INT. WELTON ACADEMY HALLWAY - DAY

A young boy, dressed in a school uniform and cap, fidgets as his mother
adjusts his tie.

				MOTHER
		Now remember, keep your shoulders back.

A student opens up a case and removes a set of bagpipes. The young
boy and his brother line up for a photograph

				PHOTOGRAPHER
		Okay, put your arm around your brother.
		That's it. And breathe in.

The young boy blinks as the flash goes off.

				PHOTOGRAPHR
		Okay, one more.

An old man lights a single candle. A teacher goes over the old
man's duties.

				TEACHER
		Now just to review, you're going to
		follow along the procession until you
		get to the headmaster. At that point
		he will indicate to you to light the
		candles of the boys.

				MAN
		All right boys, let's settle down.

The various boys, including NEIL, KNOX, and CAMERON, line up holding
banners. Ahead of them is the old man, followed by the boy with the
bagpipes with the two youngest boys at the front.

				MAN
		Banners up.

The boys hoist the banners and the bagpipes begin to play loudly. The
small group marches out of the room and down a set of stairs into a
church. The pews are filled with students and parents while the
teachers, all dressed in robes, are seated at the front of the church
behind the headmaster.

The boys break off to either side at the front of the church. The
bagpipes cease and the headmaster, MR. NOLAN, walks over to the old
man carrying the candle.

				MR NOLAN
		Ladies and gentlemen, boys, the light
		of knowledge.

An organ begins to play as the old man goes forward with shaking hands
to the young boys in the front pew. Each boy is holding a candle and
he bends over to light the first one. Each boy in turn lights the
candle of the boy next to him.

				MR NOLAN
		One hundred years ago, in 1859, 41 boys sat in this
		room and were asked the same question that greets
		you at the start of each semester. Gentlemen, what
		are the four pillars?

All throughout the pews, uniformed boys rise to their feet. TODD, who
is not wearing a uniform, is urged by his father to stand with them.

				BOYS
		Tradition, honor, discipline, excellence.

The boys quickly return to their seats.

				MR NOLAN
		In her first year, Welton Academy graduated five
		students. Last year we graduated fifty-one. And
		more than seventy-five percent of those went on to
		the Ivy League. This, this kind of accomplishment is
		the result of fervent dedication to the principles taught
		here. This is why you parents have been sending us
		your sons. This is why we are the best preparatory
		school in the United States.

Mr. Nolan soaks up the applause from the audience.

				MR NOLAN
		As you know, our beloved Mr. Portius of the English
		department retired last term. You will have the
		opportunity later to meet his replacement, Mr. John
		Keating, himself a graduate of this school. And who,
		for the past several years, has been teaching at the
		highly regarded Chester School in London.

The crowd applauds once again.

EXT. SCHOOL GROUNDS - DAY

The school lawn is a filled with luggage, students, and parents mulling
about in every direction.

INT CHURCH ENTRANCE - DAY

Mr Nolan stands by the entrance, speaking with each family as they leave.

				MR NOLAN
		Glad you could come by.

				MR ANDERSON
		Thrilling ceremony as usual Dr. Nolan.

				MR NOLAN
		You've been away too long.

				MRS ANDERSON
		Hello Dr. Nolan.

				MR NOLAN
		Good to have you back.

				MRS ANDERSON
		This is our youngest, Todd.

				MR NOLAN
		Mr. Anderson.You have some big shoes to fill,
		young man. Your brother was one of our finest.

				TODD
		Thank you.

Todd and his parents leave while others file past Mr. Nolan.

				WOMAN
		Lovely ceremony.

				MR NOLAN
		Thank you. So glad you liked it.

MR PERRY approaches with his son Neil. He shakes Mr. Nolan's hand.

				MR PERRY
		Gale

				MR NOLAN
		Tom

				MR PERRY
		Good to see you again.

				NEIL
		Hello Mr. Nolan.

				MR NOLAN
		Neil. We expect great things from you this year.

				NEIL
		Thank you, sir.

				MR PERRY
		Well he won't disappoint us. Right Neil?

				NEIL
		I'll do my best sir.

EXT SCHOOL GROUNDS - DAY

A bell tolls. Parents begin wishing their boys farewell.

				FATHER
		Hey, come on son.

				MOTHER
		Chin up.

				FATHER
		No tears now.

				BOY
		Okay.

				MOTHER
		Chin up.

Another boy hugs his mother.

				BOY
		I don't want to go here.

				MOTHER
		You be a good boy and do your lessons.

EXT SCHOOL GROUNDS - DAY

Neil emerges from a building and sees Todd.

				NEIL
		Hey, I hear we're gonna be roommates.

He shakes Todd's hand.

				NEIL
		I'm Neil Perry.

				TODD
		Todd Anderson.

				NEIL
		Why'd you leave Balincrest?

				TODD
		My brother went here.

				NEIL
		Oh, so you're that Anderson.

INT DORMATORY - DAY

DR. HAGER is standing in his room doorway while SPAZ and his father are
going over some last minute precautions over the boy's allergies. Spaz's
father hands Hager various bottles.

				FATHER
		This is for sinuses. Oh, and if he can't swallow you
		give him one of these. And if he had trouble breathing
		you can give him some of those.

				HAGER
		All right fine.

Dr. Hager takes the bottles and quickly backs into his room, shutting
the door.

				FATHER
			    (to son)
		Did you remember your vaporizer?

				SPAZ
		Yes, I put it in my room.

Spaz's father tries to say something else to Dr. Hager but realizes he
has already gone.

INT HALLWAY - DAY

Neil pushes his way through a crowd of boys, carrying two suitcases. As
he enters his room, Knox quickly passes by.

				KNOX
		Hey, how's it going Neil?

				NEIL
		Hey Knox.

Cameron comes by and leans against the doorway.

				CAMERON
		Neil, study group tonight?

				NEIL
		Yeah, sure.

				CAMERON
		Business as usual, huh? Hey, I hear you got the new
		kid. Looks like a stiff!

He begins laughing when he notices Todd coming into the room.

				CAMERON
		Oops!

Cameron quickly leaves. Neil tries to keep from laughing as Todd enters
the room and sets his luggage down on his bed.

				NEIL
		Listen, don't mind Cameron. He was born with his
		foot in his mouth. You know what I mean?

He pulls some papers from his blazer pocket and playfully whacks Todd 
across the back with it.

CHARLIE comes to the door with a smug expression on his face. Knox and
MEEKS are close behind him. He points at Neil

				CHARLIE
		Rumor has it, you did summer school.

				NEIL
		Yep. Chemistry. My father thought I should get ahead.
		How was your summer Slick?

				CHARLIE
		Keen.

The boys enter the room. Charlie turns around and looks at Meeks who is
just entering. 

				CHARLIE
		Meeks. Door. Closed.

				MEEKS
		Yes sir.

				NEIL
		Gentlemen, what are the four pillars?

				BOYS
		Travesty. Horror. Decadence. Excrement.

Charlie makes himself comfortable on Neil's bed and lights up a cigarette.
Meanwhile, Todd is by his bed unpacking his luggage.

				CHARLIE
		Okay, study group. Meeks aced Latin. I didn't quite
		flunk English. So, if you want, we've got our study
		group.

				NEIL
		Sure. Cameron asked me too. Anyone mind
		including him?

				CHARLIE
		Hmm, what's his specialty, boot-licking?

				NEIL
		Come on, he's your roommate.

				CHARLIE
		That's not my fault.

Meeks seems to notice Todd for the first time.

				MEEKS
		Oh, I'm sorry, my name is Steven Meeks.

Neil quickly gets up from his spot by the window.

				NEIL
		Oh, this is Todd Anderson.

Todd turns around and shakes hands with Meeks.

				MEEKS
		Nice to meet you.

				TODD
		Nice to meet you.

				CHARLIE
		Charlie Dalton.

Charlie continues to lay on the bed, looking smug. Knox extends a hand.

				KNOX
		Knox Overstreet.

				NEIL
		Todd's brother was Jeffrey Anderson.

				CHARLIE
		Oh yeah, sure. Valedictorian. National merit scholar. 

				MEEKS
		Oh well, welcome to Hell-ton.

				CHARLIE
		It's every bit as tough as they say, unless you're a
		genius like Meeks.

				MEEKS
		He flatters me. That's why I help him with Latin.

				CHARLIE
		And English, and Trig.

Charlie begins coughing. There is a knock at the door. Charlie quickly
stamps out his cigarette on the floor and Neil tries to wave the smoke
from the air.

				NEIL
		It's open.

The door opens and Mr. Perry walks into the room. Neil quickly rises from
the window.

				NEIL
		Father, I thought you'd gone.

The other boys stand up when he enters.

				BOYS
		Mr. Perry.

				MR PERRY
		Keep your seats fellows, keep your seats. Neil, I've
		just spoken to Mr. Nolan. I think that you're taking
		too many extra curricular activities this semester, and
		I've decided that you should drop the school annual.

				NEIL
		But I'm the assistant editor this year.

				MR PERRY
		Well I'm sorry Neil.

				NEIL
		But Father, I can't. It wouldn't be fair.

				MR PERRY
		Fellas, would you excuse us for a moment?

Mr. Perry walks towards the door and Neil hesitantly follows. Mr. Perry
pauses by the door and smiles to the other boys.

INT. HALLWAY - DAY

The smile has gone from Mr. Perry's face. He grabs a hold of Neil's arm.

				MR PERRY
		Don't you ever dispute me in public. Do you
		understand?

				NEIL
		Father, I wasn't disputing-

				MR PERRY
After you've finished medical school and you're on your own, then you
can do as you damn well please. But until then, you do as I tell you.
Is that clear?

				NEIL
		Yes sir. I'm sorry.

				MR PERRY
		You know how much this means to your mother,
		don't you?

				NEIL
		Yes sir. You know me, always taking on too much.

				MR PERRY
		Well, that's my boy. Now listen, you need anything,
		you let us know, huh?

				NEIL
		Yes sir.

Mr. Perry slaps his son on the shoulder and leaves. Neil leans his head
back against the wall as the other boys emerge from the room.

				CHARLIE
		Why doesn't he let you do what you want?

				KNOX
		Yeah Neil, tell him off. It couldn't get any worse.

				NEIL
		Oh, that's rich. Like you guys tell your parents off, Mr.
		Future Lawyer and Mr. Future Banker.

				CHARLIE
		Okay, so I don't like it any more than you do.

				NEIL
		Well just don't tell me how to talk to my father. You
		guys are the same way.

				KNOX
		All right, all right, Jesus. So what are you going to do?

				NEIL
		What I have to do. Drop the annual.

				CHARLIE
		Well I wouldn't lose much sleep over it. It's just a
		bunch of jerks trying to impress Nolan.

				NEIL
		I don't care. I don't give a damn about any of it.

				MEEKS
		Well, uh, Latin, eight o' clock in my room?

				NEIL
		Yes.

				MEEKS
		Todd, you're welcome to join us.

				KNOX
		Yeah, come along pal.

Todd looks up from his desk where he is setting his alarm clock.

				TODD
		Thanks.

EXT. FIELDS - DAY

A clock bell chimes five o'clock. Enormous flocks of birds, apparently
disturbed by the noise, take to the sky.

INT. STAIRCASE - DAY

The sound of squawking birds merges into the sound of noisy boys as they
descend the stairs in a long spiralling line.

MR. MCALLISTER tries to make it upstairs against the steady stream.

				MCALLISTER
		Slow down boys, slow down you horrible
		phalanx of pubescense.

INT CHEMISTRY LAB - DAY

A teacher walks up and down the aisles, handing out books.

				TEACHER
		Pick three laboratory experiments from
		the project list and report on them every
		five weeks. The first twenty questions at
		the end of chapter one are due tomorrow.

The students let out a collective groan.

INT. LATIN CLASSROOM - DAY

Mr. McAllister paces back and forth in front of the blackboard and gets
the students to repeat everything he says.

				MCALLISTER
			    (students repeat after each word.)
		Agricolam. Agricola. Agricolae.
		Agricolarum. Agricolis. Agricolas.
		Agrilcolis.

		Again, please.
		Agricola.

INT. MATH CLASSROOM - DAY

Dr. Hager walks up the classroom aisles with his arms behind his back.

				HAGER
		Your study of trigonometry requires absolute precision.
		Anyone failing to turn in any homework assignment will
		be penalized one point off their final grade. Let me urge
		you now not to test me on this point.

INT. KEATING'S CLASSROOM - DAY

Students enter Keating's classroom, talking and acting up. Keating
glances out from his room off to one side.

				KNOX
		Hey Spaz, Spaz.

Spaz turns around in time to be hit by a ball of crumpled up paper
while Cameron smacks him on the shoulder.

				CAMERON
		Brain damage.

The students quickly quiet down as Keating emerges from the other room,
whistling the 1812 Overture. He walks up the length of the classroom and
out the door without a word. The students look around at one another,
uncertain of what to do. Keating pokes his head back in the doorway.

				KEATING
		Well come on.

He gestures them to follow and the students, after some hesitation, grab
their books and follow Keating out into the main entranceway. 

INT. ENTRANCEWAY - DAY

Keating stands before the school's trophy cabinets and waits until all
the boys arrive.

				KEATING
		"Oh Captain, My Captain" who knows where
		that comes from?

Todd looks up as if he knows the answer, but says nothing. Spaz blows his
nose a little too close to Meeks for his liking.

				KEATING
		Not a clue? It's from a poem by Walt
		Whitman about Mr. Abraham Lincoln. Now in
		this class you can call me Mr. Keating. Or,
		if you're slightly more daring, Oh Captain,
		My Captain.

The students laugh slightly.

				KEATING
		Now let me dispel a few rumors so they
		don't fester into facts. Yes, I too
		attended Hell-ton and survived. And no,
		at that time I was not the mental giant
		you see before you. I was the intellectual
		equivalent of a ninety-eight pound
		weakling. I would go to the beach and
		people would kick copies of Byron in my
		face.

The boys laugh once again, while Cameron, obviously trying to write all
this down, looks around confusedly. Keating looks down at papers in his
hand.

				KEATING
		Now, Mr… Pitts. That's a rather
		unfortunate name. Mr. Pitts, where are
		you?

Pitts raises his hand while everyone around him snickers.

				KEATING
Mr. Pitts, would you open your hymnal to page 542 and read the first
stanza of the poem you find there?

				PITTS
		"To the virgins, to make much of time"?

				KEATING
		Yes, that's the one. Somewhat appropriate,
		isn't it.

				PITTS
		"Gather ye rosebuds while ye may, old
		time is still a flying, and this same
		flower that smiles today, tomorrow will
		be dying."

				KEATING
		Thank you Mr. Pitts. "Gather ye rosebuds
		while ye may." The Latin term for that
		sentiment is Carpe Diem. Now who knows
		what that means?

Meeks immediately puts his hand up.

				MEEKS
		Carpe Diem. That's "seize the day."

				KEATING
		Very good, Mr.-

				MEEKS
		Meeks.

				KEATING
		Meeks. Another unusual name. Seize the
		day. Gather ye rosebuds while ye may.
		Why does the writer use these lines?

				CHARLIE
		Because he's in a hurry.

				KEATING
		No, ding!

Keating slams his hand down on an imaginary buzzer.

				KEATING
		Thank you for playing anyway. Because we
		are food for worms lads. Because, believe
		it or not, each and every one of us in
		this room is one day going to stop
		breathing, turn cold, and die. 

Keating turns towards the trophy cases, filled with trophies, footballs,
and team pictures.

				KEATING
		Now I would like you to step forward over
		here and peruse some of the faces from
		the past. You've walked past them many
		times. I don't think you've really looked
		at them.

The students slowly gather round the cases and Keating moves behind them.

