6223 lines
188 KiB
Plaintext
6223 lines
188 KiB
Plaintext
BIRDMAN
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Written by
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Alejandro G. Inarritu
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Nicolas Giacobone
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Alexander Dinelaris, Jr.
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Armando Bo
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1 BLACK 1
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We hear a clock ticking.
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FADE IN:
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1 INT. RIGGAN'S DRESSING ROOM - THEATER - DAY 1
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Close on the brilliant colors of a middle eastern rug, the
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center of what seems to be a makeshift "meditation" space.
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We slowly tilt up to discover the back of Riggan Thomson (55).
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He is in the proper `Lotus' position, dressed only in tight
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white briefs and he appears to be meditating deeply. And if all
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this seems a little odd, it becomes all the more so when you
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notice that he is levitating almost two feet above the floor.
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His breath is calm and measured... in and out... in and out.
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MAN (V.O.)
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How did we end up here?
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(Beat.)
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This place is a fucking dump.
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We begin to slowly move toward Riggan's back while his measure
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breathing continues. We see a clock on the wall, ticking.
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MAN (V.O.)
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Smells like balls.
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A slight twitch in Riggan's neck.
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MAN (V.O.)
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We don't belong in this shithole.
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A Skype call shatters the silence. Close on his back, we follow
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Riggan as he walks over to the computer and answers the call.
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On the computer screen appears Sam (21), in a pair of Levi's
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and a Led Zeppelin T-shirt. She has simple and striking good
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looks, with an edge in her voice and behind her eyes. She
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stands in a Korean Deli among the flowers, talking to Riggan
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through her iPhone.
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1A 1A
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The Korean Store owner (50) stands in the background screaming
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at her the whole time.
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RIGGAN
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Sam, I can't--
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(CONTINUED)
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10/29/14 / 2.
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SAM
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Dad? What kind of--
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(Turning to Korean.)
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SHUT UP!!!
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(Back to screen.)
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What kind of flowers did you say you
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wanted?
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RIGGAN
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Alchemillas. Or something soothing that
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smells nice. Listen I can't--
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SAM
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It all smells like fucking Kimchi!
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RIGGAN
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Then whatever looks nice. Anything but
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roses. No roses.
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KOREAN
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Flowers don't need you touch! They need you
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buy!!!
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SAM
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(Close into the screen.)
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I hate this job.
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And the Skype call is over. Riggan closes the laptop and leans
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forward trying to regain his calm. His reflection appears in
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the mirror, and for the first time we see his face. He has a
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dark goatee and his hair looks strangely abundant. There is a
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piece of paper on the mirror with the handwritten phrase "A
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thing is a thing, not what it is said of that thing."
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ANNIE ON SPEAKERS
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Riggan, they're starting scene
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five. We need you on stage.
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RIGGAN
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Shit...
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Riggan throws on a sweater and stumbles into his slacks. He
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hurries out...
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2 INT. HALLWAYS - THEATER - CONTINUOUS 2
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...through the narrow corridors of the theater. There is a lot
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of activity as various workers and stage hands appear and
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disappear carrying equipment and scenery. As Riggan descends the
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stairs, a Stage Hand· passes by in the opposite direction.
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STAGE HAND·
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Mr. Thomson.
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(CONTINUED)
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10/29/14 / 3.
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RIGGAN
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Steve.
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STAGE HAND·
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It's Daniel.
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RIGGAN
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(Already passed.)
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Okay.
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Riggan continues on until he arrives backstage. He runs into
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Jake (42) his producer and friend.
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JAKE
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How's it going, buddy.
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RIGGAN
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Great. It'd be even better if I
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could get Ralph to stop acting like
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he's in an educational video for
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syphilis...
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The camera moves off of them and onto...
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3 INT. STAGE - THEATER - CONTINUOUS 3
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...the stage. Suddenly we are in the midst of an Americana style
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kitchen.
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Around the kitchen table sit Lesley (35), plain and no nonsense,
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her simple hairstyle and makeup can't hide how attractive she
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is. Laura (35), dark, exotic, the kind of woman who makes every
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person she meets feel like she's seducing them. And Ralph (40),
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slightly handsome, slightly balding, slightly invisible.
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A half empty bottle of gin on the table, they drink from
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highball glasses as they chat...
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LESLEY
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He loved me.
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RALPH
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Yeah. He loved her so much he tried
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to kill her.
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LAURA
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He tried to kill you?
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LESLEY
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No. (A beat.) Okay, well, he did
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beat me up one night. He dragged me
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around the living room by my
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ankles, yelling "I love you, I love
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(MORE)
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(CONTINUED)
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10/29/14 / 4.
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LESLEY (CONT'D)
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you, bitch." What do you do with a
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love like that?
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RALPH
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How is that-- That is not love and you know
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it. Why do you insist on calling it--
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LESLEY
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You can say what you want, but I know what
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it was.
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RALPH
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What about you, Nick? Does that sound like
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love to you?
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Riggan arrives at the table and sits.
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RIGGAN
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Sorry I'm late.
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(Beat. In character.)
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I'm the wrong person to ask. I didn't
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know the man. I've only heard his name
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mentioned in passing. You'd have to
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know the particulars. But I think what
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you're saying is that love is absolute.
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RALPH
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Yeah. The kind of love I'm talking about
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is... The kind of love I'm talking about,
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you don't try and kill people.
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LESLEY
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(Sadly.)
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It was love, Mel. To Eddie, it was. I don't
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care what anybody says. He was ready to die
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for it.
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RALPH
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Ask her what he did after she left him.
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LESLEY
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He shot himself in the mouth. But he
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screwed that up, too. Poor Ed.
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RALPH
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Poor Ed, my ass. The guy was dangerous.
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LAURA
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How'd he screw it up if he shot himself in
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the mouth?
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RALPH
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(By the numbers.)
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He used to carry this twenty-two. We lived
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like fugitives those days. I never knew--
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(CONTINUED)
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10/29/14 / 5.
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RIGGAN
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(Breaking character to direct.
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Exasperated.)
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Okay. Fugitives are on the run, Ralph. How
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many times do I have to-- Fugitives are
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scared. Give me more of that.
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Ralph nods. He takes a breath and dives in once again...
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RALPH
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(The same but louder.)
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We lived like fugitives those days...
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Extremely frustrated, Riggan stares out into the auditorium.
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From his POV we see Jake who is now sitting in the third row.
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His head buried in his hands, tortured by Ralph's performance.
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Riggan turns back to Ralph.
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RALPH (CONT'D)
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...I never knew if he was going to come out
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of the bushes or from behind a car and just
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start shooting.
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Riggan watches Ralph act and sees his whole production headed
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down the drain. Ralph is just that bad.
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RALPH (CONT'D)
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The man was crazy. He was capable of
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anything.
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The actors all wait for a cue from Riggan, who is now staring
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up into the lights above the stage. Laura finally picks up
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Riggan's cue.
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LAURA
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Christ. What a nightmare...
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RALPH
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He used to call me at the hospital and
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say...
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(Over the top.)
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"Son of a bitch. Your days are numbered."
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Silence. Ralph looks over to Riggan.
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RALPH (CONT'D)
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Too much? Little bit? I just wanted to give
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you a range, so you could--
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And with that a light comes barreling down from it's perch and
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crashes into Ralph's head, making him hit the floor like a rag
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doll. Silence.
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LAURA
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Holy shit.
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(CONTINUED)
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10/29/14 / 6.
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Lesley and Annie (35), the Stage Manager, run over to Ralph
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who is out cold. Not knowing what to do, they stare at him.
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LESLEY
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Is he breathing?
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Jake runs toward the stage.
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JAKE
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Someone call 911!
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Riggan slowly backs away from the chaos.
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LAURA
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Is that blood coming out of his
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ear?
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JAKE
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(To Riggan.)
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Where are you going?
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LESLEY
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Okay, he's breathing. What did he
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have for lunch?
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LAURA
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Did anyone call for help?
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ANNIE
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(Clapping.)
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Wake up! Wake up!
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Two crew members try to help Ralph.
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CREW MEMBER
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Grab his legs. I got the top.
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JAKE
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Don't move him! Wait for the ambulance.
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(Calling out.)
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For the love of God! I could get a black
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audience in this theater faster than a
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doctor!
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Riggan heads off the stage, and Jake chases after him. We
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follow them as...
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4 INT. HALLWAY - THEATER - CONTINUOUS 4
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...they walk through the corridor.
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JAKE
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Where are you going? We'll have the
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understudy ready to rehearse in five--
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(CONTINUED)
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10/29/14 / 7.
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RIGGAN
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Forget the understudy. We have to postpone
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the preview.
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JAKE
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What are you-- It's a full house. We would
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have to refund all the--
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RIGGAN
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Then do it.
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A crew member· passes in the opposite direction.
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CREW MEMBER·
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How's Ralph?
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RIGGAN
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He'll be fine.
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JAKE
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Wait. Wait. Fuck. Wait.
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RIGGAN
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Listen to me. It was going to be a
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disaster. That guy's the worst actor I've
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ever seen. The blood coming out of his ear
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was the most honest thing he's done so far.
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JAKE
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He's not that bad.
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Riggan stops in his tracks and stares at Jake.
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JAKE (CONT'D)
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Okay, he's fucking horrible. But--
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Riggan starts walking again.
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JAKE (CONT'D)
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You have the press in your dressing
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room in a few hours. How are we--
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RIGGAN
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I'll make something up.
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Two Technicians· hurry up in the opposite direction.
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RIGGAN (CONT'D)
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Jake. This happened for a reason. It wasn't
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an accident.
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JAKE
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What do you mean?
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(CONTINUED)
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10/29/14 / 8.
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RIGGAN
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I-- (A beat.) I made it happen.
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JAKE
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Oh. Okay.
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(Beat.)
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Are you drunk?
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RIGGAN
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Find me an actor. A good actor.
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Philip Seymour Hoffman...
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JAKE
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He's doing the third Hunger Games.
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RIGGAN
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Michael Fassbender?
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JAKE
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Doing the prequel to the X-Men
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prequel.
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They arrive at Riggan's dressing room.
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RIGGAN
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What's his name? Jeremy Renner...
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JAKE
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Who?
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RIGGAN
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The... the Hurt Locker guy.
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JAKE
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Yeah. He's an Avenger.
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RIGGAN
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(With disgust.)
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Fuck. They put him in a cape, too?
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(A beat.) Look, I don't care. Find
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me someone.
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Riggan enters...
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5 INT. RIGGAN'S DRESSING ROOM - THEATER - CONTINUOUS 5
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...his dressing room and tries to shut the door. Jake, still in
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the corridor, stops it with his foot.
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JAKE
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(Sticking his head in.)
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Ralph'll sue us. He'll sue us. And he's got
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a case.
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(CONTINUED)
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10/29/14 / 9.
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Riggan releases the door.
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RIGGAN
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Then make him go away.
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JAKE
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How do you suggest I do that?
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RIGGAN
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You're my lawyer, my producer and
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my oldest friend. We are going to
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make this work. Now just get out
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there and do what you were born to
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do.
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JAKE
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What's that?
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RIGGAN
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I have no idea. But I have faith.
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Now go away from me.
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JAKE
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Do you think we should--
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Riggan slams the door shut on Jake. A beat. On a television, a
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segment of E! News. A busty blond, with an exaggerated smile,
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hosts.
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BLOND WOMAN
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...and when we come back, an exclusive
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interview with Robert Downey Jr., who tells
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us about the billion-dollar Iron Man
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franchise. The talented actor invited us
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onto the set of Iron Man 3...
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Riggan slams the tv off, his mind racing. He sits on a chair.
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MAN (V.O.)
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That clown doesn't have half your talent
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and he's making a fortune in that Tin Man
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get up.
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Riggan stares into the mirror, in the reflection he catches
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sight of a poster from a movie called "Birdman 3". The
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superhero, Birdman (a younger Riggan in a bird costume), wings
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widely spread, stares directly back at him. A hand written
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note on the top of the poster reads: "Thomson, break a wing!
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From the boys at Local 1." Riggan tries to calm himself with a
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mantra...
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RIGGAN
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"Breathing in, I embrace my anger.
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Breathing out, I smile to it."
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(CONTINUED)
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10/29/14 / 10.
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BIRDMAN (V.O.)
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Embrace it. Kiss it. Turn it around and
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fuck it in the--
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A knock on the door behind him.
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RIGGAN
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Not now!
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Laura opens the door and sticks her head in.
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LAURA
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Can I come in?
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RIGGAN
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No.
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LAURA
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Okay. Two words. Shia La Beouf.
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RIGGAN
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That's three words.
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LAURA
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It's two.
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RIGGAN
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Get out.
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LAURA
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I love you.
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She closes the door. Riggan tries to calm himself down, but
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Laura opens the door again.
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LAURA (CONT'D)
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I take it we're not going to dinner
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anymore?
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RIGGAN
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I don't have an actor.
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LAURA
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I don't have a life.
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RIGGAN
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Laura...
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LAURA
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Fine. Whatever.
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(Goes to leave but stops.)
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You remember at Joan's when you
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asked me to come do a Broadway play
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with you? You said it would be
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fun...
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(CONTINUED)
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10/29/14 / 11.
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RIGGAN
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Go away.
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LAURA
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So far? No fun.
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Riggan closes the door and looks at the Birdman poster.
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BIRDMAN (V.O.)
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Fun? You know what would be fun? Getting
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the fuck out of here before we humiliate
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ourselves. That would be fun.
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Riggan looks at himself in the mirror and begins to pull at
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his hair. As it comes off his head, we discover it was a wig.
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He turns away from the mirror, trying desperately to stay
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calm. Something catches his eye: a vase of roses on the end
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of the table. A card in them says, "They didn't have the
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whatever you wanted - Sam". Enraged, Riggan focuses on the
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vase. It begins to shift. Then, with a surge of anger,
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without ever touching it, he sends it crashing against the
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wall on the other side of the room.
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The camera pans over the roses scattered across the floor. It
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hovers over the carpet and around the perimeter of the room,
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until it finally settles on Riggan, now dressed in a casual
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blazer.
