THE THEORY OF EVERYTHING
Written by
Anthony McCarten
SHOOTING SCRIPT
NOVEMBER 2013
"I now predict that I was wrong."
STEPHEN HAWKING
RUN OPENING TITLES OVER:
INT. EMPIRE ROOM, BUCKINGHAM PALACE - DAY (LATE 1980'S)
TWO BESPECTACLED EYES. Blinking. Alert. Male. Middle-aged.
Reflected in his shiny GLASSES - a WOMAN, middle-aged, (JANE
HAWKING) removing the glasses from his nose.
CUT TO:
The MAN's POV, as -
- his vision goes from FOCUSED to BLURRY as the GLASSES are
removed.
- his BLURRY POV of the WOMAN's hands POLISHING his glasses
with a cloth.
- his BLURRY POV then shifts (as she steps aside) onto a
SMALL PERSON in the distance jumping up and down.
- his BLURRY POV of the GLASSES then being replaced on his
nose, and -
- with this, his VISION comes abruptly into FOCUS, and the
SMALL PERSON is revealed to be -- a BOY (10) playing
HOPSCOTCH in the RED-CARPETED CORRIDOR.
- Beyond the BOY, TWO RED-COATED EQUERRIES begin
(unceremoniously) to prepare the HALLWAY for a ceremony. They
lay out potted-plants and drape velvet ropes. One blows his
nose.
TIGHT ON: The eyes behind the glasses watching, his eyes
finally looking downward...as we hear a metallic CLICKING
sound - "CLICK, CLICK, CLICK..."
- ANGLE ON: HIS HAND, which is clicking a CLICKER-PLATE...
- then on a COMPUTER MONITOR (mounted to the CHAIR), words
form out of a streaming alphabet with each 'CLICK'. The man
is at work, selecting LETTERS, then WHOLE WORDS from a MENU
...making sentences by these means.
- OTHER PARTIAL VIEWS (ECUs) of this MAN in his WHEELCHAIR.
We see...a TUFT of BROWN HAIR...his HAND on chair arm-rest
...his FEET on a wheelchair's foot-rests...JANE's HANDS
arrange the BROWN HAIR...adjust his THIN ARMS...but never do
we see the full man, as -
- the TWO EQUERRIES open TWO LARGE ORNATE DOORS and motion
the PARTY forward.
(CONTINUED)
THE THEORY of EVERYTHING 2
CONTINUED:
TIGHT ON: the MAN's HAND, pushing a TOGGLE-STICK CONTROLLER,
putting the CHAIR in motion, to the sound of a small electric
motor.
END OPENING TITLES -
TIGHT ON: The WHEELS of the WHEELCHAIR, turning...
MATCH CUT TO:
EXT. CAMBRIDGE STREETS - DAY (EARLY-MID 1960's)
...the FRONT WHEEL of STEPHEN's BICYCLE, SPINNING VERY VERY
FAST...
STEPHEN HAWKING (in his early 20s) and his friend, BRIAN
(same age), race each other recklessly through the NARROW,
WINDING LANES. It looks VERY DANGEROUS. They are neck and
neck. And they are loving it.
STEPHEN HAWKING, his face almost entirely covered with
spectacles and floppy hair, slight of frame, a velvet jacket
and velvet bow tie, eccentric-looking. STEPHEN is a fun-
loving, playful, active, young student.
BRIAN, STEPHEN's best friend. More interested in life than
studies, as we shall see.
EXT. STUDENT PARTY,CAMBRIDGE - DUSK
STEPHEN and BRIAN arrive at the party, dismount at speed and,
running to a walk, crash their BIKES into a HEDGE. BRIAN wins
the race, raises arms aloft as - they enter the PARTY. We
follow them in...(CONTINUOUS SHOT)
INT. STUDENT PARTY,CAMBRIDGE - NIGHT - CONTINUOUS
...STEPHEN and BRIAN enter, and the CAMERA finally follows
them into the main room of the PARTY.
STEPHEN and BRIAN come to a halt in the doorway as they
OBSERVE -
- a CROWDED ROOM engaged in lively bubbly conversation. In
the background suitably elegant music plays.
BRIAN
First to find a drink.
STEPHEN and BRIAN make their way through the GUESTS, looking
for the BAR. BRIAN eyes the PRETTY GIRLS he passes...
(CONTINUED)
THE THEORY of EVERYTHING 3
CONTINUED:
BRIAN (CONT'D)
I'm sure the secret of the universe
has something to do with sex. There
you go--why don't you do your
doctorate on that? The physics of
love.
STEPHEN
More your field, I think.
BRIAN
You'd better decide on your
subject. I'm serious--they'll boot
you out.
They reach the PUNCH-BOWL. BRIAN tastes the PUNCH with his
finger, and UNIMPRESSED, fills TWO GLASSES.
CUT TO:
A YOUNG WOMAN, JANE WILDE, (18) arrives at the door with her
friend DIANA. DIANA is unimpressed by the party.
JANE, shy, has her hair up in a fashionable bouffant roll.
DIANA is more vivacious, and touches up her lipstick.
DIANA
Scientists! Don't worry. We don't
have to stay long. Looks
mortifyingly dull.
(seeing a boy)
Oh, hang on--
(waves to the boy)
Be right back, okay? Okay?
JANE nods, as DIANA goes over to GREET the boy and then walk
off together with him into the crowd.
ANGLE ON: JANE, marooned.
CUT TO:
At the PUNCH-BOWL, drinking punch.
STEPHEN
I applied for a job.
BRIAN
Did you?
STEPHEN
Civil Service.
BRIAN
Well, it's a back-up plan--in your
case not a bad idea. Did they
accept you?
(CONTINUED)
THE THEORY of EVERYTHING 4
CONTINUED: (2)
ANGLE ON: STEPHEN's POV of JANE, standing across the room,
now holding a WINE-GLASS.
STEPHEN
Unfortunately, that I'll never
know. Morning of their exam,
I...(smiles)
BRIAN
- slept in. Well, thank Christ,
the world has lost a promising pay-
clerk.
BRIAN holds out a FULL PUNCH GLASS for STEPHEN but STEPHEN
still has his eye on JANE. BRIAN follows STEPHEN's GAZE as -
- STEPHEN and JANE's eyes meet. They hold this look, until
she shyly looks away.
BRIAN has observed this exchange.
BRIAN (CONT'D)
(LATIN)
Quo est femella?
STEPHEN
I was going to ask you.
BRIAN
Actually--I think she's--yes--
Basil's sister. Wilde--Jane Wilde.
(RUSSIAN ACCENT)
"So. You like for me I introduce?"
STEPHEN contemplates this, as we -
CUT TO:
DIANA changes the RECORD - to BOP JAZZ. GUESTS immediately
take the DANCE-FLOOR and start DANCING.
DIANA returns to JANE.
DIANA
That's better.
JANE
Who is that guy?
DIANA
(looking at Stephen)
Oh. He's strange, clever, goes on
Ban The Bomb marches.
(spying another boy)
Oh, there's David. Come on.
(CONTINUED)
THE THEORY of EVERYTHING 5
CONTINUED: (3)
DIANA goes over to DAVID, but JANE stays where she is.
CUT TO:
BRIAN walks off to talk to another GIRL, while -
- STEPHEN, left alone, decides to slowly approach JANE. JANE
has hardly touched her wine. STEPHEN has a beer.
They look around the room together, and then -
STEPHEN
Hello.
JANE
Hello.
STEPHEN
Science?
JANE
Arts.
More silence. They look elsewhere.
JANE (CONT'D)
So what do you-?
STEPHEN
Cosmologist. I'm a cosmologist.
JANE
What's a cosmologist?
STEPHEN
It's a kind of religion--for
intelligent atheists.
(SUSPICIOUSLY)
You're not religious, are you?
JANE
C of E. Church of England.
STEPHEN
(SIMULTANEOUSLY)
- England.
(SMILES CHEEKILY)
I suppose someone has to be.
JANE is not sure whether to take offence.
JANE
So--what do cosmologists worship
then?
(CONTINUED)
THE THEORY of EVERYTHING 6
CONTINUED: (4)
STEPHEN
(GRINS)
A single unifying equation that
explains everything in the
universe.
JANE
(AMUSED)
Really? So what's the equation?
STEPHEN smiles.
STEPHEN
That is the question.
CUT TO:
The NEEDLE on the RECORD PLAYER now drops onto a ROLLING
STONES record - "TIME IS ON OUR SIDE"
Few people remain at the party now. The tables are empty -
the food is gone. The punch bowl is drained dry.
DIANA is still talking to DAVID, laughing.
ANGLE ON: JANE, now listening intently to STEPHEN.
JANE
Why didn't you stay at Oxford?
STEPHEN
My finals papers were such a
shambles the examiners called me in
for a 'Viva' and I told them -
JANE
What's a viva?
STEPHEN
A mildly terrifying face-to-face
thingy. An interrogation.
So I told them that if they gave me
a 2nd class degree I'd stay with
them and do my research at Oxford,
but if they gave me the 1st I
needed to get into Cambridge, then
they'd never have to see me again.
JANE
They gave you the 1st.
STEPHEN
They gave me the 1st.
JANE laughs. STEPHEN grins - it's a GREAT GRIN, as -
- DIANA approaches.
(CONTINUED)
THE THEORY of EVERYTHING 7
CONTINUED: (5)
DIANA
This party is officially deceased!
Come on--I've fixed you up a ride
home.
DAVID and DAVID's HANDSOME FRIEND wait by the door. JANE
barely has time to speak before she is dragged away by DIANA.
JANE
Well, I hope you find your
equation.
STEPHEN stands there, forlorn. But then JANE returns, stuffs
something in his hand, and then runs away.
It's a NAPKIN. On it - a PHONE NUMBER. He stares at it,
delighted, so much so that he taps one foot.
INT. SEMINAR ROOM/TRINITY HALL/CAMBRIDGE - DAY
STEPHEN reads a CHESS BOOK that lies on his LAP out of sight
under the table, while the professor, DR. DENNIS SCIAMA,
(LATE 30s), with a wicked smirk on his face, passes out a set
of mathematical problems to BRIAN, CARTER, ELLIS, REES and
several other YOUNG PHYSICISTS.
SCIAMA
A little challenge for you all, as
you embark on your separate
doctoral journeys -
(handing paper to STEPHEN)
- whatever they may be, Mr Hawking -
STEPHEN looks up, winces, knowing he's way behind schedule.
SCIAMA (CONT'D)
Something to sort--the men from the
boys--the wheat from the chaff--
the mesons from the pi-mesons--the
quarks from the quacks--ten
questions--each more impregnable
than the last. Good luck. You'll
need it. Shall we say, Friday 3
o'clock?
BRIAN
(aside, gloomy,to STEPHEN)
This is going to hospitalize me.
STEPHEN crumples the paper in his pocket and continues to
read the CHESS BOOK as he shuffles out of the tutorial.
EXT. QUAD/ TRINITY HALL / CAMBRIDGE UNI. - DAY
BRIAN runs across the QUAD.
THE THEORY of EVERYTHING 8
INT. STEPHEN'S ROOM/DORM, CAMBRIDGE UNIVERSITY - DAY (1963)
BRIAN knocks, enters, finds STEPHEN asleep in bed.
BRIAN
Oh come on, get up. How many have
you got?
BRIAN goes to STEPHEN's desk, looking through papers to find
his answers. How many have you done?
STEPHEN
Morning, Brian.
BRIAN
Afternoon, Stephen. Where are they?
Where are you hiding them? Your
answers.
STEPHEN
Brian, I have no idea what you're
talking about.
BRIAN
How many of Sciama's questions have
you done?
STEPHEN
None.
BRIAN
You liar!
STEPHEN
I was going do them later.
BRIAN
Later? You mean you haven't even
started?
Beat.
BRIAN (CONT'D)
Stephen, are you aware you have
voluntarily embarked on a PHD in
physics at one of the most
prestigious colleges in England?
STEPHEN
Yes.
BRIAN
Oh, good. Thought maybe you'd slept
through the induction or something.
BRIAN starts to leave
(CONTINUED)
THE THEORY of EVERYTHING 9
CONTINUED:
STEPHEN
(to Brian at the door)
Bri-?
BRIAN
What?
STEPHEN
Can you whip on some Wagner?
BRIAN
Sod off.
BRIAN exits, giving up on his pal. STEPHEN, hung-over, sits
on his bed and yawns.
He gets out of bed and turns on his ANCIENT TAPE-MACHINE.
WAGNER starts to play, loudly.
Later. Pouring milk into a cup of TEA, while listening to a
TAPED RECORDING of "THE RING CYCLE" by Wagner, and still in
his pyjamas, the dishevelled STEPHEN digs out the QUESTIONS
from a pile of TRASH on his desk. First he finds all manner
of chocolate wrappers, concert tickets, etc, until he finally
settles down with a clean pad and a pencil. He looks at the
clock. It reads -- 1:00PM. He sighs and looks out his window
at teeming university life, as he ponders.
He then starts to WRITE on a PAD, rapidly, effortlessly, the
CALCULATIONS pouring out of him, his writing hand adroit and
swift.
Distracted, he then reaches for his TEA and clumsily KNOCKS
THE CUP OVER. The tea washes over his only pad.
He hurriedly wipes it off, but it's too late. He looks around
for another pad, but to no avail.
INT. SEMINAR ROOM, TRINITY COLLEGE - DAY
The PhD STUDENTS are gathered, minus STEPHEN as SCIAMA hands
back the classes answers.
SCIAMA
(PASSING PAPER)
John, this so illegible I'm not
quite sure how wrong it is--I
suspect very--and Brian...
(TOSSING PAPERS)
...that's just--baffling.
STEPHEN arrives late -
SCIAMA (CONT'D)
Stephen, glad you could join us.
(CONTINUED)
THE THEORY of EVERYTHING 10
CONTINUED:
STEPHEN
Sorry.
STEPHEN sets TWO TRAIN TIMETABLES on the table. Others push
the TIME-TABLES down the desk to SCIAMA, who picks them up.
SCIAMA
Train timetables?
Stephen, these are totally
unacceptable--they expired a month
ago.
Laughter.
STEPHEN
Sorry. It's on the back. Had a
little accident.
SCIAMA turns them over and looks at them.
TIGHT ON: the TIMETABLES, then are filled with tiny formulas
and calculations.
SCIAMA registers growing amazement, then looks up at STEPHEN -
STEPHEN (CONT'D)
I could only do nine.
End on SCIAMA and fellow students reaction - startled,
speechless, everyone staring at STEPHEN.
SCIAMA
Well...I see...well thank God. Well
done Stephen.
BRIAN
(SILENTLY MOUTHS)
Nine?
EXT. RIVER - DAY
OARS powerfully cut the WATER as a TWO-BOAT PRACTICE RACE
unfolds. The TWO CREWS are from the same CLUB.
PAN DOWN one BOAT: EIGHT LARGE POWERFUL ROWERS, culminating
in PETE, DAN, RAFF, BRIAN and finally the thin, boyish,
STEPHEN, in the role of COX, facing the rowers, calling out
the stroke-rate using a coxswain's loud-hailer.
STEPHEN
Full, give me twenty - One, drive! -
Two, drive! - Three, big legs! -
Four, press! - Five, boom! - Hook,
send! - Catch, big send! - Hold at
32! - Big legs, Brian! - Big legs!
(MORE)
(CONTINUED)
THE THEORY of EVERYTHING 11
CONTINUED:
STEPHEN (CONT'D)
- Stay long, Brian! - Stay long
Brian!!!...
BRIAN
(exhausted, speaks one
word on each stroke)
You! - complete! - and! - utter!
bastard!
INT. PUB ON RIVER - DAY
Rowdy tables of graduates and undergraduates and rowers,
males and females. Beer flows.
Playing PINBALL are BRIAN, REES, ELLIS and CARTER. STEPHEN
watches, drinking a beer, distracted.
CARTER
No, no, listen, listen, pay
attention. A man enters a lift,
wanting to go to the fiftieth
floor but only gets as far as the
46th. Why?
BRIAN
(EXHAUSTED)
Erm - there was a naked girl in
the lift.
Collective groan. BRIAN is clipped around the ears.
BRIAN (CONT'D)
Hey--it's the closest I'll get to
a unifying theory, leave me
alone.
ALL then silently ponder the RIDDLE. BRIAN, deep in thought
himself, finally notices STEPHEN, bursting to provide the
answer. BRIAN acts to SILENCE STEPHEN -
BRIAN (CONT'D)
(raising a finger)
Uh!!!
ELLIS
No--we give up. No idea.
STEPHEN
He was too short to reach the
button for the fiftieth floor.
STEPHEN rises, triumphant, as the others groan.
BRIAN
Okay, I've got one. Okay, okay--
A naked girl enters a lift -
(CONTINUED)
THE THEORY of EVERYTHING 12
CONTINUED:
STEPHEN, at the bar, opens JANE's NAPKIN. Looks at the
number.