				KEATING
		They're not that different from you, are
		they? Same haircuts. Full of hormones,
		just like you. Invincible, just like you
		feel. The world is their oyster. They
		believe they're destined for great things,
		just like many of you. Their eyes are full
		of hope, just like you. Did they wait until
		it was too late to make from their lives
		even one iota of what they were capable?
		Because you see gentlmen, these boys are
		now fertilizing daffodils. But if you listen
		real close, you can hear them whisper their
		legacy to you. Go on, lean in.

The boys lean in and Keating hovers over Cameron's shoulder.

				KEATING
			    (whispering in a gruff voice)
		Carpe.

Cameron looks over his shoulder with an aggravated expression on his face. 

				KEATING
		Hear it?
			    (whispering again)
		Carpe. Carpe Diem. Seize the day boys,
		make your lives extraordinary.

The boys stare at the faces in the cabinet in silence.

EXT. SCHOOL STEPS - DAY

The boys emerge from the school, loaded down with numerous books.

				PITTS
		That was weird.

				NEIL
		But different.

				KNOX
		Spooky if you ask me.

				CAMERON
		Think he'll test us on that stuff?

				CHARLIE
		Come on Cameron, don't you get anything?

				CAMERON
		What? What?

INT. LOCKER ROOM - EVENING

A coach sticks his head around the corner into the room.

				COACH
		Let's go boys, hustle up in here. That
		means you Dalton.

Meeks emerges from the showers, drying himself off.

				MEEKS
		Okay, who's up for a trig study group
		tonight guys?

				PITTS
		Me.

				NEIL
		Me.

				CHARLIE
			(still annoyed by what the coach said)
		What?

				KNOX
		I can't make it guys. I have to have
		dinner at the Danburry's house.

				PITTS
		The Danburry's? Who are the Danburry's?

				CAMERON
		Big alumns. How'd you swing that?

				KNOX
		Friends of my Dad's. They're probably in
		their nineties or something.

				CHARLIE
		Ooh!

				NEIL
		Anything's better than Hell-ton hash.

				CHARLIE
		I'll second that.

				KNOX
		Yeah we'll see.

Neil approaches Todd, who's been sitting by the window staring down at the
floor. Neil snaps his fingers to get Todd's attention. 

				NEIL
		Hey, you coming to the study group tonight?

				TODD
		Uh, no, no I, uh, I've got some history I
		wanna do.

				NEIL
		Suit yourself.

INT. TODD'S ROOM - EVENING

Todd is seated at his desk. He scrawls "CARPE DIEM" across a blank page
of his notebook. He looks at it for a few moments before crumpling it up
and opening up his Chemistry book.

INT. ENTRANCEWAY - NIGHT

Hager comes down the stairs. Knox is looking at one of the old class photos
on the walls.

				HAGER
		Ready Overstreet?

Knox reluctantly follows after Dr. Hager.

				KNOX
		Ready to go sir.

EXT. ROAD - NIGHT

The car leaves Welton and drives towards the Danburry's house.

INT / EXT DANBURRY'S HOUSE - NIGHT

The doorbell rings.

				MRS DANBURRY (O.S.)
		Chet, can you get that?

				CHET (O.S.)
		I can't, Mom.

				CHRIS (O.S.)
		I'll get it.

The door opens and Knox is awe-struck by the beautiful girl (CHRIS) who
has answered the door.

				CHRIS
		Can I help you?

Knox manages to break out of his daze.

				KNOX
		Hi. Knox Overstreet. Uh, Dr. Hager.

				CHRIS
		Hi.

				KNOX
		This is the Danburry's, right?

				CHRIS
		Are you here to see Chet?

				KNOX
		Mrs. Danburry?

Chris begins to laugh as Mrs. Danburry arrives behind her.

				CHRIS
		No.

				MRS DANBURRY
		Sorry. Thank you Chris. I'm Mrs. Danburry.
		You must be Knox.

				KNOX
		Yes.

				MRS DANBURRY
			    (to Dr. Hager)
		Back by nine.
			    (to Knox)
		Please come in.

				CHET (O.S.)
		Chris, come on, what are you doing?

				CHRIS
		Chet, I'm coming.

Knox enters the house, his mind still hung up on Chris as MR DANBURRY
comes out of the living room to meet him.

				MR DANBURRY
		Knox. How are you? Joe Danburry.

				KNOX
		Nice to meet you sir.

				MR DANBURRY
		Well he's the spitting image of his father,
		isn't he. How is he? Come on in.

				CHET (O.S.)
		Chris!

				KNOX
		He's great. He just did a big case for GM.

				CHRIS (O.S.)
		I'm coming.

				MR DANBURRY
		I know where you're headed, like father
		like son, huh?

INT. STUDENT LOUNGE - NIGHT

Several students are throwing darts at a small rubber skeleton hanging
from the bulletin board. Various students are studying and playing games.
Meeks and Pitts are sitting at one table working on their "hi-fi system".
Meeks is waving an antenna around with no luck. Pitts points out to him
that he forgot to plug it in. Neil, Cameron, and Charlie are working on
their trig homework.

				CAMERON
		Just replace these numbers here with "x",
		for "x" and "y".

				NEIL
		Of course.

				CAMERON
		Of course, so what's the problem?

Charlie enters the room and closes the door behind him, leaning up
against it heavily.

				CHARLIE
		How was dinner?

				KNOX
		Huh?

				CHARLIE
		How was dinner?

				KNOX
		Terrible. Awful.

He leaves the door and sits down with the other boys.

				CHARLIE
		Why? What happened?

				KNOX
		Tonight, I met the most beautiful girl
		in my entire life.

				NEIL
		Are you crazy? What's wrong with that?

				KNOX
		She's practically engaged. To Chet Danburry.

				CHARLIE
		That guy could eat a football.

				PITTS
		That's too bad.

				KNOX
		Too bad? It's worse than too bad Pitsie,
		it's a tragedy. A girl this beautiful in
		love with such a jerk.

				PITTS
		All the good ones go for jerks, you
		know that.

				CAMERON
		Ahh, forget her. Open your trig book and
		try and figure out problem five.

				KNOX
		I can't just forget her Cameron. And I
		can't think about trig.

The radio Meeks and Pitts were working on begins letting out a high
pitched hum.

				PITTS
		We got it.

				MEEKS
		Holy cow.

Mr. Hager walks into the room.

				HAGER
		All right gentlemen, five minutes. Let's
		go.

The students quickly pack up their gear and prepare to leave. Pitts tries
to hide the radio in his lap. Charlie leans in close to Knox.

				CHARLIE
		Did you see her naked?

				KNOX
		Very funny Dalton.

				HAGER
		That wouldn't be a radio in your lap,
		would it Mr. Pitts?

				PITTS
		No sir. Science experiment, radar.

Meeks holds up the antenna as if demonstrating it.

INT. KEATING'S CLASSROOM - DAY

Keating sits at his desk at the front of the classroom and opens up one
of his books.

				KEATING
		Gentlemen, open your text to page
		twenty-one of the introduction. Mr.
		Perry, will you read the opening
		paragraph of the preface, entitled
		"Understanding Poetry"?

				NEIL
		Understanding Poetry, by Dr. J. Evans
		Pritchard, Ph.D. To fully understand
		poetry, we must first be fluent with
		its meter, rhyme, and figures of speech.
		Then ask two questions: One, how artfully
		has the objective of the poem been
		rendered, and two, how important is that
		objective. Question one rates the poem's
		perfection, question two rates its
		importance. And once these questions have
		been answered, determining a poem's
		greatest becomes a relatively simple
		matter.

Keating gets up from his desk and prepares to draw on the chalk board.

				NEIL
		If the poem's score for perfection is
		plotted along the horizontal of a graph,
		and its importance is plotted on the
		vertical, then calculating the total
		area of the poem yields the measure of
		its greatness.

Keating draws a corresponding graph on the board and the students
dutifully copy it down.

				NEIL
		A sonnet by Byron may score high on the
		vertical, but only average on the
		horizontal. A Shakespearean sonnet, on
		the other hand, would score high both
		horizontally and vertically, yielding a
		massive total area, thereby revealing the
		poem to be truly great. As you proceed
		through the poetry in this book, practice
		this rating method. As your ability to
		evaluate poems in this matter grows, so
		will - so will your enjoyment and
		understanding of poetry.

Neil sets the book down and takes off his glasses. The student sitting
across from him is discretely trying to eat. Keating turns away from
the chalkboard with a smile.

				KEATING
		Excrement. That's what I think of Mr. J.
		Evans Pritchard. We're not laying pipe,
		we're talking about poetry.

Cameron looks down at the graph he copied into his notes and quickly
scribbles it out.

				KEATING
		I mean, how can you describe poetry like
		American Bandstand? I like Byron, I give
		him a 42, but I can't dance to it.

Charlie suddenly appear to become interested in the class.

				KEATING
		Now I want you to rip out that page.

The students look at Keating as if he has just gone mad.

				KEATING
		Go on, rip out the entire page. You heard
		me, rip it out. Rip it out!

Charlie looks around at the others. He then looks down at his own notes,
which consists of drawing breasts.

				KEATING
		Go on, rip it out.

Charlie rips the page out and holds it up.

				KEATING
		Thank you Mr. Dalton. Gentlemen, tell you
		what, don't just tear out that page, tear
		out the entire introduction. I want it
		gone, history. Leave nothing of it. Rip
		it out. Rip! Begone J. Evans Pritchard,
		Ph.D. Rip, shred, tear. Rip it out. I
		want to hear nothing but ripping of Mr.
		Pritchard.

Meeks looks around reluctantly and then finally begins tearing out pages.

				KEATING
		We'll perforate it, put it on a roll.

Keating sees Cameron still hesitating.

				KEATING
		It's not the bible, you're not going to
		go to hell for this. Go on, make a clean
		tear, I want nothing left of it.

Keating goes over to his room. Cameron turns around to Neil.

				CAMERON
		We shouldn't be doing this.

				NEIL
		Rip, rip, rip!

Neil makes Cameron turn back around.

				KEATING (O.S.)
		Rip it out, rip!

From outside the classroom, Mr. McAllister hears all the noise and sees
all the students ripping out the pages. He bursts into the room.

				MCALLISTER
		What the hell is going on here?

The boys all turn around in shock. Charlie stuffs a crumpled page into his
mouth. Keating emerges from his room with a waste paper basket.

				KEATING
		I don't hear enough rips.

				MCALLISTER
		Mr. Keating.

				KEATING
		Mr. McAllister.

				MCALLISTER
		I'm sorry, I- I didn't know you were
		here.

				KEATING
		I am.

				MCALLISTER
		Ahh, so you are. Excuse me.

Mr. McAllister slowly backs out of the classroom.

				KEATING
		Keep ripping gentlemen. This is a battle,
		a war. And the casualties could be your
		hearts and souls. 

Keating holds out the basket to Charlie who spits out a wad of paper.

				KEATING
		Thank you Mr. Dalton. Armies of academics
		going forward, measuring poetry. No, we
		will not have that here. No more of Mr.
		J. Evans Pritchard. Now in my class you
		will learn to think for yourselves again.
		You will learn to savor words and language.
		No matter what anybody tells you, words and
		ideas can change the world. I see that look
		in Mr. Pitt's eye, like nineteenth century
		literature has nothing to do with going to
		business school or medical school. Right?
		Maybe. Mr. Hopkins, you may agree with him, 
		thinking "Yes, we should simply study our
		Mr. Pritchard and learn our rhyme and meter
		and go quietly about the business of
		achieving other ambitions." I have a little
		secret for ya. Huddle up. Huddle up! 

The boys get up from their seats and gather around Keating in the center
of the class.

				KEATING
		We don't read and write poetry because
		it's cute. We read and write poetry
		because we are members of the human race.
		And the human race is filled with passion.
		Medicine, law, business, engineering,
		these are all noble pursuits, and necessary
		to sustain life. But poetry, beauty,
		romance, love, these are what we stay alive
		for. To quote from Whitman: "O me, o life
		of the questions of these recurring, of the
		endless trains of the faithless, of cities
		filled with the foolish. What good amid
		these, o me, o life? Answer: that you are
		here. That life exists, and identity.
		That the powerful play goes on, and you
		may contribute a verse. That the powerful
		play goes on and you may contribute a verse.

Keating looks up at Todd.

				Keating
		What will your verse be?

INT. HEAD OF CAFETERIA - DAY

The cafeteria is filled with students and teachers standing before the tables saying grace.

				ALL
		For what we are about to receive, may the
		Lord make us truly grateful. Amen.

Mr. Keating and Mr. McAllister are seated next to one another at the table.

				MCALLISTER
		Quite an interesting class you gave today,
		Mr. Keating.

				KEATING
		I'm sorry if I shocked you, Mr. McAllister.

				MCALLISTER
		Oh, there's no need to apologize. It was
		very fascinating, misguided though it was.

				KEATING
		You think so?

				MCALLISTER
		You take a big risk by encouraging them to
		be artists John. When they realize they're
		not Rembrandts, Shakespeares or Mozarts,
		they'll hate you for it.

				KEATING
		We're not talking artists George, we're
		talking free thinkers.

				MCALLISTER
		Free thinkers at seventeen?

				KEATING
		Funny, I never pegged you as a cynic.

				MCALLISTER
			  (taken aback by the comment)
		Not a cynic, a realist. Show me the heart
		unfettered by foolish dreams, and I'll
		show you a happy man.

				KEATING
		But only in their dreams can man be truly
		free. 'Twas always thus, and always thus
		will be.

				MCALLISTER
		Tennyson?

				KEATING
		No, Keating.

Keating winks and Mr. McAllister can't help but laugh.

INT. CAFETERIA TABLE - DAY

Neil joins the others at the table. He pulls out a yearbook.

				NEIL
		Hey, I found his senior annual in the
		library.

He hands the annual over to Cameron who laughs at the younger picture of Keating.

				NEIL
		Listen to this, captain of the soccer team,
		editor of the school annual, Cambridge
		bound, Thigh man, and the Dead Poets Society.

				CAMERON
			    (reading from the annual)
		Man most likely to do anything.

				CHARLIE
		Thigh man. Mr. K was a hell-raiser.

				KNOX
		What's the Dead Poets Society?

				NEIL
		I don't know.

				MEEKS
		Is there a picture in the annual?

				NEIL
		Nothing. No other mention of it.

				MR. NOLAN (O.S.)
		That boy there, see me after lunch.

Cameron quickly puts the annual away and the others all return to their meal.

EXT. WELTON GROUNDS - DAY

Keating is walking down towards the lake, whistling the same tune as before.
The boys emerge from the building and chase after him.

				NEIL
		Mr. Keating? Mr. Keating? Sir? Oh Captain,
		My Captain?

Keating immediately turns around.

				KEATING
		Gentlemen.

				NEIL
		We were just looking in your old annual.

He hands Keating the annual and Keating looks at his old photograph.

				KEATING
		Oh my God. No, that's not me. Stanley
		"The Tool" Wilson-

Keating crouches down and continues looking through the book.

				KEATING
		God.

Neil crouches down next to Keating.

				NEIL
		What was the Dead Poets Society?

				KEATING
		I doubt the present administration would
		look too favorably upon that.

				NEIL
		Why? What was it?

				KEATING
		Gentlemen, can you keep a secret?

				NEIL
		Sure.

The other boys crouch down around Keating.

				KEATING
		The Dead Poets were dedicated to sucking
		the marrow out of life. That's a phrase
		from Thoreau that we'd invoke at the
		beginning of each meeting. You see we'd
		gather at the old Indian cave and take
		turns reading from Thoreau, Whitman,
		Shelley; the biggies. Even some of our
		own verse. And in the enchantment of the
		moment we'd let poetry work its magic.

				KNOX
		You mean it was a bunch of guys sitting
		around reading poetry?