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A5 A5
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It is later the same day. He is sitting on the sofa and on three
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chairs in front of him are three journalists:
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Gabriel, a geeky theatre journalist, wearing thick glasses and
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a thin tie. Clara, a reporter from an entertainment blog. And
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Han, a polite, obese Japanese journalist, who sits next to his
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translator, another Japanese guy.
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GABRIEL
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Why does somebody go from playing the lead
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in a comic book franchise to adapting
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Raymond Carver for the stage?
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Riggan tries to remain calm.
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GABRIEL (CONT'D)
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I mean, as you're probably aware, Barthes
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said, "The cultural work done in the past
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by gods and epic sagas is now done by
|
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laundry detergent commercials and comic
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strip characters." It's a big leap you've
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taken...
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Riggan shifts nervously.
|
|
(CONTINUED)
|
|
10/29/14 / 12.
|
|
|
|
RIGGAN
|
|
Well... Absolutely. As you said... that
|
|
Barthes said... Birdman, like Icarus...
|
|
|
|
CLARA
|
|
Hang on. Who's this Barthes guy? Which
|
|
Birdman was he in?
|
|
|
|
GABRIEL
|
|
Roland Barthes was a French philosopher,
|
|
who--
|
|
CLARA
|
|
Oh. Okay. Sure. Now, is it true you've been
|
|
injecting yourself with semen from baby
|
|
pigs?
|
|
|
|
RIGGAN
|
|
What?
|
|
|
|
CLARA
|
|
As a method of facial rejuvenation.
|
|
|
|
RIGGAN
|
|
Who told you that?
|
|
|
|
CLARA
|
|
It was tweeted by... (checks her notes)
|
|
@prostatewhispers.
|
|
|
|
RIGGAN
|
|
It's a lie.
|
|
|
|
CLARA
|
|
I know. But did you do it?
|
|
|
|
RIGGAN
|
|
No!
|
|
|
|
GABRIEL
|
|
Are you afraid at all that people will say
|
|
you're doing this play to battle the
|
|
impression that you're a washed-up super
|
|
hero?
|
|
|
|
RIGGAN
|
|
No. I'm not. And that's exactly why
|
|
20 years ago I refused to do
|
|
Birdman 4.
|
|
|
|
HAN
|
|
Birdman 4??? You do Birdman 4???
|
|
|
|
Jake opens the door and the camera pans to him.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 13.
|
|
|
|
JAKE
|
|
Okay. That's enough for today.
|
|
Thank you for coming. We're
|
|
expecting some great pieces from
|
|
you...
|
|
|
|
Riggan stares at the Birdman poster.
|
|
|
|
JAKE (CONT'D)
|
|
Publicity guys are trying to get
|
|
you a Times feature.
|
|
Riggan stands up and pulls the Birdman poster off of the
|
|
wall.
|
|
|
|
JAKE (CONT'D)
|
|
So, How'd it-- Whoa. If I were you
|
|
I wouldn't do that.
|
|
|
|
RIGGAN
|
|
I don't want to look at it anymore.
|
|
JAKE
|
|
That was a present from the crew.
|
|
Don't fuck with those guys, they're
|
|
union.
|
|
|
|
RIGGAN
|
|
I don't care.
|
|
|
|
Riggan leaves the poster on the floor, facing the wall, and
|
|
walks to the window. He opens it. We can hear distant drums
|
|
coming from the street.
|
|
|
|
JAKE
|
|
So... How'd it go?
|
|
|
|
RIGGAN
|
|
Great.
|
|
|
|
JAKE
|
|
(Worried.)
|
|
Did they ask about Ralph?
|
|
|
|
RIGGAN
|
|
Nope.
|
|
|
|
JAKE
|
|
Good. He did it, you know? The
|
|
motherfucker threatened to sue us.
|
|
Didn't even wait to get out of the
|
|
hospital.
|
|
|
|
RIGGAN
|
|
And, what did you say?
|
|
(CONTINUED)
|
|
10/29/14 / 14.
|
|
|
|
JAKE
|
|
What'd I say? I said, "You
|
|
motherfucker. You're threatening
|
|
me? ME? I swear to god, you fuck, I
|
|
so much as get a letter from a
|
|
lawyer, the press'll get the
|
|
pictures we got off your computer."
|
|
|
|
RIGGAN
|
|
What pictures?
|
|
JAKE
|
|
The guy has a thing for nuns... in
|
|
diapers. What do you care? You
|
|
shouldn't have any knowledge about
|
|
it anyway. The important thing is
|
|
that I made him go away.
|
|
|
|
RIGGAN
|
|
Right. That's great.
|
|
JAKE
|
|
Yeah, it's fantastic. One problem.
|
|
We don't have an actor. And if we
|
|
cancel the first preview the press
|
|
will smell the blood. We can't
|
|
afford to lose any more money. At
|
|
all.
|
|
|
|
RIGGAN
|
|
What do you want me to do?
|
|
|
|
JAKE
|
|
We pay an understudy, let's use the
|
|
understudy.
|
|
|
|
RIGGAN
|
|
No.
|
|
|
|
JAKE
|
|
No? Riggan, listen to me. Our dream actor
|
|
is not going to knock on that door and
|
|
say: "Hey fellas, when do we start?"
|
|
|
|
B5 B5
|
|
|
|
There is a knock at the door. Leslie peeks in.
|
|
|
|
LESLIE
|
|
Can I talk to you for a second?
|
|
|
|
RIGGAN
|
|
Yeah. What's up?
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 15.
|
|
|
|
LESLIE
|
|
Did you find another actor?
|
|
|
|
RIGGAN
|
|
No.
|
|
|
|
LESLIE
|
|
Okay. Well... Mike's available.
|
|
|
|
RIGGAN
|
|
He is?
|
|
JAKE
|
|
Mike who?
|
|
|
|
RIGGAN
|
|
I thought he was doing--
|
|
|
|
LESLIE
|
|
He was. He quit. Or got fired.
|
|
JAKE
|
|
Mike who?
|
|
|
|
RIGGAN
|
|
Which one? Quit or fired?
|
|
|
|
LESLIE
|
|
With Mike it's usually both.
|
|
|
|
JAKE
|
|
Mike Fucking Who?
|
|
|
|
LESLIE
|
|
Shiner.
|
|
|
|
JAKE
|
|
Yes!
|
|
|
|
RIGGAN
|
|
Jake...
|
|
JAKE
|
|
Yes! How do you know Mike Shiner?
|
|
|
|
LESLIE
|
|
We share a vagina.
|
|
|
|
RIGGAN
|
|
You think he'd want to do it?
|
|
|
|
LESLIE
|
|
Yeah.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 16.
|
|
|
|
JAKE
|
|
How do you know?
|
|
|
|
LESLIE
|
|
Because he said he'd want to do it.
|
|
|
|
JAKE
|
|
Yes!
|
|
|
|
RIGGAN
|
|
Jake. Hang on a minute.
|
|
JAKE
|
|
(to Riggan)
|
|
Ask me if he sells tickets.
|
|
|
|
RIGGAN
|
|
Does he sell tickets?
|
|
|
|
JAKE
|
|
A shitload of tickets. Now ask me if the
|
|
critics like him?
|
|
|
|
RIGGAN
|
|
Do they like him?
|
|
|
|
JAKE
|
|
They want to spooge on him.
|
|
|
|
RIGGAN
|
|
(Indicating Lesley.)
|
|
Hey.
|
|
|
|
JAKE
|
|
Leslie...
|
|
|
|
LESLIE
|
|
Right on his face.
|
|
|
|
JAKE
|
|
Everything for a reason, right?
|
|
RIGGAN
|
|
You think he'll be able to come tonight?
|
|
|
|
LESLEY
|
|
I can call him and find out.
|
|
|
|
Riggan gives Jake a look.
|
|
|
|
JAKE
|
|
I'll call his agent.
|
|
|
|
Jake charges out of the room. The camera follows him into...
|
|
10/29/14 / 17.
|
|
|
|
6 INT. HALLWAY - THEATER - CONTINUOUS 6
|
|
|
|
...the hallway and as Jake makes a left turn, Annie enters from
|
|
the right.
|
|
|
|
JAKE
|
|
Annie, turn the work lights on and get me a
|
|
fresh copy of the script. We're gonna have
|
|
a "put in" tonight.
|
|
|
|
ANNIE
|
|
Who?
|
|
JAKE
|
|
You'll find out...
|
|
|
|
Jake disappears down the hall and we follow Annie through the
|
|
theater and onto...
|
|
|
|
7 INT. STAGE - THEATER - EVENING 7
|
|
...the stage, where she turns some of the stage work lights on.
|
|
We pan along the stage until we find Riggan, wearing the same
|
|
clothes as before, scanning the empty auditorium.
|
|
|
|
MIKE (O.S.)
|
|
Intimidating. Isn't it?
|
|
|
|
Riggan sees Mike Shiner (39) coming down the aisle, slovenly
|
|
dressed with mussed hair and intense eyes.
|
|
|
|
MIKE (CONT'D)
|
|
Do you have any idea who walked these
|
|
boards before you?
|
|
(Beat.)
|
|
Geraldine Page, Marlon Brando,
|
|
Helen Hayes, Jason Robards... And
|
|
now you. Riggan Thomson.
|
|
|
|
Riggan, trying to hide the intimidation.
|
|
|
|
RIGGAN
|
|
Thanks for coming on such short notice,
|
|
Mike. I appreciate it.
|
|
|
|
MIKE
|
|
Hey. This is what we do.
|
|
(Indicates a script.)
|
|
So, you wrote this adaptation?
|
|
|
|
RIGGAN
|
|
I did.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 18.
|
|
|
|
MIKE
|
|
And you're directing the adaptation and
|
|
starring...
|
|
|
|
RIGGAN
|
|
I am.
|
|
|
|
MIKE
|
|
Ambitious.
|
|
|
|
RIGGAN
|
|
Thank you.
|
|
|
|
A sly smile from Mike. He leaps onto the stage.
|
|
|
|
MIKE
|
|
Why don't we do a bit of it?
|
|
|
|
RIGGAN
|
|
Hey, I wasn't expecting you to--
|
|
MIKE
|
|
First preview is tomorrow, right?
|
|
|
|
RIGGAN
|
|
Yeah, but you can go on with the script
|
|
until you feel comfortable--
|
|
|
|
MIKE
|
|
Let's just do some of it.
|
|
|
|
Riggan tries to hide his excitement. He grabs the script from a
|
|
nearby table and walks it over to Mike.
|
|
|
|
RIGGAN
|
|
Take a look at page twenty--
|
|
|
|
MIKE
|
|
Yeah. I don't need that.
|
|
|
|
RIGGAN
|
|
What?
|
|
|
|
MIKE
|
|
I don't need the script. Just give me a
|
|
cue.
|
|
|
|
RIGGAN
|
|
What are you talking about?
|
|
|
|
MIKE
|
|
Feed me a line.
|
|
|
|
RIGGAN
|
|
I don't-- What?
|
|
(CONTINUED)
|
|
10/29/14 / 19.
|
|
|
|
MIKE
|
|
Feed. Me. A line.
|
|
|
|
Riggan drops the script and begins the scene.
|
|
|
|
RIGGAN
|
|
"I'm the wrong person to ask. I didn't
|
|
know the man. I've only heard his name
|
|
mentioned in passing. I wouldn't know.
|
|
You'd have to know the particulars. But
|
|
I think what you're saying is that love
|
|
is absolute."
|
|
|
|
Mike stares at Riggan, hyper-focused.
|
|
|
|
MIKE
|
|
(Ruminating.)
|
|
Am I saying that love is absolute?
|
|
(He transforms.)
|
|
"Yeah. The kind of love I'm talking about
|
|
is. The kind of love I'm talking about you--
|
|
"
|
|
(An intense pause.)
|
|
Well, you don't try to kill people.
|
|
|
|
Riggan is transfixed, and almost immediately intimidated.
|
|
|
|
RIGGAN
|
|
How do you know the lines?
|
|
|
|
MIKE
|
|
I have a thing, a whatever, a gift.
|
|
(A beat.) Come on, I helped Lesley get
|
|
off book. Hey, give me that cue again.
|
|
|
|
RIGGAN
|
|
"I'm the wrong person to ask. I didn't
|
|
know the man. I've only heard his name
|
|
mentioned in passing. I wouldn't know.
|
|
You'd have to know the particulars. But
|
|
I think what you're saying is--"
|
|
MIKE
|
|
Okay, can I-- Do you mind if I--
|
|
|
|
RIGGAN
|
|
No, go ahead.
|
|
|
|
MIKE
|
|
Follow me. He says, "I'm the wrong
|
|
person to ask." What's his intention?
|
|
Is he fed up with the topic?
|
|
Deflecting? Guilt about his wife maybe?
|
|
Then four sentences all say the same
|
|
thing... "I didn't even know the man."
|
|
(MORE)
|
|
(CONTINUED)
|
|
10/29/14 / 20.
|
|
MIKE (CONT'D)
|
|
"I've only heard his name mentioned in
|
|
passing." "I wouldn't know." "You'd
|
|
have to know the particulars." First of
|
|
all, particulars? What are you, my
|
|
grandmother? But the point is, YOU
|
|
DON'T KNOW THE GUY, WE FUCKING GET IT.
|
|
Make it one line. "I didn't even know
|
|
the guy." Right? ...
|
|
|
|
RIGGAN
|
|
You pretty much know my lines too, huh?
|
|
MIKE
|
|
Can we-- Are we doing something here? Come
|
|
on let's go. Cut it down, give it to me
|
|
again.
|
|
|
|
RIGGAN
|
|
"I'm the wrong person to ask--"
|
|
|
|
MIKE
|
|
Oh, right, sorry, you see? "I'm the wrong
|
|
person to ask?" That's another fuck you.
|
|
"Don't put me on the spot. Don't make me
|
|
self conscious about my marriage when my
|
|
wife is sitting right here..." See? Give
|
|
it to me. Give me a good fuck you. Come
|
|
on...
|
|
|
|
RIGGAN
|
|
Okay, let me--
|
|
|
|
MIKE
|
|
Come on. Give it to me right now. Fuck me.
|
|
Right now. Right here. Let's do it.
|
|
|
|
RIGGAN
|
|
Okay, yeah...
|
|
|
|
MIKE
|
|
DO IT!
|
|
RIGGAN
|
|
(Jumps in w/out thinking.)