STEPHEN
(TO BARMAN)
Do you have change for the pay-
phone?
BARMAN
Sure.
The BARMAN takes STEPHEN's POUND and glances at the NAPKIN.
BARMAN (CONT'D)
I'd commit that number to memory if
I were you.
STEPHEN smiles - then glances at the mirror-backed bar.
Reflected - a WOMAN who looks like JANE. Is he imagining
this?
TIGHT ON: STEPHEN's face: we see JANE's reflection appear and
disappear in the glass of his glasses as she crosses the
room.
The BARMAN's voice is distant...
BARMAN (CONT'D)
Here you go...
STEPHEN snaps out of it - stares at the BARMAN holding out
CHANGE - a smile DAWNING.
BARMAN (CONT'D)
Sir? Are you okay?
STEPHEN
Uh - my napkin just walked in.
CUT TO:
JANE and DIANA and two other FRIENDS sit with TWO OTHER YOUNG
MEN at a table. She looks reluctant and unhappy to be with
them. As one YOUNG MAN pours them beers she hands her beer to
someone else. And then -
STEPHEN (CONT'D)
Hi.
STEPHEN is not afraid to stand in front of this crowd of
Girls and Jocks and stare straight at JANE. The others fall
silent and stare at STEPHEN, but JANE's eyes light up.
JANE
Hello.
REACTION: DIANA: Not impressed.
(CONTINUED)
THE THEORY of EVERYTHING 13
CONTINUED: (2)
STEPHEN
What's the probability?
JANE
Reasonably low.
(TO OTHERS)
Uh - this is - Stephen.
He smiles at her. The OTHERS look back and forth between JANE
and STEPHEN. JANE perks up, interested.
STEPHEN
Croquet. Do you play croquet?
JANE
(INTERESTED)
Um. Not recently.
STEPHEN
Sunday morning?
JANE
I'm actually busy Sunday mornings.
STEPHEN
Oh. Of course.
(POINTING HEAVEN-WARD)
Him.
STEPHEN turns and just walks away. JANE is perplexed,
disappointed - stares at him, as do the others.
INT. CORRIDOR/DEPARTMENT OF APPLIED MATHEMATICS AND
THEORETICAL PHYSICS (DAMTP), CAMBRIDGE - DAY
STEPHEN approaches SCIAMA's office, plucks up his courage,
and knocks -
INT. SCIAMA'S OFFICE/DEPARTMENT OF APPLIED MATHEMATICS AND
THEORETICAL PHYSICS (DAMTP), CAMBRIDGE - DAY
SCIAMA
Stephen, come in. Sit down. Now--
we're all rather concerned--about
your choice of subject. What it's
going to be.
STEPHEN
I can't decide.
SCIAMA
Any ideas?
One of SCIAMA's PENS sits precariously on the edge of the
desk, and in shuffling papers, knocks it off.
(CONTINUED)
THE THEORY of EVERYTHING 14
CONTINUED:
The PEN rolls off the DESK and falls on the FLOOR in front of
STEPHEN. STEPHEN stares at the PEN as it comes to a STOP.
STEPHEN
Umm-- No.
SCIAMA studies him, rises, take a BIG OLD KEY from the desk
drawer.
SCIAMA
Come with me.
INT. CAVENDISH LAB, CAMBRIDGE UNIVERSITY - DAY
SCIAMA shows STEPHEN the famous lab.
SCIAMA
This lab is where JJ Thomson
discovered the electron, where
Rutherford split the atom. One of
the great rewards of this job is
that you never know from where the
next great leap forward is going to
come, or from whom.
SCIAMA takes out a pen and writes on a pad, tears it off and
gives it to STEPHEN.
SCIAMA (CONT'D)
Next Friday. I'm taking a few
graduates of merit to London, to
attend a talk by the mathematician
Roger Penrose. Come along if you're
interested.
(EXITING)
Oh, and close the door as you
leave.
SCIAMA exits. STEPHEN looks around at the empty LAB. He goes
to the BLACKBOARD, picks up a piece of CHALK, looks at the
BLANK BOARD, but then puts the CHALK back down and then
begins to study, with RAPT AWE, the ancient LABORATORY
EQUIPMENT.
EXT. ANGLICAN CHURCH STEPS - DAY
STEPHEN is now sitting on a STONE WALL, waiting as -
- the WILDES emerge, in the SUNDAY FINERY. JANE peels off
from her family to talk to STEPHEN. She is pleased to see
him.
JANE
So I gather you've never been to
church?
(CONTINUED)
THE THEORY of EVERYTHING 15
CONTINUED:
STEPHEN
Once upon a time.
He smiles wryly at this Fairy Tale reference.
JANE
Tempted to convert?
He thinks about this.
STEPHEN
I have a problem with the whole
Celestial Dictator premise. What
are you doing for lunch? Ma makes a
cracking roast.
INT. DINING ROOM, HAWKING FAMILY HOME - DAY
Sunday family lunch. A noisy, eccentric, bohemian
atmosphere. STEPHEN's father, FRANK opens his HOME-MADE
WINE. His sister PHILIPPA (17) passes the plates. MARY (20)
reads a BOOK.
FRANK HAWKING
And Jane? What are you studying?
JANE
Arts. Languages, poetry. I'm
thinking of doing a PhD eventually.
FRANK HAWKING
Oh? What in?
The HAWKINGS, impressed, nod approvingly at STEPHEN.
JANE
(ENCOURAGED)
Medieval poetry of the Iberian
Peninsula.
PHILIPPA snorts back laughter, whilst the other HAWKINGS
stare blankly at JANE for a moment, before silently returning
to setting the table. FRANK rescues the mood -
FRANK HAWKING
Arts. So, what painters do you
like?
JANE
Well, I like--Turner...
FRANK HAWKING
Really? Turner? To me they all
look as if they've been left out
in the rain.
(CONTINUED)
THE THEORY of EVERYTHING 16
CONTINUED:
STEPHEN laughs. JANE shoots him a surprised look, as FRANK
pours a glass of wine.
JANE
And...William Blake.
PHILLIPA
Good heavens. Surely not!
FRANK HAWKING
(TO JANE)
Will you try my elderflower wine?
JANE
Yes, please.
STEPHEN
(TO JANE)
Don't touch it, don't touch it
Jane.
Enter ISOBEL, STEPHEN's mother, with a ROAST CHICKEN.
As FRANK passes wine, JANE looks nervously at STEPHEN, who
smiles at her. FRANK picks up the CARVING KNIFE and starts
to SHARPEN it.
FRANK HAWKING
Stephen doesn't like my homemade
wine. Philistine.
(TO STEPHEN)
If you don't watch out I'll send
you back with a couple of bottles.
PHILLIPA
So Stephen, you've been to church
with a good woman. Are you feeling
holier than thou?
STEPHEN
Positively saintly, thank you.
JANE
(TO STEPHEN)
You've never said why you don't
believe in God.
STEPHEN
A physicist can't allow his
calculations to be muddled by a
belief in a supernatural creator.
STEPHEN smiles, pleased with himself, and his mother and
father seem pleased with it too. JANE notices -
(CONTINUED)
THE THEORY of EVERYTHING 17
CONTINUED: (2)
JANE
Sounds less of an argument
against God than against
physicists.
JANE 1, STEPHEN O. She eats her food.
FRANK HAWKING
(IMPRESSED)
Light or dark?
(Re: the chicken)
Jane? Light meat or dark?
JANE
Er - light, please.
STEPHEN
I'll wing it. As usual.
The old family PUNNING game has begun.
PHILLIPA
Boooo.
FRANK HAWKING
How plucky of you.
PHILLIPA
Ohh, fowl play! Fowl play.
STEPHEN
Stop egging him on!
FRANK HAWKING
It's so nicely cocked.
Hawking laughter. Ha! Ha! JANE is bemused.
ISOBEL
(sympathetic, to JANE)
Don't worry about them. They're
pun mad.
FRANK is about to place a slice of CHICKEN BREAST on JANE's
PLATE -
JANE
That's okay -
(TENTATIVELY)
- the breast is yet to come.
FRANK guffaws, as he plates her chicken.
FRANK HAWKING
HA! Marvelous! Very good. "The
breast is yet to come!" Indeed it
is! Well done.
(CONTINUED)
THE THEORY of EVERYTHING 18
CONTINUED: (3)
STEPHEN
Oh! - I'm inviting Jane to be my
partner for the May Ball.
It's news to JANE: shocked - but then pleased as he shoots
her a quick look and mouths...
STEPHEN (CONT'D)
(SILENTLY MOUTHING)
Will you?
She SMILES and NODS, delighted.
EXT. WILDE HOUSE - NIGHT
Standing by his PARENT's CAR, STEPHEN watches (SMITTEN) as -
- JANE, in a GORGEOUS GOWN, walks down the path toward him.
EXT. COUNTRY ROADS - NIGHT
To the blaring strains of WAGNER, the HAWKING car careens
across the countryside.
EXT. GONVILLE & CAIUS COLLEGE/MAY BALL - NIGHT
On the GRAND FRONT LAWN of the COLLEGE, a fairy-tale party -
LIGHTS IN THE TREES, a throng of GOWNED YOUNG WOMEN, and
YOUNG MEN IN BLACK TIE and TAILS, all sip CHAMPAGNE on the
sequestered CROQUET LAWNS, as if from a by-gone age. A
BATHTUB is full of CHAMPAGNE BOTTLES ON ICE. Through this
STEPHEN and JANE drift.
INT. GONVILLE & CAIUS COLLEGE/ MAY BALL - NIGHT
STEPHEN and JANE stand and watch the swirling couples on the
dance-floor, sipping PUNCH.
The MAY BALL is now in full and magical swing, as couples
float across the lawns before the great facade of the
college.
JANE
Should we dance, do you think?
STEPHEN
Oh, no, no. Happy to observe the
phenomenon--but I can't possibly
imagine participating.
JANE
I absolutely agree. I mean, who
would want to dance?
(CONTINUED)
THE THEORY of EVERYTHING 19
CONTINUED:
STEPHEN
No, I'm quite serious. I don't
dance.
JANE has a wistful look of disappointment. AWKWARD SILENCE.
Just then - A BLUE UV LIGHT comes on. This causes great
excitement on the dance-floor. All the other couples "ooh"
and "ahh" and even more people take to the floor - not so,
STEPHEN and JANE.
STEPHEN (CONT'D)
(SOFTLY)
Do you see how the men's cuffs and
shirt-fronts, how they glow more
than the dresses?
JANE
(smiles, expectant)
Yes...
STEPHEN
Do you know why?
JANE
Why?
STEPHEN
"TIDE."
JANE
The washing powder?
STEPHEN
The fluorescence in the washing
powder is caught by the UV light.
JANE
Why do you know that?
STEPHEN
(GRINS)
When stars are born and when they
die, they emit UV radiation. So if
we could see the night sky in
ultraviolet light, almost all the
stars would disappear--and all we'd
see would be these spectacular
births and deaths. And I reckon--
it would look a little -
JANE stares at the glowing swirling people with STEPHEN's
eyes.
JANE
- like that.
(CONTINUED)
THE THEORY of EVERYTHING 20
CONTINUED: (2)
They watch, impressed, as - FIREWORKS are suddenly heard,
EXPLODING LOUDLY.
EXT. TERRACE/LAWNS/RIVERBANK - G&C COLLEGE - NIGHT (1963)
MONTAGE:
A) A FIRE-WORK DISPLAY - STEPHEN and JANE watch as SKY-
ROCKETS light up the sky.
B) A CAROUSEL - JANE and STEPHEN ride the CAROUSEL. STEPHEN
watches JANE, captivated by her happiness in this moment.
C) A CHAMPAGNE TENT - JANE selects a FLUTE OF CHAMPAGNE and
takes a BIG SIP, to the sound of a NEARBY 1920's CHICAGO JAZZ
SWING band. The GATSBY-THEMED BAR-STAFF are dressed in 1920's
TUXEDOS and FLAPPER-DRESSES.
STEPHEN
So why...
(PASSING CHAMPAGNE)
...why...
JANE
Why?
STEPHEN
Why medieval Spanish poetry?
JANE surveys the gay party, sipping her champagne -
JANE
(HAPPILY)
I suppose I like to time travel.
STEPHEN
And what particular time periods do
you visit?
JANE takes the CHAMPAGNE STEPHEN has just chosen and pours
half of his into her glass.
JANE
The Twenties is always fun.
STEPHEN
The roaring twenties!
Cheers!
They CLINK GLASSES and sip their champagne, laughing.
STEPHEN (CONT'D)
So--The 1920's. A good time for
poetry was it?
(CONTINUED)
THE THEORY of EVERYTHING 21
CONTINUED:
JANE
"Seek then/ No learning/ from
Starry Men!/ Who follow with Optic
Glass/ The Whirling Ways of Stars
that Pass."
STEPHEN
Ouch.
JANE
Was it -
They move off across the NEARBY DANCE-FLOOR, and PASS the
JAZZ BAND en route to the LIGHTED FOOT-BRIDGE spanning a
river under which LIGHTED PUNTS drift by.
JANE (CONT'D)
- was it a good time for science?
STEPHEN
A smashing time actually. Spacetime
was born.
JANE
Spacetime...
STEPHEN
Space and Time finally got
together. People always thought
they were too dissimilar, couldn't
possibly work out. But then along
comes Einstein, the ultimate match-
maker, and decided that space and
time, not only had a future, but
had been married all along.
JANE
The perfect couple!
They arrive at the FOOT-BRIDGE, with its view of the BRIDGE
OF SIGHS. PUNTS with CATHERINE WHEELS are moored nearby.
D) FOOT-BRIDGE.
JANE and STEPHEN stop in the middle of the bridge. STEPHEN
looks up at the STARS, bright, sparkling. JANE does the same.
STEPHEN
Well that's astonishing, isn't it?
Silence, then -
(CONTINUED)
THE THEORY of EVERYTHING 22
CONTINUED: (2)
JANE
(SERIOUSLY)
"In the beginning was the heaven
and the earth, and the earth was
without form, and darkness--
darkness was upon the face of the
deep."
STEPHEN, moved, looks at her.
STEPHEN
Would you dance with me?
He takes her hand and starts to DANCE with her to the music,
and then tilts his head and KISSES her.
CAMERA pulls back to reveal the couple kissing on the
FOOTBRIDGE, the punts floating underneath, the night magical,
the lovely slow jazz drifting over the scene.
EXT. FRONT DOOR / WILDE FAMILY HOUSE - DAY
MORNING LIGHT on the WILDE FRONT DOOR. JANE, in bathrobe,
opens the door to get the MILK. Looks down. PAN down to - a
BOX of "TIDE" WASHING POWDER. She picks it up - looks around
for STEPHEN - smiles, delighted - IN LOVE.
EXT. PLATFORM, CAMBRIDGE TRAIN STATION - DAY
SCIAMA and STEPHEN and PHYSICISTS 1,2 and 3 arrive late on
the platform. The train is already pulling in. SCIAMA, and
the OTHER THREE all run for it. But STEPHEN is making his way
up the steps, not running - putting on a brave face. When
STEPHEN arrives, just in time, the PHYSICISTS 1,2,3, pull
STEPHEN on to the train.
INT. MOVING TRAIN COMPARTMENT - DAY
As they whistle along, English countryside in the background.
SCIAMA studies STEPHEN then returns his attention to his
newspaper when he meets his eyes.
INT. KING'S COLLEGE CLASSROOM - LONDON - DAY
ROGER PENROSE, MATHEMATICIAN, gives a passionate talk
before a small audience in a small room. The blackboard is
crammed with calculations and diagrams.
ROGER PENROSE
So what do we know? Let me
rephrase that--what do the
equations tell us, finally?
(CONTINUED)
THE THEORY of EVERYTHING 23
CONTINUED:
He turns the blackboard over. A blank board.
ROGER PENROSE (CONT'D)
How about a simple diagram?
Smiles, small laughter from the audience. STEPHEN looks
especially relieved.
ROGER PENROSE (CONT'D)
A star, more than three times the
size of our sun...
He draws a circle on the board.
ROGER PENROSE (CONT'D)
...ought to end its life, how? With
a collapse, the gravitational
forces of the entire mass
overcoming the electromagnetic
forces of individual atoms, and so
collapsing inwards. If the star is
massive enough, it will continue
this collapse, creating a black
hole - where the warping of
spacetime is so great that nothing
can escape... not even light. It
gets...
He draws a smaller circle, inside the first.
ROGER PENROSE (CONT'D)
Smaller, smaller...
An even smaller circle.
ROGER PENROSE (CONT'D)
The star, in fact, gets denser as
atoms--even subatomic particles--
get literally crushed, smashed into
smaller and smaller space. And at
its end point what are we left
with?
He draws a point.
ROGER PENROSE (CONT'D)
A point. A spacetime
singularity...
STEPHEN is captivated.
ROGER PENROSE (CONT'D)
With extraordinary properties!
Infinite density. Space and time
come to a stop. All of the known
laws of science--they just stop
working.
