Atlantic Ocean. | |
| FORREST (V.O.) | |
| When I got to another ocean, I | |
| figured | |
| since I've gone this far, I might | |
| as | |
| well just turn back, keep right on | |
| going. | |
| Forrest runs across the pier. A lighthouse stands at the | |
| end | |
| of the pier. | |
| FORREST (V.O.) | |
| When I got tired, I slept. When I | |
| got hungry, I ate. | |
| 166 EXT. BUS STOP - PRESENT 166 | |
| FORREST | |
| When I had to go, you know, I went. | |
| ELDERLY WOMAN | |
| And so, you just ran? | |
| 134. | |
| FORREST | |
| Yeah. | |
| 167 EXT. HIGHWAY 167 | |
| Forrest is running along the highway. Forrest runs down a | |
| road between field of wheat. A Mountain river. Forrest runs | |
| across a cobble-stone bridge. The Rocky Mountains are | |
| behind | |
| him in distance. Forrest runs through some meadowland. | |
| Split rail fences line the road. | |
| FORREST (V.O.) | |
| I'd think a lot about Momma and | |
| Bubba, | |
| and Lieutenant Dan, but most of | |
| all, | |
| I thought about Jenny. I thought | |
| about her a lot. | |
| 168 EXT. BARBER SHOP 168 | |
| The three men in the barber shop watch the news on | |
| television. | |
| NEWSCASTER | |
| For more than two years now, a man | |
| named Forrest Gump, a gardener from | |
| Greenbow, Alabama, stopping only to | |
| sleep, has been running across | |
| America. | |
| 169 INT. COFFEE SHOP 169 | |
| Jenny fills customer's coffee cups. | |
| NEWSCASTER | |
| Charles Cooper brings us this | |
| report. | |
| NEWSMAN | |
| For the fourth time on his journey | |
| across America, Forrest Gump, a | |
| gardener from Greenbow, Alabama, is | |
| about to cross the Mississippi | |
| River | |
| 135. | |
| again today. | |
| The TV shows Forrest runs across a bridge that reads | |
| "Mississippi River." | |
| JENNY | |
| I'll be damned. Forrest... | |
| 170 EXT. MISSISSIPPI BRIDGE 170 | |
| NEWSMAN | |
| Sir, why are you running? | |
| 1ST REPORTER | |
| Why are you running? | |
| 2ND REPORTER | |
| Are you doing this for world peace? | |
| 3RD REPORTER | |
| Are you doing this for women's | |
| right? | |
| NEWSMAN | |
| Or for the environment? | |
| REPORTER | |
| Or for animals? | |
| 3RD REPORTER | |
| Or for nuclear arms? | |
| FORREST (V.O.) | |
| They just couldn't believe that | |
| somebody would do all that running | |
| for no particular reason. | |
| 2ND REPORTER | |
| Why are you doing this? | |
| FORREST | |
| I just felt like running. | |
| 171 EXT. BUS STOP - PRESENT 171 | |
| FORREST | |
| I just left like running. | |
| 136. | |
| 172 EXT. SMALL EASTERN TOWN 172 | |
| Forrest runs as a YOUNG MAN runs up to him. | |
| YOUNG MAN | |
| It's you. I can't believe it's | |
| really | |
| you. | |
| 173 EXT. BUS STOP - PRESENT 173 | |
| FORREST | |
| Now, for some reason what I was | |
| doing | |
| seemed to make sense to people. | |
| 174 EXT. SMALL EASTERN TOWN 174 | |
| The young man jobs behind Forrest. | |
| YOUNG MAN | |
| I mean, it was like an alarm went | |
| off in my head, you know. I said, | |
| here's a guy that's got his act | |
| together. Here's somebody who's got | |
| it, all figured out. Here's | |
| somebody | |
| who has the answer. I'll follow you | |
| anywhere, Mr. Gump. | |
| FORREST (V.O.) | |
| So, I got company. | |
| Forrest runs up a slope on a high mountain road. A group of | |
| people are jogging behind him. | |
| FORREST (V.O.) | |
| And after that I got more company. | |
| And then... | |
| A large group jogs behind Forrest across the desert road. | |
| FORREST (V.O.) | |
| ...even more people joined in. | |
| Somebody later told me... | |
| 175 EXT. BUS STOP - PRESENT 175 | |
| FORREST | |
| 137. | |