|
|
"Hey. I'm the wrong person to ask, okay? I
|
|
didn't even know the guy. So what's your
|
|
point?"
|
|
|
|
MIKE
|
|
"What's my point?"
|
|
|
|
RIGGAN
|
|
"What's your point? What are you saying?
|
|
Spit it out. You're saying, what? That love
|
|
is an absolute?"
|
|
(CONTINUED)
|
|
10/29/14 / 21.
|
|
|
|
MIKE
|
|
(Exploding.)
|
|
"Yeah! Alright? The kind of love I'm
|
|
talking about is absolute. The kind of love
|
|
I'm talking about you--
|
|
(A painful memory.)
|
|
Well, you don't try to kill people.
|
|
|
|
Riggan stands silently, his heart pounding.
|
|
|
|
MIKE (CONT'D)
|
|
So what do you think, boss? Do I have a
|
|
job?
|
|
|
|
Riggan calls over to the wings.
|
|
|
|
RIGGAN
|
|
What do you think?
|
|
|
|
Mike turns to see Sam, who has been there for a bit.
|
|
SAM
|
|
Larry needs to see him for a fitting.
|
|
|
|
MIKE
|
|
I'm gonna take that as a yes.
|
|
(Walking to Sam.)
|
|
And you are...?
|
|
|
|
RIGGAN
|
|
That's my daughter, Sam.
|
|
|
|
MIKE
|
|
Right. Yeah. I can see it around the... (A
|
|
beat) She doesn't look anything like you.
|
|
(To Sam.)
|
|
And your job is...?
|
|
|
|
RIGGAN
|
|
She's my assistant.
|
|
MIKE
|
|
Your assistant...
|
|
(To Sam.)
|
|
And can you speak?
|
|
|
|
SAM
|
|
Yup. I can even 'sit', 'stay' or 'roll
|
|
over' if you have any treats.
|
|
|
|
RIGGAN
|
|
Welcome aboard, Mike.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 22.
|
|
|
|
MIKE
|
|
(Mock saluting.)
|
|
Thank you, Captain.
|
|
|
|
We follow Mike and Sam off as they...
|
|
|
|
8 INT. HALLWAY - THEATER - CONTINUOUS 8
|
|
|
|
...advance through the hallways.
|
|
|
|
MIKE
|
|
I'm Mike Shiner, by the way.
|
|
|
|
SAM
|
|
I know who you are.
|
|
(Reluctantly honest.)
|
|
I saw you in 'Hothouse' at the Geffen. It
|
|
was... great.
|
|
|
|
MIKE
|
|
That ass is great.
|
|
|
|
She turns her head toward him with a disgusted expression.
|
|
|
|
SAM
|
|
Dude. Seriously?
|
|
|
|
Moving by her, into a dressing room.
|
|
|
|
MIKE
|
|
This is the theatre, honey. Don't be so
|
|
self-conscious.
|
|
|
|
She follows him into the room where we see...
|
|
|
|
9 INT. COSTUME DEPARTMENT - THEATER - CONTINUOUS 9
|
|
|
|
...Larry stressing out while he works on a costume. He turns
|
|
to see Mike standing there. Sam stands against the wall,
|
|
focused on her cell phone.
|
|
|
|
LARRY
|
|
Oh, thank the Lord and pass the
|
|
biscuits! I finally have an actor to
|
|
dress. Hello, Mr. Shiner.
|
|
|
|
MIKE
|
|
How're you doing, Larry?
|
|
|
|
LARRY
|
|
Better, now that you're here. Take off your
|
|
clothes.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 23.
|
|
|
|
Mike takes off his shirt and hands it to Sam. She doesn't budge,
|
|
and it hits the floor. He begins to unbutton his pants...
|
|
|
|
MIKE
|
|
You gonna stand there?
|
|
|
|
SAM
|
|
(Glancing at her cell.)
|
|
This is the theatre, honey. Don't be so
|
|
self-conscious.
|
|
Larry searches for a few costume pieces.
|
|
|
|
LARRY
|
|
Okay. I'm gonna have to start from
|
|
scratch, with less than twenty-four
|
|
hours... Let's see if these--
|
|
|
|
He turns to see a completely naked Mike.
|
|
|
|
LARRY (CONT'D)
|
|
Holy-- What is happening? Where are
|
|
your underpants?
|
|
|
|
MIKE
|
|
At home, under the bed, I think.
|
|
|
|
Sam glances at Mike for a second, then returns to her phone.
|
|
Larry begins to help Mike into some pants which, given the
|
|
situation, is very awkward.
|
|
|
|
LARRY
|
|
Okay. Everything is too small.
|
|
|
|
SAM
|
|
Yeah, you're not kidding.
|
|
|
|
Lesley enters the room immediately coming face to face with a
|
|
naked Mike. She doesn't notice Sam who is partially hidden by a
|
|
clothes rack. She just goes about trying a costume shirt.
|
|
LESLEY
|
|
Oh, that's nice...
|
|
(To Larry.)
|
|
Forgive him, Larry. Mike's like my five
|
|
year old son. Neither one of them has
|
|
clean underwear...
|
|
|
|
LARRY
|
|
Or pubic hair, I imagine.
|
|
(Folding the pants.)
|
|
Okay, well, I can take out the suit but
|
|
we're going to need some new pants and
|
|
shirts.
|
|
(MORE)
|
|
(CONTINUED)
|
|
10/29/14 / 24.
|
|
LARRY (CONT'D)
|
|
(Looking back.)
|
|
And underwear...
|
|
|
|
Mike just stands there naked, staring at his penis in the
|
|
mirror.
|
|
|
|
LESLEY
|
|
(To Larry.)
|
|
This is too small.
|
|
(To Mike.)
|
|
What the hell are you doing?
|
|
MIKE
|
|
Waiting for Larry to finish.
|
|
|
|
LARRY
|
|
I'm finished.
|
|
|
|
Larry disappears deeper into the costume room.
|
|
|
|
MIKE
|
|
Okay, well, then I'm just standing here
|
|
with my balls out.
|
|
|
|
LESLEY
|
|
Get dressed. Riggan's daughter is hanging
|
|
around, and I don't need her to walk in
|
|
here and--
|
|
|
|
MIKE
|
|
Leslie...
|
|
|
|
LESLEY
|
|
No, Mike. You haven't seen her. She's
|
|
always hanging around, just-- I don't--
|
|
Watching everyone. It's creepy. It's--
|
|
|
|
MIKE
|
|
Les...
|
|
|
|
LESLEY
|
|
I don't know if the drugs fried her
|
|
brain or what, but I don't need her
|
|
running to her father saying you showed
|
|
her your junk.
|
|
|
|
MIKE
|
|
Okay, then we should probably get her out
|
|
of here.
|
|
|
|
Lesley's expression goes blank.
|
|
|
|
LESLEY
|
|
Oh, God. Really?
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 25.
|
|
|
|
MIKE
|
|
Hey, Sammy...
|
|
|
|
SAM
|
|
It's Sam.
|
|
|
|
LESLEY
|
|
Fuck.
|
|
|
|
Sam steps forward.
|
|
LESLEY (CONT'D)
|
|
(To Sam.)
|
|
I didn't mean--
|
|
|
|
SAM
|
|
(Totally relaxed.)
|
|
It's cool. He's a handful, huh?
|
|
|
|
They both look back at Mike.
|
|
LESLEY
|
|
Almost.
|
|
|
|
Sam smiles at her and exits. Lesley wheels on Mike.
|
|
|
|
LESLEY (CONT'D)
|
|
Jesus... How is it you always manage to find
|
|
a new way to humiliate me?
|
|
|
|
MIKE
|
|
To be fair, you make it really easy.
|
|
|
|
LESLEY
|
|
What the hell was she doing here?
|
|
|
|
MIKE
|
|
She brought me.
|
|
|
|
LESLEY
|
|
And stayed???
|
|
MIKE
|
|
I know, right? She's a little--
|
|
|
|
LESLEY
|
|
Look at me, Mike. This is Broadway. I'm
|
|
here. Finally. And I'm begging you, if you
|
|
love me, please, do me a favor... don't
|
|
fuck it up.
|
|
|
|
MIKE
|
|
(Gently.)
|
|
Come here.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 26.
|
|
|
|
Lesley moves toward Mike. He cups her face in his hands
|
|
tenderly. They are face to face.
|
|
|
|
MIKE (CONT'D)
|
|
Play with my balls...
|
|
|
|
She twists his nipples hard and walks out.
|
|
|
|
MIKE (CONT'D)
|
|
I won't fuck it up... Probably!
|
|
Larry reappears holding some clothes. We follow him out...
|
|
|
|
10 INT. HALLWAY - THEATER - CONTINUOUS 10
|
|
...through the hallway. He walks by Jake and Riggan who are mid
|
|
conversation. We stay with them.
|
|
|
|
|
|
|
|
RIGGAN (O.S.)
|
|
I don't care, sign it.
|
|
JAKE (O.S.)
|
|
Listen to me.
|
|
|
|
RIGGAN (O.S.)
|
|
No you listen to me--
|
|
|
|
JAKE (O.S.)
|
|
I can't afford to listen to you...
|
|
|
|
LARRY
|
|
I'm gonna need to go shopping
|
|
again.
|
|
|
|
JAKE
|
|
Fucking sew something, you old
|
|
fuck!
|
|
|
|
RIGGAN
|
|
I don't care. Give him what he
|
|
wants.
|
|
JAKE
|
|
His agent is asking for almost four
|
|
times what we were paying--
|
|
|
|
RIGGAN
|
|
Then go into the reserve.
|
|
|
|
JAKE
|
|
The reserve is gone. You spent it
|
|
on the fog. And those fake trees...
|
|
(CONTINUED)
|
|
10/29/14 / 27.
|
|
|
|
RIGGAN
|
|
It's a dream sequence, it--
|
|
|
|
JAKE
|
|
And three union midgets that dance
|
|
around like--
|
|
|
|
RIGGAN
|
|
You're not supposed to call them
|
|
midgets--
|
|
JAKE
|
|
The reserve is gone!
|
|
|
|
RIGGAN
|
|
Listen to me, you didn't see what I
|
|
just saw. But you will, at the preview
|
|
tomorrow. Look, get the contract done.
|
|
I'll get the money.
|
|
|
|
Riggan begins marching toward the stage.
|
|
JAKE
|
|
(Calling after him.)
|
|
When???
|
|
|
|
Laura comes down some stairs and chases Riggan.
|
|
|
|
LAURA
|
|
(Incredulous.)
|
|
Hey, is it true? Shiner?
|
|
|
|
RIGGAN
|
|
He's in.
|
|
|
|
LAURA
|
|
Holy shit! When can I meet him?
|
|
|
|
RIGGAN
|
|
He's in a fitting with Larry.
|
|
Lesley comes down the hallway.
|
|
|
|
LESLEY
|
|
I'm going to Starbucks. You guys
|
|
want anything?
|
|
|
|
RIGGAN
|
|
I'm fine. How's Mike?
|
|
|
|
LESLEY
|
|
Did you talk to your daughter?
|
|
|
|
RIGGAN
|
|
No.
|
|
(CONTINUED)
|
|
10/29/14 / 28.
|
|
|
|
LESLEY
|
|
He's great.
|
|
|
|
LAURA
|
|
(To Lesley. Matter-of-
|
|
factly.)
|
|
Honey, your tits look like fucking
|
|
anjou pears in that top!
|
|
|
|
LESLEY
|
|
(Uncomfortable.)
|
|
Okay, well I'm gonna-- Thank you.
|
|
|
|
She walks away.
|
|
|
|
LAURA
|
|
And that ass. Like two eggs in a hanky!
|
|
|
|
A10 A10
|
|
|
|
Riggan walks, Laura follows him.
|
|
|
|
LAURA
|
|
Okay, I was going to tell you this over
|
|
dinner, but everything-- I have some news
|
|
too.
|
|
RIGGAN
|
|
Good or bad? Cause right now--
|
|
|
|
A technician walks by.
|
|
|
|
LAURA
|
|
(Whispering.)
|
|
I missed my last two periods.
|
|
(Beat.)
|
|
I think it's happening this time.
|
|
|
|
Riggan stops. Silent. A beat.
|
|
|
|
LAURA (CONT'D)
|
|
Is that good or bad?
|
|
(He stares at her.)
|
|
Riggan...?
|
|
|
|
RIGGAN
|
|
It's good. It's great.
|
|
She smiles, her eyes filled with emotion. Riggan smiles back,
|
|
and nods absently.
|
|
|
|
LAURA
|
|
Say something else...