				KEATING
		No Mr. Overstreet, it wasn't just "guys",
		we weren't a Greek organization, we were
		romantics. We didn't just read poetry,
		we let it drip from our tongues like honey.
		Spirits soared, women swooned, and gods
		were created, gentlemen, not a bad way to
		spend an evening eh? Thank you Mr. Perry
		for this trip down amnesia lane. Burn that,
		especially my picture.

Keating hands the annual back and walks away, whistling once again. Neil
remains crouched.

				NEIL
		Dead Poets Society.

				CAMERON
		What?

The school bells begin ringing and everyone heads back towards the school.
Neil stands up.

				NEIL
		I say we go tonight.

				CHARLIE
		Tonight?

				CAMERON
		Wait a minute.

				PITTS
		Where's this cave he's talking about?

				NEIL
		It's beyond the stream. I know where it
		is.

				PITTS
		That's miles.

				CAMERON
		Sounds boring to me.

				CHARLIE
		Don't go.

				CAMERON
		You know how many de-merits we're talking
		Dalton

				CHARLIE
		So don't come, please.

				CAMERON
		Look, all I'm saying is that we have to
		be careful, we can't get caught.

				CHARLIE
		No shit, Sherlock.

				HAGER
				(yelling)
		You boys there, hurry up.

Neil turns around and faces the other boys.

				NEIL
		All right, who's in?

				CAMERON
		Come on Neil, Hager's right-

				NEIL
		Forget Hager, no. Who's in?

				CHARLIE
		I'm in.

				HAGER (O.S.)
		I'm warning you, move.

				CAMERON
		Me too.

				PITTS
		I don't know Neil

				NEIL
		What? Pitts-

				CHARLIE
		Pitsie, come on.

				MEEKS
		His grades are hurting Charlie.

				NEIL
		You can help him Meeks.

				PITTS
		What is this, a midnight study group?

				NEIL
		Forget it Pitts, you're coming. Meeks,
		are your grades hurting too?

				MEEKS
		I'll try anything once.

				CHARLIE
		Except sex.

				MEEKS
		Ha ha ha.

				CAMERON
		I mean as long as we're careful.

The boys run into the building.

				CHARLIE
		What about you Knox?

				KNOX
		I don't know Charlie.

				CHARLIE
		Come on Knox, it'll help you get Chris.

				KNOX
		Yeah? How?

				CHARLIE
		Women swoon.

Charlie laughs and runs inside. Knox chases after him.

				KNOX
		But why do they swoon? Charlie, tell me
		why they swoon. Charlie!

INT LIBRARY - DAY

The boys are all gathered around one of the tables with a map laid out
on it.

				NEIL
			    (whispering)
		Okay, follow the stream to the waterfall.
		It's right there. It's got to be on the
		banks.

				CAMERON
		I don't know, it's starting to sound
		dangerous.

				CHARLIE
		Well, why don't you stay home?

				MCALLISTER
		For God's sake stop chattering and
		sit down.

The boys take their seats once again and Neil goes over and sits next to
Todd, who is sitting by himself.

				NEIL
		Todd, are you coming tonight?

				TODD
		No.

				NEIL
		Why not? God, you were there. You heard
		Keating. Don't you want to do something
		about it?

				TODD
		Yes, but-

				NEIL
		But? But what?

				TODD
		Keating said that everybody took turns
		reading and I don't want to do that.

				NEIL
		Gosh, you really have a problem with
		that, don't you?

				TODD
		N- no, I don't have a problem. Neil,
		I just- I just don't want to do it,
		okay?

				NEIL
		All right. What if you didn't have to
		read? What if you just came and
		listened?

				TODD
		That's not how it works.

				NEIL
		Forget how it works. What if - what if
		they said it was okay?

				TODD
		What? What are you gonna do, go up and
		ask them?

Neil shrugs.

				TODD
		No. No, Neil.

				NEIL
		I'll be right back.

				TODD
		Neil, Neil!

Neil gets up and rejoins the others. McAllister hears the boys whispering
again.

				MCALLISTER
		Oh shut up, will you.

INT BATHROOM - NIGHT

Various boys are crowded around the sinks getting ready for bed. Someone
is playing snake charmer music on a kazoo while someone else is bothering
Spaz with a red sock puppet acting like a snake.

				SPAZ
		That's my- that's for my asthma, okay.
		Could you give that back please? Could
		you give that back?

				BOY
		What's the matter? Don't you like snakes?

Neil enters and taps Todd on the shoulder.

				NEIL
		You're in.

				SPAZ
		Get away from me, okay?

				BOY
		Spaz, why don't you check your pocket,
		huh? Come on Spaz I have to brush my
		teeth

				SPAZ
		Get a- get off, 

Hager walks past the bathroom and into his room.

				HAGER
		Cut out that racket in there.

The kazoo player lets out a rude squeek before finally stopping. Hager
glares at them for a moment.

INT NEIL'S BEDROOM - NIGHT

Neil stands in his doorway. He looks across the hall to the other room
where Cameron and Charlie are standing. Cameron gives a thumbs up. Neil
closes his room door and takes out his cloak and a flashlight. Setting
the flashlight down on the desk, he notices a worn book, "Five
Centuries of Verse", sitting there. Opening it up, he sees John Keating's
name at the top followed by "Dead Poets". Below the title of the book,
is written: "To Be Read At The Opening of D.P.S. Meetings." Along with
several lines from Thoreau, beginning with "I went to the woods because
I wanted to live deliberately…"

INT STAIRWAY - NIGHT

The shadows of hooded figures can be seen moving throughout the darkened
halls.

INT HAGER'S ROOM - NIGHT

Hager hears a dog barking.

INT HALLWAY - NIGHT

Someone drops a number of dog biscuits by the dog's feet. He stops
barking and immediately begins gobbling them down. Hager looks out
into the hallway with his flashlight but sees nothing.

EXT SCHOOL GROUNDS - NIGHT

The boys quietly leave the building and set off running across the
fields towards the woods.

EXT WOODS - NIGHT

The boys search about the trees trying to find the cave. Meeks is
searching around when Charlie leaps up behind Meeks in the dark
shining the flashlight up at his own face and grabs Meeks by the
shoulder.

				CHARLIE
		Arrr, I'm a dead poet.

				MEEKS
		Aww, Charlie.

				CHARLIE
			    (laughing)
		Guys, over here.

				MEEKS
		You're funny. You're real funny.

INT CAVE - NIGHT

The boys are trying to start a fire. The cave is quickly filling up with
smoke.

				MEEKS
		It's too wet.

CHARLIE
		God, are you trying to smoke us out of
		here?

				MEEKS
		No, no, the smoke's going right up this
		opening.

Pitts tries to stand up and slams his head into the low rock ceiling. He
lets out a yell while the others laugh.

				NEIL
		You okay?

				PITTS
		Oh God. Clowns.

				NEIL
		All right, all right, forget the fire.
		Let's go gentlemen.

Neil stands before the others with the book in hand, and takes a drag
on a cigarette.

				NEIL
		I hereby reconvene the Dead Poets
		Society.

The boys cheer.

				NEIL
		Welton chapter. The meetings will be
		conducted by myself and the other new
		initiates now present. Todd Anderson,
		because he prefers not to read, will
		keep minutes of the meetings. I'll now
		read the traditional opening message by
		society member Henry David Thoreau. "I
		went to the woods because I wanted to
		live deliberately. I wanted to live deep
		and suck out all the marrow of life."

				CHARLIE
		I'll second that.

				NEIL
		"To put to rout all that was not life,
		and not, when I had come to die,
		discover that I had not lived.

Several boys whistle softly in reaction to the poem.

				NEIL
		And Keating's marked a bunch of other
		pages.

Neil begins flipping through the book.

				CHARLIE
		All right, intermission. Dig deep right
		here. Right here, lay it down

				CAMERON
		On the mud? We're gonna put our food on
		the mud?

				CHARLIE
		Meeks, put your coat down. Picnic blanket.

				MEEKS
		Yes sir, use Meeks' coat.

				CHARLIE
		Don't keep anything back either. You
		guys are always bumming my smokes.

Meeks lays his coat down and everyone dumps their food on it. Amongst
the pile are chocolate chip cookies, a box of raisins, a few apples, an
orange, and half a roll.

				NEIL
		Raisins?

				KNOX
		Yuck.

				CHARLIE
		Wait a minute, who gave us half a roll?

				PITTS
			  (talking with his mouth full)
		I'm eating the other half.

				CHARLIE
		Come on.

				PITTS
		You want me to put it back?

INT CAVE - NIGHT

Neil, lit up by a flashlight, begins to tell everyone a story.

				NEIL
		It was a dark and rainy night, and this
		old lady, who had a passion for jigsaw
		puzzles, sat by herself in her house at
		her table to complete a new jigsaw puzzle.
		But as she pieced the puzzle together, she
		realized, to her astonishment, that the
		image that was formed was her very own
		room. And the figure in the center of the
		puzzle, as she completed it, was herself.
		And with trembling hands, she placed the
		last four pieces and stared in horror at
		the face of a demented madman at the
		window. The last thing that this old lady
		ever heard was the sound of breaking glass.

				BOYS
		Ohhh… no…

				NEIL
		This is true, this is true.

				CAMERON
		I've got one that's even better than
		that.

				CHARLIE
		Ha!

				CAMERON
		I do. There's a young, married couple,
		and they're driving through the forest
		at night on a long trip. And they run
		out of gas, and there's a madman on the-

				CHARLIE
		The thing with the hand-

All the boys react, recalling the story and miming the scraping on the
roof of the car.

				CAMERON
		I love that story.

				CHARLIE
		I told you that one.

				CAMERON
		You did not. I got that in camp in
		sixth grade.

				CHARLIE
		When were you in six, last year?

As everyone's voices begin to calm down, Pitts begins reading from the
book.

				PITTS
		"In a mean abode in the shanking road,
		lived a man named William Bloat. Now,
		he had a wife, the plague of his life,
		who continually got his goat. And one
		day at dawn, with her nightshift on,
		he slit her bloody throat."

The boys laugh.

				PITTS
		Oh, and it gets worse.

				CHARLIE
		You want to hear a real poem?

Meeks hands Charlie the book but he shoves it away.

				CHARLIE
		All right? No, I don't need it. You take 
		it. 

				MEEKS
		What, did you bring one? 

				NEIL
		You memorized a poem? 

				CHARLIE
		I didn't memorize a poem. Move up.

Neil moves to the side as Charlie stands and takes his spot.

				MEEKS
		An original piece by Charlie Dalton. 

				KNOX
		An original piece. 

				PITTS
		Take center stage. 

				NEIL
		You know this is history. Right? This is 
		history.

Charlie clears his throat and pulls out a page from a magazine and 
slowly unfolds it, revealing a Playboy centerfold (Elaine Reynolds,
Miss October, 1959)

				MEEKS
		Oh, wow. 

				CAMERON
		Where did you get that? 

				CHARLIE

		Teach me to love? Go teach thyself more 
		wit.
		I, chief professor, am of it.

Neil gets up and looks over Charlie's shoulder to see what he is
reading.

				CHARLIE
		The god of love, if such a thing there 
		be, may learn to love from me.

Charlie winks at the guys and they clap and cheer.

				NEIL
		Wow! Did you write that?

Charlie turns over the centerfold to show where he had written down
the poem.

				CHARLIE
		Abraham Cowley. Okay, who's next? 

Neil sits reading from the book by flashlight.

				NEIL
		Alfred Lord Tennyson. 
		Come my friends, 
		'Tis not too late to seek a newer world 
		for my purpose holds to sail beyond the 
		sunset. 
		And though we are not now that strength 
		which in old days 
		Moved earth and heaven; that which we 
		are, we are;-- 
		One equal temper of heroic hearts, 
		Made weak by time and fate, but strong 
		in will. 
		To strive, to seek, to find, and not to 
		yield. 

Meeks takes center stage and begins reading a poem like he is 
performing a chant.

				MEEKS
		Then I had religion, then I had a 
		vision. 
		I could not turn from their revel in 
		derision. 
		Then I saw the Congo creeping through 
		the black, 
		cutting through the forest with a golden 
		track. 
		Then I saw the Congo creeping through 
		the black- 

				CHARLIE
		Meeks, Meeks. 

				MEEKS

		...cutting through the forest with a 
		golden track.
		Then I saw the Congo creeping through 
		the black, 
		cutting through the forest with a golden 
		track.

Knox picks up a metal container and begins using it as a drum. The
other boys stand and begin going in a circle, making music with
sticks of wood, combs, etc.

		Then I saw the Congo creeping through 
		the black, 
		cutting through the forest with a golden 
		track. 
		Then I saw the Congo creeping through 
		the black, 
		cutting through the forest with a golden 
		track. 

				BOYS

		Then I saw the Congo creeping through 
		the black, 
		cutting through the forest with...

The boys continue to chant the chorus as they emerge from the
cave.

EXT. CAMPUS - NIGHT
The clock tolls two as the boys silently run back to their dorm.

INT. KEATING'S CLASSROOM - DAY

Keating is walking to the front of the classroom filled with students.

				KEATING
		A man is not very tire, he is exhausted.
		And don't use very sad, use-

He points to the back of the classroom.

				KEATING
		Come on, Mr. Overstreet, you twerp, 
				KNOX
		Morose? 

				KEATING
		Exactly! Morose. Now, language was 
		developed for one endeavor, and that is? 
		Mr. Anderson? Come on! Are you a man or 
		an amoeba?

Keating stands before Todd's desk. Todd looks up nervously but
says nothing. Keating paused for a moment before looking away.

				KEATING
		Mr. Perry? 

				NEIL
		Uh, to communicate. 

				KEATING
		No! To woo women. Today we're going to 
		be talking about William Shakespeare. 

The class lets out a collective sigh.
				BOY
		Oh, God! 

				KEATING
		I know. A lot of you looked forward to 
		this about as much as you look forward 
		to root canal work. We're gonna talk 
		about Shakespeare as someone who writes 
		something very interesting. Now, many of 
		you have seen Shakespeare done very much 
		like this:

Keating holds out his right arm dramtically and begins to
speak in an exaggerated British accent.

		"O Titus, bring your friend hither." But
		if any of you have seen Mr. Marlon Brando,
		you know, Shakespeare can be different. 
		"Friend, Romans, countrymen, lend me your
		ears." You can also imagine, maybe, John
		Wayne as Macbeth going, "Well, is this a 
		dagger I see before me?"

INT. KEATING'S CLASSROOM - DAY

The students are all seated together near the front of the room as
Keating reads from a book.

				KEATING
		"Dogs, sir? Oh, not just now. I do enjoy 
		a good dog once in a while, sir. You can 
		have yourself a three-course meal from 
		one dog. Start with your canine 
		crudites, go to your Fido flambe for 
		main course and for dessert, a Pekingese 
		parfait. And you can pick your teeth 
		with a little paw."

INT. KEATING'S CLASSROOM - DAY

The students are all back in their normal seats and Keating leaps
up onto his desk.

				KEATING
		Why do I stand up here? Anybody? 

				CHARLIE
		To feel taller. 

				KEATING
		No!
Keating rings the bell on his desk with his foot

				KEATING
		Thank you for playing, Mr. Dalton. I 
		stand upon my desk to remind yourself 
		that we must constantly look at things 
		in a different way. 

Keating glances around the classroom from atop the desk.

				KEATING
		You see, the world looks very different 
		from up here. You don't believe me? Come 
		see for yourself. Come on. Come on! 

Charlie and Neil quickly rise from their seats to go to the front
of the classroom. The rest of the class follows them. While Keating
continues speaking, Neil and Charlie join him on the desk and then
Keating jumps down.


				KEATING
		Just when you think you know something, 
		you have to look at it in another way. 
		Even though it may seem silly or wrong, 
		you must try! Now, when you read, don't 
		just consider what the author thinks. 
		Consider what you think. 