(MORE)
(CONTINUED)
THE THEORY of EVERYTHING 24
CONTINUED: (2)
ROGER PENROSE (CONT'D)
What I've just shown is that this
happens in every black hole. Its
really happening, out there. To
real stars--and its happening right
now!
STEPHEN smiles - seeing his future revealed.
INT. MOVING TRAIN COMPARTMENT - NIGHT
SCIAMA and his students, returning home.
As his friends talk excitedly, STEPHEN is silently staring
down at the CIRCULATING COFFEE in front of him, into which
he pours CREAM...
SLOWLY, CLOCKWISE - the cream is spread outward by the
circulating coffee until it looks like a SPIRAL GALAXY.
As he stares, deep in thought, the SPIRAL of CREAM pulses
with LIGHT - he is having an epiphany here - a major
insight...
...and then TIME GOES INTO REVERSE. As it does so, the CREAM
CHANGES DIRECTION, goes ANTI-CLOCKWISE now, the SPIRAL once
more returning to its original central dollop, and then
vanishing. The coffee creamless. STEPHEN looks up...
STEPHEN
(TO SCIAMA)
I wonder what would happen--if--I
wonder what would happen--
Sensing his protege is on to something, perhaps even a small
smile.
SCIAMA
Go on. If?
STEPHEN
If you applied Penrose's theory
about black holes to--the entire
universe?
SCIAMA stares at him.
EXT. RIVERBANK, CAMBRIDGE - SUNSET
STEPHEN excitedly expands on his new idea to a DELIGHTED,
SMILING JANE as they WALK side by side.
(CONTINUED)
THE THEORY of EVERYTHING 25
CONTINUED:
STEPHEN
If--if--so--If--Einstein is right,
if--general relativity is correct,
then the universe is expanding,
yes? -
JANE
- Alright -
STEPHEN
- which means - that--if you
reverse time, the universe would
get smaller and smaller.
So what if--if I reverse the
process all the way to see what
happened at the beginning of Time
itself? The universe, smaller and
smaller, denser and denser, hotter
and hotter as we approach its
birth. Wind back the clock...
JANE grabs his hands and begins to SWIRL him around.
STEPHEN (CONT'D)
What are you doing?
JANE
Winding back the clock!
STEPHEN
(LAUGHING)
Is that what you're doing?
JANE
That's what I'm doing.
STEPHEN
Well keep winding! You've got quite
a way to go. Keep winding, Jane!
Keep winding...back to the
beginning of Time...Keep winding...
They SPIN faster and faster until they almost trip and only
save themselves by clasping each other closely...
STEPHEN (CONT'D)
(SUDDENLY SERIOUS)
...until you get -
INT. SCIAMA'S OFFICE/DAMTP, CAMBRIDGE - DAY
STEPHEN at the blackboard makes a DOT on the blackboard.
SCIAMA
A singularity.
(CONTINUED)
THE THEORY of EVERYTHING 26
CONTINUED:
STEPHEN
A spacetime singularity. At the
beginning of time.
SCIAMA stares at him. STEPHEN smiles.
STEPHEN (CONT'D)
The universe born from a black
hole exploding.
SCIAMA
(FINALLY)
Keep going.
STEPHEN
Keep going? You mean go further
back, Professor? Before the
universe began?
SCIAMA
Keep going. Develop the
mathematics.
STEPHEN
I don't know how.
SCIAMA takes the KEY for the RUTHERFORD LAB out of the drawer
and hands it to him.
INT. RUTHERFORD LAB LECTURE HALL
STEPHEN writes, inspired, formula on the famous blackboard.
He stops, thinks, continues, then deletes a bit, and writes
again, faster, faster, his mind racing, even as his fingers
begin to betray him, growing weaker, weaker...
EXT. TRINITY HALL, CAMBRIDGE UNIVERSITY - DAY
The swirl of CAMBRIDGE UNIVERSITY life. Dons on bicycles.
Purposeful students. Every building looking like a STATELY
HOME.
STEPHEN walks quickly and excitedly, with still CHALKY
FINGERS, across campus but then suddenly, trips - FALLS -
falls hard. His head smashing onto the hard paving stones.
His GLASSES fly off his face. He is unconscious immediately.
STUDENTS rush to his aid.
MONTAGE:
A) X-RAY DEPARTMENT. STEPHEN, his face GRAZED and BRUISED,
lies on a tilting bed as X-rays are taken.
(CONTINUED)
THE THEORY of EVERYTHING 27
CONTINUED:
B) Blood is taken from his arm.
C) In a PUBLIC WARD, STEPHEN, sitting on the edge of a bed
in a HOSPITAL SMOCK, turns and looks at a SICK YOUNG MAN in
the next bed, who looks GRAVELY ILL.
D) Dexterity Test - Stephen struggles to bring his little
finger to meet his thumb. Stephen, lying down, as the doctor
violently jerks his knee up. Stephen lying prone in foetal
postion as a doctor performs a lumbar puncture and extracts
fluid from his spine.
STEPHEN
What is it? What's wrong with me?
E) STEPHEN lies in the PUBLIC WARD while the SICK YOUNG MAN
in the next bed is discovered DEAD. Nurses rush the SICK
YOUNG MAN away, as STEPHEN watches. He is very moved by this.
F) INT. WARD/ HOSPITAL - DAY
The DOCTOR is dismissive and unsentimental.
SENIOR DOCTOR
It's called motor neuron disease.
STEPHEN
What's that?
The DOCTOR, despite his unsentimental nature, draws a deep
breath. This is not the speech he wants to make...
SENIOR DOCTOR
It's a progressive neurological
disorder that destroys the cells
in the brain that control
essential muscle activity such as
speaking, walking--breathing--
swallowing. The signals that
muscles must receive in order to
move are disrupted, cut off. The
result is--gradual muscle decay,
a wasting away. Eventually, the
ability to control voluntary
movement is--lost--entirely.
SHOCK sets in as STEPHEN watches other patients taking
EXERCISE, stretching - walking.
STEPHEN
Is--is--is there a cure? Some--?
Is--can you--?
SENIOR DOCTOR
Improvement should not be
expected.
(MORE)
(CONTINUED)
THE THEORY of EVERYTHING 28
CONTINUED:
SENIOR DOCTOR (CONT'D)
(PAUSE)
I'm afraid average life
expectancy is two years.
STEPHEN is rocked to the core by this news -
SENIOR DOCTOR (CONT'D)
There's nothing I can do for you,
I'm terribly sorry.
Silence. The SENIOR DOCTOR rises to go -
STEPHEN
Wait! What about--what about the
brain?
SENIOR DOCTOR
The brain isn't affected. Your
thoughts won't change--it's just-
STEPHEN
What?
SENIOR DOCTOR
Eventually--no-one will know what
they are.
(BEAT)
Ever so sorry.
The DOCTOR walks away.
REACTION: STEPHEN, devastated. Frozen. People walk past him
and he doesn't move, doesn't react.
INT. BATHROOM, TRINITY HALL - DAY
WATER drips in SLOW MO from an old TAP.
STEPHEN lies in a bath, in a TRANCE, knees drawn up, hair
wet, not moving, in a STATE OF SHOCK, as he stares at the
DRIPPING TAP, until -
- his eyes are drawn to his ARM where he sees a weird
PHENOMENON - it's called FASCICULATION - a visible throbbing
that travels underneath the skin.
INT. COLLEGE STAIR-WELL - DAY
BRIAN rushes up the SPIRAL STAIRS, past the "BEDDER" - a
woman who looks after the STUDENTS domestic needs.
BRIAN
(TO BEDDER)
Is he up yet?
THE THEORY of EVERYTHING 29
INT. STEPHEN'S DORM ROOM/CAMBRIDGE UNI - DAY (EM60'S)
Suddenly, a pounding on his door, and then BRIAN enters
STEPHEN's room.
WAGNER is playing INCREDIBLY LOUDLY on an old TAPE-DECK.
BRIAN shuts it off and looks at -
- STEPHEN, in the corner, in his pyjamas, his MATRESS now on
the floor (rather than on the HIGH BUNK as before) legs drawn
up, reading a book of CHESS.
BRIAN
"Welcome--to this week's episode
of The Natural World, where we
explain the extraordinary
hibernation patterns of the rare
Cambridge Physicist--seen here in
his wonderful plumage..."
Silence. BRIAN waits for STEPHEN to speak.
BRIAN (CONT'D)
So? What did they say? Your
wrist. What did they say?
STEPHEN
I have a disease, Bri.
BRIAN
(WHISPERS)
Is it--venereal, Stephen?
STEPHEN
No. Motor neuron disease. Lou
Gehrig's Disease. He was a
baseball player.
BRIAN
Motor what? Sorry, I'm lagging
behind in my pioneering work on
rare automotive and baseball
diseases. Come on, let's go to
the pub.
BRIAN tries to pull STEPHEN to his feet.
STEPHEN
(IMPASSIVELY)
I have two years to live.
(PAUSE)
Sounds strange, doesn't it, when
you say it out loud.
BRIAN
What? I--I don't understand. It's
not possible! It's ridiculous!
(MORE)
(CONTINUED)
THE THEORY of EVERYTHING 30
CONTINUED:
BRIAN (CONT'D)
You were fine a couple of days
ago.
(SILENCE)
Steve? You're fine. What did they
say...?
STEPHEN
Will you leave me Brian?
BRIAN
I'm sorry, look, I was just being a
berk...I'm so...
The BEDDER knocks and enters.
BEDDER
Stephen! Phone for you! It's a
girl.
BRIAN has no choice. He is badly shaken by the news.
BRIAN
Right. OK. So--see you soon, yeah?
STEPHEN does his best to smile. Brian exits.
BEDDER
(TO STEPHEN)
She's waiting.
INT. HALLWAY, WILDE FAMILY HOME - DAY
JANE on phone.
JANE
Stephen? Hi. It's me.
(CLICK!)
Stephen?
She holds the DEAD RECEIVER in her hand.
EXT. TRINITY HALL, CAMBRIDGE UNIVERSITY - DAY
Through the swirl of UNIVERSITY life comes - JANE WILDE.
INT. HALLWAY/STEPHEN'S DORM ROOM - DAY
JANE knocks - gets no answer.
JANE
STEPHEN?!
(KNOCKS)
STEPHEN!
THE THEORY of EVERYTHING 31
INT. STEPHEN'S ROOM / OXFORD UNIVERSITY - DAY
STEPHEN, huddled against the door, refused to answer it.
EXT. CROQUET LAWN, CAMBRIDGE - DAY
JANE walks past the empty lawn.
INT. PUB ON THE RIVER, CAMBRIDGE - DAY
Full of undergraduates.
JANE enters, looks around for STEPHEN. Can't see him.
BRIAN, seated with the other YOUNG PHYSICISTS, spots her.
BRIAN
Jane!
JANE comes up the young men.
JANE
Brian--have you seen Stephen?
BRIAN
Jane, have a seat.
JANE sits.
JANE
What is it?
BRIAN
I understand you saw him. You know
he was in hospital...
JANE nods, as the CAMERA pulls back from the scene, leaving
BRIAN (sensitively) to pass the terrible news to JANE.
INT. COMBINATION ROOM/TRINITY HALL/CAMBRIDGE - DAY
JANE walks in, sees STEPHEN, slumped in an armchair
watching TV in the common room.
At a distance, JANE stops, shocked. He looks woebegone,
depressed, physically reduced already. She summons up a
cheerful demeanor, however, and advances.
JANE
Something educational?
STEPHEN
(without looking at her)
Very.
(MORE)
(CONTINUED)
THE THEORY of EVERYTHING 32
CONTINUED:
STEPHEN (CONT'D)
John is having an affair with
Martha. But Martha is in love
with Alan. And I think Alan is
homosexual by the look of his
shirts. I'm trying to work out
the mathematical probability of
happiness.
JANE
Are you close?
STEPHEN
It's some integer of zero, but
I'm not there yet.
JANE
STEPHEN?
STEPHEN
You just missed him. He was here
earlier.
JANE
Don't do this.
STEPHEN
What?
JANE
Cut me off.
STEPHEN
Go.
JANE
Teach me croquet.
(PAUSE)
Come on. Teach me.
(PAUSE)
What is this?
STEPHEN
I believe you poetry under-
graduate types call it..."a
slough of despond."
JANE
If you don't get up and play a
game with me I won't come back
here again. Ever.
Silence. He finally looks at her. ANGRILY he rises. And
walks off ahead of her. She watches him.
THE THEORY of EVERYTHING 33
EXT. CROQUET LAWN -
JANE AIMS, STRIKES, hits a FEEBLE SHOT.
STEPHEN
My turn.
STEPHEN AIMS, HITS his BALL through the FIRST HOOP, then
walks, as best he can, off toward his BALL, using his MALLET
as a WALKING STICK. With his second shot he hits her BALL. He
then picks up his BALL, places it beside hers so that it
touches, puts his foot on his ball, then smacks his BALL HARD
with his MALLET, blasting her ball down to the next hoop.
He proceeds to play a MASTER GAME that will not allow JANE
another shot, enlisting her ball to advance his own from HOOP
to HOOP, until -
- he knocks his ball and hits the finishing peg.
JANE has been watching all this, her eyes FLOODING WITH
TEARS, until she can bear it no longer, and walks up to him
and picks up his ball, stopping the game. They stare into
each others eyes, until he can bear it no longer and he walks
off (as best he can) back to his room.
She watches him, then follows determinedly.
INT. STEPHEN'S DORM ROOM/CAMBRIDGE UNI - DAY
He enters ANGRILY, SLAMS the door behind him, then tries to
break a CHAIR by throwing it against the wall - just as JANE
enters.
STEPHEN
Go away.
More knocks.
JANE (O.S.)
STEPHEN? Let me in. Please.
Please let me in.
INT. HALLWAY/STEPHEN'S DORM/CAMBRIDGE UNI - DAY
STEPHEN (O.S.)
Go away!
JANE
Are you going to talk about this
or not?
Silence.
(CONTINUED)
THE THEORY of EVERYTHING 34
CONTINUED:
STEPHEN
There's nothing to say--
just...(go)
JANE
Is that what you want?
STEPHEN
That's what I want. I haven't got
time for you. So - if you care
about me at all - go.
JANE moves closer and closer to STEPHEN during this whole
interchange - almost trapping STEPHEN, who is gallantly
trying to resist being taken into her life.
JANE
I can't.
STEPHEN
I've got two years. I need to
work.
JANE
I can't.
His eyes widen. He can't believe his ears. He looks at her.
JANE (CONT'D)
I think--I've fallen in love with
you.
He can't speak now. This STUNS him.
JANE (CONT'D)
I know. Strange. Inexplicable.
STEPHEN
You've--you've leapt to--a false
conclusion...
JANE
My chances are probably -
(SHRUGS)
- well, some "integer of zero",
but I think we can make a go of
this. I want us to be together,
for as long as we've got. And if
that's not very long then - well,
that's just how it is. It will
have to do.
STEPHEN
You don't realise what's coming.
It'll affect everything.
(CONTINUED)
THE THEORY of EVERYTHING 35
CONTINUED: (2)
She advances, and kisses him on the lips. He is still
speechless. She stares into his eyes, with love --
JANE
Your glasses are always dirty.
She takes them off, cleans them on her dress. His heart is
exploding with joy and hope. She slips his GLASSES gently
back on his nose.
JANE (CONT'D)
There. That's better. Isn't it?
STEPHEN
(POWERFULLY MOVED)
Yes. It is.
INT. SCIAMA'S OFFICE, DAMTP/CAMBRIDGE - DAY
SCIAMA is giving a TUTORIAL to FOUR UNDERGRADS -
SCIAMA
...the solutions to the Schrodinger
equation must vanish at the
boundary of the box, so we have...
STEPHEN enters -
STEPHEN
(cutting him off)
Time!
SCIAMA
Time. That's your subject? Any
aspect of it, in particular?
STEPHEN
Time.
STEPHEN exits.
INT. KITCHEN - HAWKING FAMILY HOME - NIGHT
JANE is seated, watching FRANK as he ominously shuts the
door.
FRANK HAWKING
You don't realize what lies ahead.
His life is going to be very short.
So. Be careful. Science is against
you. And it's not going to be a
fight, Jane. It's going to be a
very heavy defeat. For all of us.
(CONTINUED)
THE THEORY of EVERYTHING 36
CONTINUED:
JANE
I know--I know what you all think.
That I don't look a terribly strong
person. But I love him. And he
loves me. We're going to fight this
illness--all of us.
EXT. TRINITY HALL - CAMBRIDGE UNI- DAY
SUPER-8 FOOTAGE (MONTAGE) of -
- STEPHEN and JANE are married. They pose for their WEDDING
PHOTO, STEPHEN in black suit, tie, leaning on a SINGLE
WALKING STICK; JANE in white, happy, as -
- FLOWER PETALS drift down on them.