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 29.
|
|
|
|
RIGGAN
|
|
(Joking.)
|
|
You're pretty sure it's mine?
|
|
|
|
LAURA
|
|
(Unamused but plays along)
|
|
Well, let's see. There's you. Jake. That
|
|
masseuse wore a condom so... Yes, it's
|
|
yours... idiot.
|
|
|
|
She puts her head on Riggan's chest. We see his mind racing.
|
|
Laura is moved, and confused.
|
|
|
|
LAURA (CONT'D)
|
|
Are you excited?
|
|
|
|
RIGGAN
|
|
Yeah.
|
|
|
|
LAURA
|
|
Me too.
|
|
Laura moves slightly away from him and suddenly slaps him across
|
|
the face. Riggan looks at her, confused.
|
|
|
|
RIGGAN
|
|
What--?
|
|
|
|
LAURA
|
|
You're not funny.
|
|
|
|
She kisses him intensely on the lips and briefly places his
|
|
hand on her belly, then moves it up to her breasts. After a
|
|
moment, she backs away.
|
|
|
|
LAURA (CONT'D)
|
|
First preview tomorrow. Here we go!
|
|
|
|
Laura turns and walks away. Riggan continues down the
|
|
corridor. He passes by a Security Guard· in front of a small
|
|
TV. The camera becomes Riggan's POV and advances until...
|
|
|
|
11 INT. BACKSTAGE - THEATER - EVENING 11
|
|
|
|
...we go through the stage door. We scan the backstage area to
|
|
see the stagehands ready to do their jobs. We can feel the
|
|
electricity of a first preview.
|
|
|
|
On stage part of the kitchen set from before is visible. Annie
|
|
stands at her podium, calling the cues for the show.
|
|
|
|
ANNIE
|
|
(Into her headset.)
|
|
Cue 34 and 35. Go.
|
|
(CONTINUED)
|
|
10/29/14 / 30.
|
|
|
|
She turns and looks directly into the camera.
|
|
|
|
ANNIE (CONT'D)
|
|
Places.
|
|
|
|
RIGGAN (O.S.)
|
|
Okay.
|
|
|
|
Riggan walks on screen wearing his costume, carrying a bucket of
|
|
ice and a bottle of gin. He goes to the opposite side of the
|
|
stage and takes his place in the wings. He peeks out at the
|
|
audience who seem to be watching with interest.
|
|
|
|
Then we pan to the stage to find Mike, Lesley and Laura
|
|
performing the scene we saw at the beginning, around the table.
|
|
Mike looks comfortable, sipping at his drink. A half empty
|
|
bottle of gin on the table.
|
|
|
|
MIKE
|
|
The maniac shot himself right in front of
|
|
us. I rode with him in the ambulance to the
|
|
hospital.
|
|
|
|
LESLEY
|
|
I'll never get that image out of my head.
|
|
Right before he did it, his eyes-- they
|
|
were so sad... lonely.
|
|
|
|
LAURA
|
|
Did you have to treat him?
|
|
|
|
MIKE
|
|
I didn't have to. But I did.
|
|
(Pouring another drink.)
|
|
He was in bad shape. His head swelled
|
|
up to like twice the size of a normal
|
|
head. I'd never seen anything like
|
|
it. And I swear to God, I hope I
|
|
never do again.
|
|
|
|
Riggan stands near Annie.
|
|
RIGGAN
|
|
He's good.
|
|
|
|
ANNIE
|
|
He's incredible. I think he's
|
|
drinking real gin.
|
|
|
|
Riggan looks out at Mike, who is refilling his glass.
|
|
|
|
RIGGAN
|
|
What?
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 31.
|
|
|
|
A stagehand gives Riggan a bottle. Riggan watches and waits
|
|
for his cue.
|
|
|
|
MIKE
|
|
Ask Nick what real love is. He'll
|
|
agree with me. You watch.
|
|
|
|
LESLEY
|
|
Why don't we just head to the
|
|
restaurant?
|
|
LAURA
|
|
Don't get him started, Mel. You
|
|
haven't seen how he's been lately.
|
|
He's been depressed. I'm worried
|
|
about him. He's been--
|
|
|
|
She gently pushes Riggan and we follow him on stage...
|
|
|
|
12 INT. STAGE - THEATER - CONTINUOUS 12
|
|
...where Mike goes to refill his glass with the last of the
|
|
real gin. Riggan snatches the bottle out of his hands and
|
|
gulps the rest, straight from the bottle.
|
|
|
|
RIGGAN
|
|
Been what? (Beat.) I'll tell you
|
|
what real love is. This happened a
|
|
few months ago.
|
|
(Drops bottle on table)
|
|
And it ought to make us ashamed
|
|
when we talk like we know what
|
|
we're talking about when we talk
|
|
about love.
|
|
|
|
LAURA
|
|
Nick, for God's sake. Are you
|
|
getting drunk?
|
|
|
|
RIGGAN
|
|
(Pointed at Mike.)
|
|
I don't have to be drunk to say
|
|
what I think.
|
|
|
|
MIKE
|
|
Nobody's drunk. We're just having a
|
|
few drinks.
|
|
|
|
LESLEY
|
|
You've had more than a few.
|
|
|
|
RIGGAN
|
|
What are you, counting?
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 32.
|
|
|
|
LAURA
|
|
Don't you talk to her like that.
|
|
Don't talk like a drunk if you're
|
|
not--
|
|
|
|
RIGGAN
|
|
(Exploding.)
|
|
Shut up. For once in your life.
|
|
Will you do me a favor and shut up
|
|
for a minute?
|
|
(Beat.)
|
|
Like I was saying... There's this
|
|
old couple, had a car wreck out on
|
|
the interstate. Some drunk kid
|
|
plowed his dad's pick up into their
|
|
camper.
|
|
|
|
We begin to hear the underscoring of violins.
|
|
|
|
RIGGAN (CONT'D)
|
|
Fucking teenager. By the time I got
|
|
to the hospital, the kid was dead.
|
|
He was off in a corner laid out on
|
|
a gurney. We took the old couple up
|
|
to the O.R.. They were a mess. We
|
|
worked like hell on them for most
|
|
of the night...
|
|
|
|
Over the speech, Mike reaches for the new bottle that Riggan
|
|
placed on stage. He refills his glass.
|
|
|
|
RIGGAN (CONT'D)
|
|
When we were done, we wrapped them in full
|
|
body casts. The husband was depressed.
|
|
Even when I told him his wife was gonna
|
|
pull through, he was still depressed. So,
|
|
I got up to his mouth hole and asked him,
|
|
and he told me it was because he couldn't
|
|
see her through the eye holes. Can you
|
|
imagine? I'm telling you, the man's heart
|
|
was breaking because he couldn't turn his
|
|
goddamn head and see his goddamn wife.
|
|
|
|
Riggan is doing a good job. Lesley and Laura are genuinely
|
|
moved. Mike notices. He sips his drink.
|
|
|
|
RIGGAN (CONT'D)
|
|
I mean... It was killing him. Killing him
|
|
that he--
|
|
|
|
MIKE
|
|
I'm tired of this shit.
|
|
|
|
They all look at Mike. In silence.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 33.
|
|
|
|
MIKE (CONT'D)
|
|
(to Riggan)
|
|
What the fuck is this? Water?
|
|
|
|
He hurls the glass against the wall. Some laughter from the
|
|
audience. Riggan stares at him, confused. He presses on.
|
|
|
|
RIGGAN
|
|
It was killing the old bastard...
|
|
|
|
MIKE
|
|
Did you just give me water?
|
|
|
|
RIGGAN
|
|
Come on, Mike.
|
|
|
|
MIKE
|
|
Come on what?
|
|
|
|
RIGGAN
|
|
Take it easy. You're drunk.
|
|
MIKE
|
|
Of course I'm drunk! I'm supposed to
|
|
be drunk! This is Carver, man! The guy
|
|
lost a piece of liver every time he
|
|
wrote a page! If I'm supposed to drink
|
|
gin then bring me fuckin gin! I mean,
|
|
you fucked the time period! You took
|
|
all the good lines for yourself! At
|
|
least let me--
|
|
|
|
The audience is now hysterical. Dozens of cell phones
|
|
pointing at the stage. Mike walks toward the apron, facing
|
|
the audience.
|
|
|
|
MIKE (CONT'D)
|
|
Oh, okay. Seriously? You people are
|
|
pathetic. Put the cell phones down and
|
|
join the real world! Will somebody
|
|
please just live in the real world?!!
|
|
He crosses to the refrigerator.
|
|
|
|
LAURA
|
|
Where's he going?
|
|
|
|
LESLEY
|
|
(Firmly.)
|
|
Mike, cut it out.
|
|
|
|
Mike rummages through the fridge.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 34.
|
|
|
|
MIKE
|
|
Look at this. It's all fake.
|
|
(Tossing items out of the
|
|
fridge.)
|
|
The milk is fake. The butter is fake.
|
|
|
|
Riggan storms off the stage.
|
|
|
|
MIKE (CONT'D)
|
|
(To Riggan.)
|
|
Your performance is fake.
|
|
(He finds some fried
|
|
chicken.)
|
|
Hey! There's chicken. Real chicken. The
|
|
only thing real up here is the chicken.
|
|
So I'm gonna stick with the chicken.
|
|
|
|
The audience laughs harder.
|
|
|
|
MIKE (O.S.) (CONT'D)
|
|
Hey, this is good bird, man!
|
|
Riggan charges through the chaos backstage running into a
|
|
panicked Annie.
|
|
|
|
RIGGAN
|
|
Get Mike out of here.
|
|
|
|
ANNIE
|
|
How do you want me to do that?
|
|
|
|
Riggan keeps walking up to...
|
|
|
|
13 INT. HALLWAY - THEATER - CONTINUOUS 13
|
|
...the hallway. Jake chases him.
|
|
|
|
RIGGAN
|
|
I want him gone.
|
|
|
|
JAKE
|
|
No.
|
|
|
|
RIGGAN
|
|
What?
|
|
|
|
JAKE
|
|
We can't do that.
|
|
|
|
RIGGAN
|
|
What are you-- Of course we can do that.
|
|
It's our show.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 35.
|
|
|
|
JAKE
|
|
Riggan, listen to me--
|
|
|
|
Riggan comes to a halt and faces Jake.
|
|
|
|
RIGGAN
|
|
No. You listen to me. Get him the fuck out
|
|
of my play. Did you see him out there?
|
|
|
|
JAKE
|
|
It was a preview! Nobody gives a shit about
|
|
previews. Nothing matters until that old
|
|
bat from the New York Times is sitting in
|
|
that audience on opening night.
|
|
|
|
RIGGAN
|
|
We're getting rid of him. I'm not going to
|
|
stand up on that stage and--
|
|
|
|
JAKE
|
|
Shut up! Just shut up for once and
|
|
listen to me. As soon as we announced he
|
|
was taking over, the advance doubled. We
|
|
can't afford to lose a preview. We can't
|
|
afford to lose money. We can't afford to
|
|
lose Mike. This is about being
|
|
respected, validated, remember? That's
|
|
what you told me. That's how you got me
|
|
into this shit. Now, you're the
|
|
director. Get him under control.
|
|
(A beat. As a friend.)
|
|
These are not the nineties anymore.
|
|
|
|
Jake storms away. Riggan heads toward his dressing room. Out
|
|
of nowhere, Mike barrels into him, pinning him against a wall.
|
|
|
|
RIGGAN
|
|
(Startled.)
|
|
Holy Fuck!
|
|
|
|
Mike presses up against Riggan, breathing down his neck. After a
|
|
painful silence...
|
|
|
|
MIKE
|
|
(Like he's possessed.)
|
|
You were good...
|
|
|
|
RIGGAN
|
|
Meet me in front of the theater in
|
|
10 minutes.
|
|
|
|
Mike chuckles and slaps Riggan gently on the face before he
|
|
disappears into his dressing room. Riggan begins walking
|
|
again. We follow him into...
|
|
10/29/14 / 36.
|
|
|
|
14 INT. RIGGAN'S DRESSING ROOM - THEATER - CONTINUOUS 14
|
|
|
|
...his dressing room. He goes into the bathroom and quickly
|
|
washes his face.
|
|
|
|
SYLVIA (O.S.)
|
|
What the hell was going on up there?
|
|
|
|
We pan over to see his ex-wife Sylvia (43), standing in one
|
|
corner, staring at Riggan. She is elegant and simply beautiful.
|
|
|
|
RIGGAN
|
|
I didn't know you were here tonight.
|
|
SYLVIA
|
|
That guy's an asshole, huh?
|
|
|
|
Riggan dries his hands with a towel and comes out of the
|
|
bathroom.
|
|
|
|
RIGGAN
|
|
What are you doing here?
|
|
SYLVIA
|
|
Sam and I are going to grab a bite
|
|
after she's finished with--
|
|
|
|
RIGGAN
|
|
No, I mean here. Now.
|
|
|
|
SYLVIA
|
|
Well. I know how much this means to
|
|
you, so--
|
|
|
|
RIGGAN
|
|
I appreciate that.
|
|
|
|
A beat.
|
|
|
|
SYLVIA
|
|
So, how's it going?
|
|
|
|
RIGGAN
|
|
The play?
|
|
|
|
SYLVIA
|
|
No, you and Sam.
|
|
|
|
RIGGAN
|
|
It's good. (A beat.) It's the same.
|
|
|
|
SYLVIA
|
|
Do you talk to her?
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 37.
|
|
|
|
RIGGAN
|
|
We talk. We-- I don't know, it's been crazy
|
|
around here.
|
|
|
|
SYLVIA
|
|
You understand where her head is at right
|
|
now.
|
|
|
|
RIGGAN
|
|
Of course.
|
|
SYLVIA
|
|
She's trying to stay away from everything
|
|
and everyone that got her into rehab in the
|
|
first place, but...
|
|
|
|
RIGGAN
|
|
...I know, Sylvia...
|
|
|
|
SYLVIA
|
|
...But that's all she had. So she's--
|
|
RIGGAN
|
|
I really do get it.
|
|
|
|
SYLVIA
|
|
I know you're caught up in all this stuff,
|
|
but--
|
|
|
|
RIGGAN
|
|
Stuff...
|
|
|
|
SYLVIA
|
|
You know what I mean.
|
|
(Beat.)
|
|
Riggan... You don't have to be a great
|
|
father right now, you just have to be one.
|
|
|
|
RIGGAN
|
|
Yeah.
|
|
Suddenly, Laura opens the door and sticks her head in.
|
|
|
|
LAURA
|
|
(Noticing Sylvia.)
|
|
Oh, sorry.
|
|
|
|
She closes the door. Awkward silence.
|
|
|
|
SYLVIA
|
|
So how is that going? Is she and
|
|
Sam--?
|
|
|
|
RIGGAN
|
|
I don't wanna talk about it.
|
|
(CONTINUED)
|
|
10/29/14 / 38.
|
|
|
|
He goes to a small fridge, takes out a beer and closes it.
|
|
|
|
SYLVIA
|
|
You're drinking?
|
|
|
|
RIGGAN
|
|
I'm having a beer.
|
|
|
|
SYLVIA
|
|
Okay...
|
|
He sits and sips in silence for a moment. Then he begins to
|
|
take out the wig.
|
|
|
|
RIGGAN
|
|
So, what's going on with you?
|
|
|
|
SYLVIA
|
|
Me? Nothing. Everything's the same I guess.
|
|
I'm going back to teaching.
|
|
RIGGAN
|
|
I'm thinking about refinancing the Malibu
|
|
house.
|
|
|
|
SYLVIA
|
|
Wh-- I'm sorry?
|
|
|
|
RIGGAN
|
|
I'm thinking about--
|
|
|
|
SYLVIA
|
|
No, I heard you. I just need a second to--
|
|
(A beat.) That's gonna be Sam's house. Why
|
|
would you-- (A beat.) What? For this play?