| ...it gave people hope. Now... Now, | |
| I don't know anything about that, | |
| but... | |
| Forrest and his followers job through a small town. A man | |
| runs up and talks to Forrest. | |
| FORREST (V.O.) | |
| Some of those people asked me if I | |
| could help them out. | |
| AGING HIPPIE | |
| Hey, man, hey, listen. I was | |
| wondering | |
| if you might help me, huh? Listen, | |
| I'm in the bumper sticker business | |
| and I've been trying to think up a | |
| good slogan. And since you have | |
| been | |
| such a big inspiration to the | |
| people | |
| around here, I thought you might be | |
| able to help me jump into... Whoa! | |
| Man, you just ran through a big | |
| pile | |
| of dogshit! | |
| The hippie jumps over the "dogshit" as he runs along | |
| Forrest. | |
| FORREST | |
| It happens. | |
| AGING HIPPIE | |
| What, shit? | |
| FORREST | |
| Sometimes. | |
| The hippie stops to ponder this profound thought. | |
| FORREST (V.O.) | |
| And some years later I heard that | |
| fella did come up with a bumper | |
| sticker slogan... | |
| A bumper sticker reads "Shit Happens." | |
| FORREST (V.O.) | |
| ...and he make a lot of money off | |
| of | |
| it. | |
| 138. | |
| The truck with the bumper sticker drives into an | |
| intersection. | |
| It collides with a car. | |
| 176 EXT. TRUCK STOP 176 | |
| Forrest runs, followed by his group, as a man runs up to | |
| him. | |
| FORREST (V.O.) | |
| Another time I was running along, | |
| somebody who had lost all his money | |
| in the T-shirt business, and he | |
| wanted | |
| to put my face on a T-shirt, but he | |
| couldn't draw that well and he | |
| didn't | |
| have a camera. | |
| WILD-EYED MAN | |
| I think it would be really | |
| fortunate | |
| for me if I could get your name on | |
| these, oh, your face and name on | |
| these T-shirts. It would be | |
| wonderful. | |
| A truck splashes mud onto Forrest as it goes by. The man | |
| hands Forrest a yellow T-shirt to use as a rag to wipe the | |
| mud off. | |
| WILD-EYED MAN | |
| Here, use this one. Nobody likes | |
| that color anyway. | |
| Forrest wipes his face on the towel and hands it back to | |
| the | |
| man. | |
| FORREST | |
| Have a nice day. | |
| The man looks at the T-shirt. He holds it up displaying the | |
| "Happy Face." | |
| FORREST (V.O.) | |
| And some years later I found out | |
| that that man did come up with a | |
| 139. | |
| idea for a T-shirt and he made a | |
| lot | |
| of money off of it. | |
| 177 EXT. MONUMENT VALLEY 177 | |
| Forrest runs with a group that follows behind him. | |
| FORREST (V.O.) | |
| Anyway, like I was saying, I had a | |
| lot of company. My Momma always | |
| said | |
| you got to put the past behind you | |
| before you can move on. And I think | |
| that's what my running was all | |
| about. | |
| I had run for three years, two | |
| months, | |
| fourteen days, and sixteen hours. | |
| Forrest stops running. The group stops behind him. Forrest | |
| stands and looks as the group waits expectantly. Forrest | |
| turns and look. | |
| YOUNG MAN | |
| Quiet. Quiet, he's gonna say | |
| something. | |
| FORREST | |
| I'm pretty tired. I think I'll go | |
| home now. | |
| Forrest walks toward the group. The group parts for Forrest | |
| as he walks down the middle of the road. | |
| YOUNG MAN | |
| Now what are we supposed to do? | |
| FORREST (V.O.) | |
| And just like that, my running days | |
| was over. So, I went home to | |
| Alabama. | |
| A television shows President Reagan and his staff as they | |
| react to gunshots in front of a limo. | |
| NEWSCASTER | |
| (over television) | |
| 140. | |
| Moments ago, at two twenty-five | |