				KEATING
		Boys, you must strive to find your own 
		voice. Because the longer you wait to 
		begin, the less likely you are to find 
		it at all. Thoreau said, "Most men lead 
		lives of quiet desperation." Don't be 
		resigned to that. Break out!

Keating notices Spaz and another boy leaving the desk immediately.

				KEATING
		Don't just walk off the edge like lemmings.
		Look around you. 

The school bell rings as the boys continue to climb onto the desk.
Keating begins to gather up his stuff. The clock begins to toll as
Keating walks to the back of the class.

				KEATING
		There! There you go, Mr. Priske. Thank 
		you! Yes! Dare to strike out and find 
		new ground. Now, in addition to your 
		essays, I would like you to compose a 
		poem of your own, an original work.

The students begin to groan. Keating begins flickering the lights
off and on while chanting ominously.

				KEATING
		That's right! You have to deliver it 
		aloud in front of the class on Monday. 
		Bonne chance, gentlemen. 

Keating steps out into the hall before quickly peeking back in once again.
Todd is the last one to stand on the desk and is about to jump off.

				KEATING
		Mr. Anderson? Don't think that I don't 
		know that this assignment scares the 
		hell out of you, you mole.

Keating flicks the light off, leaving Todd to jump down in the darkness
as the students laugh.

EXT. RIVER - DAY

Cameron, Charlie, and several other boys are rowing while Mr. Nolan
shouts orders from a bullhorn.

				MR. NOLAN
		Take a power train in two! Three! Keep 
		your eyes in the boat!

EXT. CAMPUS ROOFTOP - DAY

Noisy static is replaced by music as Pitts climbs down form the peak to
join Meeks at their makeshift radio.

				MEEKS
		We got it, Pittsie. We got it! Radio 
		Free America! 


EXT CAMPUS - DAY

Several students are fencing on a grassy slope.

EXT. CAMPUS ROOFTOP - DAY

Meeks and Pitts perform a goofy dance together to the music.

INT. TODD'S ROOM - DAY

Todd is on his bed trying to write a poem. The door opens and Todd
turns his writing pad over. Neil enters the room laughing. He crouches
down next to Todd's bed and plunks a sheet of paper in Todd's lap.


				NEIL
		I found it. 

				TODD
		You found what? 

				NEIL
		What I wanna do right now. What's 
		really, really inside me. 

				TODD
		"A Midsummer Night's Dream"? 

				NEIL
		This is it. 

				TODD
		What is this? 

				NEIL
		It's a play, dummy. 

				TODD
		I know that. I-- Wh-Wh-What does it have 
		to do with you? 

				NEIL
		Right. They're putting it on at Henley 
		Hall. Open tryouts. Open tryouts! 

				TODD
		Yes, so?

Neil pounds on the bed and then pulls a blanket off his bed,
wearing it like a cloak.

				NEIL
		So, I'm gonna act. Yes, yes! I'm gonna 
		be an actor! Ever since I can remember, 
		I've wanted to try this. I even tried to 
		go to summer stock auditions last year, 
		but, of course, my father wouldn't let 
		me. For the first time in my whole life 
		I know what I wanna do.

Neil grabs a handful of papers off Todd's bed and tosses them into
the air.

				NEIL
		and for the first time I'm gonna do it 
		whether my father wants me to or not!
		Carpe diem! 

				TODD
		Neil, Neil, hold on a minute. How are 
		you gonna be in a play if your father 
		won't let you? 

				NEIL
		First I gotta get the part, then I can 
		worry about that. 

				TODD
		Yeah, but won't he kill you if he finds 
		out you went to an audition and didn't 
		even tell him? 

				NEIL
		No, no, no, no. As far as I'm concerned, 
		he won't have to know about any of this. 

				TODD
		Well, that's impossible. 

				NEIL
		Bullshit! Nothing's impossible. 

				TODD
		Well, why don't you just call him and 
		ask him? And m-maybe he'll say yes. 

				NEIL
		That's a laugh!

Neil tosses the blanket back onto his bed.

				NEIL
		If I don't ask him, at least I won't
		be disobeying him. 

				TODD
		Yeah, but if he said-- 

				NEIL
			   (shouting angrily)
		Jesus, Todd! Whose side are you on?

Todd says nothing. Neil looks at him for a moment and then takes
the flyer back from Todd. He walks over to the window, his 
excitement gone.

				NEIL
		I mean, I haven't even gotten the part 
		yet. Can't I even enjoy the idea for a 
		little while? 

Once again, Todd says nothing. After a moment, Neil sits on the
heater and Todd returns to his poem.

				NEIL
		You're coming to the meeting this 
		afternoon? 

				TODD
		I don't know. Maybe.

				NEIL
		Nothing Mr. Keating has to say means 
		shit to you, does it, Todd? 

				TODD
		W-What is that supposed to mean? 

				NEIL
		You're in the club! Being in the club 
		means being stirred up by things. You 
		look about as stirred up as a cesspool. 

Neil gets up from the window and stands over Todd.

				TODD
		So- You want me out? 

				NEIL
		No! I want you in, but being in means 
		you gotta do something. Not just say 
		you're in. 

				TODD
		Well, listen, Neil. I-I appreciate this 
		concern, but I-I'm not like you. All 
		right? You, you, you say thing and 
		people listen. I'm, I'm not like that. 

				NEIL
		Don't you think you could be? 

				TODD
		No! I--I, I don't know, but that's not 
		the point. The, the, the point is that 
		there's nothing you can do about it, so 
		you can just butt out. I can take care 
		of myself just fine. All right? 

				NEIL
		No. 

				TODD
		What do you mean, "no"? 

A smile comes to Neil's face.

				NEIL
		No. 

Neil grabs Todd's notebook of poetry and runs across the room with 
it. Todd leaps up after him.

				TODD
		Give me-- Neil. Neil, give that back. 

The two begin racing in circles around the room, jumping from
bed to bed as Todd tries to grab his poem back.

				NEIL
		"We are dreaming of a--" Poetry! I'm 
		being chased by Walt Whitman! Okay, 
		okay.

Neil drops the notebook. Cameron walks into the room.

				CAMERON
		What are you guys doing? I'm sure-- You 
		see this chemistry-

Cameron tries to hold up his book and Neil snatches it from his hands and
suddenly all three of them are racing around the room.

				CAMERON
		Hey, give me-- Neil, give me-- Don't be
		immature. Come on. I need my- 

Charlie enters the room and begins waving his hands.

				CHARLIE
		Give it to me! Give it to me! 

				NEIL
		Charlie!

Neil tosses Cameron's book to Charlie.

				CAMERON
		Let me have my book, I need my- 

The four boys continue racing around the cramped quarters, tossing
Cameron's book back and forth. Neil picks up a recorder and begins
blowing erratic notes on it while Charlie starts pounding on a set of
bongo drums. Outside the room a crowd of boys watch.

EXT. CAMPUS ENTRANCE - DAY

Knox is riding his bike around in circles near the entrance. Seeing no
one nearby, he races through the open gates and down the road. He comes
to the top of a hill and then goes downhill across the grass, shouting
as he sends an immense flock of geese flying into the air.

EXT. PARKING LOT - DAY

A number of vehicles drive up, filled with students dressed in bright red
cosyumes, playing trumpets and various other instruments as they pass.
Knox watches the growing crowd of students. They are all converging on
a bus. A football player, wearing a horned helmet, dances on the roof of
the bus. A band is playing while a group of cheerleaders are practising.
Knox spots Chris amongst the cheerleaders. He watches her until Chet
comes along and she grabs hold of his hand. Knox looks away in disgust.

				COACH
		Okay, everybody on the bus. Let's go, 
		boys. Come on, let's go. On the bus, 
		boys. Now!

Chris jumps into Chet's arms as everyone begins to board the buses. Knox
turns his bike around and leaves.

EXT. SOCCER FIELD - DAY

Keating walks across the field, followed by his students. He kicks a ball
ahead of him while he carries a number of other balls in a net slung over
his shoulder.

				KEATING
		Now, devotees may argue that one sport 
		or game is inherently better than 
		another. For me, sport is actually a 
		chance for us to have other human beings 
		push us to excel. I want you all to come 
		over here and take a slip of paper and 
		line up single file.

Keating reaches the stands. He tosses the balls aside and pulls sets
his briefcase down. As the boys line up he begins ripping off slips
of paper from a notepad and handing them out.

				KEATING
		Mr. Meeks, time to inherit the earth. 
		Mr. Pitts, rise above your name.

He hands the notepad to another student.

				KEATING
		I want you to hand these out to the boys,
		one apiece.

EXT. SOCCER FIELD - DAY

The students are all lined up in single file, each holding a slip
of paper. Keating blows his whistle.

				KEATING
		You know what to do, Pitts. 

				PITTS
		"Oh to struggle against great odds. To 
		meet enemies undaunted." 

				KEATING
		Sounds to me like you're daunted. Say it 
		again like you're undaunted. 

				PITTS
		"Oh to struggle against great odds. To 
		meet enemies undaunted." 

				KEATING
		Now go on.

Pitts gives one of the soccer balls a good kick.

				KEATING
		Yes! Next.

One of the students sets up the next ball as the line advances.

				BOY 1
		"To be a sailor of the world, bound for 
		all ports." 

				KEATING
		Next. Louder! 

				BOY 2
		"Oh, I live to be the ruler of life, not 
		a slave." 

Keating walks away and starts up a record player.

				BOY 3
		"To mount the scaffolds. To advance to 
		the muzzle of guns with perfect 
		nonchalance."

Classical music begins playing on the phonograph. Meeks goes to
read next but is confused by the music.

				KEATING
		Come on, Meeks! Listen to the music. 

				MEEKS
		"To dance, clap hands, exalt, shout, 
		skip, roll on, float on." 

				KEATING
		Yes! 

				HOPKINS
				(without energy)
		"Oh, to have life henceforth the poem of 
		new joys." 

Hopkins crumples up his paper and then barely taps the soccer
ball with his foot.

Keating puts a look of disgust on his face.

				KEATING
		Oh! Boo! Come on, Charlie, let it fill 
		your soul! 

Charlie raises his hands over his head.

				CHARLIE
		"To indeed be a god!" 

INT. DORM HALLWAY - DAY

Neil is racing down the hallway, all excited.

				NEIL
		Charlie, I got the part! I'm gonna play 
		Puck! I'm gonna play Puck!

He pounds on Charlie's door.

				MEEKS
		What did he say? 

				PITTS
		Puck? 

				NEIL
		That's the main part. 

				KNOX
		Great, Neil. 

				NEIL
		Charlie, I got it! 

				CHARLIE
		Congratulations. Good for you, Neil. 
		Good for you. 

Neil enters his room with Todd and sits down at his typewriter.

				NEIL
		Okay, okay, okay, okay. 

				TODD
		Neil, how are you gonna do this? 

				NEIL
		They need a letter of permission from my 
		father and Mr. Nolan. 

				TODD
		You're not gonna write it. 

				NEIL
		Oh yes, I am. 

				TODD
		Oh, Neil. Neil, you're crazy. 

 Neil begins typing.

				    NEIL
		Okay. "I am writing to you on behalf of 
		my son Neil Perry."

Neil begins laughing and stomping his feet up and down.

				    NEIL
		This is great.

EXT. CAMPUS - NIGHT

A lone bagpiper plays out on the dock.

INT. TODD'S ROOM - NIGHT

Todd is pacing circles about his room as he reads his poem. His
pacing slows and then he tears the poem up.

INT. KEATING'S CLASSROOM - DAY

Knox stands at the front of the room with his poem in hand.

				KNOX
				(quietly)
		"To Chris."

Charlie looks up from his desk with a grin.

				BOY 1
		Who's Chris? 

				BOY 2
		Mmm, Chris. 

				KNOX
		I see a sweetness in her smile. 
		Blight light shines from her eyes. 
		But life is complete; contentment is 
		mine, 
		Just knowing that...

Several students begin to snicker.

				KNOX
		just knowing that she's alive.

Knox crumples his poem and walks back to his desk.

				KNOX
		Sorry, Captain. It's stupid. 

				KEATING
		No, no. It's not stupid. It's a good 
		effort. It touched on one of the major 
		themes, love. A major theme not only in 
		poetry, but life. Mr. Hopkins, you were 
		laughing. You're up.

Hopkins slowly walks to the front of the class and unfolds
his piece of paper.

				HOPKINS
		"The cat sat on the mat." 

				KEATING
		Congratulations, Mr. Hopkins. Yours is 
		the first poem to ever have a negative 
		score on the Pritchard scale. We're not 
		laughing at you, we're laughing near 
		you. I don't mind that your poem had a 
		simple theme. Sometimes the most 
		beautiful poetry can be about simple 
		things, like a cat, or a flower or rain. 
		You see, poetry can come from anything 
		with the stuff of revelation in it. Just 
		don't let your poems be ordinary. Now, 
		who's next? 

Keating approaches Todd's desk.

				KEATING
		Mr. Anderson, I see you sitting there in 
		agony. Come on, Todd, step up. Let's put 
		you out of your misery. 

				TODD
		I, I didn't do it. I didn't write a 
		poem. 

				KEATING
		Mr. Anderson thinks that everything 
		inside of him is worthless and 
		embarrassing. Isn't that right, Todd? 
		Isn't that your worst fear? Well, I 
		think you're wrong. I think you have 
		something inside of you that is worth a 
		great deal.

Keating walks up to the blackboard and begins to write.

				KEATING
		"I sound my barbaric yawp over the 
		rooftops of the world." W. W. Uncle Walt 
		again. Now, for those of you who don't 
		know, a yawp is a loud cry or yell. Now, 
		Todd, I would like you to give us a 
		demonstration of a barbaric "yawp." Come 
		on. You can't yawp sitting down. Let's 
		go. Come on. Up.

Todd reluctantly stands and follows Keating to the front.

				KEATING
		You gotta get in "yawping" stance. 

				TODD
		A yawp?

				KEATING
		No, not just a yawp. A barbaric yawp. 

				TODD
				(quietly)
		Yawp. 

				KEATING
		Come on, louder. 

				TODD
				(quietly)
		Yawp. 

				KEATING
		No, that's a mouse. Come on. Louder. 

				TODD
		Yawp. 

				KEATING
		Oh, good God, boy. Yell like a man! 

				TODD
				(shouting)
		Yawp! 

				KEATING
		There it is. You see, you have a 
		barbarian in you, after all.

Todd goes to return to his seat but Keating stops him.

				KEATING
		Now, you don't get away that easy.

Keating turns Todd around and points out a picture on the wall.

				KEATING
		The picture of Uncle Walt up there. What 
		does he remind you of? Don't think. 
		Answer. Go on.

Keating begins to circle around Todd.

				TODD
		A m-m-madman. 

				KEATING
		What kind of madman? Don't think about 
		it. Just answer again. 

				TODD
		A c-crazy madman. 

				KEATING
		No, you can do better than that. Free up 
		your mind. Use your imagination. Say the 
		first thing that pops into your head, 
		even if it's total gibberish. Go on, go 
		on. 

				TODD
		Uh, uh, a sweaty-toothed madman. 

				KEATING
		Good God, boy, there's a poet in you, 
		after all. There, close your eyes. Close 
		your eyes. Close 'em. Now, describe what 
		you see. 

Keating puts his hands over Todd's eyes and they begin to slowly
spin around.

				TODD
		Uh, I-I close my eyes. 

				KEATING
		Yes? 

				TODD
		Uh, and this image floats beside me. 

				KEATING
		A sweaty-toothed madman? 

				TODD
		A sweaty-toothed madman with a stare 
		that pounds my brain. 

				KEATING
		Oh, that's excellent. Now, give him 
		action. Make him do something. 

				TODD
		H-His hands reach out and choke me. 

				KEATING
		That's it. Wonderful. Wonderful.