|
|
|
|
RIGGAN
|
|
(Honest and vulnerable.)
|
|
I need the money.
|
|
|
|
SYLVIA
|
|
Do you have any idea how crazy that sounds?
|
|
|
|
RIGGAN
|
|
What do you want me to say? My health
|
|
lasted longer than the money... Go figure
|
|
that out.
|
|
|
|
Riggan seems pensive and lost.
|
|
|
|
SYLVIA
|
|
Riggan...
|
|
(Beat.)
|
|
What's going on?... Look at me.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 39.
|
|
|
|
Riggan gently looks up to Sylvia.
|
|
|
|
RIGGAN
|
|
I have a chance to do something right. And I
|
|
have to take it. I have to.
|
|
|
|
SYLVIA
|
|
It's funny. I was sitting here waiting
|
|
for you, and all of a sudden I couldn't
|
|
remember why we broke up.
|
|
Silence. Then, as if he hasn't heard what she said.
|
|
|
|
RIGGAN
|
|
The last time I flew here from LA, George
|
|
Clooney was sitting two seats in front of
|
|
me. With those cuff links, and that...
|
|
chin. We ended up flying through this
|
|
really bad storm. The plane started to
|
|
rattle and shake, and everyone on board
|
|
was crying... and praying. And I just sat
|
|
there-- Sat there thinking that when Sam
|
|
opened that paper it was going to be
|
|
Clooney's face on the front page. Not
|
|
mine. (A beat.) Did you know that Farrah
|
|
Fawcett died on the same day as Michael
|
|
Jackson?
|
|
|
|
She smiles sadly. She kisses him on the head and goes to the
|
|
door.
|
|
|
|
RIGGAN (CONT'D)
|
|
Why did we break up?
|
|
|
|
SYLVIA
|
|
(Looks him in the eye.)
|
|
You threw a kitchen knife at me...
|
|
|
|
Riggan is smacked by that memory. His eyes on the floor.
|
|
|
|
SYLVIA (CONT'D)
|
|
...and one hour later you were
|
|
telling me how much you loved me.
|
|
(Beat.)
|
|
Just because I didn't like that
|
|
ridiculous comedy you did with Goldie
|
|
Hawn didn't mean I did not love you.
|
|
But that's what you always do. You
|
|
confuse love with admiration.
|
|
|
|
She smiles sadly. He looks at her. As Sylvia opens the door,
|
|
she turns back to Riggan...
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 40.
|
|
|
|
SYLVIA (CONT'D)
|
|
It's your house, so do what you want with
|
|
it. Just make sure you're there for our
|
|
daughter.
|
|
|
|
RIGGAN
|
|
I will.
|
|
|
|
SYLVIA
|
|
You're not Farrah Fawcett, Riggan.
|
|
She exits. Painful silence... until...
|
|
|
|
BIRDMAN (V.O.)
|
|
We should have done that reality show they
|
|
offered us. "The Thomsons." That would've
|
|
been good. Crazy, druggy, wise ass daughter.
|
|
Milfy wife with the perky tits. People would
|
|
have watched that.
|
|
|
|
RIGGAN
|
|
(To the poster.)
|
|
Shut up.
|
|
|
|
Riggan stands up and grabs his jacket. He opens the door and
|
|
goes out to...
|
|
|
|
15 INT. HALLWAY - THEATER - CONTINUOUS 15
|
|
...the hallway.
|
|
|
|
BIRDMAN (V.O.)
|
|
Where are we goin'?
|
|
|
|
RIGGAN
|
|
(Almost whispering.)
|
|
Leave me alone.
|
|
|
|
Riggan walks between crew members. Annie interrupts him.
|
|
|
|
ANNIE
|
|
The sun bed is here.
|
|
|
|
RIGGAN
|
|
What does that mean?
|
|
|
|
ANNIE
|
|
It means there's a sun bed out there
|
|
being delivered to in here.
|
|
|
|
RIGGAN
|
|
Who ordered a sun bed?
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 41.
|
|
|
|
ANNIE
|
|
Mike. He says it's for his character.
|
|
Carver's red necks, "people of the
|
|
land". Part of his process and that
|
|
shit.
|
|
|
|
Riggan cannot deal with this right now. He continues walking
|
|
until he arrives at a metal door that takes him out to...
|
|
|
|
16 EXT. AN ALLEY WAY - OUTSIDE THE THEATER - CONTINUOUS 16
|
|
|
|
...an alley way. Riggan walks toward the street. There is a man
|
|
playing drums. Riggan finds Mike leaning against a parked car,
|
|
dazed and looking up at the marquis...
|
|
|
|
RIGGAN
|
|
Let's go. Walk.
|
|
|
|
Riggan begins to walk, Mike follows.
|
|
|
|
MIKE
|
|
Where are we going?
|
|
RIGGAN
|
|
To get you some coffee. Have I done
|
|
anything to disrespect you?
|
|
|
|
MIKE
|
|
Not yet.
|
|
|
|
RIGGAN
|
|
I have a lot riding on this play.
|
|
MIKE
|
|
Is that right?
|
|
|
|
RIGGAN
|
|
People know who I am, and--
|
|
|
|
MIKE
|
|
Bullshit.
|
|
|
|
RIGGAN
|
|
Mike--
|
|
|
|
MIKE
|
|
Bullshit. People don't know you. They
|
|
know the guy in the bird suit. They
|
|
know the guy who tells those quaint,
|
|
slightly vomitous stories on Letterman.
|
|
|
|
RIGGAN
|
|
Well, I'm sorry for being popular, but
|
|
that--
|
|
(CONTINUED)
|
|
10/29/14 / 42.
|
|
|
|
MIKE
|
|
(With irony.)
|
|
Popular? POPULAR?... Oh God, popularity is
|
|
just the slutty little cousin of prestige.
|
|
|
|
RIGGAN
|
|
Okay, I don't even know what that--
|
|
|
|
MIKE
|
|
My reputation is riding on this play.
|
|
And that's... That is...
|
|
RIGGAN
|
|
A lot?
|
|
|
|
MIKE
|
|
A lot. Exactly. Fuck you. Yes. This
|
|
doesn't work out for you, you get to go
|
|
home to your studio pals and jump right
|
|
back into that cultural genocide you
|
|
guys are perpetrating. "There's a
|
|
douchbag born every minute". That was
|
|
P.T. Barnum's premise when he got rich
|
|
inventing the circus. And you and your
|
|
pals know nothing's changed, and
|
|
whatever toxic shit you make people are
|
|
still gonna pay to see it. But, after
|
|
you're gone, I'll still be here. I'll
|
|
still be making my living on the stage.
|
|
Baring my soul. Wrestling with emotions,
|
|
complex emotions.
|
|
|
|
RIGGAN
|
|
Right. Is that what tonight was about then?
|
|
(Mocking him.) Wrestling with "complex
|
|
emotions"?
|
|
|
|
MIKE
|
|
Tonight was about making it alive. About
|
|
making it bleed. This isn't the Warner
|
|
Brothers lot, Riggan. This is the city, and
|
|
this is how we do things.
|
|
|
|
Mike turns and opens the front door of The Rum House.
|
|
|
|
RIGGAN
|
|
Where are you going?
|
|
|
|
MIKE
|
|
They have coffee in here.
|
|
|
|
He walks into the restaurant. Riggan backtracks and we follow
|
|
him into...
|
|
10/29/14 / 43.
|
|
|
|
17 INT. RUM HOUSE - CONTINUOUS 17
|
|
|
|
...The Rum House. Mike stands at the bar, the bartender
|
|
already pouring two whiskeys.
|
|
|
|
MIKE
|
|
(To bartender.)
|
|
Thanks, Tommy.
|
|
|
|
Tommy nods and walks away.
|
|
|
|
RIGGAN
|
|
(Getting back on point.)
|
|
People were laughing in our faces.
|
|
|
|
MIKE
|
|
(Handing Riggan a drink.)
|
|
Tonight they were laughing, tomorrow
|
|
they'll be... be.. tweeting about us. Fuck
|
|
`em. Who cares??? These are the people who
|
|
pay half price to watch us rehearse. Stop
|
|
fucking caring!
|
|
RIGGAN
|
|
We're doing Raymond Carver. This play is a
|
|
drama. This play is--
|
|
|
|
MIKE
|
|
You don't know what this play is. These are
|
|
previews. This is where we find out what
|
|
the play is.
|
|
|
|
Mike points to an Older Woman sitting at the bar. She sips a
|
|
martini and scribbles in a notebook with a sour expression.
|
|
|
|
MIKE (CONT'D)
|
|
You see that woman over there? The one that
|
|
looks like she just licked a homeless guy's
|
|
ass? Nothing matters until she writes five
|
|
hundred words about us in the New York Times.
|
|
|
|
RIGGAN
|
|
That's...
|
|
MIKE
|
|
Tabitha Dickinson. Yes. And, believe it or
|
|
not, the only thing that matters in theater
|
|
is whether she likes us or not. She does,
|
|
we run. She doesn't, we're fucked.
|
|
|
|
RIGGAN
|
|
(Preoccupied.)
|
|
She does look like she licked a homeless
|
|
guy's ass.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 44.
|
|
|
|
MIKE
|
|
Do me a favor, don't get your panties in a
|
|
twist over a preview, alright? And don't tell
|
|
me how to do my job. Cause, this is my town.
|
|
And, to be honest, nobody gives a shit about
|
|
you around here.
|
|
|
|
LADY (O.S.)
|
|
You're Riggan Thompson, right?
|
|
|
|
Two fat tourists in "Mamma Mia" t-shirts, with a seven year old
|
|
kid, approach the table.
|
|
|
|
HUSBAND
|
|
(Timidly.)
|
|
We're sorry to interrupt...
|
|
|
|
LADY
|
|
Would you mind terribly if we got a
|
|
picture?
|
|
RIGGAN
|
|
Of course. It's no trouble at all.
|
|
|
|
The Lady shoves her camera into Mike's hands.
|
|
|
|
LADY
|
|
(To Mike.)
|
|
Would you mind?
|
|
|
|
Mike gets up with a blank expression and takes the camera.
|
|
The Lady pushes the kid into the booth next to Riggan.
|
|
|
|
LADY (CONT'D)
|
|
(Ordering Mike.)
|
|
The button right on top there.
|
|
|
|
KID
|
|
Who is this guy?
|
|
|
|
LADY
|
|
(To his son.)
|
|
Come on, Billy. He used to be like Batman.
|
|
|
|
She yanks the kid closer and they squeeze up against Riggan.
|
|
Mike takes the photo and holds the camera to the lady.
|
|
|
|
LADY (CONT'D)
|
|
(To Mike)
|
|
I think you screwed that one up. Take
|
|
another one.
|
|
|
|
Mike takes another picture.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 45.
|
|
|
|
LADY (CONT'D)
|
|
(To Riggan.)
|
|
God bless you, darlin'. You're very sweet.
|
|
And handsome!
|
|
|
|
She kisses Riggan hard on the mouth. Then gets up, giddy, and
|
|
takes her son by the hand. As the couple leaves, husband shoves
|
|
a five dollar bill into Mike's hands.
|
|
|
|
HUSBAND
|
|
We really appreciate it.
|
|
An agitated Mike takes a sip of whiskey.
|
|
|
|
MIKE
|
|
Are we good here? Cause I'm gonna go.
|
|
|
|
RIGGAN
|
|
See you tomorrow.
|
|
|
|
Mike places the dollar under one of the shot glasses and begins
|
|
to walk away, but then stops and turns curiously.
|
|
|
|
MIKE
|
|
Why Raymond Carver? You never told me.
|
|
|
|
Riggan looks at Mike for a second, than reaches for his wallet
|
|
and produces an old cocktail napkin with some writing on it. He
|
|
slides it to Mike.
|
|
|
|
RIGGAN
|
|
A long time ago, I did a play back in
|
|
high school in Michigan. He was in the
|
|
audience. He sent this backstage after.
|
|
|
|
MIKE
|
|
"Thank you for an honest performance. Ray
|
|
Carver." What is this?
|
|
|
|
Riggan looks vulnerable. He is trying to make Mike understand
|
|
the importance of the napkin, to build a bridge between them.
|
|
RIGGAN
|
|
And that's when I knew I was going to
|
|
be an actor.
|
|
|
|
Mike can't stop himself from smiling.
|
|
|
|
RIGGAN (CONT'D)
|
|
Why is that funny?
|
|
|
|
MIKE
|
|
He wrote it on a cocktail napkin.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 46.
|
|
|
|
RIGGAN
|
|
So...
|
|
|
|
Mike slides the napkin back to Riggan.
|
|
|
|
MIKE
|
|
He was drunk.
|
|
|
|
A17 A17
|
|
|
|
He walks away and we follow him as he passes by the bar next
|
|
to Tabitha Dickinson, the Critic.
|
|
|
|
TABITHA
|
|
You headed to Hollywood, Mike?
|
|
|
|
Mike stops.
|
|
MIKE
|
|
Hollywood's headed here, Tabby.
|
|
|
|
TABITHA
|
|
(A devilish smile.)
|
|
Good luck with that.
|
|
|
|
Mike looks directly into her eyes.
|
|
|
|
MIKE
|
|
"A man becomes a critic when he can not be an
|
|
artist, in the same way that a man becomes an
|
|
informer when he cannot be a soldier."
|
|
Flaubert, right?
|
|
|
|
He flashes his own devilish smile. She stares back. If she
|
|
weren't so much older than him, you'd swear there was sexual
|
|
electricity between them.
|
|
|
|
TABITHA
|
|
He's a Hollywood clown in a Lycra bird
|
|
suit.
|
|
|
|
MIKE
|
|
Yeah. And at 8 o'clock tomorrow, he's gonna
|
|
get on stage and risk everything. What're
|
|
you gonna be doing?
|
|
|
|
A standoff.
|
|
|
|
TABITHA
|
|
Don't you ever worry that I'll give you a
|
|
bad review?