| p.m., | |
| as President Reagan was leaving the | |
| Washington Hilton Hotel... | |
| 178 INT. GUMP HOUSE - DAY 178 | |
| Forrest sits eating a sandwich, watching the news of the | |
| assassination attempt. | |
| NEWSCASTER | |
| ...five or six gunshots were fired | |
| by an unknown would-be assassin. | |
| The | |
| President was shot in the chest and | |
| the assailant was immediately | |
| tackled | |
| by a half a dozen lawmen. As the | |
| Presidential... | |
| LOUISE | |
| I picked up the mail. | |
| FORREST | |
| Oh, thank you, Miss, Miss Louise. | |
| FORREST (V.O.) | |
| One day, out of the blue clear sky, | |
| I got a letter from Jenny... | |
| 179 EXT. BUS STOP - PRESENT 179 | |
| Forrest takes the letter out of his pocket. | |
| FORREST | |
| ...wondering if I could come down | |
| to | |
| Savannah to see her, and that's | |
| what | |
| I'm doing here. She saw me on TV, | |
| running, I'm supposed to go on the | |
| Number Nine bus to Richmond Street | |
| and get off and go one block left | |
| to | |
| 1-9-4-7 Henry Street, Apartment 4. | |
| The elderly woman looks at the letter. | |
| ELDERLY WOMAN | |
| Why, you don't need to take a bus. | |
| 141. | |
| Henry Street is just five or six | |
| blocks down that way. | |
| FORREST | |
| Down that way? | |
| ELDERLY WOMAN | |
| Down that way. | |
| Forrest hastily grabs his suitcase and letter as he stands. | |
| FORREST | |
| It was nice talking' to you. | |
| Forrest runs, the elderly woman shouts from the bus stop | |
| bench. A truck honks its horn as Forrest runs across the | |
| street past the truck. | |
| ELDERLY WOMAN | |
| I hope everything works out for | |
| you. | |
| 180 INT. JENNY'S APARTMENT - DAY 180 | |
| Jenny opens the door. | |
| JENNY | |
| Hey! Forrest! How you doing? | |
| FORREST | |
| Hi. | |
| JENNY | |
| Come in. Come in. | |
| FORREST | |
| I got your letter. | |
| JENNY | |
| Oh, I was wondering about that. | |
| Jenny shuts the door. Forrest looks around. | |
| FORREST | |
| Is this your house? | |
| JENNY | |
| Yeah, it's messy right now. I just | |
| got off work. | |
| 142. | |
| FORREST | |
| It's nice. You got air | |
| conditioning. | |
| Forrest hands Jenny the box of chocolates. | |
| FORREST | |
| Ah... | |
| JENNY | |
| Thank you. | |
| FORREST | |
| I ate some. | |
| Jenny picks up a scrapbook and turns the pages. | |
| JENNY | |
| Hey, I kept, I kept a scrapbook of | |
| your, of your clippings and | |
| everything. There you are. This, I | |
| got your running. | |
| FORREST | |
| I ran a long way. For a long time. | |
| JENNY | |
| There. Listen, Forrest. I don't | |
| know | |
| how to say this. Um, I just... I | |
| want to apologize for anything that | |
| I ever did to you, 'cause I was | |
| messed | |
| up for a long time, and... | |
| There is a knock at the door. LYNN MARIE enters as she | |
| opens | |
| the door. | |
| LYNN MARIE | |
| Yoo-hoo. | |
| JENNY | |
| Hey. | |
| LYNN MARIE | |
| Hi. | |
| Jenny grabs a young boy. | |
| JENNY | |
| 143. | |
| Hey, you. This is an old friend | |
| from | |
| Alabama. | |
| LYNN MARIE | |
| Oh, how do you do? | |
| JENNY | |
| Ah, listen, next week my schedule | |
| changes, so I'll be able to... but | |
| thanks for picking up. | |
| LYNN MARIE | |
| No problem. Got to go, Jen. I'm | |
| double | |
| parked. | |
| JENNY | |
| Okay. | |
| Lynn Marie closes the door and waves bye to Forrest. | |
| LYNN MARIE | |
| Bye. | |
| JENNY | |
| Thanks. This is very good friend, | |
| Mr. Gump. Can you say hi to him? | |
| LITTLE BOY | |
| Hello, Mr. Gump. | |
| FORREST | |
| Hello. | |
| LITTLE BOY | |
| Now, can I go watch TV now? | |
| JENNY | |