Supered on BLUE sky: "TWO YEARS LATER"
_____________________________________________________________
EXT. STEPHEN & JANE'S HOUSE, LITTLE ST MARY'S LANE,
CAMBRIDGE - DAY
SUPER-8 FOOTAGE (MONTAGE) of -
- a small terrace house - a MINI parked outside.
INT. DINING ROOM/LITTLE ST MARY'S LANE - DAY
SUPER-8 FOOTAGE (MONTAGE) of -
- a ONE YEAR-OLD BABY (ROBERT) is set into STEPHEN's arms. He
is delighted.
INT. LOUNGE, LITTLE ST MARY'S LANE - DAY
STEPHEN SLIDES ON HIS BACK, down the STAIRS, dressed in a
SUIT. He laughs at how ridiculous this is.
JANE is there to meet him, to help him to his feet, to
straighten his bow-tie. Both look nervous. Tenderly, she
touches his face.
JANE
Ready. Good luck. Are you sure I
can't drive you?
STEPHEN smiles, gently shakes his head. She gives him his TWO
WALKING STICKS.
THE THEORY of EVERYTHING 37
INT. CAMBRIDGE CLOISTER - DAY
STEPHEN walks with great difficulty up the hallway, using
(for the first time) TWO WALKING STICKS.
INT. HALLWAY, DAMTP - DAY
STEPHEN stops outside SCIAMA's office. Knocks with a stick.
INT. SEMINAR ROOM,TRINITY HALL,CAMBRIDGE - DAY
SCIAMA and ROGER PENROSE and an American, KIP THORNE, face
STEPHEN.
SCIAMA
Come in Stephen.
STEPHEN makes his way slowly, laboriously, to stand in front
of the three examiners.
SCIAMA (CONT'D)
How are you?
STEPHEN
(his speech has worsened)
Fine.
SCIAMA
Would you like to sit down?
STEPHEN
No thankyou.
SCIAMA
So. Chapters One--full of holes and
lacks mathematical support.
(to KIP THORNE)
Professor Thorne?
KIP THORNE
Chapter Two--not really original--
uses a lot of Roger's ideas.
PENROSE
Well at least you run with them.
Chapter Three? Too many unanswered
questions.
SCIAMA
But Four?
Silence. STEPHEN waits, as the PANEL turn the pages of his
thesis. STEPHEN grows WORRIED.
(CONTINUED)
THE THEORY of EVERYTHING 38
CONTINUED:
SCIAMA (CONT'D)
A black hole at the beginning of
Time.
KIP THORNE
A spacetime singularity?
SCIAMA and PENROSE and KIP THORNE look at each other. STEPHEN
can't breath for the tension.
SCIAMA
Brilliant. It's brilliant Stephen.
So all that remains to be said
is...well done. Or should I say,
well done Doctor. And extraordinary
theory.
STEPHEN
Thankyou.
STEPHEN sighs with RELIEF, and smiles.
SCIAMA
So, what now?
STEPHEN
Prove it. Prove...with a single
equation, that Time has a
beginning. Wouldn't that be nice
Professor? One single elegant
equation to explain everything?
SCIAMA
Yes. It would. It would indeed.
INT. LOUNGE, LITTLE ST MARY'S LANE - EVENING
CHAMPAGNE is OPENED and POURED.
A celebrational dinner party, attended by JANE, BRIAN, ELLIS,
REES, CARTER and two of their GIRLFRIENDS. JANE rises to give
a TOAST.
JANE
TO DOCTOR-
BRIAN
-Who?
Over laughter -
JANE
To Doctor Stephen Hawking.
CUT TO:
(CONTINUED)
THE THEORY of EVERYTHING 39
CONTINUED:
BRIAN holds forth on a funny story about him and Stephen, as
he uncorks a bottle of wine -
BRIAN
What's astonishing is that for
Stephen and I, "work" was the worst
four-letter word, the worst.
(LAUGHTER)
Stephen probably averaged, what was
it?--an hour a day your entire
university career?
(LAUGHTER)
Unbelievable levels of sloth!
As the conversation turns into a HUBBUB of chatter, STEPHEN,
smiling, drops his FORK. JANE, in conversation now with one
of the GIRLFRIENDS, picks up the fork without barely looking
at STEPHEN and put it back in front of him.
STEPHEN watches everybody talking, eating, drinking, being
wonderfully, effortlessly dextrous. FRUSTRATED, ENVIOUS, and
saddened, STEPHEN watches closely then, before emotion breaks
through, rises, grabs his TWO WALKING STICKS and starts to
leave.
JANE
(CONCERNED)
Stephen?
STEPHEN
I'm sorry.
Everyone watches him go with concern. It's a painful sight to
see how hard it is for him to walk now.
When he is gone only a few seconds, the guests stop their
chatter when they hear a huge THUMP. Several men are about to
rise to his aid when JANE signals for everyone to remain in
their place. Everyone understands and settles again.
INT. HALL, LITTLE ST MARY'S LANE - EVENING
STEPHEN tries to pull himself up the stairs by the spokes of
the balustrade. It takes him many seconds just to get up the
first stairs but we see his determination.
INT. LOUNGE, LITTLE ST MARY'S LANE - EVENING
The DINNER guests are now eating DESSERT, and talking
quietly.
THE THEORY of EVERYTHING 40
INT. HALL, LITTLE ST MARY'S LANE - NIGHT
STEPHEN is only halfway up the STAIRS, using his last heroic
energies. Finally, he STOPS, EXHAUSTED. Hearing something, he
looks up -
The TWO YEAR-OLD ROBERT has woken, and stands in his pajamas
at the BABY-GATE at the top of the stairs, looking down at
his father.
STEPHEN
It's okay Robert.
For the first time - with his head resting on the step, and
with his eyes turning back to look through the balusters at
the REFLECTION in a DINING ROOM mirror of the dinner party
(his POV: tilted at 90 degrees) TEARS fall out of his eyes. A
PRIVATE MOMENT of great despair.
FADE TO BLACK.
INT. KITCHEN, LITTLE ST MARY'S LANE - DAY
JANE and STEPHEN sip tea. Holding a cup is extremely
difficult for him. A new tension exists between them. She
watches him.
Finally - she gets up, goes into the kitchen and then
returns with...
A WHEELCHAIR. She sets it before him. He stares at it. Is
this his future? Is it an aid, or an enemy? She returns to
the kitchen to wash some dishes while he stares at the
chair...eventually rising, turning, poising above it, and
then falling with a CRASH into it.
JANE comes back to his side, realising the momentousness of
this moment.
STEPHEN
This--is--temporary.
JANE
Of course.
INT. DINING ROOM,LITTLE ST MARY'S LANE - NIGHT
JANE comes down the stairs, in her NIGHTIE, dressed for bed,
carrying pillows.
The MASTER BED now is erected in the little DINING ROOM, and
STEPHEN is propped up in it, smiling, waiting...(STEPHEN can
no longer manage the stair-climb.)
(CONTINUED)
THE THEORY of EVERYTHING 41
CONTINUED:
STEPHEN
Well, it's convenient for
breakfast!
She puts an extra pillow behind him, then they look into each
other's faces.
STEPHEN (CONT'D)
Thank you.
JANE
(PLAYFULLY)
Excuse me, did you say something?
STEPHEN
I said--thankyou.
They smile at each other. They kiss...
INT. POST-NATAL WARD - DAY
A NEW-BORN BABY is put into STEPHEN's LAP for him to hold.
INT. DINING ROOM,LITTLE ST MARY'S LANE - NIGHT
The NEW BABY'S CRIES carry (from UPSTAIRS) as JANE helps
STEPHEN on with his PYJAMA TOP. She struggles to pull it down
over his head when the BABY's cries grow too urgent.
STEPHEN
Go Jane.
JANE
One second.
JANE runs out to go to the baby, runs up the stairs.
STEPHEN struggles to pull on the PYJAMA himself.
CUT TO:
INSIDE HIS PYJAMA. It's dark. STEPHEN, helpless. His eyes
are wide open, looking through the grain in the fabric at
the OPEN FIRE, burning in the FIREPLACE.
STEPHEN
JANE?
Silence. He waits...
The pin points of fire-light through the fabric, SLOWLY
MORPH into STARS and a NIGHT SKY. This is what STEPHEN is
visualizing. We see what he sees --
(CONTINUED)
THE THEORY of EVERYTHING 42
CONTINUED:
The LIFE OF THE UNIVERSE IN REVERSE...STARS being pulled
back together, toward a single POINT, a SINGULARITY. As the
SINGULARITY takes SHAPE, a DARK CIRCLE FORMS AROUND IT,
rimmed by a GLOWING CIRCULAR HORIZON.
FINALLY - A BLACK HOLE has FORMED. A POINT IN SPACE,
GOBBLING STARS, ILLUMINATED ONLY AT ITS EDGES (EVENT
HORIZON) BY AN AMBIENT GLOW - A RING of LIGHT.
The REVERIE ends as JANE eases the PYJAMA down over his
head, returning STEPHEN back into the real world. He stares
at his wife, AWESTRUCK.
JANE
Are you alright?
STEPHEN
(breathless, stunned)
I've got an idea. I've got an idea
Jane!
INT. DAMTP, STAIRS/TUTORIAL ROOM - DAY
SCIAMA runs, in great excitement, past KIP THORNE.
SCIAMA
Kip! He's done it, Kip! He's -
KIP THORNE
What is it?
SCIAMA
Stephen! He's changed everything!
SCIAMA runs on, informing a mopping JANITOR -
SCIAMA (CONT'D)
(TO JANITOR)
Black Holes aren't black! And
they explode!
(RUNNING OFF)
They explode!!...
REACTION: KIP THORNE, confusion.
INT. LOBBY, RUTHERFORD LAB - DAY
STEPHEN is about to present his ideas to the conference. He
is SURROUNDED by his PEERS.
SCIAMA
All set?
STEPHEN nods - nervous.
(CONTINUED)
THE THEORY of EVERYTHING 43
CONTINUED:
SCIAMA (CONT'D)
You'll do fine.
AT A DISTANCE - at a TEA TABLE - excluded, and looking
EXHAUSTED after a LONG NIGHT - JANE sits near TWO CLEANERS IN
WHITE, and overhears the female gossip about STEPHEN's
condition.
CHAR 1
Look at him. It's awful, in't it?
He's falling apart at the seams.
JANE reacts, says nothing but bites her lips and frowns
indignantly, as the CLEANERS walk away.
JANE then approaches STEPHEN, nervously. But when he looks up
at her, his EYES are BLAZING WITH LIGHT and passion - this
pulls her out of her SADNESS.
JANE
(LOVINGLY)
Good luck!
He SMILES back at her, as the ENTRY DOORS to the HALL open,
and REVEAL a PACKED EXPECTANT ROOM. It's daunting!
SCIAMA
Ready or not.
SCIAMA PUSHES STEPHEN into the HALL, as -
- JANE hurries to gather STEPHEN's NOTES, his WATER-BOTTLE,
his BLANKET and her HANDBAG, only just slipping through the
CLOSING DOORS.
INT. LECTURE HALL/RUTHERFORD LAB/CAMBRIDGE - DAY
Before his peers, STEPHEN finishes his address. SCIAMA sits
with JOHN TAYLOR in the front row. JANE sits toward the BACK.
STEPHEN
(SLURRING SLIGHTLY)
...allowing us to predict that
some particles can in fact escape a
black hole. Black holes aren't
black at all, but glow with heat
radiation.
Stony, sceptical faces greet this outrageous idea. As STEPHEN
continues his speech, ANGLE ON SCIAMA and TAYLOR.
SCIAMA
(aside, to TAYLOR)
He's unifying Relativity--plus
Quantum Mechanics and
Thermodynamics. For the first time.
(CONTINUED)
THE THEORY of EVERYTHING 44
CONTINUED:
JOHN TAYLOR
(shakes head, to SCIAMA)
Thermodynamics? Last used to
describe the steam engine.
During this exchange (O.S) STEPHEN has been saying:
STEPHEN
In other words--the steady emission
of heat energy causes black holes
to slowly lose mass, they
evaporate, eventually disappearing
in a spectacular explosion. So...
INTERCUT THIS LECTURE SCENE (as necessary) with the FOLLOWING
SCENE:
INT. PUB ON RIVER, CAMBRIDGE - NIGHT
BRIAN and REES, CARTER and ELLIS discuss STEPHEN's theory.
BRIAN
No,no! What he's saying is--just as
a hot body loses heat--right? -
REES
Second law of thermodynamics.
BRIAN
- that a black hole -
BRIAN dips a finger in the FROTH of REES's BEER and draws a
CIRCLE on the TABLETOP.
REES
- thanks -
BRIAN
- that if it is losing particles,
then, then over time -
INT. LECTURE HALL/RUTHERFORD LAB/CAMBRIDGE - DAY
STEPHEN
- it must eventually disappear.
No applause at all as STEPHEN shuffles his notes. JANE looks
nervous. SCIAMA also. The general reaction is guarded.
STEPHEN (CONT'D)
First a star vanishes into a black
hole, but then the black hole must
itself--vanish.
THE THEORY of EVERYTHING 45
INT. PUB ON RIVER - CAMBRIDGE - NIGHT
BRIAN
Gone! From nothing--into nothing.
REES
You owe me another beer.
CARTER
Me too.
BRIAN
He's just told us that -
(eating REES's CRISPS)
- Time! Had a beginning! He shown
us how -
ELLIS
(GETTING IT)
- the universe was born and how it
will end.
REES
Bang.
BRIAN crushes the precious bag of crisps.
BRIAN
Crunch!
(ENTRAPTURED)
It's beautiful! It's racy! It's
totally, totally -
SMASHCUT TO:
INT. LECTURE HALL/RUTHERFORD LAB/CAMBRIDGE - DAY
CLOSE ON: The stoney faces of the ACADEMIC AUDIENCE, all
silent and unconvinced.
STEPHEN on stage - looks at these blank faces.
JANE and SCIAMA appear as nervous as JOHN TAYLOR, who rises
then to his feet...
JOHN TAYLOR
I'm afraid--this is complete
nonsense. It's preposterous.
TAYLOR drags a fellow colleague to his feet and WALKS OUT.
STEPHEN
Was it something I said?
SCIAMA rises to his feet, to defend STEPHEN -
(CONTINUED)
THE THEORY of EVERYTHING 46
CONTINUED:
SCIAMA
I-
But then a BIG VOICE booms out - and stops TAYLOR and co in
their tracks.
KHALATNIKOV
STOP! Please.
KHALATNIKOV makes his way to the STAGE, stopping beside
STEPHEN. He addresses the audience gravely...
KHALATNIKOV (CONT'D)
My name--is Professor Khalatnikov,
from Soviet Academy of Sciences. My
field is evolution of the hot
universe--the properties of
microwave background radiation, and
theory of the black holes. To be
honest, I came here today expecting
to hear a lot of nonsense. I go
home disappointed.
(pause, points)
The little one here, has done it.
(HE SMILES)
He has done it!
Applause finally begins, small, then grows large.
KHALATNIKOV (CONT'D)
HE!- HAS DONE IT! Ha! Ha! Ha! Ya
Ya! He has done it! (Shakes
Stephen's hand.) He has done it!
REACTION JANE: Relief.
REACTION STEPHEN: the famous grin appearing, as -
STEPHEN is swamped by WELL-WISHERS. The AUDITORIUM empties on
to the stage, where STEPHEN is SURROUNDED.
ANGLE ON: JANE, alone suddenly in the AUDITORIUM, trying to
see STEPHEN, as he is borne out of the room on a tide of
fame.
EXT. CAMBRIDGE STREETS - NIGHT
STEPHEN is being pushed by BRIAN over the cobbled streets
while REES, CARTER and ELLIS cavort around them. They are in
a PARTY/CELEBRATORY MOOD, singing as they go. GREAT FUN.
CUT TO:
At the base of a large flight of STEPS, the YOUNG PHYSICISTS
all RACE EACH OTHER up the STEPS and disappear. BRIAN is left
alone with STEPHEN and the WHEELCHAIR.
(CONTINUED)
THE THEORY of EVERYTHING 47
CONTINUED:
BRIAN
BASTARDS!
BRIAN lifts STEPHEN out of his chair. He's heavy.
BRIAN (CONT'D)
Jeez!--uhhhh!--how the hell does
Jane manage?
He starts to carry STEPHEN up...up...up...
STEPHEN
Big legs! Big legs Brian!
BRIAN
So, tell me, this Motor Neuron
Disease, does it effect, y'know...
STEPHEN
What?
BRIAN
Everything..?
BRIAN indicates 'down there'.
STEPHEN
Different system. Automatic.
BRIAN
That's kinda wonderful, actually.
And it explains a great deal about
men.
BRIAN and STEPHEN then disappears over the top of the STEPS.
After a few beats BRIAN reappears and runs down the steps to
reclaim the wheelchair. He picks it up and starts up the
steps with it.
CUT TO:
STEPHEN, cradled in the giant arms of a seated MARBLE
STATUE!!! (maybe Queen Victoria) - cradled like a baby,
waiting for BRIAN to return.