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 47.
|
|
|
|
MIKE
|
|
Oh, I'm sure you will. If I ever give a bad
|
|
performance.
|
|
(Beat.)
|
|
Ms. Dickinson.
|
|
|
|
TABITHA
|
|
Mr. Shiner.
|
|
|
|
Mike smiles and waves over to an obviously nervous Riggan. He
|
|
goes toward the exit, but we stay with Tabitha, scribbling on
|
|
her notebook. Suddenly she raises her eyes and, with a dark
|
|
expression, looks at Riggan who is passing by.
|
|
|
|
We follow Riggan toward the exit. Through the window we see him
|
|
leave the restaurant. Then we pan to a wooden wall, and this
|
|
wall takes us to...
|
|
|
|
19 INT. HALLWAY - THEATER - LATER 19
|
|
|
|
...the theater hallway. Riggan walks through the quiet corridor,
|
|
until he arrives at...
|
|
|
|
20 INT. GREEN ROOM - THEATER - CONTINUOUS 20
|
|
...the Green Room. Sam sits listlessly, drawing some lines
|
|
across a roll of toilet paper.
|
|
|
|
RIGGAN
|
|
What're you still doing here?
|
|
|
|
SAM
|
|
(Continues scribbling.)
|
|
Nothing. I'm-- Nothing. Your costumes are
|
|
hanging in your room.
|
|
|
|
RIGGAN
|
|
Great...
|
|
|
|
SAM
|
|
I got the coconut water you wanted. If you
|
|
want me to get--
|
|
|
|
RIGGAN
|
|
Hey.
|
|
|
|
SAM
|
|
What?
|
|
|
|
RIGGAN
|
|
I'm not sure if I said thank you.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 48.
|
|
|
|
SAM
|
|
For what?
|
|
|
|
RIGGAN
|
|
All of it. You've been doing a good job.
|
|
And I've been...
|
|
|
|
SAM
|
|
Yeah.
|
|
|
|
RIGGAN
|
|
So, I just wanted to say that--
|
|
(He stops abruptly.)
|
|
What is that?
|
|
|
|
SAM
|
|
What...?
|
|
|
|
RIGGAN
|
|
That smell.
|
|
SAM
|
|
I don't--
|
|
|
|
RIGGAN
|
|
Look at me.
|
|
|
|
SAM
|
|
What are you--
|
|
|
|
RIGGAN
|
|
Look at me.
|
|
|
|
She does. He examines her eyes, then immediately rises, scouring
|
|
the room.
|
|
|
|
SAM
|
|
Dad...
|
|
|
|
RIGGAN
|
|
(Continuing to search.)
|
|
You have to be shitting me... Where is it?
|
|
|
|
SAM
|
|
Could we not do this?
|
|
|
|
Riggan pulls a jar of peanut butter from the trash.
|
|
|
|
RIGGAN
|
|
What is this?
|
|
|
|
SAM
|
|
That is chunky peanut butter that happens,
|
|
by the way, to have Omega--
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 49.
|
|
|
|
Riggan pulls a stubbed joint out of the jar.
|
|
|
|
RIGGAN
|
|
This.
|
|
|
|
SAM
|
|
Oh. That's pot.
|
|
|
|
RIGGAN
|
|
Sam.
|
|
SAM
|
|
Alright, just relax.
|
|
|
|
RIGGAN
|
|
Relax? What the hell are you doing?
|
|
|
|
SAM
|
|
Protecting myself from cataracts?
|
|
|
|
RIGGAN
|
|
You can't do this to me!
|
|
|
|
SAM
|
|
To you?
|
|
|
|
RIGGAN
|
|
SHUT UP! You know what I'm talking about.
|
|
|
|
SAM
|
|
Yeah. You're talking about you. What else
|
|
is new?
|
|
|
|
RIGGAN
|
|
Don't try to--
|
|
|
|
SAM
|
|
What? Make it about me? I wouldn't dream of
|
|
it.
|
|
|
|
RIGGAN
|
|
Listen to me. I'm trying to do something
|
|
that's important...
|
|
|
|
SAM
|
|
This is not important.
|
|
|
|
RIGGAN
|
|
It's important to me! Alright? Maybe not to
|
|
you, or your cynical playmates whose sole
|
|
ambition is to end up going viral and who,
|
|
by the way, will only be remembered as the
|
|
generation that finally stopped talking to
|
|
one another. But to me... To me... This is--
|
|
God. This is my career, this is my chance
|
|
(MORE)
|
|
(CONTINUED)
|
|
10/29/14 / 50.
|
|
RIGGAN (CONT'D)
|
|
to do some work that actually means
|
|
something.
|
|
|
|
SAM
|
|
Means something to who? You had a career
|
|
before the third comic book movie, before
|
|
people began to forget who was inside the
|
|
bird costume. You're doing a play based on
|
|
a book that was written 60 years ago, for
|
|
a thousand rich, old white people whose
|
|
only real concern is gonna be where they
|
|
go to have their cake and coffee when it's
|
|
over. Nobody gives a shit but you. And
|
|
let's face it, Dad, it's not for the sake
|
|
of art. It's because you just want to feel
|
|
relevant again. Well, there's a whole
|
|
world out there where people fight to be
|
|
relevant every day. And you act like it
|
|
doesn't even exist! Things are happening
|
|
in a place that you willfully ignore, a
|
|
place that has already forgotten you. I
|
|
mean who are you? You hate bloggers. You
|
|
make fun of twitter. You don't even have a
|
|
Facebook page. You're the one who doesn't
|
|
exist. You're doing this because you're
|
|
scared to death, like the rest of us, that
|
|
you don't matter. And you know what?
|
|
You're right. You don't. It's not
|
|
important. You're not important. Get used
|
|
to it.
|
|
|
|
Silence. Riggan seems devastated, and Sam can see that.
|
|
|
|
Sam (CONT'D)
|
|
Dad...
|
|
|
|
She looks at him sympathetically, but not knowing what to
|
|
say... exits.
|
|
|
|
After a moment Riggan gets up and heads for the trash can. He
|
|
digs out the roach, grabs some matches and lights it. Music
|
|
begins to sound. He inhales deeply and holds the smoke for a
|
|
few seconds and finally exhales. He coughs, tosses away the
|
|
joint and heads out of the kitchen. We follow him...
|
|
|
|
21 INT. HALLWAY - THEATRE - CONTINUOUS 21
|
|
|
|
...as he slowly walks until he disappears into the darkness of
|
|
the corridor. We keep moving forward until we end up...
|
|
10/29/14 / 51.
|
|
|
|
A21 INT. BACKSTAGE - THEATRE - EVENING A21
|
|
|
|
...backstage. We are in the middle of the second preview. The
|
|
music continues, it belongs to the play.
|
|
|
|
Laura is by herself on stage performing the end of a scene. She
|
|
stands in the middle of a surrealistic forest set, at dusk.
|
|
There is fog, and trees. A strong, artificial wind blows
|
|
through Laura's hair. Desolate music.
|
|
|
|
LAURA
|
|
(To the audience as soliloquy.)
|
|
In the days before Nick's depression really
|
|
started to eat away at him, he had no idea
|
|
I was pregnant. And I never intended on
|
|
telling him. I guess we make choices in
|
|
life, and we choose to live with them. Or
|
|
not. I didn't want that baby...
|
|
|
|
Three dancers on stage pass by in front of Laura. We follow
|
|
the dancers backstage where we find Mike and Lesley wearing
|
|
pajamas.
|
|
LAURA (O.S.) (CONT'D)
|
|
...Not because I didn't love Nick. And not
|
|
because I didn't love the-- The idea of
|
|
it. But because I just wasn't ready to
|
|
love myself. There's a certain distance to
|
|
it all now. A wistful distance.
|
|
Underscored by a gentle breeze and the
|
|
sound of the birds... laughing at the
|
|
whimsy of it all.
|
|
|
|
A stage hand helps Mike and Lesley into a double bed. The
|
|
camera slips under the covers with them and stays there.
|
|
|
|
MIKE
|
|
(Whispering.)
|
|
Hey, Les...
|
|
|
|
LESLEY
|
|
(Whispering.)
|
|
What?
|
|
MIKE
|
|
I'm hard.
|
|
|
|
LESLEY
|
|
No, you're not. It's just that sometimes
|
|
you don't consider other people's feelings.
|
|
|
|
MIKE
|
|
No. I'm hard. Feel.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 52.
|
|
|
|
LESLEY
|
|
Oh, you gotta be kidding.
|
|
|
|
The stage begins to revolve as we hear...
|
|
|
|
|
|
22 INT. STAGE - THEATER - CONTINUOUS 22
|
|
...music through the transition. It remains dark.
|
|
|
|
MIKE
|
|
Let's really do this. Let's fuck.
|
|
|
|
LESLEY
|
|
Are you crazy? No.
|
|
|
|
Mike rolls on top of Lesley.
|
|
|
|
LESLEY (CONT'D)
|
|
Cut it out...
|
|
|
|
Mike continues to maneuver himself.
|
|
|
|
LESLEY (CONT'D)
|
|
I'm serious, Mike. Stop!
|
|
|
|
MIKE
|
|
I'm Mel. Not Mike. Mel.
|
|
A knock on a door.
|
|
|
|
RIGGAN (O.S.)
|
|
Terri! Terri!
|
|
|
|
A furious Lesley tries to reposition herself under Mike.
|
|
|
|
RIGGAN (O.S.) (CONT'D)
|
|
Terri! I know you're in there!
|
|
|
|
The knocking gets louder.
|
|
|
|
RIGGAN (O.S.) (CONT'D)
|
|
Terri???
|
|
|
|
Mike, lost in his libido, has begun to have sex with Lesley.
|
|
The camera comes out from under the covers and pans to Riggan
|
|
who stumbles into what is now the Motel Room set. He wears a
|
|
mustache and a long wig, that makes him look like a wild man.
|
|
He holds a gun in his right hand. A neon "Motel" sign is
|
|
illuminated. A clever effect of falling rain is visible behind
|
|
the set, accompanied by the appropriate sound effect. Riggan
|
|
is wet because of the "rain".
|
|
|
|
Lesley uses Riggan's entrance to escape from Mike.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 53.
|
|
|
|
LESLEY
|
|
Ed!
|
|
|
|
Mike hops out of bed, unaware of the very noticeable erection
|
|
protruding underneath his pajama bottoms.
|
|
|
|
Some laughter from the audience.
|
|
|
|
LESLEY (CONT'D)
|
|
What are you doing here?
|
|
Lesley doesn't understand the audience response, until she
|
|
notices the erection herself.
|
|
|
|
RIGGAN
|
|
(To Lesley.)
|
|
Why? I need you to tell me why. I lived for
|
|
you. I worshipped you...
|
|
|
|
MIKE
|
|
Listen Ed, I know this is hard but--
|
|
More laughter. Riggan is disturbed, but he continues...
|
|
|
|
RIGGAN
|
|
(to Mike)
|
|
Fuck you. Shut up. Fuck you.
|
|
|
|
He shoves Mike violently to the floor.
|
|
|
|
LESLEY
|
|
Eddie! Please!
|
|
|
|
Riggan points the gun at Mike's head.
|
|
|
|
RIGGAN
|
|
What's wrong with me? Why do I end up
|
|
having to beg people to love me?
|
|
|
|
LESLEY
|
|
Ed. Eddie. Please... Give me the gun.
|
|
She begins to cry. Her performance is beautiful.
|
|
|
|
LESLEY (CONT'D)
|
|
Just look at me. I was drowning. I
|
|
was not capable of-- You deserve to
|
|
be loved. You do.
|
|
|
|
RIGGAN
|
|
I just wanted to be what you wanted.
|
|
(Beat.)
|
|
Now I spend every fucking minute praying to
|
|
be someone else. Someone I'm not. Anyone...
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 54.
|
|
|
|
MIKE
|
|
Put down the gun, Ed. She just doesn't love
|
|
you anymore.
|
|
|
|
The audience is silent.
|
|
|
|
RIGGAN
|
|
(A sad smile.)
|
|
You don't, do you?
|
|
|
|
LESLEY
|
|
(With sympathy.)
|
|
No...
|
|
|
|
RIGGAN
|
|
And you never will...
|
|
|
|
LESLEY
|
|
I'm sorry.
|
|
|
|
RIGGAN
|
|
(A revelation.)
|
|
I don't exist. I'm not even here. I don't
|
|
exist. None of this matters.
|
|
|
|
Riggan points the gun at Lesley. Then at Mike. Finally, he puts
|
|
the gun to his own head and pulls the trigger. PUM! And with the
|
|
explosion, a fake blood mechanism splatters brains onto the
|
|
stage. Riggan drops to the floor.
|
|
|
|
A blackout. The audience applauds politely. The curtain falls.
|
|
We follow Riggan off stage and into...
|
|
|
|
23 INT. BACKSTAGE - THEATER - CONTINUOUS 23
|
|
...the wings, where Annie immediately helps him remove the
|
|
bloody and wet wig with the propeller mechanism. Laura waits
|
|
next to them for their bows. Meanwhile, a stage hand crosses
|
|
behind them, and we follow him as he goes on stage to...
|
|
|
|
24 INT. STAGE - THEATER - CONTINUOUS 24
|
|
|
|
...reposition some scenery for the curtain call. The camera
|
|
carries us to the other side of the stage, where Mike and Lesley
|
|
are in a heated exchange...
|
|
|
|
MIKE
|
|
Just, keep your voice down...
|
|
|
|
LESLEY
|
|
(Furious.)
|
|
You have to be shitting me. You can't get it
|
|
up in six months...
|
|
(MORE)
|
|
(CONTINUED)
|
|
10/29/14 / 55.
|
|
LESLEY (CONT'D)
|
|
(She starts hitting him.)
|
|
...and now you try to fuck me in front of
|
|
eight hundred strangers???
|
|
|
|
MIKE
|
|
What do you want from me? I have to feel it.
|
|
You know that. I told you that from the--
|
|
|
|
LESLEY
|
|
Oh, fuck you...
|
|
Music begins and the curtain rises. The audience applauds as
|
|
Lesley and Mike stride onto the stage and take their bows,
|
|
smiles plastered on their faces.
|
|
|
|
MIKE
|
|
...I was in the moment...
|
|
|
|
LESLEY
|
|
I told you to stop. You fucking animal.
|
|
MIKE
|
|
But... You were incredible.
|
|
|
|
LESLEY
|
|
What is wrong with you?
|
|
|
|
Lesley starts back for the wings, and Mike follows her. In the
|
|
background we see Riggan and Laura enter from the other side to
|
|
take their bows.