| Yes, you can. Just keep it low. | |
| The little boy runs into other room and picks up TV remote | |
| control. | |
| FORREST | |
| You're a momma, Jenny. | |
| JENNY | |
| I'm a momma. His name is Forrest. | |
| FORREST | |
| Like me. | |
| 144. | |
| JENNY | |
| I named him after his Daddy. | |
| FORREST | |
| He got a daddy named Forrest, too? | |
| JENNY | |
| You're his daddy, Forrest. | |
| Forrest continues to stare at Forrest Jr. Forrest then | |
| looks | |
| frightened and starts to back away. | |
| JENNY | |
| Hey, Forrest, look at me. Look at | |
| me, Forrest. There's nothing you | |
| need to do, okay? You didn't do | |
| anything wrong. Okay? | |
| Jenny turns and looks at Forrest Jr. in the other room. | |
| JENNY | |
| Isn't he beautiful? | |
| FORREST | |
| He's the most beautiful thing I've | |
| ever seen. But... is, is he smart, | |
| or is he... | |
| JENNY | |
| He's very smart. He's one of the | |
| smartest in his class. | |
| Forrest breathes deep. He looks at Jenny, then at Forrest | |
| Jr. | |
| JENNY | |
| Yeah, it's okay. Go talk to him. | |
| Forrest walks into the room and sits down next to Forrest | |
| Jr. "Sesame Street" is on the TV. | |
| BERT | |
| Oh, great. | |
| ERNIE | |
| Hey, Bert, can you give me a hand? | |
| BERT | |
| 145. | |
| A hand? Well, yeah, what do you | |
| want, | |
| Ernie? | |
| FORREST | |
| What are you watching. | |
| FORREST JR. | |
| Bert and Ernie. | |
| ERNIE | |
| Well, it's the first stage. Bert. | |
| It's planning to write a story, | |
| Bert. | |
| I have pencils right here to write | |
| with, Bert. Now, we got, uh, paper. | |
| I'll take that paper, Bert. See, we | |
| have the paper to write on. | |
| 181 EXT. PARK - DAY 181 | |
| Forrest and Jenny sit on a bench. Forrest Jr. swings behind | |
| them. | |
| JENNY | |
| Forrest, I'm sick. | |
| FORREST | |
| What, do you have a cough due to | |
| cold? | |
| JENNY | |
| I have some kind virus. And the | |
| doctors don't, they don't know what | |
| it is. And there isn't anything | |
| they | |
| can do about it. | |
| FORREST | |
| You could come home with me. Jenny, | |
| you and little Forrest could come | |
| stay at my house in Greenbow. I'll | |
| take care of you if you're sick. | |
| JENNY | |
| Would you marry me, Forrest? | |
| FORREST | |
| Okay. | |
| 146. | |
| 182 EXT. GUMP HOUSE - DAY 182 | |
| A group has gathered on the lawn for the wedding. Louise | |
| walks up to Forrest. | |
| MINISTER | |
| Please take your seats. | |
| LOUISE | |
| Forrest, it's time to start. | |
| Jenny walks out of the house. Forrest walks over to greet | |
| her. She wears a white dress. She walks up to Forrest and | |
| adjusts his necktie. | |
| JENNY | |
| Hi. Your tie. | |
| Lt. Dan is walking across the lawn. He uses a cane. A WOMAN | |
| is walking next to him. | |
| FORREST | |
| Lieutenant Dan? Lieutenant Dan! | |
| LT. DAN | |
| Hello, Forrest. | |
| Jenny walks over to Forrest and Lt. Dan. | |
| FORREST | |
| You got new legs. New legs! | |
| LT. DAN | |
| Yeah, I got new legs. | |
| Lt. Dan lifts his pant leg to display his metal leg. | |
| LT. DAN | |
| Custom-made titanium alloy. It's | |
| what they use on the space shuttle. | |
| FORREST | |
| Magic legs. | |
| LT. DAN | |
| This is my fiancee, Susan. | |
| FORREST | |
| 147. | |
| Lieutenant Dan! | |
| Susan shakes Forrest's hand. | |
| SUSAN | |
| Hi, Forrest. | |
| FORREST | |
| Lieutenant Dan, this is my Jenny. | |
| JENNY | |
| Hey, it's nice to meet you, | |
| finally. | |
| Jenny steps forward and kisses Lt. Dan's cheek. The group | |
| is | |
| seated as they watch Forrest and Jenny take vows on the | |
| front | |