INT. UNIVERSITY BOOKSHOP - DAY
The SHELVES are being restocked. The latest issue of "NATURE"
MAGAZINE is set on the stand by a STOCKIST. The COVER reads:
"HAWKING RADIATION"
_____________________________________________________________
THE THEORY of EVERYTHING 48
EXT. WEST ROAD FLAT, CAMBRIDGE - DAY
CLOSE ON: STEPHEN. Waiting in his WHEELCHAIR on the front
LAWN. About 8 YEARS have passed since we last saw him. His
physical deterioration is marked. His body is thinner and
powerless. His legs are bent and his face is slightly
asymmetric.
WIDE: Beside him is STACKED a mountain of FAMILY HOLIDAY
LUGGAGE (umbrellas, beach balls, plastic cricket set, tent
etc.)
In the Background, the NEW WEST ROAD FLAT - a LARGE VICTORIAN
HOUSE. The sign in front reads "GONVILLE and CAIUS COLLEGE".
On the LAWN the children (ROBERT, now 9 - and LUCY, now 5)
PLAY with BEACH TOYS, until -
- JANE (with a new haircut and fashion befitting the LATE
1970's) yells -
JANE
Get in the car! Get! In! The Car!
Come on! Let's go see Gran and
Grandad!
The CHILDREN obey, and jump into the now OLD MINI parked at
the kerb, as -
- JANE confronts the MOUNTAIN OF STUFF, including STEPHEN,
that must somehow be stowed. No way.
LATER - back and forth JANE goes between LUGGAGE and MINI.
STEPHEN can only watch her load the stuff into the car and
onto the ROOF-RACK. Finally - REVEAL the LOADED MINI - it
looks ridiculously burdened!
JANE takes a deep, exhausted, breath, then turns back for
STEPHEN. He sits there in his wheelchair, looking at her...
ROBERT and JANE together, with GREAT DIFFICULTY, get STEPHEN
into the front seat and shut the door. ROBERT struggles to
COLLAPSE the WHEELCHAIR, until JANE comes and together they
muscle it onto the ROOF-RACK.
EXT. WELSH COTTAGE - WALES - DAY
FRANK & ISOBEL HAWKING's tumble-down WELSH COTTAGE high above
on a STEEP HILLSIDE, only reached by an ENORMOUS FLIGHT of
STEPS.
REACTION JANE: Exasperation!
ISOBEL descends to greet them, followed by FRANK.
(CONTINUED)
THE THEORY of EVERYTHING 49
CONTINUED:
ISOBEL
Isn't it marvellous? We can rent it
every year!
JANE
Yes. I see. But what about all the
steps, Frank?
FRANK HAWKING
Oh, it's nothing. The climb is
absolutely worth it. You get the
luggage.
FRANK backs STEPHEN (in his wheelchair) up the STEPS, one at
a time, while ISOBEL runs up ahead with the CHILDREN, leaving
JANE, alone, with ALL THE LUGGAGE.
REACTION, JANE: Speechless in defeat, she sighs deeply.
Finally, she slowly starts to unload the MINI.
EXT. PATIO - WELSH COTTAGE - DAY
TEA and CAKES al fresco. The CHILDREN play CHARADES. FRANK is
feeding STPHEN, but his attention is on...ROBERT, whose turn
it is...ROBERT acts being cold, that it's snowing...
FRANK HAWKING
Oh--Rain?--Falling?--Rain Falling
Down?--Shivering?--Uhhhrrrrr---
ISOBEL
Very cold...
STEPHEN suffers an horrendous CHOKING FIT, which cannot be
staunched. STEPHEN's parents, and little ROBERT watch in
horror, as JANE tries in vain to subdue it, banging his back
roughly, loosening his tie.
JANE
He needs to see a doctor. This
keeps happening!
STEPHEN
No doctors!
FRANK HAWKING
Very well, no doctors.
JANE, stressed, looks ready to break-down, and turns away,
hiding her frailty, a little angry also at the lack of
support.
THE THEORY of EVERYTHING 50
EXT. COUNTRYSIDE - DAY
JANE walks slowly along path to the WOOD and sits down on a
STONE. Head in hands. She WEEPS.
INT. MINI - TRAVELLING - DAY
JANE is driving them home.
JANE
I need help.
I keep--I keep looking for a way--
to make this work--but I can't find
it.
STEPHEN
(forcefully, but with a
SLURRED VOICE)
We're fine--we're just a normal
family.
JANE
(UPSET)
WE'RE NOT A NORMAL FAMILY!!! We're
not a normal family.
STEPHEN
(turns to ROBERT)
Robert--your mother's very angry at
me.
(SMILES)
JANE
(TEARFUL)
Thanks.
INT. MASTER BEDROOM - WEST ROAD FLAT/ CAMBRIDGE - DAY
A worried JANE cradles and sooths STEPHEN to sleep.
INT. KITCHEN/HALLWAY/WEST ROAD FLAT/CAMBRIDGE - DAY
STEPHEN in his old wheelchair is pushed from the KITCHEN by
JANE up to the doors to the LIVING ROOM. She has a surprise
for him.
JANE
Ready?
The doors then burst open and it's ROBERT and LUCY aboard- AN
ELECTRIC MOTORIZED WHEELCHAIR.
ROBERT
Surprise! Look Daddy Look!
(CONTINUED)
THE THEORY of EVERYTHING 51
CONTINUED:
STEPHEN stares as ROBERT makes the CHAIR turn by pulling and
pushing a toggle.
JANE
It's an electric wheelchair.
We can take it back--if you don't
like it.
STEPHEN stares at it, unsure at first...
INT. KITCHEN - WEST ROAD FLAT/CAMBRIDGE - NIGHT
While making dinner, JANE hears happy screams from the other
end of the house. She goes through to discover --
INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - NIGHT
STEPHEN, in his motorized wheelchair, chasing ROBERT and LUCY
from room to room at full speed! He looks extremely thrilled
with the chair as he smashes into furniture.
JANE, at the table, trying to work on her THESIS, tries to
smile. STEPHEN motors away, chasing the squealing children.
JANE WINCES as she hears - the sound (O.S.) of a SMASHING
VASE.
EXT. TRINITY LANE FOOT-BRIDGE - DAY
STEPHEN happily MOTORS at speed over the FOOT-BRIDGE,
grinning.
INT. CORRIDOR, DAMTP, CAMBRIDGE UNI - DAY (L70-M80'S)
STEPHEN is motoring along with SCIAMA. CAMBRIDGE DONS and
STUDENTS step aside to make way.
SCIAMA
I don't get it. You've spent years
assuming Black Holes exist--you
believe Cygnus X-1 will turn out to
be the first black hole we can
actually observe==and yet you bet
Kip Thorne that it isn't a black
hole?
STEPHEN
(SLURRING)
Yes, a magazine subscription.
SCIAMA
Why would you bet against yourself?
(PAUSE)
(MORE)
(CONTINUED)
THE THEORY of EVERYTHING 52
CONTINUED:
SCIAMA (CONT'D)
A subscription to what? Nature
magazine?
STEPHEN
Pent-house. That way even if I'm
wrong, I still win!
SCIAMA laughs heartily as -
- STEPHEN grins, at the same time SPYING - up ahead, TWO
ATTRACTIVE UNDER-GRADUATE GIRLS about to enter the LIFT.
STEPHEN hits the GAS! - and SPEEDS toward the LIFT...
SCIAMA
Penthouse?
STEPHEN SPEEDS toward the LIFT, whose DOORS ARE READY TO
CLOSE.
SCIAMA winces in expectation of a horrible accident.
WIDE: it looks suicidal but the chair just flies through the
GAP in the last split second before the DOORS CLOSE - the
doors shaving the wheels, with a small spark.
INT. LIFT, DAMTP, G&C COLLEGE - DAY
STEPHEN, in there with the TWO UNDERGRADUATE GIRLS, SMILES at
them.
INT. LIVING ROOM,WEST ROAD FLAT/CAMBRIDGE - DAY
JANE picks up pieces of a BROKEN POTTED PLANT, dirt spilled
over the carpet, then violently VACUUMES as BERYL comes in
with a tea-tray.
BERYL
Jane--Jane? Jane? Jane! STOP!
JANE keeps VACUUMING. BERYL pulls the PLUG on the VACUUM
CLEANER. JANE stares at her Mum.
BERYL (CONT'D)
Sit down. Sit.
BERYL pours TEA for the exhausted JANE. JANE sits.
BERYL (CONT'D)
Now--I'd like to make a suggestion--
it might sound unusual--but I've
seen it work wonders.
I think--you should consider -
(BEAT)
- joining the church choir.
(CONTINUED)
THE THEORY of EVERYTHING 53
CONTINUED:
REACTION JANE: Momentarily SPEECHLESS -
JANE
Mum--I think that is possibly the
most English thing anyone has ever
said.
BERYL
Maybe so.
JANE
I used to love singing.
BERYL
You're very good at it.
JANE
I don't know about that.
BERYL
Go. (pause) It's one hour a week.
They sip tea in silence.
INT. CHURCH - EVENING (LATE 70'S-M80'S)
JANE walks in - and up the AISLE - as we hear CHORAL MUSIC.
JANE takes a pew, and then her eyes widen slightly as she
recognizes the CHOIR MASTER. It's the BEARDED MAN from the
supermarket car-park. She studies him, as he gently
instructs and then conducts the CHOIR.
CUT TO:
After the rehearsal, the CHOIR file past JANE. JONATHAN
recognizes her at once.
JONATHAN
Oh, hello.
JANE
Hello.
JONATHAN
Are you here to sing?
JANE
I um--I just came to--
JONATHAN
Soprano? Soprano.
JANE
I wish.
(CONTINUED)
THE THEORY of EVERYTHING 54
CONTINUED:
JONATHAN
Mezzo?
JANE
(POINTING DOWNWARDS)
Alto.
JONATHAN
Well--Just what we need.
(to last departing
CHORISTER)
'Bye, Kate.
(TO JANE)
Where have you been hiding?
JANE
Good question.
JONATHAN
Well, you're here now. And just in
time.
JANE
(SMILES)
Am I?
JONATHAN
Yes. So tell me.
(squints, thinking)
Chopin! Yes? Your repertoire.
JANE
I wouldn't call it a repertoire.
Brahms--I know a little-
JONATHAN
Brahms! Wonderful. Perfect. We -
JONATHAN gets an idea, he moves then stops...
JONATHAN (CONT'D)
Okay. Which...?
JANE
Well, I have sung--"Immer leiser."
JONATHAN
Ah! "My sleep grows evermore
peaceful." Come on. Follow me. Come
on. Let me hear you. Come on.
He sets off up to the front of the church. She turns,
smiling, as he WAVES for her to follow him. She follows.
THE THEORY of EVERYTHING 55
INT. FRONT AREA, CHURCH - EVENING
At the front of the church she sees that he is already
sitting at the piano. Without sheet music he begins to play
"Immer leiser wird mein Schlummer"...
JONATHAN
(over the music)
Jonathan. Jonathan Hellyer Jones.
She gingerly approaches.
JANE
Jane. Jane Hawking.
JONATHAN
In C-sharp minor? The introduction,
so lovely. From the top?
JANE
Now?
JONATHAN
"Living on the edge."
(SMILES)
Ready?
(BEAT)
If you're not in the mood we could
absolutely forget -
JANE
No, no. No, no. Just let me
remember the lyrics. In English.
JONATHAN
Fabulous.
JANE
Okay.
JONATHAN
Okay?
(BEAT)
Two, three...
JANE
(SINGS)
My sleep grows ever quieter
only my grief, like a veil,
lies trembling over me.
I often hear you in my dreams
calling outside my door...(etc)
THE THEORY of EVERYTHING 56
EXT. CHURCH - NIGHT
JANE and JONATHAN emerge from the church - JONATHAN locks the
doors.
JONATHAN
Actually, no, I go for the Gospel
of St. Mark.
JANE
None of that wishy-washy do-gooder
stuff--Matthew, Luke.
JONATHAN
Exactly. With Mark you roll up your
sleeves and get stuck in. No
standing on the sidelines.
They shake hands. JANE stares into his face - realizing she
has found a friend.
JANE
Well I should be going.
JONATHAN
Well met. Oh, and if your daughter
would like those piano lessons.
JANE
Absolutely. My husband loves music
too.
JONATHAN
I could teach him as well.
JANE
Well, that's a long story. 'Night.
EXT. WEST ROAD FLAT, CAMBRIDGE - DAY
STEPHEN motors down the street, fast, and swings up the
ramp in front of the door. He BANGS into the front door.
Then waits. He hears PIANO music - a lesson in progress.
INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY
As STEPHEN and JANE watch - JONATHAN gives ROBERT (11) a
piano lesson.
JANE smiles at STEPHEN, who remains cautious.
THE THEORY of EVERYTHING 57
INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - NIGHT
JONATHAN is eating dinner with JANE and STEPHEN. JANE feeds
STEPHEN a forkful of food. STEPHEN chews slowly.
STEPHEN sneaks glances at JONATHAN.
JONATHAN shoots a SMILE at JANE. She smiles back in return.
STEPHEN catches sight of both these smiles, and sees the
GROWING INTIMACY.
JANE
Water.
She exits. JONATHAN smiles at STEPHEN who is staring back at
him.
JONATHAN
(TO STEPHEN)
So - Stephen. Er - Jane tells
me...
JONATHAN picks up STEPHEN's fork, spears a cube of steak.
JONATHAN (CONT'D)
...you have a beautiful theorem
that proves that...
JONATHAN offers up the steak, but STEPHEN's glare makes him
aware this isn't welcome. He lowers the fork again.
JONATHAN (CONT'D)
...that--that the universe had a
beginning?
JANE returns with the a JUG OF WATER and GLASSES on a TRAY.
STEPHEN
(testily, his slurring
not easily understood)
That was my - PhD thesis.
JONATHAN looks to JANE for a translation.
JONATHAN
Your...?
JANE
PhD thesis.
STEPHEN
My new project - disproves it.
JONATHAN
Disproves it? Really?
(as JANE nods)
(MORE)
(CONTINUED)
THE THEORY of EVERYTHING 58
CONTINUED:
JONATHAN (CONT'D)
You no longer believe in the
Creation?
STEPHEN
What one believes -
- is irrelevant--in physics.
JANE JONATHAN
...is irrelevant ...is irrelevant
JANE
...in physics.
JONATHAN looks to JANE, hoping he has not caused offence.
JONATHAN
Oh, is that so?
JANE
(ANNOYANCE SHOWING)
Stephen's done a U-turn. The big
new idea is that the universe has
no boundaries at all. No
boundaries, no beginning. No
BEGINNING -
JONATHAN
- no God? Really?
(TO STEPHEN)
Fascinating. Because I'd
understood you'd proven the need
for a Creator. My mistake.
STEPHEN
No. Mine.
JONATHAN
(UNDERSTANDING THIS)
Yours. Your mistake?
JONATHAN is surprised by this sharp reply. (He also sees
that this matter is a CAUSE OF DIVISION between JANE and
STEPHEN.)
JANE
Stephen is looking for a single
law that governs all the forces
in the universe. So God must die.
JONATHAN
Why must God die? I don't see.
STEPHEN doesn't react, so JANE spears a PEA on her FORK,
then picks up a SECOND FORK and spears a LARGE BOILED
POTATO with the other.
(CONTINUED)
THE THEORY of EVERYTHING 59
CONTINUED: (2)
JANE
The two great pillars of physics
ARE -
(THE PEA)
- Quantum Theory, the laws that
govern the very small--electrons,
particles so on--and General
Relativity...
JONATHAN
Oh, yes - Einstein.
JANE
...Einstein's theory.
(THE POTATO)
Which governs the very large,
planets and such--but Quantum -
(raises the PEA)
AND -
(raises the POTATO)
Relativity...
JONATHAN
They're--different?
JANE
They don't remotely play by the
same rules. Peas are chaotic, and
don't behave predictably at all -
With her 'pea' fork she stirs some more peas on her plate -
creates 'chaos'.
JONATHAN
UNLIKE--POTATOES -
JANE
Which you can set your watch by.
STEPHEN
(SMILING)
Very good.
Even STEPHEN has begun to begrudgingly enjoy this, even as
he starts COUGHING.
JANE gets up and goes to pat STEPHEN's back over the
FOLLOWING:
JANE
If the world were all potatoes,
easy--you could trace a precise
beginning, as Stephen once did, a
moment of Creation. Hallelujah,
God lives.
(MORE)
(CONTINUED)
THE THEORY of EVERYTHING 60
CONTINUED: (3)
JANE (CONT'D)
But if you want to incorporate
peas into the menu, which Stephen
now wants to do, then it all goes
-
STEPHEN
Tits up.
JONATHAN looks to JANE for translation again -
JANE
Tits up. Haywire. Becomes a
Godless mess.
JONATHAN
Oh, dear.