Keating removes his hands from Todd but Todd keeps his eyes
closed.

				TODD
		And, and all the time he's mumbling. 

				KEATING
		What's he mumbling? 

				TODD
		M-Mumbling, "Truth. Truth is like, like 
		a blanket that always leaves your feet 
		cold." 

The students begin to laugh and Todd opens his eyes. Keating
quickly gestures for him to close them again.

				KEATING
		Forget them, forget them. Stay with the 
		blanket. Tell me about that blanket. 

				TODD
		Y-Y-Y-You push it, stretch it, it'll 
		never be enough. You kick at it, beat 
		it, it'll never cover any of us. From 
		the moment we enter crying to the moment 
		we leave dying, it will just cover your 
		face as you wail and cry and scream. 

Todd opens his eyes. The class is silent. Then they begin to clap
and cheer.

				KEATING
			   (whispering to Todd)
		Don't you forget this.

EXT. SOCCER FIELD - DAY

Keating's students are playing a soccer game. After they score the
winning goal they hoist Keating onto their shoulders and carry him
away.

INT. CAVE - DAY

The boys are all sitting around the cave lighting their pipes.
				CHARLIE
		Attaboy, Pittsie, inhale deeply. 

				MEEKS
		My dad collects a lot of pipes. 

				CHARLIE
		Really? Mine's got thirty. 

				PITTS
		Your parents collect pipes? Oh, that's 
		really interesting. 

				CHARLIE
		Come on, Knox. Join in. 

				MEEKS
		Yeah, Knox, we're from the government. 
		We're here to help, man. 

				CHARLIE
		What's wrong? 

				PITTS
		It's Chris. Here's a picture of Chris 
		for you.

Pitts holds up a centerfold.

				MEEKS
		Smoke that. Put that in your pipe and 
		smoke it. 

				KNOX
		That's not funny. 

				CHARLIE
		Knock it off. Smoke your pipes. 

				MEEKS
		Neil!

Neil enters the cave carrying a beat up light stand.

				NEIL
		Friend, scholar, Welton men. 

				MEEKS
		What is that, Neil? 

				PITTS
		Duh. It's a lamp, Meeks.

Neil removes the shade from the lamp, revealing the shape of a man
as the base of the lamp.

				NEIL
		No. This is the god of the cave. 

				MEEKS
		The god of the cave.

Charlie begins making loud noises with his saxophone.

				PITTS
		Charlie, what are you doing? 

				CHARLIE
		What do you say we start this meeting? 

				BOY 1
		Y-Yeah, just-- I need a light. I just 
		gotta- 

				BOY 2
		Got my earplugs?

Charlie stands up and clears his throat.

				CHARLIE
		Gentlemen, "Poetrusic" by Charles 
		Dalton.

Charlie begins playing erratic notes on the sexophone.

				MEEKS
		Oh, no. 

				CHARLIE
		Laughing, crying, tumbling, mumbling. 
		Gotta do more. Gotta be more. 

Charlie plays more erratic sounds.

				CHARLIE
		Chaos screaming, chaos dreaming. Gotta 
		do more! Gotta be more!

Charlie starts to play a real tune on the saxophone.

				MEEKS
		Wow! 

				PITTS
		That was nice. That was great. Where did 
		you learn to play like that? 

				CHARLIE
		My parents made me take the clarinet for 
		years. 

				CAMERON
		I love the clarinet. 

				CHARLIE
		I hated it. The saxophone. The saxophone 
		is more sonorous. 

				CAMERON
		Ooh. 

				MEEKS
		Vocabulary. 

Knox jumps up.
				KNOX
		I can't take it anymore. If I don't have 
		Chris, I'm gonna kill myself. 

				CHARLIE
		Knoxious, you've gotta calm down. 

				KNOX
		No, Charlie. That's just my problem. 
		I've been calm all my life. I'll do 
		something about that. 

				NEIL
		Where are you going? 

				CHARLIE
		What are you gonna do? 

				KNOX
		I'm gonna call her.

Knox begins to chuckle as he leaves the cave. The others
quickly grab their coats to follow him. Charlie goes back to
playing noise on his saxophone again.

INT. HALLWAY - DAY

Knox is making a call from the payphone.

				CHRIS (O.S.)
		Hello?

Knox immediately hangs up and looks at the other boys who are
all gathered around him.

				KNOX
		She's gonna hate me. The Danburrys will 
		hate me. My parents will kill me. 
		All right, goddamn it. You're right. 
		"Carpe diem." Even if it kills me. 

Knox puts in another coin and calls again.

				CHRIS (O.S.)
		Hello? 

				KNOX
		Hello, Chris? 

				CHRIS (O.S.)
		Yes. 

				KNOX
		Hi. This is Knox Overstreet. 

				CHRIS (O.S.)
		Oh, yes. Knox. Glad you called. 

				KNOX
		She's glad I called. 

				CHRIS (O.S.)
		Listen, Chet's parents are going out of 
		town this weekend, so he's having a 
		party. Would you like to come? 

				KNOX
		Would I like to come to a party? 

				CHARLIE
		Yes. Say, yes. 

				CHRIS (O.S.)
		Friday? Um- 

				KNOX
		Well, sure. 

				CHRIS (O.S.)
		About seven? 

				KNOX
		Okay, great. I-I'll be there, Chris. 

				CHRIS (O.S.)
		Okay. 

				KNOX
		Friday night at the Danburrys'. O-Okay. 
		Thank you. 

				CHRIS (O.S.)
		Okay. Bye. 

				KNOX
		Thank you. I'll see you. Bye. 

				KNOX
		Yawp! Can you believe it? She was gonna 
		call me. She invited me to a party with 
		her. 

				CHARLIE
		At Chet Danburry's house. 

				KNOX
		Yeah. 

				CHARLIE
		Well? 

				KNOX
		So? 

				CHARLIE
		So, you don't really think she means 
		you're going with her? 

				KNOX
		Well, of course not, Charlie. But that's 
		not the point. That's not the point at 
		all. 

				CHARLIE
		What is the point? 

				KNOX
		The point, Charlie, is, uh-- 

				CHARLIE
		Yeah? 

				KNOX
		that she was thinking about me. I've 
		only met her once, and already she's 
		thinking about me. Damn it. It's gonna 
		happen, guys. I feel it. She is going to 
		be mine. Carpe. Carpe!

Knox flips his scarf dramatically around his neck as he walks away
and climbs the stairs.

EXT. COURTYARD - DAY

The students are standing in a line while Cameron, Pitts, and Knox
are walking in a circle. Keating watches as they go around.

				KEATING
		No grades at stake, gentlemen. Just take 
		a stroll.

After a few moments, the three boys begin to march to the same beat.

				KEATING
		There it is. 

The other boys start clapping to the rhythm of their steps.

				KEATING
		I don't know, but I've been told-- 

				BOYS
		I don't know, but I've been told-- 

				KEATING
		Doing poetry is old-- 

				BOYS
		Doing poetry is old-- 

Mr. Nolan looks out at them from his office as Keating joins the
boys and begins marching with them.

				KEATING
		Left, left, left-right-left. Left, left, 
		left-right-left. Left, halt! 

The boys come to a halt.

				KEATING
		Thank you, gentlemen. If you noticed, 
		everyone started off with their own 
		stride, their own pace.

Keating begins walking very slowly.

				KEATING
		Mr. Pitts, taking his time. He knew he'll
		get there one day. Mr. Cameron, you could
		see him thinking, "Is this right? It might
		be right. It might be right. I know that. 
		Maybe not. I don't know."

Keating begins walking with his groin pushed forward.

				KEATING
		Mr. Overstreet, driven by deeper force.
		Yes. We know that. All right. Now, I
		didn't bring them up here to ridicule
		them. I brought them up here to illustrate
		the point of conformity: the difficulty in 
		maintaining your own beliefs in the face 
		of others. Now, those of you -- I see 
		the look in your eyes like, "I would've 
		walked differently." Well, ask 
		yourselves why you were clapping. Now, 
		we all have a great need for acceptance. 
		But you must trust that your beliefs are 
		unique, your own, even though others may 
		think them odd or unpopular, even though 
		the herd may go, "That's baaaaad." Robert 
		Frost said, "Two roads diverged in a 
		wood and I, I took the one less traveled 
		by, and that has made all the 
		difference." Now, I want you to find 
		your own walk right now. Your own way of 
		striding, pacing. Any direction. 
		Anything you want. Whether it's proud, 
		whether it's silly, anything. Gentlemen, 
		the courtyard is yours.

The students begin walking about, some walking casually, others
making up silly walks. Keating notices that Charlie is still
leaning up against one of the pillars.

				KEATING
		You don't have to perform. Just make it 
		for yourself. Mr. Dalton? You be joining 
		us? 

				CHARLIE
		Exercising the right not to walk. 

				KEATING
		Thank you, Mr. Dalton. You just 
		illustrated the point. Swim against the 
		stream.

Nolan moves away from the window where he had been watching them.

EXT. CAMPUS - NIGHT

Neil is walking by with the notes for the play when he notices Todd
sitting off by himself on one of the walkways.

				NEIL
		Todd? Hey. 

				TODD
		Hey. 

				NEIL
		What's going on?

				TODD
		Nothing. Today's my birthday. 

				NEIL
		Is today your birthday? Happy birthday. 

				TODD
		Thanks. 

				NEIL
		What's you get? 

				TODD
		My parents gave me this. 

Neil looks down at a deskset sitting next to Todd, still in
its wrappings.

				NEIL
		Isn't this the same desk set- 

				TODD
		Yeah, yeah. They gave me the same thing 
		as last year. 

				NEIL
		Oh. 

				TODD
		Oh. 

				NEIL
				 (laughing)
		Maybe they thought you needed another 
		one. 

				TODD
		Maybe they weren't thinking about 
		anything at all. Uh, the funny thing is 
		about this is I, I didn't even like it 
		the first time. 

				NEIL
		Todd, I think you're underestimating the 
		value of this desk set.

Neil picks up the desk set and begins examining it more closely.

				NEIL
		I mean, who would want a football or
		a baseball, or-

				TODD
		Or a car. 

				NEIL
		Or a car if they could have a desk set 
		as wonderful as this one? I mean, if, if 
		I were ever going to buy a, a desk set 
		twice, I would probably buy this one 
		both times. In fact, its, its shape is, 
		it's rather aerodynamic, isn't it? I can 
		feel it. This desk set wants to fly.

Neil tosses the desk set lightly in the air. Todd stands up
and Neil hands him the desk set.

				NEIL
		Todd? The world's first unmanned flying 
		desk set.

Todd flings the desk set over the side of the walkway and it
falls to pieces down below.

				TODD
		Oh, my! 

				NEIL
		Well, I wouldn't worry. You'll get 
		another one next year.

INT. CAVE - NIGHT

All the boys but Knox and Charlie are gathered in the cave.

				BOYS
		"To live deep and suck out all the 
		marrow of life. To put to rout all that 
		was not life"

The boys stop as they hear the sound of female laughter outside.

				CAMERON
		Oh, my God! 

				GLORIA
		Is this it? 

				CHARLIE
		Yeah, this is it. Go ahead, go on in. 
		It's my cave. Watch your step. 

				TINA
		We're not gonna slip, are we? 

				GLORIA
		Uh-oh.

Gloria hops into the cave wearing a bright red shirt. The lights from
the boys' flashlights play conspicously over Gloria's chest. Tina
enters right behind her.

				GLORIA
		Hi.

Meeks stands up and slams his head into the low ceiling.

				MEEKS
		Hello. 

				GLORIA
		Hello. 

				CHARLIE
		Hi, you guys. Meet, uh, Gloria and-- 

				TINA
		Tina. 

				CHARLIE
		Tina. This is the pledge class of the 
		Dead Poets Society.
 
				BOYS
		Hello. How do you do? 

				NEIL
		Hello. 

				GLORIA
		Hi. Hi. 

				CHARLIE
		Guys, move. Move. Come on, folks. It's 
		Friday night. Let's get on with the 
		meeting.

The boys move aside to let the girls in.

				BOYS
		Sorry. Excuse- Excuse me. 

				CHARLIE
		Guys, I have an announcement to make. In 
		keeping with the spirit of passionate 
		experimentation of the Dead Poets, I'm 
		giving up the name Charlie Dalton. From 
		now on, call me Nuwanda. 

				PITTS
				(laughing)
		Nuwanda? 

				NEIL
		Nuwanda? 

Tina takes out a tube of red lipstick. Charlie takes it from her
and puts red marks on each of his cheeks.

INT. CHET'S HOUSE - NIGHT

Knox enters the house and looks anxiously about.

				KNOX
		Hello? Hello, Chris?

Knox stops and combs his hair in the hallway mirror. Chris comes
running out from one of the rooms.

				CHRIS
		Knox! 

				KNOX
		Hi. 

				CHRIS
		You made it. Great! Bring anybody? 

				KNOX
		No. 

Chris grabs Knox by his jackets and pulls him forward as she walks
toward the stairs.

				CHRIS
		No. Ginny Danburry's here. Wait. I have 
		to go find Chet. Why don't you go 
		downstairs where everybody is?

Chris runs up the stairs as Knox stares after her.

				CHRIS
		Make yourself at home. 

				KNOX
		But I--

INT. CHET'S BASEMENT - NIGHT

Knox stares at a couple kissing passionately. Across the room he sees
Chet and Chris dancing. He walks away.

INT. CHET'S KITCHEN - NIGHT

Knox enters the kitchen, walking between several football players
to fill up a mug of beer from a keg.

				STEVE
		Hey, you Mutt Sanders' brother? Bubba, 
		this guy look like Mutt Sanders to you 
		or what? 

Bubba spits ice cubes into the sink.

				BUBBA
		You're his brother? 

				KNOX
		No relation. Never heard of him. Sorry, 
		guys. 

				BUBBA
			  (obviously drunk)
		Where's your manners Steve? Mutt Sanders' 
		brother, we don't even offer him a 
		drink. Here. Go have some whiskey, pal. 

Bubba hands Knox a glass and fills it up.

				STEVE
		Yeah. 

				KNOX
		Whoa, I, uh, I don't really drink-- 

				BUBBA
		To Mutt. 

				STEVE
		To Mutt.

The two guys raise their glasses in a toast and Knox reluctantly
joins them.

				KNOX
		To Mutt.

They each take a big drink. Knox rolls his eyes and gasps,
loosening his tie to try and breathe.

				BUBBA
		Now, how the hell is old Mutt, anyway? 

				STEVE
		Yeah. What's ol' Mutter been up to, huh? 

				KNOX
		I don't really know Mutt. 

				BUBBA
		To Mighty Mutt. 

				GUY 1
		To Mighty Mutt. 

				KNOX
		To Mighty Mutt.

They raise their glasses again for a toast and down the rest
of their glasses.

				BUBBA
		Well, listen, I gotta go find Patsy. Say 
		hello to Mutt for me, okay? 

				KNOX
		Will do.

Bubba puts on a horned football helmet and walks away.

				STEVE
		Yeah. Hell of a guy, your brother Mutt.

INT. CAVE - NIGHT

				CHARLIE
		We gonna have a meeting or what? 

				GLORIA
		Yeah. If you guys don't have a meeting, 
		how do we know if we wanna join? 

				NEIL
		Join? 

Charlie leans over to Tina.

				CHARLIE
		"Shall I compare thee to a summer's day? 
		Thou art more lovely and more 
		temperate." 

				TINA
		That's so sweet. 

				CHARLIE
		I made that up just for you. 

				TINA
		You did?

The boys laugh and Cameron shakes his head. Charlie moves over
to sit next to Gloria.

				CHARLIE
		I'll write one for you too, Gloria. 
		She walks in beauty like the night. 
		She walks in beauty like the night. 
		Of cloudless climes and starry skies. 
		All that's best, dark and bright, 
		Meet in her aspect and her eyes. 