| lawn. Forrest Jr. stands next to Jenny. | |
| MINISTER | |
| Do you, Forrest, take Jenny to be | |
| your wife? Do you, Jenny, take | |
| Forrest | |
| to be your husband? If so, I | |
| pronounce | |
| you man and wife. | |
| The wind blows fallen leaves across the ground. Jenny, | |
| Forrest, and Forrest Jr. walk toward the house. They all | |
| hold hands as they walk. | |
| 183 INT. GUMP HOUSE - MORNING 183 | |
| Forrest steps into Jenny's bedroom. He carries a tray with | |
| breakfast on it. Forrest looks at Jenny as she sleeps. | |
| Slowly she wakes up and looks at Forrest. | |
| FORREST | |
| Hey. | |
| JENNY | |
| Hey. | |
| Forrest sets the tray down next to Jenny as she sits up in | |
| 148. | |
| bed. Forrest opens a window, then sits down next to the | |
| bed. | |
| JENNY | |
| Hey, Forrest, were you scared in | |
| Vietnam? | |
| FORREST | |
| Yes. Well, I, I don't know. | |
| 184 EXT. VIETNAM - FLASHBACK - NIGHT 184 | |
| Forrest looks up into the sky as the rain stops. Forrest | |
| removes his helmet. The stars emerge from behind the | |
| clouds. | |
| FORREST (V.O.) | |
| Sometimes it would stop raining | |
| long | |
| enough for the stars to come out. | |
| And then it was nice. It was like | |
| just before the sun goes to bed | |
| down | |
| on the bayou... | |
| 185 EXT. BAYOU - FLASHBACK - SUNSET 185 | |
| Forrest stands on his boat and looks at a deep orange and | |
| red sunset. | |
| FORREST (V.O.) | |
| There was over a million sparkles | |
| on | |
| the water. Like that mountain lake. | |
| 186 EXT. MOUNTAIN LAKE - FLASHBACK - DAY 186 | |
| Forrest runs along a highway. A lake reflects the mountains | |
| and the sky. | |
| FORREST (V.O.) | |
| It was so clear, Jenny. It looks | |
| like there were two skies, one on | |
| top of the other. And then in the | |
| desert, when the sun comes up... | |
| 149. | |
| 187 EXT. DESERT - FLASHBACK - SUNRISE 187 | |
| Forrest runs along a desert highway. The morning light | |
| casts | |
| an orange glow over the desert. | |
| FORREST (V.O.) | |
| I couldn't tell where heavens | |
| stopped | |
| and the earth began. It was so | |
| beautiful. | |
| 188 INT. GUMP HOUSE - MORNING 188 | |
| Forrest looks at Jenny. Jenny looks out the window. | |
| JENNY | |
| I wish I could have been there with | |
| you. | |
| FORREST | |
| You were. | |
| Jenny reaches over and takes Forrest's hand. | |
| JENNY | |
| I love you. | |
| FORREST (V.O.) | |
| You died on a Saturday morning. | |
| 189 EXT. JENNY'S GRAVE AT OLD OAK TREE - DAY 189 | |
| Forrest stands under the old oak tree where Jenny has been | |
| buried. | |
| FORREST | |
| And I had you placed here under our | |
| tree. | |
| Jenny's grave marker. Forrest tries to hold back his tears. | |
| FORREST | |
| And I had that house of your | |
| father's | |
| bulldozed to the ground. | |
| 150. | |
| 190 EXT. JENNY'S OLD HOUSE - DAY 190 | |
| Forrest watches as Jenny's dad's house is knocked down by a | |
| bulldozer. | |
| FORREST (V.O.) | |
| Momma... | |
| 191 EXT. JENNY'S GRAVE 191 | |
| FORREST | |
| ...always said dyin' was a part of | |
| life. | |
| Jenny's grave marker reads: JENNY GUMP July 16, 1945 -- | |
| March | |
| 22, 1982 Beloved Mother, Wife and Friend | |
| FORREST | |
| I sure wish it wasn't. Little | |
| Forrest, | |
| he's doing just fine. | |
| 192 INT. GUMP HOUSE - NIGHT 192 | |
| Forrest Jr. reads a book to Forrest sitting next to him. | |
| FORREST JR. | |
| (reading) | |
| "But he wasn't quite sure. | |
| Everywhere | |
| they went, the new guests... | |
| FORREST (V.O.) | |
| About to start school again soon. I | |
| make his breakfast, lunch, and | |
| dinner... | |
| 193 EXT. JENNY'S GRAVE 193 | |