JANE
Einstein hated peas, Quantum
Theory. "God doesn't play dice
with the universe", he said.
STEPHEN
Seems he not only plays dice -
JANE
Seems he not only plays dice -
STEPHEN
- he throws them - where we can't
find them.
(SMILES)
JANE
- he throws them -
JONATHAN
- where we can't find them. How
inconvenient!
JANE
Stephen's swapped his telescope
(un-spears the spud)
- for a microscope.
(eats the pea)
Order for chaos--hoping to find a
law to cover both.
JONATHAN, impressed, looks at STEPHEN.
JONATHAN
Looking for "the world in a grain
of sand."
JANE
God is back on the endangered
species list.
(CONTINUED)
THE THEORY of EVERYTHING 61
CONTINUED: (4)
JONATHAN
I expect he'll cope.
STEPHEN
But physics--is back in business.
JANE
Physics is back in business.
Stephen thinks it a fair
exchange.
STEPHEN
(TO JANE)
It's the final--challenge. We'll
know everything.
JONATHAN
The final challenge?
JANE
(to JONATHAN, ignoring
STEPHEN)
More wine?
JONATHAN declines, troubled by the tension between the
couple.
JONATHAN
No, thank you.
JANE
(RESIGNED)
We'll know everything.
EXT. GARDEN/WEST ROAD FLAT/CAMBRIDGE - NIGHT
Under a STARRY sky - JONATHAN helps STEPHEN sip his coffee.
STEPHEN accepts this now.
JONATHAN
It was leukaemia. Coming up on a
year ago. She fought it, I nursed
her, but in the end... Music is my
salvation. Teaching and playing.
I've struggled with loneliness, of
course. Tyranny of the empty room,
all that. Music is a consolation,
although my career... Well, I'm not
very ambitious.
(SMILES)
Is that a sin?
STEPHEN
Wrong guy to ask.
THE THEORY of EVERYTHING 62
INT. HALLWAY, WEST ROAD FLAT, CAMBRIDGE - NIGHT
JONATHAN puts on his JACKET to go - JANE and STEPHEN see him
off.
JANE
Thank you for coming.
JONATHAN
No. Thank you. It was wonderful.
(starts to go, then stops)
And if--if there was anything I can
do. To be of service. To you, your
family. I have no children, no
commitments. If I could help you, I
believe I would find a purpose that
would alleviate my own situation.
It would be a privilege.
STEPHEN looks to JANE for her reaction. JANE senses
EMOTIONAL DANGER and, frightened, merely smiles.
JONATHAN (CONT'D)
Night then.
He exits. JANE shuts the door.
INT. MASTER BED./WEST ROAD FLAT/CAMBRIDGE - NIGHT
JANE puts PILLOWS behind STEPHEN, who now sleeps almost
upright in bed. She then takes off her BATHROBE and gets
into bed herself.
STEPHEN
I understand you need more help.
And if there is - someone - who
is prepared to offer it - I won't
object, as long - as long as you
continue to love me.
JANE
Of course. For infinity.
Beside him in bed, she kisses his cheek and then lays her
head on his frail chest.
MUSIC UP: BACH PRELUDE, as played by JONATHAN on PIANO, over -
MONTAGE:
A) (MOVED TO: POSITION "G" in MONTAGE)
A1) The CAM RIVER. A PUNT on a SUNNY DAY drifts under the
BRIDGE OF SIGHS - in the front of the PUNT, JANE cradles
STEPHEN and ROBERT and LUCY. JANE smiles at -
(CONTINUED)
THE THEORY of EVERYTHING 63
CONTINUED:
- JONATHAN, who is POLING them. He smiles back at her.
B) HAWKING FRONT ROOM. JONATHAN plays the BACH PRELUDE
divinely on JANE's PIANO, as - JANE, BESIDE HIM on the piano
stool, turns the pages. STEPHEN watches without jealousy and
with enjoyment.
C) HAWKING BATHROOM. JONATHAN takes STEPHEN to the TOILET.
D) When JONATHAN and JANE pass each other in the KITCHEN,
and JONATHAN quite naturally takes her hand. JANE,
surprised, looks at him. He SMILES at her. Their FIRST
TOUCH!
We can see that the temptation to act further on their
feelings is now HUGE for both of them, but they do nothing.
JANE forces herself to break away, hurries into the next
room to be with STEPHEN, the kids and a train set. JONATHAN
is left to deal with his feelings. He sighs, sublimates
them, then returns to his domestics.
E) BRANCASTER BEACH. SUPER-8 FOOTAGE of their day at the
beach...
STEPHEN's wheelchair sits on the sand at the water's edge,
his trousers rolled up, water lapping his naked feet. STEPHEN
helplessly watches from his wheelchair as JONATHAN engages in
some playful rough and tumble with ROBERT and LUCY, kicking a
FOOTBALL back and forth. JANE watches on.
JONATHAN cradles STEPHEN as they sit there and look out to
sea, both men carefree and happy, STEPHEN accepting of
JONATHAN's care now. They appear as FRIENDS now.
INT. CHURCH - NIGHT
The CHOIR sings a beautiful CAROL. The CAMERA finds JANE -
singing nervously - the only SINGER NOT LOOKING at JONATHAN -
her eyes are glued on her hymn sheet. In DENIAL.
CUT TO:
After the Rehearsal, the CHOIR leaves. JANE and JONATHAN
clear up the hymn sheets. She passes her pile to him. He puts
his hand on hers. She withdraws her hand.
JANE
I have to tell you something.
JONATHAN
Is anything the matter?
She looks at him for the first time that evening -
JANE
I'm um--I'm pregnant.
(CONTINUED)
THE THEORY of EVERYTHING 64
CONTINUED:
JONATHAN
Oh.
(WOUNDED)
I see. I presumed--stupid really--
that you and Stephen...
(COURAGEOUSLY)
Well, then...
(AWKWARDLY)
Congratulations are in order.
JANE
Does it make a difference?
JONATHAN
(NOBLY)
Of course not.
He takes her by the arm, and leads her out of the church.
EXT. GARDEN - WEST ROAD FLAT - CAMBRIDGE - DAY
Everyone is gathered for the CHRISTENING PARTY - STEPHEN,
JANE, their PARENTS, ROBERT, LUCY. BRIAN takes PHOTOS of
EVERYONE.
JANE places the new BABY (TIMOTHY) into STEPHEN's LAP (and
carefully holds TIM there as STEPHEN can no longer hold a
baby) as -
- JONATHAN takes a PHOTO of the MOMENT.
ANGLE ON: FRANK HAWKING, scowling at JONATHAN.
EXT. GARDEN - WEST ROAD FLAT - CAMBRIDGE - DAY
LATER. As the party continues, FRANK sits with STEPHEN. FRANK
glances at JONATHAN, who brings drinks for the ladies. He
turns to his son.
FRANK HAWKING
I've always supported you in your
choice not to have home help, but
now, you need a permanent solution.
This--this current 'situation'
can't go on. You need a proper live-
in nurse immediately.
STEPHEN
We have help.
FRANK HAWKING
You know what I'm talking about.
STEPHEN glances at JONATHAN.
(CONTINUED)
THE THEORY of EVERYTHING 65
CONTINUED:
STEPHEN
(SLURRED SPEECH)
Can't afford--live-in nurse.
FRANK HAWKING
You can't afford to--
(STOPS HIMSELF)
There must be a way. You need to
find a way. For your family's sake.
You're world famous -
STEPHEN
For black holes--not rock concerts.
FRANK HAWKING
I believe it's urgent.
INT. KITCHEN/WEST ROAD FLAT/CAMBRIDGE - DAY
ISOBEL HAWKING follows JANE into the kitchen.
ISOBEL
You know very well what I'm talking
about.
JANE
No. I don't.
ISOBEL
We do have a right to know. We
have a right to know, Jane.
JANE
Know what?!
ISOBEL
Whose child Timothy is. Stephen's,
or Jonathan's?
JANE, turning, wheeling on ISOBEL, shocked.
JANE
That's what you think of me?
ANGLE ON JONATHAN, appearing at the door, unseen by the
WOMEN. He overhears the following.
JANE (CONT'D)
There is no way that Timothy could
have any other father than Stephen.
None. And for the record--I will
never leave Stephen.
JANE turns - sees that JONATHAN is standing in the DOORWAY.
JONATHAN exits...
THE THEORY of EVERYTHING 66
EXT. WEST ROAD FLAT - CAMBRIDGE - DAY
JANE chases JONATHAN - stops him.
JONATHAN
I need to go. I can't...
JANE
Please don't go.
JONATHAN
Everyone's talking. It's -
JANE
So. What does it matter?
JONATHAN
Well, there are other things too. I
- I - just -
(BEAT)
I have feelings for you.
JANE
I have feelings for you, too.
JONATHAN JANE
It's - it's difficult for me! I know, I know.
JONATHAN JANE
You have no - It's so wonderful, for me,
for the children.
JONATHAN JANE
I have to go. I don't think I Please, please -
CAN -
JONATHAN
Perhaps the right thing is for me
to just--step back.
He walks off.
REACTION JANE: Distressed.
ANGLE ON: STEPHEN, at the WINDOW, watching this - CONCERNED.
INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY
JANE does her daily NURSE chores, among these applying hand
lotion quickly to STEPHEN's hands - she does this
ROUTINELY. (This will contrast, later, with how Elaine
applies the hand lotion.)
STEPHEN
I've just been invited -
(CONTINUED)
THE THEORY of EVERYTHING 67
CONTINUED:
JANE
Invited? Where?
STEPHEN
Geneva.
JANE
Geneva?
STEPHEN
Students can accompany me.
JANE
What students?
STEPHEN
I know how much you hate -
JANE
You know how much I hate -
STEPHEN
- to fly.
JANE nods, sensing they are at a crossroads. She looks
away, on the verge of tears.
JANE
To fly. Yes.
STEPHEN
I was thinking - that you and the
CHILDREN -
JANE
- Me and the children--go on?
STEPHEN
could bring the car -
JANE
- bring the car -
STEPHEN
- meet me in Bayreuth -
JANE
Bayreuth? How can I manage that? On
my own?
STEPHEN
Bring Jonathan.
JANE looks up at him. Her thoughts racing.
(CONTINUED)
THE THEORY of EVERYTHING 68
CONTINUED: (2)
BOTH understand the significance of this. She looks into his
eyes to establish if he is sure. The look he gives her
confirms this.
JANE
I doubt he would be willing.
INT. CHURCH - NIGHT
STEPHEN motors up the CHURCH AISLE with TWO BOTTLES OF BEER
in a PAPER BAG at his side going "CLINK,CLINK,CLINK".
JONATHAN clearing up after a CHOIR PRACTICE turns - stares at
STEPHEN.
CUT TO:
FRONT ROW of the PEWS. JONATHAN and STEPHEN, side-by-side,
stare at the ALTAR. JONATHAN spots the BEER BOTTLES in
STEPHEN's LAP.
STEPHEN
Is--this okay?
JONATHAN
Well--I won't tell if you don't.
JONATHAN opens the TWO BEER BOTTLES, tucks his handkerchief
under STEPHEN's chin, and then tips the beer into STEPHEN's
mouth.
JONATHON
Not too much--bearing in mind you
have to drive.
STEPHEN grins.
The two men stare at the ALTAR, aware of the significance of
this moment. STEPHEN sneaks a glance at JONATHAN. And then -
STEPHEN
Jane--needs--help.
JONATHAN sighs deeply.
EXT. WEST ROAD FLAT, CAMBRIDGE - DAY
A YOUNG MALE STUDENT CARER, loads the last of STEPHEN's
LUGGAGE into a TAXI. STEPHEN is already in the back of the
TAXI with SARAH, a carer. JANE supervises, worried.
JANE
And please please remember, 5
milligrams of Riluzole before and
after the flight.
(CONTINUED)
THE THEORY of EVERYTHING 69
CONTINUED:
She then goes to STEPHEN's open window.
STEPHEN
(JAUNTY)
See you - in Bayreuth.
JANE
Travel safely.
She kisses his cheek. The MALE STUDENT and SARAH get in the
cab, which DRIVES OFF. JANE smiles and waves till the cab has
gone. She slowly turns and re-enters her home.
EXT. BACK GARDEN - WEST ROAD FLAT - DAY
JANE, the two youngest CHILDREN and JONATHAN play hide-and-
seek in the college garden.
JANE
Forty-nine...Fifty. Coming
ready or not!
JANE searches for the CHILDREN...she instead sees - through
the undergrowth - MEN's SHOES!
She rises. It's JONATHAN standing there. They look into each
other's eyes. What will they do now?
EXT. FRENCH HIGHWAY - DAY
JONATHAN drives, ROBERT is in the PASSENGER SEAT. JANE is
in the BACK SEAT with LUCY - (TIMOTHY is absent). JANE and
JONATHAN make eye-contact via the rear-view mirror.
INT. THEATRE, BAYREUTH - DAY
Before the show starts, STEPHEN in his WHEELCHAIR in the
AISLE, happy, as we hear the ORCHESTRA tuning. He is flanked
by SARAH and the MALE STUDENT.
EXT. GERMAN CAMP SITE - DAY
They erect TWO TENTS. Jane and the kids one, Jonathan the
other.
EXT. GERMAN CAMP SITE - NIGHT
LATER - JANE creeps out of the tent in which LUCY and TIM are
sleeping. There is a third sleeping bag in there - her own.
JANE then goes to the adjoining tent - JONATHAN's.
(CONTINUED)
THE THEORY of EVERYTHING 70
CONTINUED:
JANE PAUSES for a moment, bites her lip, breathless, unable
to make herself enter the TENT.
Just then, JONATHAN unzips his tent and emerges.
They LOCK EYES on each other - an incredibly charged
attraction between them. He reaches for her HAND. She is
shaking. TOGETHER they go into JONATHAN's tent. END ON: the
zip being closed again.
INT. THEATRE, BAYREUTH - NIGHT
STEPHEN coughs a few times as he listens to the PRELUDE of
the RING CYCLE.
HIS POV of: The DARKENED STAGE, a black void, but for a
BURNING RING at its centre.
STEPHEN begins to cough a little harder, then a little
harder. The CARER, SARAH, at his side, finally takes note and
holds a WHITE HANDKERCHIEF up to his MOUTH.
He SUDDENLY COUGHS BLOOD!
INT. THEATRE, BAYREUTH - LATER
STEPHEN's POV of the THEATRE CEILING as he is stretchered out
of there.
EXT. PHONEBOX - GERMAN CAMPSITE - MORNING
JANE stands in a phonebox, then slams down the PHONE and
rushes back to the CAMPSITE in panic.
EXT. AUTOBAHN - NIGHT
The VOLVO drives through the night. Takes an exit marked
"GENEVA".
INT. INTENSIVE CARE UNIT/GENEVA HOSPITAL - DAY
STEPHEN lies quiet and still, his eyes closed. JANE looks
down on him. She has GUILTY tears in her eyes.
The SWISS DOCTOR enters, speaks with JANE...Tout en
Francais...with ENGLISH SUBTLTLES.
SWISS DOCTOR
(IN FRENCH)
He has pneumonia. He is on a life-
support machine. I am not certain
how long he will live.
(MORE)
(CONTINUED)
THE THEORY of EVERYTHING 71
CONTINUED:
SWISS DOCTOR (CONT'D)
I need to know whether my staff
should disconnect the ventilator?
JANE switches to ENGLISH -
JANE
(IN ENGLISH)
What are you talking about?
SWISS DOCTOR
(IN ENGLISH)
If we try to bring him round from
the anaesthetic it is not sure he
will survive resuscitation.
JANE
Stephen must live! You have to
bring him round from the
anaesthetic!
SWISS DOCTOR
Are you sure this is what you
want? The only way of weaning him
off the ventilator would be to
give him a tracheotomy, a hole in
the neck, by-passing the throat.
He will never speak again.
JANE stares at him - deeply upset but finally manages to
SAY -
JANE
There's no question. Stephen must
live. I will see he gets everything
he needs. I will have him
transferred back to Cambridge.
SWISS DOCTOR
He may not survive the journey.
JANE looks pale and weaker than we have ever seen her.
EXT. AIRPORT, GENEVA - DAY
On the tarmac, the two HAWKING children are led toward a BA
FLIGHT (in the far distance) by an AIR-HOSTESS.
Meanwhile, A small AIR-RESCUE PLANE nearby awaits JANE and
STEPHEN. STEPHEN is just then being loaded on board.
JANE turns and faces JONATHAN. A private moment. Her LOOK
OF SADNESS speaks volumes. He NODS - he KNOWS.
JONATHAN
I'll step back.
(CONTINUED)
THE THEORY of EVERYTHING 72
CONTINUED:
She NODS, SADLY. Her eyes start to well up. His too. It's a
break-up. Turning to look back to the plane...
JANE
Drive--safely, yes? Did you get
everything in the car? His chair,
equipment...
JONATHAN nods.