				GLORIA
		That's beautiful. 

				CHARLIE
		There's plenty more where that came 
		from.

INT. CHET'S BASEMENT - NIGHT

The room is whirling as Knox belches and staggers across the room. He
passes Chet and several of his friends. He steps over several couples
kissing on the floor and slump down on the couch, only to be crowded
in by another couple who seem oblivious to him. He is about to get up
again when he notices Chris sleeping next to him on the couch.

				KNOX
		God help me.

Knox looks about and then looks back down at Chris.

				KNOX
		Carpe diem.

Knox takes a last swig of his drink  and then begins to softly run his
fingers over Chris' hair. He then leans over and kisses her forehead.
Across the room, Bubba looks over and sees what's going on.

				BUBBA
		Chet! Chet! Look! 

				CHET
		What? 

				BUBBA
		It's Mutt Sanders' brother. 

				CHET
		Huh? 

Chris rises up from the couch and looks at Knox in surprise.

				CHRIS
		Knox, what-- 

				BUBBA
		And he's feeling up your girl! 

				CHRIS
		What are you doing? 

Chet gets up from his chair.

				CHET
		What the hell are you doing? 

				CHRIS
		Chet! Chet, don't. 

				KNOX
		Now, Chet, I know this looks bad, but 
		you've gotta-

Chet throws himself at Knox, hurling them both to the floor. He
then straddles Knox and begins to punch at him as Knox simply
tries to protect himself.

				CHRIS
		Chet, no! You'll hurt him! No! No! Stop 
		it! Leave him alone! 

				CHET
		Goddamn! 

				CHRIS
		Chet, stop it!

Chris manages to haul Chet away from Knox.

				CHET
		Bastard!

Knox takes his hands away from his face and feels at his bloody
nose. Chris tries to help him up.

				CHRIS
		Knox, are you all right? 

				CHET
		Chris, get the hell away from him! 

				CHRIS
		Chet, you hurt him! 

				CHET
		Good! 

				KNOX
		I'm sorry. I'm so sorry. 

				CHRIS
		It's okay. It-It's okay.

Chet hauls Chris away from Knox and then points at him.

				CHET
		Next time I see you, you die. 

INT. CAVE - NIGHT

Tina passes a bottle of alcohol to Neil.

				TINA
		Go ahead, pass it around. 

Cameron motions for Neil not to take it but Neil takes a swig anyway.
There is a moment of awkward silence.

				MEEKS
		Me and Pitts are working on a hi-fi 
		system. It shouldn't be that hard to, 
		uh, to put together. 

				PITTS
		Yeah. Uh, I might be going to Yale. Uh, 
		uh, but, I, I might not. 

				GLORIA
		Don't you guys miss having girls around 
		here? 

				MEEKS AND PITTS
				  (smiling)
		Yeah.

				CHARLIE
		That's part of what this club is about. 
		In fact, I'd like to announce I 
		published an article in the school 
		paper, in the name of the Dead Poets. 

				CAMERON
		What? 

				CHARLIE
		Demanding girls be admitted to Welton. 

				PITTS
		You didn't. 

				CHARLIE
			    (whispering to Meeks)
		So we can all stop beating off. 

				NEIL
		How did you do that? 

				CHARLIE
		I'm one of the proofers. I slipped the 
		article in. 

				MEEKS
		Look, uh, it's, it's over now. 

				CHARLIE
		Why? Nobody knows who we are. 

				CAMERON
		Well, don't you think they're gonna 
		figure out who wrote it? They're gonna 
		come to you and ask to know what the 
		Dead Poets Society is. Charlie, you had 
		no right to do something like that. 

				CHARLIE
		It's Nuwanda, Cameron. 

				GLORIA
		That's right. It's Nuwanda. 

				CHARLIE
		Are we just playing around out here, or 
		do we mean what we say? For all we do is 
		come together and reach a bunch of poems 
		to each other. What the hell are we 
		doing? 

				NEIL
		All right, but you still shouldn't have 
		done it, Charlie. This could mean 
		trouble. You don't speak for the club. 

				CHARLIE
		Hey, would you not worry about your 
		precious little neck? If they catch me, 
		I'll tell them I made it up. 


INT. ASSEMBLY HALL - DAY

The professors hurry down the steps, lead by an obviously agitated
Mr. Nolan. Several are carrying newspapers in their hands. The
students all rise as they enter. After all the professors have
taken their places, Mr. Nolan addresses the students.

				MR. NOLAN
		Sit.

The students all sit.

				MR. NOLAN
		In this week of Welton's Honor there 
		appeared a profane and unauthorized 
		article. Rather than spend my valuable 
		time ferreting out the guilty persons -- 
		and let me assure you I will find them -
		- I'm asking any and all students who 
		knows anything about this article to 
		make themselves known here and now. 
		Whoever the guilty persons are, this is 
		your only chance to avoid expulsion from 
		this school.

The sound of a phone ringing can be heard. The professors look
about for its source. Charlie picks up a telephone receiver.

				CHARLIE
		Welton Academy. Hello. Yes, he is. Just 
		a moment.

Charlie stands up, holding a phone and bell in his hands.

				CHARLIE
		Mr. Nolan, it's for you. It's 
		God. He says we should have girls at 
		Welton.

Most of the students laugh while the boys from the cave all shake
their heads in disbelief.

INT. NOLAN'S OFFICE - DAY

Charlie stands with his back to the door as Mr. Nolan shuts it. Mr. 
Nolan then walks around to face Charlie.

				MR. NOLAN
		Wipe that smirk off your face. If you 
		think, Mr. Dalton, that you're the first 
		to try to get thrown out of this school, 
		think again. Others have had similar 
		notions and have failed just as surely 
		as you will fail. Assume the position.

Charlie sighs and bends over, resting his hands on the desk. Mr.
Nolan hefts a flat wooden paddle in his hands.

				MR. NOLAN
		Count aloud, Mr. Dalton.

Mr. Nolan begins to strike Charlie with the paddle.

				CHARLIE
		One. Two. Three. Four. Five. 

				MR. NOLAN
		What is this Dead Poets Society? I want 
		names.

INT. HALLWAY - DAY

A crowd of students is gathered about as Charlie stiffly walks back to his room.

				NEIL
		You kicked out? 

				CHARLIE
		No. 

				NEIL
		So what happened? 

				CHARLIE
		I'm to turn everybody in, apologize to 
		the school and all will be forgiven. 

				NEIL
		So, what are you gonna do? Charlie! 

				CHARLIE
		Damn it, Neil. The name is Nuwanda.

Charlie smiles and then shuts his door.

INT. KEATING'S CLASSROOM - DAY

Keating and McAllister are enjoying tea in the small room off the
classroom. Mr. Nolan knocks on the door and enters.

				MR. NOLAN
		Excuse me. May we have a word, Mr. 
		Keating? 

				KEATING
		Certainly.

Keating fixes his tie and follows Mr. Nolan into the classroom.

				MR. NOLAN
		This was my first classroom, John. Did 
		you know that? My first desk. 

				KEATING
		Didn't know you taught, Mr. Nolan. 

				MR. NOLAN
		English. Oh, long before your time. It 
		was hard giving it up, I can tell you. 
		I'm hearing rumors, John, about some 
		unorthodox teaching methods in your 
		classroom. I'm not saying they've 
		anything to do with the Dalton boy's 
		outburst. But I don't think I have to 
		warn you boys his age are very 
		impressionable. 

				KEATING
		Well, your reprimand made quite an 
		impression, I'm sure. 

				MR. NOLAN
		What was going on in the courtyard the 
		other day? 

				KEATING
		Courtyard? 

				MR. NOLAN
		Yeah. Boys marching, clapping in unison. 

				KEATING
		Oh, that. That was an exercise to prove 
		a point. Dangers of conformity. 

				MR. NOLAN
		Well, John, the curriculum here is set. 
		It's proven it works. If you question, 
		what's to prevent them from doing the 
		same? 

				KEATING
		I always thought the idea of educating 
		was to learn to think for yourself. 

				MR. NOLAN
		At these boys' ages? Not on your life! 
		Tradition, John. Discipline. Prepare 
		them for college, and the rest will take 
		care of itself.

INT. STUDY ROOM - DAY

Charlie sits with his bongos as the other boys are all crowded
around him. He hits the bongoes as he mimes Nolan's footsteps.

				CHARLIE
		Creak. He started walking around towards 
		my left. Creak. Creak. "Assume the 
		position, Mr. Dalton."

The door opens and Keating walks in. Many of the boys get up from
their seats.

				KEATING
		It's all right, gentlemen. 

				CHARLIE
		Mr. Keating. 

				KEATING
		Mr. Dalton. That was a pretty lame stunt 
		you pulled today. 

				CHARLIE
		You're siding with Mr. Nolan? What about 
		Carpe diem and sucking all the marrow 
		out of life and all that? 

				KEATING
		Sucking the marrow out of life doesn't 
		mean choking on the bone. Sure there's a 
		time for daring and there's a time for 
		caution, and a wise man understands 
		which is called for. 

				CHARLIE
		But I thought you'd like that. 

				KEATING
		No. You being expelled from school is 
		not daring to me. It's stupid, 'cause 
		you'll miss some golden opportunities. 

				CHARLIE
		Yeah. Like what? 

				KEATING
		Like, if nothing else, the opportunity 
		to attend my classes. Got it, Ace? 

				CHARLIE
		Aye, aye, Captain. 

				KEATING
		Keep your head about you. That goes for 
		the lot of you. 

				BOYS
		Yes, Captain. 

				KEATING
		Phone call from God. If it had been 
		collect, it wouldn't been daring.

Keating leaves and the boys gather around Charlie once again.

				CHARLIE
		All right. Go on.

EXT. CAMPUS - DAY

Neil bikes away as the clock bell tolls.

INT. THEATER - DAY

Neil walks into the back of the theater and watches various
actors rehearsing on stage. A smile fills his face.

				DIRECTOR
		We're trying to rehearse, okay? Start. 

				LYSANDER
		A good persuasion, therefore hear me, 
		Hermia. 

				DIRECTOR
		Wait, please. Excitement. I don't hear 
		any excitement about this play. And take 
		her hand. Bring her down the stage and 
		stop. And "There, gentle Hermia." Okay? 
		Try again.

INT. HALLWAY - DAY

The bell rings and students rush down the hall.

				BOY
		What's for dinner? 

				PITTS
		Spaghetti and meatballs!

Neil comes up the stairs as everyone else swarms down to the cafeteria.

				NEIL
		Save some for me. "But, room, Fairy! 
		Here comes Oberon."

Neil opens the door to his room and sees his father sitting at his desk.

				NEIL
		Father. 

				MR. PERRY
		Neil. 

				NEIL
		Wait a minute. Before you say anything, 
		please let me ex-

Mr. Perry rises from the desk.

				MR. PERRY
		Don't you dare talk back to me! It's bad 
		enough that you've wasted your time with 
		this, this absurd acting business. But 
		you deliberately deceived me! How, how, 
		how did you expect to get away with 
		this? Answer me. Who put you up to it? 
		Was it this new man? This, uh, Mr. 
		Keating? 

				NEIL
		No. Nobody-- I thought I'd surprise you. 
		I've gotten all A's in every class. 

				MR. PERRY
		Did you think I wasn't going to find 
		out? "Oh, my niece is in a play with 
		your son," says Mrs. Marks. "No, no, 
		no," I say, "you must be mistaken. My 
		son's not in a play." You made me a liar 
		of me, Neil! Now, tomorrow you go to 
		them and you tell them that you're 
		quitting. 

				NEIL
		No, I can't. I have the main part. The 
		performance is tomorrow night. 

				MR. PERRY
		I don't care if the world comes to an 
		end tomorrow night. You are through with 
		that play. Is that clear? Is that clear? 

				NEIL
		Yes, sir. 

Mr. Perry goes to leave and then turns around.

				MR. PERRY
		I made a great many sacrifices to get 
		you here, Neil, and you will not let me 
		down. 

				NEIL
		No, sir. 

INT. KEATING'S OFFICE - NIGHT

Keating is seated at his desk. He is writing a letter and occasionally
looks up at the framed photo on his desk of a woman playing the cello.
There is a knock at the door.

				KEATING
		It's open.

Neil enters and closes the door behind him. He appears to be nervous.

				KEATING
		Neil, what's up? 

				NEIL
		Can I speak to you a minute? 

				KEATING
		Certainly. Sit down.

Neil goes to take a seat but notices the chair is piled up with books.
Neil picks them up and Keating gets up from his seat to help him.

				NEIL
		I'm sorry. Here. 

				KEATING
		Excuse me. Get you some tea? 

				NEIL
		Tea. Sure.

Keating goes to a table in the corner and begins pouring several cups.

				KEATING
		Like some milk or sugar in that? 

				NEIL
		No, thanks. 

				NEIL
		Gosh, they don't give you much room 
		around here. 

				KEATING
		No, it's part of the monastic oath. They 
		don't want worldly things distracting me 
		from my teaching.

Keating gives Neil a cup of tea and they return to their seats. Neil
looks at the photo on the desk.

				NEIL
		She's pretty. 

				KEATING
		She's also in London. Makes it a little 
		difficult. 

				NEIL
		How can you stand it? 

				KEATING
		Stand what? 

				NEIL
		You can go anywhere. You can do 
		anything. How can you stand being here? 

				KEATING
		'Cause I love teaching. I don't wanna be 
		anywhere else. 

				KEATING
		What's up? 

				NEIL
		I just talked to my father. He's making 
		me quit the play at Henley Hall. 
		Acting's everything to me. I-- But he 
		doesn't know. He-- I can see his point. 
		We're not a rich family like Charlie's, 
		and we-- But he's planning the rest of 
		my life for me, and I-- H-He's never 
		asked me what I want. 

				KEATING
		Have you ever told your father what you 
		just told me? About your passion for 
		acting. You ever show him that? 

				NEIL
		I can't. 

				KEATING
		Why not? 

				NEIL
		I can't talk to him this way. 

				KEATING
		Then you're acting for him, too. You're 
		playing the part of the dutiful son. I 
		know this sounds impossible, but you 
		have to talk to him. You have to show 
		him who you are, what your heart is. 

				NEIL
		I know what he'll say. He'll tell me 
		that acting's a whim, and I should 
		forget it. That how they're counting on 
		me. He'll just tell me to put it out of 
		my mind, "for my own good." 

				KEATING
		You are not an indentured servant. If 
		it's not a whim for you, you prove it to 
		him by your conviction and your passion. 
		You show him that And if he still 
		doesn't believe you, well, by then 
		you'll be out of school and you can do 
		anything you want. 

A tear falls down Neil's cheek and he wipes it away.

				NEIL
		No. What about the play? The show's 
		tomorrow night. 

				KEATING
		Well, you have to talk to him before 
		tomorrow night. 

				NEIL
		Isn't there an easier way? 

				KEATING
		No. 

				NEIL
		I'm trapped. 

				KEATING
		No, you're not.

EXT. CAMPUS - DAY

Knox exits one of the doors. The ground is covered with a thick
layer of snow. He looks around to see if anyone is about and then
hurries over to the bike rack. grabbing one of the bikes, he hurries
off.

INT. SCHOOL HALLWAY - DAY

A crowd of students come in from the cold. Knox pushes his way through
them, carrying a handful of wildflowers. He begins searching for Chris.

				KNOX
		Chris!

He approaches a girl with hair similar to Chris' and turns her around,
only to realize that it's not her.

				KNOX
		Chris Noel. Do you know where she is? 

				GIRL
		Um, I think she's in room 111.

The girl points down the hallway and Knox sets off in that direction.

				KNOX
		Thanks.

Chris is at her locker talking to a friend. She just closes her locker
as she notices Knox coming towards her. She turns away.