|
|
|
|
MIKE
|
|
Listen I'm sorry, alright, I--
|
|
|
|
LESLEY
|
|
I want your shit out of the apartment.
|
|
|
|
They go back on stage and join Riggan and Laura for the company
|
|
bow.
|
|
|
|
MIKE
|
|
Can we--
|
|
|
|
LESLEY
|
|
No we can't. Maybe up here you're Mr. Truth,
|
|
Mike. But in the real world, where it counts,
|
|
you're a fraud. How's that for truth? You...
|
|
dick.
|
|
|
|
Lesley storms off, leaving Mike and a confused Riggan on stage.
|
|
Laura chases her off and straight into...
|
|
10/29/14 / 56.
|
|
|
|
25 INT. HALLWAY - THEATER - CONTINUOUS 25
|
|
|
|
...the hallway.
|
|
|
|
LAURA
|
|
What's going on?
|
|
|
|
LESLEY
|
|
He's an asshole.
|
|
|
|
LAURA
|
|
What did he do now?
|
|
LESLEY
|
|
Oh, nothing. He just tried to fuck me in
|
|
front of a full house.
|
|
|
|
LAURA
|
|
Oh, my God...
|
|
|
|
LESLEY
|
|
Right?
|
|
LAURA
|
|
That's kind of hot.
|
|
|
|
She follows Lesley into...
|
|
|
|
26 INT. LESLEY AND LAURA'S DRESSING ROOM - THEATER - CONTINUOUS
|
|
26
|
|
|
|
...the dressing room and closes the door. Lesley proceeds to
|
|
smash everything on her dressing table. Then she looks in the
|
|
mirror holding a hairbrush.
|
|
|
|
LESLEY
|
|
Why don't I have any self-respect?
|
|
|
|
LAURA
|
|
You're an actress, honey.
|
|
|
|
Lesley begins to cry. Laura hugs her.
|
|
LESLEY
|
|
I'm pathetic. You know, I've dreamt of
|
|
being a Broadway actress since I was a
|
|
little kid. And now I'm here. And I'm not a
|
|
Broadway actress. I'm still just a little
|
|
kid. And I keep waiting for someone to tell
|
|
me I made it.
|
|
|
|
LAURA
|
|
(Hiding how moved she is.)
|
|
Hey. You made it.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 57.
|
|
|
|
LESLEY
|
|
I did?
|
|
|
|
LAURA
|
|
Sadly, it was with Mike Shiner, on a fake
|
|
motel bed, in front of--
|
|
|
|
LESLEY
|
|
(A little laugh.)
|
|
Shut. Up.
|
|
Riggan steps into the doorway and sees Laura hugging Lesley.
|
|
|
|
RIGGAN
|
|
Is she okay?
|
|
|
|
LAURA
|
|
She's gonna be fine.
|
|
|
|
Riggan enters gingerly and walks up to Lesley.
|
|
RIGGAN
|
|
None of this is your fault.
|
|
(Into her eyes.)
|
|
You're beautiful. And talented. And I'm
|
|
lucky to have you. Okay?
|
|
|
|
LESLEY
|
|
Okay.
|
|
|
|
RIGGAN
|
|
Okay.
|
|
|
|
Riggan leaves the room. Laura leans on the makeup table.
|
|
|
|
LESLEY
|
|
That was very sweet.
|
|
|
|
LAURA
|
|
Yeah.
|
|
Laura is suddenly teary.
|
|
|
|
LESLEY
|
|
What's wrong?
|
|
|
|
A beat.
|
|
|
|
LAURA
|
|
(Smiling.)
|
|
Nothing. Two years, he's never said
|
|
anything like that to me.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 58.
|
|
|
|
LESLEY
|
|
(Into her eyes.)
|
|
Hey. You're smart. And beautiful. And
|
|
talented. And I'm lucky to have you. Okay?
|
|
|
|
LAURA
|
|
We're gross.
|
|
|
|
LESLEY
|
|
We are.
|
|
Laura smiles and caresses Lesley's hand. They look at each
|
|
other. Then Laura leans forward, close to Lesley's face...
|
|
|
|
LESLEY (CONT'D)
|
|
(Nervous.)
|
|
What are you doing?
|
|
|
|
LAURA
|
|
Nothing.
|
|
Laura kisses Lesley tenderly on the lips. Lesley seems
|
|
confused. A few seconds of silence. Then...
|
|
|
|
LESLEY
|
|
Do it again.
|
|
|
|
Laura kisses her again. A knock at the door. They separate.
|
|
Mike opens the door holding the prop gun.
|
|
|
|
MIKE
|
|
(To Lesley.)
|
|
Can we talk about this like two--
|
|
|
|
Lesley hurls the hair brush at his head.
|
|
|
|
LESLEY
|
|
FUCK YOU!!!
|
|
|
|
MIKE
|
|
Okay, well, you're not ready.
|
|
Mike points the prop gun at her, pretends to fire and...
|
|
|
|
MIKE (CONT'D)
|
|
That was hot.
|
|
|
|
He exits the room. We follow him...
|
|
|
|
27 INT. HALLWAY - THEATER - CONTINUOUS 27
|
|
...down the hallway up to Riggan's dressing room. Riggan sits
|
|
at his table, picking the brains out of his hair.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 59.
|
|
|
|
MIKE
|
|
(Holding the gun.)
|
|
Your gun is ridiculous. It looks like a
|
|
plastic toy. And it still has the red plug
|
|
in the barrel.
|
|
(Shows the plug.)
|
|
You look like a seven year old when
|
|
you're holding it. I'm not threatened
|
|
by it at all.
|
|
|
|
He tosses the gun onto Riggan's table.
|
|
MIKE (CONT'D)
|
|
Have some self respect and get a new one.
|
|
(Takes a step then turns.)
|
|
That was a fun crowd, huh?
|
|
|
|
We follow Mike to...
|
|
|
|
28 INT. STAIRS - THEATER - CONTINUOUS 28
|
|
...the stairs. He climbs them as he lights a cigarette. He goes
|
|
through a metal door that takes him out onto...
|
|
|
|
|
|
29 EXT. ROOFTOP - THEATER - CONTINUOUS 29
|
|
|
|
...a rooftop. The Marquis' of the other theaters glowing with
|
|
the street lamps, a classic Broadway view.
|
|
|
|
Mike is surprised to find Sam sitting on the cornice of the
|
|
building, a good fifty feet above 45th street. He goes next to
|
|
her, looking down at the street.
|
|
|
|
MIKE
|
|
I don't think it's high enough.
|
|
|
|
Sam turns to him, uncomfortable by his presence.
|
|
SAM
|
|
Me neither.
|
|
|
|
MIKE
|
|
So, what are you doing up here?
|
|
|
|
SAM
|
|
(Hesitant.)
|
|
Adrenaline. Just came out of rehab. Closest
|
|
I get to a drug.
|
|
|
|
MIKE
|
|
You were in rehab?
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 60.
|
|
|
|
SAM
|
|
(Distant.)
|
|
Yeah.
|
|
|
|
MIKE
|
|
Cool.
|
|
|
|
SAM
|
|
It wasn't all Dr. Drew or anything, but
|
|
that dude from American Pie was there.
|
|
A VOICE
|
|
(From the street below.)
|
|
Juuump!
|
|
|
|
SAM
|
|
(Calling down.)
|
|
Eat me!
|
|
|
|
A VOICE
|
|
Okay. Jump on my face!
|
|
SAM
|
|
(To Mike.)
|
|
I love this city.
|
|
|
|
MIKE
|
|
Yeah.
|
|
|
|
SAM
|
|
(Casually.)
|
|
Why do you act like a dick all the time? Do
|
|
you just do it to antagonize people?
|
|
|
|
MIKE
|
|
Maybe...
|
|
|
|
Sam turns and faces Mike.
|
|
|
|
SAM
|
|
You really don't give a shit if people like
|
|
you or not...
|
|
|
|
MIKE
|
|
Not really.
|
|
|
|
SAM
|
|
(More comfortable.)
|
|
God, that's cool.
|
|
|
|
MIKE
|
|
Is it...?
|
|
|
|
Mike leans on the railing, looking down at the street. For a
|
|
moment, he is somewhere else...
|
|
(CONTINUED)
|
|
10/29/14 / 61.
|
|
|
|
SAM
|
|
Hey.
|
|
(Mike doesn't respond. She pushes
|
|
him.)
|
|
Hey...
|
|
|
|
MIKE
|
|
What?
|
|
|
|
SAM
|
|
Let's play a game.
|
|
MIKE
|
|
A game?
|
|
|
|
SAM
|
|
Yeah.
|
|
|
|
MIKE
|
|
What are you, eight?
|
|
SAM
|
|
What are you, seventy-eight? Truth or
|
|
dare...?
|
|
|
|
MIKE
|
|
You gotta be--
|
|
|
|
SAM
|
|
Truth or dare?
|
|
|
|
He looks at her, intrigued.
|
|
|
|
MIKE
|
|
Truth.
|
|
|
|
SAM
|
|
The first time we met, you made a comment about
|
|
my ass. Why'd you do it?
|
|
|
|
MIKE
|
|
Because you have a great ass, and I noticed
|
|
it. So, I said it.
|
|
(A beat.)
|
|
Truth or dare?
|
|
|
|
SAM
|
|
Dare.
|
|
|
|
MIKE
|
|
Really...
|
|
|
|
SAM
|
|
Uh-huh.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 62.
|
|
|
|
A moment of tension.
|
|
|
|
MIKE
|
|
(Looking at the street.)
|
|
There's a bald guy about to walk by down
|
|
there. Spit on his head.
|
|
|
|
SAM
|
|
No!
|
|
|
|
MIKE
|
|
You said dare.
|
|
|
|
SAM
|
|
Truth.
|
|
|
|
MIKE
|
|
Too late.
|
|
|
|
She stares into Mike's eyes, knowing she's being tested. She
|
|
leans over the railing and spits down toward the street.
|
|
SAM
|
|
Happy?
|
|
|
|
MAN (O.C.)
|
|
(From the street)
|
|
Fuck you!
|
|
|
|
Sam laughs. Mike smiles at her carefree laugh. It could be the
|
|
first time we've seen a genuine smile from him.
|
|
|
|
SAM
|
|
Truth or dare?
|
|
|
|
MIKE
|
|
Truth.
|
|
|
|
SAM
|
|
You're boring.
|
|
MIKE
|
|
Truth.
|
|
|
|
She stares him down.
|
|
|
|
SAM
|
|
(Nervous, pretending.)
|
|
Do you want to fool around with me?
|
|
|
|
A pause.
|
|
|
|
MIKE
|
|
No.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 63.
|
|
|
|
SAM
|
|
(Taken aback.)
|
|
Really? Why not?
|
|
|
|
MIKE
|
|
That's a second question.
|
|
|
|
SAM
|
|
It's a second part.
|
|
|
|
A pause.
|
|
MIKE
|
|
I'd be afraid I couldn't get it up.
|
|
|
|
Impressed with his honesty.
|
|
|
|
SAM
|
|
That didn't seem to be a problem for you on
|
|
stage.
|
|
MIKE
|
|
Nothing's a problem for me on stage.
|
|
|
|
SAM
|
|
I wanna ask another question...
|
|
|
|
MIKE
|
|
You just asked--
|
|
|
|
SAM
|
|
One more.
|
|
|
|
MIKE
|
|
Go 'head.
|
|
|
|
SAM
|
|
If you weren't afraid. What would you want
|
|
to do to me?
|
|
|
|
He carefully considers it, then moves his face close to hers.
|
|
MIKE
|
|
I would want to pull the eyes out of your
|
|
head...
|
|
|
|
SAM
|
|
...That's sweet...
|
|
|
|
MIKE
|
|
...And stick them in my skull, and then
|
|
look out at this street and see it the way
|
|
I saw it when I was your age.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 64.
|
|
|
|
Mike turns and stares out at the street once more. Sam stares
|
|
at the mystery that is Mike.
|
|
|
|
SAM
|
|
G'night, Mike.
|
|
|
|
She walks away and into the building, never looking back.
|
|
|
|
A29 A29
|
|
|
|
Mike stares out into the night. We move to his POV. The street.
|
|
Night turns to day. Pedestrians begin to walk below.
|
|
|
|
|
|
B29 B29
|
|
|
|
We crawl down the wall until we arrive at Riggan's dressing
|
|
room window. We push in to find...
|
|
|
|
30 INT. RIGGAN'S DRESSING ROOM - THEATER - DAY 30
|
|
...Riggan siting with his feet on the window frame, staring at
|
|
a manila envelope in his hands that reads... "R, MALIBU
|
|
REFINANCE DOCS. SIGN AND SEND ASAP. J." Riggan sighs and props
|
|
the letter up against the mirror.
|
|
|
|
With a soft knock, Laura enters. She stands in the doorway with
|
|
an odd expression on her face.
|
|
|
|
RIGGAN
|
|
What now?
|
|
Laura lays the Arts section of the New York Times down in front
|
|
of Riggan.
|
|
|
|
LAURA
|
|
Don't kill the messenger.
|
|
|
|
Riggan picks up the paper. His expression immediately changes.
|
|
Laura watches him sympathetically.
|
|
|
|
LAURA (CONT'D)
|
|
He's an asshole.
|
|
|
|
Now we see the cover of the Arts section. There is a picture
|
|
of Mike lounging on a black sofa, his bare feet on a table as
|
|
he sips a glass of wine. The Title of the article reads...
|
|
"CARVING OUT HIS PLACE IN THEATER HISTORY. Shiner says Raymond
|
|
Carver is the reason he became an actor." Riggan involuntarily
|
|
squeezes the paper as he reads on, filling with rage.
|
|
|
|
BIRDMAN (V.O.)
|
|
He's fooling you.
|
|
(CONTINUED)
|
|
10/29/14 / 65.
|
|
|
|
RIGGAN
|
|
Shut up.
|
|
|
|
LAURA
|
|
(Confused.)
|
|
I didn't say anything.
|
|
|
|
RIGGAN
|
|
Fuck. This is it?
|
|
(He passes a few pages.)
|
|
This can't be it.
|
|
LAURA
|
|
Page twelve.
|
|
|
|
Riggan searches desperately for page twelve. When he gets
|
|
there, he finds a huge ad of the new Toyota Camry that almost
|
|
fills the entire page, and down in the left corner a tiny
|
|
press release with the title:
|
|
|
|
"From Birdman to Carver: An aging Action Hero Grasps for His
|
|
Youth."
|
|
|
|
RIGGAN
|
|
(Reading.)
|
|
"Riggan Thompson, better known as the face of
|
|
the Birdman films, tries not to lay an egg on
|
|
Broadway..."
|
|
(Flipping pages.)
|
|
Where's the rest of it?
|
|
|
|
LAURA
|
|
There is no rest of it.
|
|
|
|
RIGGAN
|
|
They didn't use the photo I sent them.
|
|
|
|
LAURA
|
|
What photo?
|
|
|
|
RIGGAN
|
|
The one you liked. The one you said
|
|
I look like a young Jack Nicholson.
|
|
|
|
LAURA
|
|
(She lights a candle.)
|
|
Don't worry about it. Someone'll be using
|
|
that to pick up dog shit tomorrow.
|
|
|
|
RIGGAN
|
|
How can you be so calm about this?
|
|
|
|
LAURA
|
|
What are my other choices?