She KISSES him on the cheek and he presses his cheek against
hers. They both hold onto each other for a moment, knowing
it's their final embrace, and then she hurries, tearfully,
toward the WAITING PLANE, leaving him standing there.
INT. OBSERVATION ROOM/SURGICAL THEATRE/ADDENBROOKES - DAY
JANE, is gowned for theatre. With an ENGLISH DOCTOR she
watches the OP through a window.
ENGLISH DOCTOR
It'll take a miracle.
ANGLE ON: JANE's POV - of the surgeon picking up a MARKER-
PEN...
INT. SURGICAL THEATRE/ADDENBROOKES HOSP. - DAY
...A SURGEON prepares to perform a TRACHEOTOMY on STEPHEN -
marking the spot on his neck with the MARKER PEN, and then
picks up the SCALPEL...about to make the INCISION...
INT. OBSERVATION ROOM/ADDENBROOKES - DAY
REACTION JANE: as - she WINCES, then GASPS in horror.
INT. RECOVERY ROOM - ADDENBROOKES HOSPITAL - DAY
STEPHEN opens his eyes, looks around him. He is alone. He
opens his mouth to speak. We hear only a slow exhale of
air, through the off-screen tracheotomy hole. He PANICS,
and has to be soothed by a NURSE.
INT. RECOVERY ROOM, ADDENBROOKES HOSPITAL - DAY
LATER. STEPHEN is turned on his side, his back to camera.
JANE enters. APPROACHES.
ANGLE ON: Her POV of STEPHEN as she approaches, revealing
the side of his face, and then finally, his neck with the
TRACHEOTOMY HOLE.
(CONTINUED)
THE THEORY of EVERYTHING 73
CONTINUED:
She can't help it. Her hand JUMPS UP to cover her mouth as
she gasps.
INT. DAY-ROOM - ADDENBROOKES HOSPITAL - DAY
Recuperating in his chair in the sun, staring out of the
window at - a BIRD PERCHED which alights a branch.
STEPHEN has never looked more depressed. Or alone. There is a
plastic FLANGE over the TRACHEOTOMY HOLE.
ANGLE ON the FINGERS of his right hand, resting on the arm
of the wheelchair. These, at least, can still move.
JANE (O.S.)
Stephen?
JANE moves into STEPHEN's limited POV - holding a CLEAR
PLASTIC SCREEN - an E-TRAN "SPELLING" BOARD, on which 6
groups of characters are arranged.
JANE (CONT'D)
This is a Spelling Board. First,
you tell me what letter you want by
blinking when I say the colour of
the group that contains that
letter. Once I know the group, you
can choose the character inside
that group by blinking again when I
go through the colours of each
letter in that group. Apparently.
Okay? Let's just try.
STEPHEN says nothing.
JANE (CONT'D)
So...Green, Yellow, Blue, White,
Black, Red.
(SILENCE)
Blink to choose the group that
contains the letter you want?
Green? Yellow? Blue? White? Black?
Red?
As JANE's eyes fill with TEARS...STEPHEN just keeps looking
at her...then TRIES TO SPEAK. His mouth moves...but nothing -
nothing ever again! - will ever come out!
It's a heart-breaking moment-- for both of them--and when
TEARS appear in his eyes, she can't stop her own TEARS from
falling.
THE THEORY of EVERYTHING 74
INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY
STEPHEN gloomily reads a newspaper with the help of a READING
FRAME, when -
JANE enters.
JANE
She's here. Okay. Promise not to
eat her alive...
Enter: ELAINE MASON. She is attractive.
Exit: JANE, touching ELAINE supportively on the shoulder.
ELAINE
So then - Professor. How are you?
My name is Elaine. I'm going to be
your nurse, would you like that?
No? Well- we'll work it out.
He stares at her, as -
- ELAINE goes and gets a CHAIR, taking an interest in her,
UNTIL -
- ELAINE turns and catches him look at her.
Swiftly, STEPHEN turns his eyes back to the NEWSPAPER. ELAINE
looks at him a moment longer, surprises to see that STEPHEN
is not unlike any other man in this regard. A faint smile
appears. She sits in front of him.
ELAINE (CONT'D)
So then...
INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY
ELAINE holds the E-TRAN BOARD and writes down a letter, then
looks up at STEPHEN - sees through the clear perspex
immediately what group he is looking at. She doesn't have to
call out the colours - knows them. (See her POV of him
through the board so we establish the eye-line principle.)
She is BRILLIANT at this.
STEPHEN's eyes FLICK from GROUP to GROUP, no BLINKING going
on.
ELAINE
(RAPIDLY)
Red group--Yellow letter. T. Green
group--Black letter. E. Green--
Green. A....T.E.A. Tea.
(SMILES)
You're good. You want tea. What
type of tea?
(CONTINUED)
THE THEORY of EVERYTHING 75
CONTINUED:
They look at each other. And then she has an IDEA. She PUTS
DOWN THE BOARD. They look at each other...
ELAINE (CONT'D)
You've memorised the board. Of
course you have. What kind of tea?
Blink when I say the group that has
the letter you want. Green, Yellow,
Blue, White, Black, Red...
(BEAT)
I haven't got all day. Green-
(HE BLINKS)
Green group. And the letter in that
group? You know their colours, I
know you do. Green, Yellow -
He BLINKS. She has MEMORISED the BOARD too -
ELAINE (CONT'D)
Yellow? Green,yellow--that's B.
A breakthrough. They are both EXPERT.
ELAINE (CONT'D)
A tea beginning with B? Builder's
tea! Right?
He GRINS. She SMILES. She goes to get him some TEA.
INT. HALLWAY/WEST ROAD FLAT/CAMBRIDGE - DAY
ELAINE, smiling, enters hall (from the LIVING ROOM) and bumps
into JANE, who has just arrived home with GROCERIES. They
stop in front of each other.
ELAINE
(CHUCKLING)
I think he's the most brilliant man
I've ever met. You're very lucky.
JANE
Thank you.
ELAINE
You must worship the ground beneath
HIS -
JANE
- wheels.
JANE can't fail to see how enthralled ELAINE is.
ELAINE
And he's the perfect patient.
Looking after him is so much easier
than other patients I've had.
(MORE)
(CONTINUED)
THE THEORY of EVERYTHING 76
CONTINUED:
ELAINE (CONT'D)
And sooo funny, oh my God. When you
read about him people don't tell
YOU -
JANE
(cutting her off)
You only do two shifts a week,
Elaine.
INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY
STEPHEN sits in the armchair, propped up by cushions, while a
TECHNICIAN bolts the NEW COMPUTER SCREEN onto STEPHEN's
WHEELCHAIR. JANE watches.
TECHNICIAN
Almost there!
JANE
How does it work?
TECHNICIAN
A guy called Walt Woltosz invented
the software. Uses a very simple
interface that scans through the
alphabet and allows each letter to
be selected one by one. Using this
technique, the Professor can expect
to write at about four words per
minute.
ELAINE enters -
JANE
(After initial dismay)
Better than one a minute.
TECHNICIAN
What I've done is--use components
from a telephone answering system
actually-- to convert the written
text into synthesized speech. The
voice sounds a bit robotic, but...
(IT'S READY)
Okay. Shall we give it a try?
CUT TO:
JANE and ELAINE hoist STEPHEN into the new chair.
TECHNICIAN (CONT'D)
There we go.
(GRANDLY)
Welcome to the future!
(CONTINUED)
THE THEORY of EVERYTHING 77
CONTINUED:
The TECHNICIAN sets a pressure-sensitive 'clicker' in
STEPHEN's hand. The SCREEN suddenly floods with COMPUTER
CODE. REFLECTED in the glass is the WIDE-EYED FACE OF
STEPHEN.
JANE and ELAINE sit on the couch together watching -
The TECHNICIAN demonstrates - builds a sentence for
STEPHEN, selecting one LETTER at a time. STEPHEN is all
concentration, observing how it is done.
TECHNICIAN (CONT'D)
All set. Then you just click
'PLAY', like this -
STEPHEN looks back at the screen, then CLICKS ONCE. The
COMPUTER comes to life and says STEPHEN's first words in
months.
STEPHEN
(electronic voice,
strong American accent)
My--name--is--Stee--ven--Hawking.
STEPHEN stares at JANE - incredulous. JANE stares back at
STEPHEN - horrified.
JANE
It's American! Oh, my Goodness.
(TO TECHNICIAN)
Are there any other voices?
TECHNICIAN
That's all they have at the
moment. Is that a problem?
ELAINE
I think it's great!
STEPHEN looks bewildered.
INT. MASTER BED./WEST ROAD FLAT/CAMBRIDGE - NIGHT
In a quiet moment, STEPHEN sits alone, trying out the new
device. His face shows SADNESS, BLEAKNESS. His eyes move back
to the COMPUTER SCREEN. His fingers CLICK-CLICK-CLICK on the
monitor. And finally we hear - his sadly moving homage (to
"2001: A Space Odyssey").
STEPHEN
Daisy. Daisy.
(BEAT)
Give Me Your Answer Do.
Finally - he SMILES. He has cheered himself up.
THE THEORY of EVERYTHING 78
INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY
STEPHEN motors through the house, as we hear -
STEPHEN
Frankly my dear, I don't give a
damn.
INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY
Through the OPEN DOORS into the LIVING ROOM we hear TIMOTHY
squealing with joyous delight, then see him run out -
As TIM passes out of shot we hear then see STEPHEN slowly
motor out of the LIVING ROOM, chasing him, with -
- a LARGE BROWN PAPER GROCERY BAG OVER HIS HEAD (TWO EYE-
HOLES cut in it, a SMILE DRAWN over the mouth) as STEPHEN's
voice-synthesizer loudly proclaims the DALEK war-cry from
DOCTOR WHO as STEPHEN chases his son around:
STEPHEN
Ex-terminate..! Ex-terminate..!
Ex-terminate..!
INT. LIVING ROOM/WEST ROAD /CAMBRIDGE - NIGHT
JANE approaches as STEPHEN writes, CLICK,CLICK,CLICK. His
eyes turn to her as she hears:
STEPHEN
I will write. A Book.
JANE
At four words a minute? About what?
STEPHEN clicks. She moves to look at his SCREEN.
TIGHT ON SCREEN as he selects: T I M E.
JANE (CONT'D)
TIME.
STEPHEN
Time...
She smiles at him.
MONTAGE:
A) The HANDS ON A CLOCK turn very quickly, TIME running fast.
B) STEPHEN motors down the cloisters of his college.
(CONTINUED)
THE THEORY of EVERYTHING 79
CONTINUED:
STEPHEN (V.O.)
What is the nature of Time?
C) His PALSIED RIGHT HAND clicks the CLICKER, as he works at
home at night.
STEPHEN (V.O.)
Will it ever come to an end?
D) A PRINTER prints out the text we hear in V/O -
STEPHEN (V.O.)
Can we go back in time?
E) He works in office at DAMPTP.
STEPHEN (V.O.)
Some day these answers may seem as
obvious to us as the earth orbiting
the sun, or perhaps as ridiculous
as a tower of tortoises.
He SMILES.
F) He motors by the college at sunset.
STEPHEN
Only Time, whatever that may be,
will tell.
INT. DAMTP, CAMBRIDGE - NIGHT
ELAINE opens his LETTERS, and looks at him.
STEPHEN works on his book - it's slow laborious work. CLICK,
CLICK, CLICk...
ELAINE picks up, from the mail, a SEALED COPY of PENTHOUSE
MAGAZINE (Addressed to: "KIP THORNE c/- PROF.S.HAWKING").
ELAINE
(SURPRISED)
Professor?
STEPHEN looks over at her - sees the MAGAZINE, that ELAINE,
smiling, is starting to UNWRAP. He urgently types a voice
message - click, click, click - but he isn't fast enough -
she has opened it. Too late he clicks "PLAY" -
STEPHEN
It is for a friend.
ELAINE
'Course it is. That's what they all
say.
(CONTINUED)
THE THEORY of EVERYTHING 80
CONTINUED:
She surprises him by crossing the room and opening the PAGES
of the MAGAZINE for him.
ELAINE (CONT'D)
You don't have to be embarrassed
around me, Professor. I know what
men are like.
SURPRISED, STEPHEN finds himself with the PENTHOUSE open
before him. He looks at the MAGAZINE, then at ELAINE, then at
the MAGAZINE.
Just then - office DOOR OPENS. Enter, SCIAMA. He stops when
he sees the MAGAZINE.
SCIAMA
Oh. I'm sorry.
He exits, blushing. STEPHEN grins. ELAINE bursts out
laughing.
ELAINE
Next one?
He SMILES at her - falling in love with her. She detects
this, happily.
ELAINE (CONT'D)
What?
INT. WEST ROAD FLAT/ CAMBRIDGE - NIGHT
STEPHEN, alone, continues to write, one painstaking word at
a time.
INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY
JANE, exhausted, rubbing her eyes as she PROOF-READS
STEPHEN's text, like the old days. She pauses, looks up, into
the next room, at -
- ELAINE laughing at something the grinning STEPHEN has said.
JANE resumes work on STEPHEN's BOOK.
INT. DAMTP, CAMBRIDGE - DAY
STEPHEN still working - CLICK, CLICK, CLICK...
TIGHT ON SCREEN: "A HISTORY OF TIME"
He ponders this. Then has an idea. CLICK, CLICK, CLICK. He
inserts "BRIEF" into the title. He stares at the screen.
THE THEORY of EVERYTHING 81
INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY
TITLE PAGE is spat out of PRINTER: "A BRIEF HISTORY OF
TIME."
While reading the LAST PAGE manuscript for his book, JANE
stops and is stunned by something she reads. She rises, and
rushes - with the LAST PAGE - into the next room where -
INT. MASTER BED./WEST ROAD FLAT/CAMBRIDGE - DAY
CLOSE ON: A PHOTO of STEPHEN and a MARILYN MONROE LOOK-A-
LIKE, hangs on the wall.
STEPHEN (O.S.)
So I said - I have long been
looking for a model of the
universe. I finally found her.
Beside the PHOTO, ELAINE finishes SHAVING STEPHEN - then
steps away to pick up some HAND LOTION. She inadvertently
show him some LEG. STEPHEN notices.
ELAINE laughs, and starts to massage LOTION, almost
lovingly, into his HAND. JANE announce her presence.
JANE
Elaine? Can we - ?
ELAINE comes over to JANE, still chuckling.
JANE (CONT'D)
Would you mind if I spoke with
Stephen alone for a moment?
ELAINE
We're not quite finished--can you
come back in ten minutes?
REACTION JANE: Slightly ruffled feathers. She exits.
INT. MASTER BED./WEST ROAD FLAT/CAMBRIDGE - DAY
JANE walks in, holding a page from the MANUSCRIPT. STEPHEN
is 'typing' a message.
JANE
(READS)
"Who are we? Why are we here? If
we ever learn this, it would be
the ultimate triumph of human
reason, for then we would know
the mind of God."
(TO HIM)
'GOD'? Do you really mean this?
(CONTINUED)
THE THEORY of EVERYTHING 82
CONTINUED:
STEPHEN types his reply.
STEPHEN
Yes.
(TYPES)
Of course.
JANE
So you're acknowledging him?
But as he continues to CLICK, feverishly, she excitedly
exits, before he can add another word. He tries to generate
the next word before she disappears but he is alone again
by the time his computer belatedly spits out -
STEPHEN
HOWEVER --
He sags, frustrated that he was not fast enough to set her
straight - but then she comes back in -
JANE
Did you just say something?
STEPHEN decides not to respond.
JANE (CONT'D)
So you're actually going to let me
have this moment.
STEPHEN click-click-clicks, then -
STEPHEN
You - are - welcome.
She smiles. She kisses him on the cheek, and then as she
starts to leave -
- on his SCREEN - STEPHEN selects the message he was
writing earlier...clicks "PLAY." We hear -
STEPHEN (CONT'D)
E-laine has offered to travel
with me to A-merica. She will
look after me.
JANE
(IMMENSELY HURT)
Will she?
STEPHEN
Don't worry.
He clicks "STOP".
She nods, sadly. He smiles, sweetly. Both accept what is
happening, but sadly.
(CONTINUED)
THE THEORY of EVERYTHING 83
CONTINUED: (2)
JANE
America?
(BEAT)
You always used to tell me when an
invitation came in.
CLICKS 'PLAY.'
STEPHEN
(the old grin)
A-nother a-ward. What can you do?
JANE smiles, warmly. STEPHEN writes.
STEPHEN (CONT'D)
Everything will be okay.
She tries to smile.
STEPHEN (CONT'D)
How many years?
STEPHEN writes. She waits. His eyes flick between his
screen and her.
JANE
They said - two.
We've had so many.
The look in his eyes is his eloquent reply. Emotion overcomes
JANE. Can this really be how it ends?
It's so sad and bizarre and they both realise it in this
moment. She tries to hide her tears by walking away from
him and turning her back, hiding her face.