| Forrest looks down as he sobs. | |
| FORREST | |
| ...every day. I make sure he combs | |
| his hair and brushes his teeth | |
| every | |
| day. Teaching him how to play ping | |
| pong. | |
| 151. | |
| 194 EXT. GUMP HOUSE - NIGHT 194 | |
| Forrest tries to teach Forrest Jr. how to play ping-pong. | |
| FORREST | |
| Okay... | |
| FORREST (V.O.) | |
| He's really good. | |
| FORREST | |
| Forrest, you go. | |
| Forrest Jr. serves the ball, causing Forrest dive and miss | |
| it. | |
| 195 EXT. GUMP HOUSE/RIVER - DAY 195 | |
| Forrest and Forrest Jr. sit on a log by the river and fish. | |
| FORREST (V.O.) | |
| We fish a lot. | |
| 196 EXT. JENNY'S GRAVE 196 | |
| Forrest looks down at the grave marker. | |
| FORREST | |
| And every night, we read a book. | |
| He's so smart, Jenny. You'd be so | |
| proud of him. I am. He, uh, wrote a | |
| letter, and he says I can't read | |
| it. | |
| I'm not supposed to, so I'll just | |
| leave it here for you. | |
| Forrest places the letter down at the grave marker, next to | |
| fresh flowers. The name on the envelope reads: "Mom." | |
| Forrest | |
| steps back and looks down at the grave. | |
| FORREST | |
| Jenny, I don't know if Momma was | |
| right or if, if it's Lieutenant | |
| Dan. | |
| I don't know if we each have a | |
| destiny, or if we're all just | |
| floating | |
| 152. | |
| around accidental-like on a breeze, | |
| but I, I think maybe it's both. | |
| Maybe | |
| both is happening at the same time. | |
| I miss you, Jenny. If there's | |
| anything | |
| you need, I won't be far away. | |
| As Forrest walks away, a flock of birds flies overhead and | |
| lands in the tree. Forrest turns and watches. | |
| 197 EXT. ROAD - MORNING 197 | |
| Forrest walks with Forrest Jr. for the bus. The bus drives | |
| toward them. | |
| FORREST | |
| Here's your bus. Okay. | |
| Forrest pulls "Curious George" out of Forrest Jr.'s | |
| backpack. | |
| FORREST | |
| Hey, I know this. | |
| FORREST JR. | |
| I'm gonna show that for show-and- | |
| tell because grandma used to read | |
| it | |
| to you. | |
| Forrest looks at the book. The feather from the beginning | |
| of | |
| the movie drops out of the book, unnoticed. | |
| FORREST | |
| My favorite book. | |
| The bus comes to a stop. The door opens. | |
| FORREST | |
| Well... | |
| Forrest puts the book back into Forrest Jr.'s backpack and | |
| hands it to him. | |
| FORREST | |
| 153. | |
| ...okay. Hey, there you go. | |
| Forrest Jr. walks toward the bus. Forrest stands up. | |
| FORREST | |
| Hey, Forrest. Don't... I wanted to | |
| tell you I love you. | |
| FORREST JR. | |
| I love you too, Daddy. | |
| FORREST | |
| I'll be right here when you get | |
| back. | |
| Forrest Jr. looks into the bus and at the bus driver. It is | |
| the same bus driver, only older now, who drove Forrest to | |
| school when he was a young boy. | |
| SCHOOLD BUS DRIVER | |
| You understand this is the bus to | |
| school now, don't you? | |
| FORREST JR. | |
| Of course, and you're Dorothy | |
| Harris | |
| and I'm Forrest Gump. | |
| Forrest Jr. looks over and waves to his father. Forrest | |
| nods | |
| approvingly. | |
| Forrest Jr. gets on the bus. The bus pulls away. Forrest | |
| stands next to the mailbox. | |
| Forrest sits down. The camera cranes down, revealing the | |
| feather as it lies at Forrest's feet. | |
| A gust of wind picks the feather up. The feather floats up | |
| into the air. | |
| Forrest sits at the side of the road. The feather floats | |
| higher into the air. | |
| The feather soars up into the sky and travels up and down, | |
| 154. | |
| then covers the camera lens. | |
| THE END | |