				KNOX
		Excuse me. Chris. 

				CHRIS
		Knox, what are you doing here? 

				KNOX
		I came to apologize for the other night. 
		I brought you these and a poem I wrote 
		for you.

Chris pulls him aside, out of the main hallway.

				CHRIS
		Knox, don't you know that, if Chet finds 
		you here he'll kill you? 

				KNOX
		I can't care. I love you, Chris. 

				CHRIS
		Knox, you're crazy. 

				KNOX
		Look, I acted like a jerk and I know it. 
		Please, accept these. Please. 

				CHRIS
		No. No-- I, I can't. Forget it.

Chris walks away. The school bell rings and she enters her
classroom, closing the door behind her. Undaunted, Knox follows,
opening the door and standing before her desk.

				CHRIS
		Knox, I don't believe this. 

				KNOX
		All I'm asking you to do is listen.

As Knox begins to read his poem, the classroom grows quiet as
everyone stops to listen.

				KNOX
		The heavens made a girl named Chris 
		With hair and skin of gold. 
		To touch her would be paradise.

Chris holds her head in her hands in embarrassment.

INT. CAMPUS KITCHEN - DAY

Knox sneaks in through a side door. He snatches a slice of toast
from the counter and motions to one of the staff to keep secret.
He then begins to eat the toast as he hurries away.

INT. STAIRWAY - DAY

The school bell rings and Knox pushes his way up the stairs past
the slower students. At the top he joins the other boys where they
are grabbing their books.

				CHARLIE
		Get out of here. Cameron, you fool.

Charlie notices Knox and grabs his jacket.

				CHARLIE
		Hey, how'd it go? Did you read it to
		her? 

				KNOX
		Yeah.

The boys begin to get all excited but Charlie shushes them.

				PITTS
		What'd she say? 

				KNOX
		Nothing. 

				CHARLIE
		Nothing. What do you mean, nothing? 

				KNOX
		Nothing. But I did it.

Knox walks away down the hall and the others chase after him.

				CHARLIE
		What did she say? I know she had to say 
		something. 

				PITTS
		Come here, Knox. 

				KNOX
		Seize the day!

INT. KEATING'S CLASSROOM - DAY

Keating walks from the front of the classroom to Neil's desk. Neil
is the only student remaining in the class.

				KEATING
		Did you talk to your father? 

				NEIL
		Uh, he didn't like it one bit, but at 
		least he's letting me stay in the play. 
		He won't be able to make, make it. He's 
		in Chicago. But, uh, I think he's gonna 
		let me stay with acting. 

				KEATING
		Really? You told him what you told me? 

				NEIL
		Yeah. He wasn't happy. But he'll be gone 
		at least four days. I don't think he'll 
		make the show, but I think he'll let me 
		stay with it. "Keep up the school work." 
		Thanks.

Neil picks up his books and leaves.

INT. BATHROOM - NIGHT

The boys are grooming themselves in front of the mirrors.

				PITTS
		Beautiful baby. 

				MEEKS
		Beautiful baby. Henley Hall, here I 
		come. 

				CAMERON
		Excuse me, just a moment. Yes. You're so 
		cute.

Cameron runs a comb through his hair and Todd tries to mess it up.

				CAMERON
		Come on, Todd. I'm trying to fix 
		this. 

				TODD
		Come on, Nuwanda. You're gonna miss 
		Neil's entrance. 

				PITTS
		He said something about getting red 
		before we left. 

				CAMERON
		Getting red? What does that mean? 

				PITTS
		I, uh-- Well, you know Charlie.

One of the stalls opens and Charlie's hand emerges, holding a small
brush and a bottle of red paint.

				CAMERON
		So, Charlie, what's this "getting red" 
		bit?

Charlie opens his unbuttoned shirt to show a large red lightning bolt
painted down his chest.

				TODD
		W-What is that? 

				CHARLIE
		It's an Indian warrior symbol for 
		virility. Makes me feel potent, like it 
		can drive girls crazy.

Charlie buttons up his shirt as everyone prepares to leave.

				TODD
		Oh, come on, Charlie. The girls are 
		waiting.

INT. HALLWAY - NIGHT

The boys are walking down the hall to leave. Cameron stops and stares.
The other boys notice and stop as well. Charlie softly whistles at Chris
standing by the door. Knox stares at her in surprise

				KNOX
		Chris.

Knox leaves the other boys to join her.

				KNOX
		What are you doing here? 

				KEATING (O.S.)
		Gentlemen, let's go. 

				KNOX
		Go ahead, guys. I'll catch up. 

				CHARLIE
		Yeah, come on, guys.

Charlie hustles the boys away. Meeks remains staring at her. Charlie
returns to drag him away.

				KNOX
		Chris, you can't be in here. I-If they 
		catch you, we're both gonna be in big 
		trouble. 

				CHRIS
		Oh, but it's fine--

Knox shushes her and leads her out the door.

EXT. CAMPUS - NIGHT

Snow is lightly falling as Chris and Knox walk outside.

				CHRIS
		It's fine for you to come barging into 
		my school and make a complete fool out 
		of me? 

				KNOX
		I didn't mean to make a fool out of you. 

				CHRIS
		Well, you did. Chet found out. And it 
		took everything I could do to keep him 
		from coming here and killing you. Knox, 
		you have got to stop this stuff. 

				KNOX
		I can't, Chris. I love you. 

				CHRIS
		Knox, you say that over and over. You 
		don't, you don't even know me. 

Keating calls out from a nearby car.

				KEATING
		Will you be joining us, Mr. Overstreet?

				KNOX
		Go ahead, Captain. I'll walk. 

				CHRIS
		Knox, Knox, it just so happens that I 
		could care less about you? 

				KNOX
		Then you wouldn't be here warning me 
		about Chet. 

				CHRIS
		I have to go. I'm gonna be late for the 
		play. 

				KNOX
		Are you going with him? 

				CHRIS
				   (laughs)
		Chet? To a play? Are you kidding? 

				KNOX
		Then come with me. 

				CHRIS
		Knox, you are so infuriating. 

				KNOX
		Come on, Chris. Just give me one chance. 
		If you don't like me after tonight, I'll 
		stay away forever. 

				CHRIS
		Uh-huh. 

				KNOX
		I promise. Dead Poets Honor. You come 
		with me tonight. And then, if you don't 
		want to see me again, I swear I'll bow 
		out. 
		
				CHRIS
		You know what would happen if Chet found 
		out? 

				KNOX
		He won't know anything. We'll sit in the 
		back and sneak away as soon as it's 
		over. 

				CHRIS
		And I suppose you would promise that 
		this would be the end of it. 

				KNOX
		Dead Poets Honor. 

				CHRIS
		What is that? 

				KNOX
		My word.

Chris walks away from him and then turns to face him.

				CHRIS
		You are so infuriating.

Chris gestures for Knox to follow her. Charlie does a little 
twirl as he joins her and puts his arm around her. They walk away.

INT. THEATER - NIGHT

The audience is packed. The stage is set up to resemble a forest and
lights dance about it. From behind a bush, Neil emerges, wearing a
crown of twigs and berries and twigs on his hands. In the audience,
Charlie emerges from his seat, all excited.

				CHARLIE
		Hey, there he is! Hey, hey.

Cameron shoves him back into his seat.

				KEATING
		Shh, boys.

On stage, Neil hides behind a tree as a girl emerges, similarly clad,
but with flowers in her hair. Neil sneaks over to the girl.

				FAIRY

		Either I mistake your shape and making 
		quite, 
		Or else you are that shrewd and knavish 
		sprite 
		Call'd Robin Goodfellow: 

				PUCK

		Thou speak'st aright;

In the audience, Chris and Knox enter and are shown to seats.

				PUCK
		I am that merry wanderer of the night. 
		I jest to Oberon and make him smile 
		When I a fat and bean-fed horse beguile,

Puck makes horse sounds and the audience laughs.

				PUCK
		Neighing in likeness of a filly foal: 
		And sometime lurk I in a gossip's bowl, 
		In very likeness of a roasted crab, 
		And when she drinks, against her lips I 
		bob 
		And on her wither'd dewlap pour the ale. 
		The wisest aunt, telling the saddest 
		tale,

In the audience, Charlie leans over towards Keating.

				CHARLIE
				  (whispering)
		He's good. He's really good.

Keating gives a thumbs up.

				PUCK

		Sometime for three-foot stool mistaketh 
		me; 
		Then slip I from her bum, down topples 
		she, 
		And "tailor" cries, and falls into a 
		cough; 
		And then the whole quire hold their hips 
		and laugh, 
		And waxen in their mirth and neeze and 
		swear 
		A merrier hour was never wasted there. 
		But, room, Fairy! here comes Oberon. 

				FAIRY

		And here my mistress. Would that he were 
		gone!

The two actors hide behind the trees, lifting their twig covered
hands to hide themselves.

INT. THEATER - NIGHT

Two other actors are onstage. 

				LYSANDER

		Then by your side no bed-room me deny; 
		For lying so, Hermia, I do not lie 

				HERMIA

		Lysander riddles very prettily: 
		Now much beshrew my manners and my 
		pride, 
		If Hermia meant to say Lysander lied. 
		But, gentle friend, for love and 
		courtesy 
		Lie further off; in human modesty, 
		Such separation as may well be said 
		Becomes a virtuous bachelor and a maid, 
		and, good night, sweet friend: 
		Thy love ne'er alter till thy sweet life 
		end!

Neil is watching the actors from the wing. He glances out at the audience
and sees his father enter the back of the theater. Neil backs away into
the shadows.

				LYSANDER

		Amen, amen, to that fair prayer, say I;

The director breaks Neil out of his thoughts.

				DIRECTOR
		Neil. That's your cue, Neil. Come on, 
		Neil. Here's your crown. Let's go.

Neil reluctantly replaces his crown and follows her.

INT. THEATER - NIGHT

On stage, Neil collects dew in a leaf and holds it over his head while
fairies dance about. In the audience, Knox takes Chris' hand in his.

INT. THEATER - NIGHT

The stage is dark. A spotlight comes on to reveal Neil with his back to
the audience. He slowly turns around to face the audience and his father.

				PUCK

		If we shadows have offended,

Neil directs his eyes at his father, who stills stands at the back
of the theater.

				PUCK
		Think but this, and all is mended, 
		That you have but slumber'd here 
		While these visions did appear. 
		And this weak and idle theme, 
		No more yielding but a dream, 
		Gentles, do not reprehend: 
		If you pardon, we will mend: 
		And, as I am an honest Puck, 
		If we have unearned luck 
		Now to 'scape the serpent's tongue, 
		We will make amends ere long; 
		Else the Puck a liar call; 
		So, good night unto you all. 
		Give me your hands, if we be friends, 
		And Robin shall restore amends.

Neil backs away and the curtains close as the audience begins to
applaud enthusiastically. Behind the curtain numerous people
congratulate Neil as they line up for the curtain call. The curtains
open. Charlie and the other boys rise to their feet, followed quickly
by the rest of the audience. The actors bow to continued applause. The
actors push Neil forward and he takes a second bow.

				BOYS
		Yawp! 

				KNOX
		Yeah, Neil!

The curtain closes again and Neil turns around, letting out an
excited sigh. Various actors continue to congratulate him. Neil
lets out a yell as he walks offstage. In the audience, while others
are leaving, Mr. Perry approaches a woman.

				MR. PERRY
		Excuse me, I'm Neil's father. I need to 
		see him.

Backstage, the woman approaches Neil.

				WOMAN
		Neil, Your father. He's-

Neil nods in agreement.

				ACTOR
		What did you think?

				WOMAN
		Really I thought you were all just 
		wonderful!

Neil emerges from the curtains, carrying his costume. The theater is
nearly empty now, except for Mr. Perry standing at the back. Neil
smiles at him but the smile quickly disappears.

EXT. THEATER - NIGHT

Mr. Perry pushes his way through the crowd of people, with Neil close
behind.

				MR. PERRY
		Excuse me. Excuse me. Excuse me.

The boys notice Neil and try to dtop him to talk.

				CHARLIE
		Neil, Neil, you were great. 

				NEIL
		I can't, guys. 

				TODD
		Neil! Neil!

Outside of the crowd, Keating manages to catch up to Neil. He takes
hold of Neil's coat.

				KEATING
		Neil. Neil. You have the gift. What a 
		performance You left even me speechless. 
		You have to stay with-

Mr. Perry returns from his car and shoves Neil aside.

				MR. PERRY
		Get in the car. Keating, you stay away 
		from my son. 

				CHARLIE
		Neil! Neil! Mr. Perry, come on. 

				KEATING
		Don't make it any worse than it is.

Neil and Mr. Perry get into their car and drive away. Keating
stares after them.

				CHARLIE
		Is it okay if we walk back? Captain?

Charlie motions Todd to follow.

				CHARLIE
		Knox.

The boys leave and Keating continues to stare after the car, wiping
the falling snow from his face.

INT. MR. PERRY'S STUDY - NIGHT

A photo of Neil standing stiffly with his parents sits on a table
between a glass of alcohol and a half filled ashtray. Mrs. Perry
watches through the window as her husband and son arrive and then
takes a nervous puff on her cigarette before sitting down. Mr.
Perry walks in with Neil close behind him. Neil sits down beside the
desk while Mr. Perry remains standing.

				MR. PERRY
		We're trying very hard to understand why 
		it is that you insist on defying us. 
		Whatever the reason, we're not gonna let 
		you ruin your life. Tomorrow I'm 
		withdrawing you from Welton and 
		enrolling you in Braden Military School. 
		You're going to Harvard and you're gonna 
		be a doctor. 

				NEIL
		But that's ten more years. Father, 
		that's a lifetime! 

				MR. PERRY
		Oh, stop it. Don't be so dramatic. You 
		make it sound like a prison term. You 
		don't understand, Neil. You have 
		opportunities that I never even dreamt 
		of and I am not going to let you waste 
		them.

Neil rises to his feet.

				NEIL
		I've got to tell you what I feel.

Mrs. Perry stands up.

				MRS. PERRY
		We've been so worried about-- 

				MR. PERRY
		What? What? Tell me what you feel. What 
		is it?

Neil looks to his mother and then back to his father but says
nothing.

				MR. PERRY
		Is it more of this, this acting 
		business? Because you can forget that. 
		What? 

				NEIL
		Nothing.

Neil sits back down dejectedly.

				MR. PERRY
		Nothing? Well, then, let's go to bed.

Mr. Perry leaves. Mrs. Perry pauses on her way out and kneels
behind Neil.

				NEIL
		I was good. I was really good.

Mrs. Perry nods slightly.
				MRS. PERRY
		Go on, get some sleep.

INT. MR. PERRY'S BEDROOM - NIGHT

Mrs. Perry sits on the side of the bed with her back to her
husband. Mr. Perry removes his robe and slippers before
getting in to bed. Mrs. Perry begins to cry as he turns out
the light.

				MR. PERRY
		It's all right. It's going to be all 
		right.

INT. NEIL'S BEDROOM - NIGHT

Neil's pyjamas, bathrobe, towel, and shaving kit are all neatly
laid out on his bed. Neil touches his pyjamas lightly and then
removes his coat and shirt. He walks over to the windows and
opens them, taking several deep breaths. He places the crown of
twigs on his head and then closes his eyes, slowly letting his head
fall to his chest.

INT. HALLWAY - NIGHT

A door opens and Neil emerges, slowly walking down the stairs as if
in a trance.

INT. MR. PERRY'S STUDY - NIGHT

Neil holds a key in his hands. He unlocks a drawer in his father's
desk and pulls out a pistol, wrapped in cloth.

INT. MR. PERRY'S BEDROOM - NIGHT

Mr. Perry jerks up out of bed, startled and breathing fast.

				MR. PERRY
		What was that? 