STEPHEN watches her, as aware of the enormous significance of
this moment as she - then slowly - slowly - motors toward
her. He stops just behind her, then nudges her leg, ever so
gently, with his own lifeless foot, the way a pony will nudge
its familiar rider.
He clicks "PLAY" -
STEPHEN
Be. Happy.
She turns back, CROUCHES, comes down to his level - right in
front of him, eye to eye -
JANE
I have loved you.
(BEAT)
I did my best.
(CONTINUED)
THE THEORY of EVERYTHING 84
CONTINUED: (3)
As TEARS form in his own eyes, he BLINKS ONCE at her - the
only form of communication that feels right in that moment,
and she understands all that it means.
She smiles through her tears as she SMOOTHS HIS HAIR.
Finally - words are not needed.
INT. WEST ROAD FLAT - DAY
TWO MOVERS pack STEPHEN's PRIZES and MEDALS, lifting them
from the SIDEBOARD, as - JANE watches, hiding her emotions.
EXT. BOOKSHOP - DAY
The window is dominated by a single display for STEPHEN's
book - A Brief History Of Time.
INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY
CLOSE ON: The SUNDAY TIMES NEWSPAPER. The BEST-SELLER LIST.
ECU on: A BRIEF HISTORY OF TIME, at NUMBER 1. Weeks: 8
WIDE. JANE and her MOTHER, BERYL, at the dining table, the
PAPER spread out before them.
BERYL
Remarkable. How is he?
JANE
He wants to marry her.
BERYL
Don't blame yourself. We're proud
of you.
JANE is touched.
JANE
I'm trying hard not to think of
this as a failure.
BERYL
But it wasn't a failure.
JANE
But it feels like it! It feels like
it, Mum.
(BEAT)
Was it inevitable?
BERYL doesn't know what to say. Yes it was.
(CONTINUED)
THE THEORY of EVERYTHING 85
CONTINUED:
BERYL
Perhaps too many people were drawn
in?
(SILENCE)
What will Stephen do next?
JANE
(SHRUGS)
He's gone back to looking for his
Theory Of Everything, his single
equation. Well, it'll have to
explain human relationships too.
BERYL ponders this:
JANE (CONT'D)
It's going to have to be a
wonderful piece of mathematics.
(PONDERS)
All the accidents...
BERYL
All the unexpected forces...
attractions...
JANE looks at her mother quickly - "attractions"?
BERYL (CONT'D)
(wistful, dreamy)
A attracts B --
JANE
And vice versa.
BERYL
Of course.
JANE
Then add Time - Adversity -
BERYL
Yes. Adversity over time --
JANE
- until the situation becomes
unstable, heats up.
BERYL
Bang!
JANE
And the whole thing starts over.
Whole new galaxies.
BERYL gently grabs JANE's wrist -
(CONTINUED)
THE THEORY of EVERYTHING 86
CONTINUED: (2)
BERYL
Darling, I think we've cracked it.
Shall we phone the Nobel committee
now or shall we have another cup of
tea first?
JANE, wipes her eyes, smiles sadly.
EXT. CHURCH - DAY
The CHURCH in winter - a dusting of snow on everything. To
the sound of ORGAN, SINGING CHOIR and CONGREGATION, the front
doors open, and the VICAR appears to shake the hands of the
first departing church-goers.
INT. CHURCH - DAY
The SERVICE is over. The congregation departs, revealing -
- JANE in her seat, still reading a prayer book, as -
- JONATHAN walks up the nave, toward her, chatting with the
departing CHORISTERS. It seems that he hasn't noticed JANE
and he passes close by, seemingly without seeing her. She
averts her eyes.
Then suddenly she feels a HAND brush her shoulder. When she
turns to look, JONATHAN has walked past, and is still avidly
talking to the CHORISTERS, heading for the main doors.
JANE, with a beating heart, turns forward again and hears -
- the FRONT DOORS of the church close. She is alone. She
starts to cry in the empty church - thinking she has lost him
forever, but then --
-- she hears SOFT PIANO MUSIC. She turns. Yes, music is
coming from above. She rises, and moves toward the sound.
INT. FRONT OF CHURCH - DAY (LATE 1970'S - MID 1980'S)
JANE slowly walks TOWARD THE SOUND OF THE PIANO, which slowly
grows louder, louder, until -
- with a pounding heart, she discovers JONATHAN, at the
piano, gently playing his beloved Bach. Only eventually does
he raise his eyes and smile at her, a smile which expresses
his hope that she would come to him. She smiles back, her
heart ready to burst.
_____________________________________________________________
THE THEORY of EVERYTHING 87
INT. HALLWAY/COCKCROFT LECTURE ROOM/CAMBRIDGE UNIVERSITY
- DAY (LATE 1980'S )
STEPHEN, accompanied by ELAINE, motors down the HALLWAY/LOBBY
TOWARD -
- FANS and PRESS, waiting at the DOORWAY to the AUDITORIUM.
Some FANS, autograph hunters, hold copies of "BRIEF HISTORY"
for STEPHEN to sign. Others just want to take PHOTOS. The
general impression? STEPHEN is now a ROCK STAR.
After a MALE FAN gets his PHOTO taken with STEPHEN - a FEMALE
FAN (at the head of a sudden queue of FANS bearing copies of
"BRIEF HISTORY") holds out a PEN to STEPHEN...
FEMALE FAN
Professor? Could you please sign a
copy for me?
ELAINE, gestures for STEPHEN to give his standard reply. He
mouse-clicks once.
STEPHEN
I cannot sign copies of my book--
but if you like--I could drive over
it.
The FANS all laugh and all say "YES,YES,YES!"
INT. COCKCROFT LECTURE ROOM/CAMBRIDGE UNIVERSITY - DAY
AUDIENCE APPLAUSE, continues over - a CU on the blackboard
of the word:
"TIME."
WIDE: A packed lecture hall.
ANGLE ON: ELAINE, watching from the side of the stage.
ANGLE ON: SCIAMA and a COLLEAGUE.
SCIAMA now steps forward, to applause.
SCIAMA
Thankyou. I first met--the
Professor--was it really 1963? Time-
-where does it go? Back then, he
was kind of annoying.
(LAUGHTER)
He knew things that his woeful work
ethic should not have allowed him
to know.
(LAUGHTER)
(MORE)
(CONTINUED)
THE THEORY of EVERYTHING 88
CONTINUED:
SCIAMA (CONT'D)
But it's been--really--one of the
great joys of my life to watch this
man defy every expectation, both
scientific and personal. So it's
with no small pride that I ask him
to return to the stage once more,
to continue to do what he has
always done - answer your
questions. My most irritating
student, my esteemed colleague, my
good friend--Professor Hawking.
As STEPHEN motors onto the stage, to applause -
SCIAMA (CONT'D)
The first pre-selected question,
please!
GUEST 1, stands and reads her question from a SLIP OF PAPER.
(All the Questioners will do the same.)
GUEST 1
How have you been able to deal
with all the physical challenges
you face?
STEPHEN stares at the AUDIENCE, who wait awkwardly for a
reply. It's as if STEPHEN wishes to speak with his own
voice, and is struggling to do so. In failure his eyes turn
sadly to his screen, and then clicks the pad in his hand.
WE HEAR:
STEPHEN
Can you hear me?
(AUDIENCE LAUGHTER)
There are some things I cannot
do. But. They are mostly the
things I don't particularly want
to do anyway.
GUEST 2
Now you are recognized
everywhere, how do you deal with
all the attention?
STEPHEN
I was stopped recently by a
tourist in Cambridge who asked if
I was 'the real Stephen Hawking.'
I replied that I was not, and
said the real one was--much
better looking.
Laughter.
STEPHEN (CONT'D)
He believed me.
(CONTINUED)
THE THEORY of EVERYTHING 89
CONTINUED: (2)
Even bigger LAUGH. APPLAUSE.
GUEST 3
In 1979 you talked about the
possibility of a theory of
everything being discovered
before the end of the century.
STEPHEN
I now predict -- that I was
wrong.
LAUGHTER.
GUEST 4
Is Time Travel possible?
LAUGHTER.
STEPHEN
I have experimental evidence that
Time Travel is not possible. I gave
a party for Time-Travellers but no-
one came.
LAUGHTER. As GUEST 5 rises and starts to speak, the volume
goes down on this question...
GUEST 5
Professor Hawking, you have said
you don't believe in God...
CLOSE ON STEPHEN, slipping into a reverie as - he notices
the CAP of a YOUNG LADY's PEN falls off the front lecture
bench and drops to the floor...(in SLO MO). STEPHEN stares
at the fallen CAP.
ANGLE ON: GUEST 5, MUTED, his mouth still moving...
ANGLE ON STEPHEN gets an idea. He wants to go and pick up
that fallen CAP...Miraculously, the muscles in his
slackened face start to stir...slowly his distorted
expression straightens...his slumped head stirs and
moves...his fingers stir...his feet ...his legs...he
slowly, slowly straightens in his wheelchair, and not only
this...he even begins to rise painfully out of it, at last
standing on his own... Standing, he crosses the floor,
picks up the fallen CAP, and holds it out the pretty YOUNG
LADY. She smiles at him, not at all astonished!
CUT TO:
GUEST 5 - we can hear him now.
(CONTINUED)
THE THEORY of EVERYTHING 90
CONTINUED: (3)
GUEST 5 (CONT'D)
You have said you do not believe
in God. Do you have a philosophy
of life that helps you?
ANGLE ON: STEPHEN - back in his chair, as at the start of
the scene, heart-breakingly unable to do what he wishes.
STEPHEN
It is clear that we are just an
advanced breed of monkeys on a
minor planet orbiting around a
very average star in the outer
suburb of one among a hundred
billion galaxies...
ANGLE ON: The CAP on the floor, just where it had fallen.
ANGLE ON: STEPHEN, in his chair - then on MEMBERS of the
AUDIENCE, being greatly stirred by the following words -
STEPHEN (CONT'D)
...but--ever since the dawn of
civilisation, people have craved
for an understanding of the
underlying order of the world.
There ought to be something very
special about the boundary
conditions of the universe - and
what can be more special than that
there is no boundary? And there
should be no boundary to
human endeavour. We are all
different. There is no such thing
as a standard or run of the mill
human being--but we share the same
human spirit. However bad life may
seem, there is always something you
can do, and succeed at. While
there's life, there is hope.
APPLAUSE, STANDING OVATION.
ANGLE ON: ELAINE, clapping - proud.
ANGLE ON: STEPHEN, in his chair, on the stage, sees ELAINE.
Smiles.
ANGLE ON: BRIAN and SCIAMA clapping.
ANGLE ON: STEPHEN, surprised by the reaction.
THE THEORY of EVERYTHING 91
INT. LIVING ROOM/WEST ROAD FLAT/CAMBRIDGE - DAY
JANE is studying again, going through her IBERIAN POEMS, when
JONATHAN walks in with the MAIL, and sets one LETTER in front
of her. JANE opens it.
JANE
It's from Stephen.
(READING)
He's--he has invited--the children
and I--to accompany him.
JONATHAN reads her card, and then look at her, surprised.
JONATHAN
Gosh.
EXT. BUCKINGHAM PALACE, LONDON - DAY
The PALACE.
INT. EMPIRE ROOM, BUCKINGHAM PALACE - DAY
We are BACK in the FIRST SCENE OF THE MOVIE.
JANE moves close to STEPHEN. They look at each other in the
eyes for the first time in a long while. They finally SMILE
tenderly, and then -
JANE
Your glasses are always dirty.
STEPHEN'S POV as - his glasses are removed from his nose by
JANE, cleaned, and then replaced on his nose. He is moved by
this old ritual.
The HAWKINGS then sit silently, but happily, surrounded by
exquisite paintings and furniture.
INT. GRAND HALLWAY/BUCKINGHAM PALACE - DAY - LATER
STEPHEN and family - JANE, ROBERT (23), LUCY (19) and TIM
(10) - roll up past pillars toward a SET OF ORNATE DOORS
which open magically to reveal -
QUEEN ELIZABETH II standing by a distant mantelpiece.
EXT. QUEEN'S PRIVATE GARDEN,BUCKINGHAM PALACE - DAY
In the garden, the HAWKING children play as freely as in
their own, while STEPHEN is lifted to the bottom of a set of
steps by two EQUERRIES.
(CONTINUED)
THE THEORY of EVERYTHING 92
CONTINUED:
Left unattended, he motors forward a short distance and stops
to watch his children. Fulfillment floods into his
expression. A moment of deep satisfaction. He then looks
around for JANE, finally making his CHAIR turn around.
He sees her - some distance away. She has detained one of the
EQUERRIES.
JANE
(TO EQUERRY)
I'll leave a card. There's a
number you can call. They can
install ramps in a day. It really
would be helpful.
JANE hands the EQUERRY a card, and smiles. The EQUERRY nods,
retires.
JANE sees STEPHEN. She walks up to him. Together they watch
their children.
TIGHT ON STEPHEN: His eyes move from the kids, playing in
this paradise, to the screen, where he types something...
JANE sees he is writing something. She crouches beside his
wheel-chair as the LETTERS FORM.
JANE (CONT'D)
CONGRATULATIONS--MY COMPANION--OF
Honour. Not bad for an old liberal
SOCIALIST--
(WHISPERS)
Don't worry, you can decline the
knighthood.
He smiles, stops writing, looks at her with warmth, and she
at him. She KISSES him on the cheek.
JANE (CONT'D)
Thank you. For today. It's been
extraordinary. It's all just been
rather extraordinary though, hasn't
it?
They look into each other's eyes, and then starts writing
AGAIN -
JANE (CONT'D)
What are you writing?
ANGLE ON SCREEN: as he chooses letters from the streaming
alphabet. As each word forms it drops onto the line where
he builds this following sentence -
"L O O K WHAT WE MADE"
(CONTINUED)
THE THEORY of EVERYTHING 93
CONTINUED: (2)
On his next click - "PLAY" - we -
SNAP TO:
EXT. GRAPHIC/UNIVERSE
A BIG CRUNCH galactic moment - a supernova in reverse, from
explosion to reconstituted star, then cut to - A CG MODEL
OF THE UNIVERSE contracting - the stars converging, moving
back together, toward the universe's first moment.
TIME'S ARROW has been REVERSED...
MONTAGE - sweeping us backward through TIME, a series of
scenes from the film in reverse chronology...
A) REWIND FLASHBACK TO: STEPHEN's silent, wheelchair-bound
tender look of love after JANE has said "I have loved you"
B) Where before the doctors marked Stephen's throat for the
tracheotomy operation, in reverse we now see the mark
DISAPPEAR.
C) Where before Jane supported the new born baby Timothy in
Stephen's lap then scooped the baby up and out of frame -- in
reverse we see the baby magically land in Stephen's lap.
D) Where before Lucy and Robert are sat on Stephen's lap and
then jumped off and ran away as Stephen chased them in his
electric wheel chair -- in reverse, they run backwards into
his lap.
E) In reverse, we see STEPHEN walk backwards and first sit
down into the wheel chair.
F) Where before Stephen dropped his fork during the dinner
party -- in reverse, the fork leaps from the table and back
into Stephen's hand.
G) The wedding tableaux with ROSE PETALS now in reverse, the
petals travel upwards.
I) Where before STEPHEN stumbled and fell hard in the quad
-- in reverse, he is lifted off the ground.
J) Where before STEPHEN and JANE beheld the fireworks at the
May Ball -- in reverse the fireworks implode into black
holes.
K) Where before STEPHEN knocked over a cup of tea whilst
working at his desk -- in reverse, the liquid leaps back into
his cup.
L) At the MAY-BALL, they KISS, then DANCE on the BRIDGE.
(CONTINUED)
THE THEORY of EVERYTHING 94
CONTINUED:
M) At their first meeting at the party, JANE stands at the
door, and SEES STEPHEN for the FIRST TIME. He SMILES at her.
FREEZE-FRAME on this....and then -
N) We JUMP INTO SPACE - TRAVEL FORWARD THROUGH SPACE, through
the NEBULAE and COSMIC MATTER, travelling at the speed of
LIGHT, approaching a single point in space, a SINGULARITY, a
BLACK HOLE.
As we disappear into it...
SNAP TO BLACK.
INSERT TWO CARDS:
CARD ONE:
A BRIEF HISTORY OF TIME HAS SOLD MORE THAN 10 MILLION COPIES
WORLDWIDE.
AT 72 YEARS OLD, STEPHEN HAS NO PLANS TO RETIRE AND CONTINUES
TO SEEK A THEORY OF EVERYTHING.
HE DECLINED THE OFFER OF A KNIGHTHOOD FROM THE QUEEN.
CARD TWO:
JANE HAS HER PHD IN MEDIEVAL SPANISH POETRY.
SHE AND JONATHAN ARE HAPPILY MARRIED.
JANE AND STEPHEN REMAIN FRIENDS AND NOW HAVE 3 GRANDCHILDREN
ROLL END CREDITS.
ENDS
| Theory of Everything, The
Writers : Anthony McCarten
Genres : Drama Romance
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