				MRS. PERRY
		What? 

				MR. PERRY
		That sound. 

				MRS. PERRY
		What sound? Tom?

Mr. Perry turns on the light and gets up out of bed, putting on his
robe and slippers.
				MRS. PERRY
		What is it? What's wrong? 

Mr. Perry turns on the hallway light and knocks on Neil's door. He opens
the door and goes inside.

				MR. PERRY
		Neil.

Mr. Perry notices the open window.

				MRS. PERRY
		Tom, what is it? What's wrong? Neil?

Mr. Perry continues to look through the house, continuing downstairs.

				MR. PERRY
		Neil?

Mr. Perry notices the door to his study is ajar.

				MRS. PERRY
		I'll look outside. Neil?

Mr. Perry flicks the light on but sees nothing. Then he smells
something. Looking closer, he sees a thin cloud of smoke rising from
behind his desk. As he moves around the desk he sees his gun on the
floor and Neil's outstretched hand.

				MR. PERRY
		No!

Mr. Perry crouches down by his son.

				MR. PERRY
		Oh, Neil! Oh, my God!

Mrs. Perry enters the room and sees her son.

				MRS. PERRY
		Oh! No! 

				MR. PERRY
		Oh, my son! 

				MRS. PERRY
		He's all right. 

				MR. PERRY
		My son! My poor son! 

				MRS. PERRY
			    (crying hysterically)
		He's all right! He's all right! He's all 
		right! He's all right! He's all right! 
		He's all right! 

				MR. PERRY
		Stop it! Stop it! Stop it.

Mr. Perry holds his wife and tries to comfort her.

INT. TODD'S ROOM - NIGHT

Todd is sleeping. Charlie reaches across to wake him. Tears are
running down his face.

				CHARLIE
		Todd? Todd.

Todd, still half asleep, tries to shrug him off.

				TODD
		Oh, Charlie.

Todd opens his eyes and sees Charlie's face

				TODD
		What is it?

Todd looks over to see Pitts, Meeks, and Knox by the door.

				CHARLIE
		Neil's dead.

EXT. CAMPUS - DAY

It is a snowy, overcast morning. Todd walks through the snow. He
has his coat on over his pyjamas. The other boys follow closely
behind him as he walks down towards the water. He stops and stares
out at the snow-covered surroundings.

				TODD
		It's so beautiful.

Todd begins to gag and then goes down on his knees, vomiting into
the snow. The other boys huddle around him, hugging him.

				CHARLIE
		Todd. It's okay, Todd. 

				PITTS
		Calm down. 

				CHARLIE
		It's all right, Todd. 

				PITTS
		Todd, it's okay. It's okay, Todd. 

				CHARLIE
		It's all right. It's alright.

Charlie grabs a handful of snow and wipes Todd's mouth with it. 

				TODD
		He wouldn't-- He wouldn't have done it. 

				MEEKS
		You can't explain it, Todd. 

				TODD
		It was his father! 

				CHARLIE
		No! 

				TODD
		He wouldn't have left us. It's because he-
		He wouldn't have. His dad was-- his, his 
		father did it. 

				CHARLIE
		Todd. 

				TODD
		His father killed him. He made him do it.

				MEEKS
		You can't explain it, Todd.

Todd pushes himself away from the boys and stumbles down the hill,
slipping and falling in the snow.

				MEEKS
		Todd! 

				CHARLIE
		Leave him be.

The boys watch as Todd runs down towards the dock by the river,
yelling and crying. He finally seems to regain control of himself
and walks in silence out onto the dock.

INT. KEATING'S CLASSROOM - DAY

Keating sits by himself at his desk. After a moment he gets up
and walks over to Neil's desk. Opening it, he finds his copy
of "Five Centuries of Verse" and flips through the first few pages.
Sitting down at the desk, he returns to the opening page, reading
the opening verse written there. Keating begins to sob, then closes
the book.

INT. ASSEMBLY HALL - DAY

A church service is going on. The boys have joined in the other
students in a hymn. Charlie is the only one not singing. He stares
off into nothingness.

				BOYS
				 (singing)
		All my life 
		Thy light shall surely follow me 
		And in God's house forevermore 
		My dwelling place shall be 
		Amen.

Mr. Nolan stands at the pulpit, with the rest of the professors
seated behind him.

				MR. NOLAN
		The death of Neil Perry is a tragedy. He 
		was a fine student. One of Welton's 
		best. And he will be missed. We've 
		contacted each of your parents to 
		explain the situation. Naturally, 
		they're all quite concerned. At the 
		request of Neil's family, I intend to 
		conduct a thorough inquiry into this 
		matter. Your complete cooperation is 
		expected.

INT. CLOAKROOM - DAY

The boys (except Cameron) are sitting about the cluttered room
waiting. Charlie lights a cigarette.

				CHARLIE
		You told him about this meeting? 

				PITTS
		Twice. 

				CHARLIE
		That's it, guys. We're all fried. 

				PITTS
		How do you mean? 

				CHARLIE
		Cameron's a fink. He's in Nolan's office 
		right now, finking. 

				PITTS
		About what? 

				CHARLIE
		The club, Pittsie. Think about it. The 
		board of directors, the trustees and Mr. 
		Nolan. Do you think for one moment 
		they're gonna let this thing just blow 
		over? Schools go down because of things 
		like this. They need a scapegoat.

The door opens. All the boys except Charlie hurry to put
their cigarettes out and wave the smoke away. A light comes on
and Cameron enters.

				CAMERON
		What's going on, guys? 

				CHARLIE
		You finked, didn't you, Cameron?

Charlie gets up and approaches Cameron, tossing his cigarette away.

				CAMERON
		Finked? I didn't know what the hell 
		you're talking about. 

				CHARLIE
		You told Nolan everything about the club 
		is what I'm talking about. 

				CAMERON
		Look, in case you hadn't heard, Dalton, 
		there's something called an honor code 
		at this school, all right? If a teacher 
		asks you a question, you tell the truth 
		or you're expelled. 

				CHARLIE
		You little-

Charlie lunges at Cameron but Knox and Meeks hold him back.

				MEEKS
		Charlie! 

				CHARLIE
		He's a rat! He's in it up to his eyes, 
		so he rattled to save himself. 

				KNOX
		Don't touch him, Charlie. You do and 
		you're out. 

				CHARLIE
		I'm out anyway! 

				KNOX
		You don't know that, not yet. 

				CAMERON
		He's right there, Charlie. And if you 
		guys are smart, you will do exactly what 
		I did and cooperate. They're not after 
		us. We're the victims. Us and Neil. 

				CHARLIE
		What's that mean? Who are they after? 

				CAMERON
		Why, Mr. Keating, of course. The 
		"Captain" himself. I mean, you guys 
		didn't really think he could avoid 
		responsibility, did you? 

				CHARLIE
		Mr. Keating responsible for Neil? Is 
		that what they're saying? 

				CAMERON
		Well, who else do you think, dumb ass? 
		The administration? Mr. Perry? Mr. 
		Keating put us up to all this crap, 
		didn't he? If he wasn't for Mr. Keating, 
		Neil would be cozied up in his room 
		right now, studying his chemistry and 
		dreaming of being called doctor. 

				TODD
		That is not true, Cameron. You know 
		that. He didn't put us to anything. Neil 
		loved acting. 

				CAMERON
		Believe what you want, but I say let 
		Keating fry. I mean, why ruin our lives?

Charlie lunges at Cameron again and punches him in the face.
Cameron falls to the floor as the boys pull Charlie away. Cameron
lifts a hand to his bloody nose.

				CAMERON
		You just signed your expulsion papers, 
		Nuwanda.

Cameron rises to his feet.

				CAMERON
		And if the rest of you are smart, you'll 
		do exactly what I did. They know 
		everything anyway. You can't save 
		Keating, but you can save yourselves.

Cameron walks away, closing the door behind him.

INT. TODD'S ROOM - DAY

Todd looks out the window and watches as Hager escorts Meeks back
to the dorm. Inside the room, Neil's bed has been stripped of all
its bedding.

INT. HALLWAY - DAY

Meeks walks slowly to his room. Hager remains standing at the end of
the hallway.

				HAGER
		Knox Overstreet.

Knox emerges from his room and goes to joing Hager. He gives a thumbs
up to Todd as he passes his door. Once he leaves with Hager, Todd goes
over to Meeks' door.

				TODD
		Meeks? 

				MEEKS
		Go away. I have to study. 

				TODD
		What happened to Nuwanda? 

				MEEKS
		Expelled. 

				TODD
		What'd you tell 'em? 

				MEEKS
		Nothing they didn't already know. 

				HAGER (O.S.)
		Todd Anderson.

INT. HALLWAY - DAY

Todd is lead up the steps to Mr. Nolan's office by Hager.

INT. NOLAN'S OFFICE - DAY

Todd enters the room to see his mother and father seated opposite
Mr. Nolan's desk.

				MR. ANDERSON
		Hello, son. 

				MRS. ANDERSON
		Hello, darling. 

				TODD
		Mom.

THe door closes behind Todd. He remains standing, not knowing
what to do.

				MR. NOLAN
		Have a seat, Mr. Anderson.

Todd sits down next to his parents.

				MR. NOLAN
		Mr. Anderson, I think we've pretty well 
		put together what's happened here. You 
		do admit to being a part of this Dead 
		Poets Society?

Todd says nothing.

				MR. ANDERSON
		Answer him, Todd. 

				TODD
		Yes, sir.

Mr. Nolan puts his glasses on and glances at a paper before him
before removing his glasses once more.

				MR. NOLAN
		I have here a detailed description of 
		what occurred at your meetings. It 
		describes how your teacher, Mr. Keating, 
		encouraged you boys to organize this 
		club and to use it as a source of 
		inspiration for reckless and self-
		indulgent behavior. It describes how Mr. 
		Keating, both in and out of the 
		classroom, encouraged Neil Perry to 
		follow his obsession with acting when he 
		knew all along it was against the 
		explicit order of Neil's parents. It was 
		Mr. Keating's blatant abuse of his 
		position as teacher that led directly to 
		Neil Perry's death. 

Mr. Nolan motions to Todd's father, who passes along a sheet of
paper to Todd.

				MR. NOLAN
		Read that document carefully, Todd. Very 
		carefully.

Todd looks at the paper, which already contains the signatures of
the other four boys.

				MR. NOLAN
		If you've nothing to add or amend, sign 
		it. 

				TODD
		What's gonna happen to Mr. Keating? 

				MR. ANDERSON
		I've had enough. Sign the paper, Todd.

Mr. Nolan holds out a pen for Todd to take.

EXT. CAMPUS - DAY

Mr. McAllister leads his students, textbooks in hand, through the
snow outside the classrooms.

				McALLISTER
		Grass is gramen or herba. Lapis is 
		stone. The entire building is 
		aedificium.

Keating looks out from his office window. McAllister pauses and looks
up at Keating, giving him a brief wave. Keating waves back.

INT. KEATING'S OFFICE - DAY

Keating laughs slightly as he watches McAllister from the window.
Inside, all his belongings have been packed up.

INT. KEATING'S CLASSROOM - DAY

The students are all seated at their desks in silence. Everyone looks
as the door opens. They quickly stand as Mr. Nolan enters the room.

				MR. NOLAN
		Sit.

The students sit once again as Mr. Nolan walks to the front of the room.

				MR. NOLAN
		I'll be teaching this class through 
		exams. We'll find a permanent English 
		teacher during the break. Who will tell 
		me where you are in the Pritchard 
		textbook? 

				MR. NOLAN
		Mr. Anderson?

				TODD
		Uh, in the, in the Pr- 

				MR. NOLAN
		I can't hear you, Mr. Anderson. 

				TODD
		In the, in the, in the Pritchard? 

				MR. NOLAN
		Kindly inform me, Mr. Cameron. 

				CAMERON
		We skipped around a lot, sir. We covered 
		the Romantics and some of the chapters 
		on Post Civil War literature. 

				MR. NOLAN
		What about the Realists? 

				CAMERON
		I believe we skipped most of that, sir. 

				MR. NOLAN
		All right, then, we'll start over. What 
		is poetry?

There is a knock at the classroom door.

				MR. NOLAN
		Come.

The students look back as the door opens. They quickly turn
away when hey see it is Keating.

				KEATING
		Excuse me. I came for my personals. 
		Should I come back after class? 

				MR. NOLAN
		Get them now, Mr. Keating. 

				MR. NOLAN
		Gentlemen, turn to page 21 of the 
		introduction. Mr. Cameron, read aloud 
		the excellent essay by Dr. Pritchard on 
		"Understanding Poetry."

Todd slowly closes his book. Keating opens the door to the tiny
room off the classroom.

				CAMERON
		That page has been ripped out, sir. 

				MR. NOLAN
		Well, borrow somebody else's book. 

				CAMERON
		They're all ripped out, sir. 

				MR. NOLAN
		What do you mean, they're all ripped 
		out? 

				CAMERON
		Sir, we, uh- 

				MR. NOLAN
		Never mind.

Mr. Nolan takes his own book over to Cameron's desk and then
slaps the open page.

				MR. NOLAN
		Read!

As Cameron begins to read, Keating looks out at Todd as he puts
his scarf on. Todd looks at him for a moment and then glances away.

				CAMERON
		"Understanding Poetry by Dr. J Evans 
		Pritchard, Ph.D. To fully understand 
		poetry, we must first be fluent with its 
		meter, rhyme and figures of speech, then 
		ask two questions: 1) How artfully has 
		the objective of the poem been rendered 
		and 2)..."

The door squeaks as Keating shuts it behind him. Cameron pauses. 

				CAMERON
		"... How important is that objective? 
		Question 1 rates the poem's perfection; 
		question 2 rates its importance. And 
		once these questions have been answered, 
		determining the poem's greatness becomes 
		a relatively simple matter. If the 
		poem's score for perfection is plotted 
		on the horizontal of a graph--"

Keating passes by Todd and the others and gets to the back of the
classroom before Todd leaps up from his seat and turns to face him.

				TODD
		Mr. Keating! They made everybody sign 
		it. 

Mr. Nolan gets up from his desk and approaches Todd.

				MR. NOLAN
		Quiet, Mr. Anderson. 

				TODD
		You gotta believe me. It's true. 

				KEATING
		I do believe you, Todd. 

				MR. NOLAN
		Leave, Mr. Keating. 

				TODD
		But it wasn't his fault! 

				MR. NOLAN
		Sit down, Mr. Anderson!

Todd reluctantly returns to his seat.

				MR. NOLAN
		One more outburst from you or anyone
		else, and you're out of this school!
		Leave, Mr. Keating.

Keating hesitates at the back of the classroom.

				MR. NOLAN
		I said leave, Mr. Keating.

Keating slowly turns and heads to the door. As he opens
it, Todd, stands upon his desk and turns to Keating.

				TODD
		O Captain! My Captain! 

				MR. NOLAN
		Sit down, Mr. Anderson!

Keating pauses at the door and looks back at Todd on his desk.

				MR. NOLAN
		Do you hear me? Sit down! Sit down! This 
		is your final warning, Anderson. How 
		dare you? Do you hear me?

After a moment of indecision, Knox climbs up onto his desk.

				KNOX
		O Captain! My Captain! 

				MR. NOLAN
		Mr. Overstreet, I warn you! Sit down!

Pitts climbs up onto his desk, followed by several others,
including Meeks.

				MR. NOLAN
		Sit down! Sit down. All of you. I want 
		you seated. Sit down. Leave, Mr. 
		Keating.

More students stand on their desks until half the class is standing.

				MR. NOLAN
		All of you, down. I want you seated. Do 
		you hear me? 

				MR. NOLAN
		Sit down! 

Keating stands in the doorway, staring up at the boys in wonder. A
smile comes to his face.

				KEATING
		Thank you, boys. Thank you.
   

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