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 66.
|
|
|
|
RIGGAN
|
|
Aren't you scared at all?
|
|
|
|
LAURA
|
|
About what?
|
|
|
|
RIGGAN
|
|
About being humiliated out there.
|
|
|
|
LAURA
|
|
It won't be the first time I've been
|
|
humiliated.
|
|
|
|
RIGGAN
|
|
I bet it won't.
|
|
|
|
Laura looks at him with fire in her eyes.
|
|
|
|
LAURA
|
|
You're an asshole.
|
|
She charges to the door and is about to leave when she turns
|
|
back to Riggan...
|
|
|
|
LAURA (CONT'D)
|
|
By the way... I'm not pregnant. So there's
|
|
one thing you don't have to worry about.
|
|
|
|
She leaves, slamming the door behind her.
|
|
|
|
Riggan remains still. Mike seems to be smirking at him right
|
|
through the cover of the Arts section...
|
|
|
|
BIRDMAN (V.O.)
|
|
That pretentious, little, theater fuck is
|
|
stealing your thunder.
|
|
|
|
Riggan charges out of the room and into...
|
|
|
|
31 INT. HALLWAY - THEATER - CONTINUOUS 31
|
|
|
|
...the hallway. He walks to Mike's dressing room, finds the
|
|
door half opened and enters...
|
|
|
|
|
|
32 INT. MIKE'S DRESSING ROOM - THEATER - CONTINUOUS 32
|
|
|
|
...discovering Mike lying in a sun bed. His arm is sticking
|
|
out of it, holding on to a copy of Borges's 'Labyrinths'.
|
|
|
|
Riggan yanks the sun bed open. Mike is asleep, wearing tiny
|
|
sun goggles. Riggan slams the lid down on him.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 67.
|
|
|
|
MIKE
|
|
What the fuck is going on!
|
|
|
|
RIGGAN
|
|
Get up!
|
|
|
|
MIKE
|
|
Back away.
|
|
|
|
RIGGAN
|
|
Get up.
|
|
Riggan slaps Mike on the arm.
|
|
|
|
MIKE
|
|
Ow, fuck that hurts!
|
|
|
|
RIGGAN
|
|
So, Carver is the reason you became an
|
|
actor?
|
|
MIKE
|
|
What?
|
|
|
|
RIGGAN
|
|
This is my play! I did the work. I raised the
|
|
money. I arrange the press.
|
|
|
|
MIKE
|
|
They called me for an interview. I said-- I
|
|
don't know, I said the first thing that
|
|
came to mind. Jesus, we got the cover of
|
|
the Arts section!
|
|
|
|
RIGGAN
|
|
You said the first-- Fuck the Arts section.
|
|
The first thing that came to mind? Right.
|
|
Cause that's you. Mr. Natural. Mr. Fuck the
|
|
scene, just stare at my massive hard-on.
|
|
Because that's the truth of the moment.
|
|
MIKE
|
|
You think it looked massive?
|
|
|
|
RIGGAN
|
|
Shut up. Shut the fuck up. You don't get
|
|
hard on my stage unless I tell you to.
|
|
|
|
MIKE
|
|
Your stage? This stage belonged to a lot of
|
|
great actor's, pal. But you are not one of
|
|
them.
|
|
|
|
Mike storms out of the room. Riggan follows him into...
|
|
10/29/14 / 68.
|
|
|
|
33 INT. HALLWAY - THEATER - CONTINUOUS 33
|
|
|
|
...the hallway. He slaps Mike on his sun burned back.
|
|
|
|
RIGGAN
|
|
So, you wrote your own lines?
|
|
|
|
He slaps him again.
|
|
|
|
MIKE
|
|
Ow. Fuck. Yes I did.
|
|
|
|
RIGGAN
|
|
You changed a few words, and mumbled a
|
|
little, you self absorbed prick.
|
|
|
|
MIKE
|
|
Look who's talking...
|
|
|
|
RIGGAN
|
|
Let me tell you something, you spiteful
|
|
nobody piece of shit.
|
|
MIKE
|
|
Nobody? My hard-on has already fifty
|
|
thousand views on youtube.
|
|
|
|
RIGGAN
|
|
Fifty thousand views? A cat playing with
|
|
a dildo has more than that.
|
|
|
|
MIKE
|
|
I don't care.
|
|
|
|
RIGGAN
|
|
Yes you do.
|
|
(Beat.)
|
|
Everybody says: "Mike is so honest". (Smacks
|
|
him.) "So truthful". (Smacks him again.)
|
|
|
|
MIKE
|
|
(Like a child.)
|
|
Ouch. Fuuuuuck. Cut the shit!
|
|
Riggan corners Mike against the wall.
|
|
|
|
RIGGAN
|
|
You said in the interview that your father
|
|
was a drunk, like Carver. Is that true
|
|
Mike? Is it really true?
|
|
|
|
Riggan stares intensely into Mike's eyes. Mike looks away.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 69.
|
|
|
|
RIGGAN (CONT'D)
|
|
Because my father was. My father was a mean
|
|
fucking drunk. Beat the shit out of us. But
|
|
we were okay with the beatings. You know
|
|
why? Because at least when he was beating
|
|
us, he wasn't thinking about taking us out
|
|
to his tool shed...
|
|
|
|
Mike's expression changes.
|
|
|
|
RIGGAN (CONT'D)
|
|
That sonofabitch would smile and say, "Do
|
|
you want to kneel down and unbuckle my
|
|
belt? Or do you want me to take it off and
|
|
use it?" I learned how to make myself numb.
|
|
But my sister-- (Holding back tears.) My
|
|
little sister...
|
|
|
|
Riggan can't go on. Mike is horrified.
|
|
|
|
MIKE
|
|
Jesus, Riggan. I'm really sorry. I
|
|
didn't-- That's fucking horrible...
|
|
|
|
RIGGAN
|
|
(Crazy smile.)
|
|
Yeah. It's also not true. See? (Cracking
|
|
up.) I can pretend too, you little dick!
|
|
|
|
Riggan shoves Mike violently.
|
|
|
|
RIGGAN (CONT'D)
|
|
Don't fuck with me, Mike.
|
|
|
|
MIKE
|
|
You're crazy...
|
|
|
|
RIGGAN
|
|
You have no idea what I'm capable of. You
|
|
understand me?
|
|
Riggan pulls the paper out of his back pocket.
|
|
|
|
RIGGAN (CONT'D)
|
|
Working with Riggan Thomson is like
|
|
waltzing with a monkey?
|
|
|
|
He smacks Mike in the head with the paper and begins to jump in
|
|
front of him, ready to fight.
|
|
|
|
RIGGAN (CONT'D)
|
|
Let's go. Put your hands up.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 70.
|
|
|
|
MIKE
|
|
(Tauntingly.)
|
|
Don't you want to go put on your tights and
|
|
your--
|
|
|
|
Riggan punches him on the face. Mike needs a few seconds to
|
|
understand what has just happened. Then they begin to wrestle
|
|
in the hallway. Mike breaks free from the headlock.
|
|
|
|
MIKE (CONT'D)
|
|
What are you gonna do? You gonna get rid of
|
|
me? Huh? What do you think my friend
|
|
Tabitha is going to write in the Times
|
|
after you get rid of me?
|
|
|
|
Riggan stares at Mike, paralyzed by the truth. Finally, he
|
|
turns and marches to his dressing room, and we follow him...
|
|
|
|
34 INT. RIGGAN'S DRESSING ROOM - THEATER - CONTINUOUS 34
|
|
|
|
...Riggan slams the door shut and paces in a rage. He glares at
|
|
a make-up box on the table and, points his finger at it, and
|
|
sends it flying across the room.
|
|
|
|
BIRDMAN (V.O.)
|
|
You are lame, Riggan. Rolling around
|
|
with that third rate actor in an 800
|
|
seat shithole like this.
|
|
|
|
RIGGAN
|
|
(Whispering.)
|
|
Breathing in, I feel my rage. Breathing
|
|
out, I embrace my mental formations.
|
|
|
|
BIRDMAN (V.O.)
|
|
You're going to let that poncey theater
|
|
fuck threaten you?
|
|
|
|
Riggan continues breathing deeply with his eyes tightly closed.
|
|
He smiles a tiny artificial smile.
|
|
|
|
RIGGAN
|
|
(Whispering.)
|
|
Breathing in, I am calm. Breathing out,
|
|
I ignore my mental formations. This is a
|
|
mental formation. This is a mental form--
|
|
|
|
BIRDMAN (V.O.)
|
|
Stop that shit. I am not a mental
|
|
formation. I am "you", asshole.
|
|
|
|
Riggan looks down at the poster on the floor.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 71.
|
|
|
|
RIGGAN
|
|
(Whispering.)
|
|
Leave me alone.
|
|
|
|
BIRDMAN (V.O.)
|
|
You were a movie star, remember?
|
|
Pretentious, but happy...
|
|
|
|
Riggan opens his eyes, slowly. A sad expression on his face.
|
|
|
|
RIGGAN
|
|
I was not happy.
|
|
|
|
BIRDMAN
|
|
...Ignorant but charming. Now you are a
|
|
tiny bitter cocksucker.
|
|
|
|
RIGGAN
|
|
Shut up! Stop whining! I was miserable!
|
|
|
|
BIRDMAN (V.O.)
|
|
Yeah. But fake miserable. Hollywood
|
|
miserable.
|
|
|
|
Riggan points his fingers at a lamp and sends it flying.
|
|
|
|
BIRDMAN (V.O.)
|
|
What are you trying to prove? Huh? That
|
|
you're an artist? You're not.
|
|
|
|
RIGGAN
|
|
Fuck you!
|
|
|
|
Riggan points his fingers at a chair and sends it flying.
|
|
|
|
BIRDMAN (V.O.)
|
|
Fuck you, coward! And fuck those critics
|
|
that made you quit. Our franchise
|
|
grossed billions worldwi--
|
|
|
|
RIGGAN
|
|
And billions of flies eat shit everyday!
|
|
So what? Does that make it good? (Beat.)
|
|
And I don't know if you've noticed, but
|
|
that was 1992! Look at me! (He takes off
|
|
his shirt.) This is what's left!
|
|
(Grabbing his neck.) This! (Grabbing his
|
|
chest.) This! (Totally exploding.) I'm
|
|
fucking disappearing! I'm the answer to a
|
|
fucking trivial pursuit question.
|
|
|
|
Riggan sits down, exhausted.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 72.
|
|
|
|
RIGGAN (CONT'D)
|
|
What part of that don't you get? You're
|
|
fucking dead.
|
|
|
|
BIRDMAN (V.O.)
|
|
We are not dead. We're--
|
|
|
|
RIGGAN
|
|
Stop saying 'we'! There is no 'we'. I am
|
|
not you. I'm Riggan fucking Thomson.
|
|
BIRDMAN (V.O.)
|
|
No. You're Birdman. Because without me, all
|
|
that's left is "you". A sad, selfish,
|
|
mediocre actor, grasping--
|
|
|
|
Riggan points his finger and sends the poster flying, spearing
|
|
it on a coat rack, piercing Birdman right through the heart.
|
|
Finally, silence. Until...
|
|
|
|
BIRDMAN (V.O.)
|
|
What the hell did you do that for? I liked
|
|
that poster.
|
|
|
|
A confused Riggan looks over to the wall, where the lamp on the
|
|
floor is creating a shadow of his figure. Only in the shadow, it
|
|
appears as if Riggan is wearing the Birdman costume. Stunned,
|
|
Riggan slowly lifts one arm and in the shadow we see a wing.
|
|
|
|
BIRDMAN (V.O.)
|
|
It's always 'we' brother.
|
|
|
|
The television turns on by itself, playing an episode of the
|
|
original Birdman cartoon. Riggan points his fingers at the tv
|
|
and sends it hurling at the shadow. Then he proceeds to
|
|
destroy everything in his room with his telekinetic powers.
|
|
|
|
We slowly pan to see that, behind Riggan, Jake stands on the
|
|
other side of the half-opened door. We push in on Jake,
|
|
watching in shock. The camera turns and becomes Jake's POV...
|
|
|
|
35 INT. HALLWAY - THEATER - CONTINUOUS 35
|
|
|
|
...and now, from his view, we see Riggan yelling at the shadow.
|
|
|
|
RIGGAN
|
|
Fuck you! Fuck you!
|
|
|
|
He picks up a chair and throws it down. He then picks up the
|
|
newspaper from the floor and tossing it all around. And now we
|
|
understand that he is not using telepathy. He has been using
|
|
only his hands. Completely mad. As Riggan turns to pick up
|
|
something else, he spots Jake on the other side of the door. He
|
|
immediately calms himself and walks over.
|
|
(CONTINUED)
|
|
10/29/14 / 73.
|
|
|
|
RIGGAN (CONT'D)
|
|
What's up?
|
|
|
|
JAKE
|
|
Um... Well. Two hours to curtain. Why don't
|
|
you rest a little bit?
|
|
|
|
RIGGAN
|
|
Yeah. Sure.
|
|
|
|
JAKE
|
|
Last preview, buddy. We're almost there.
|
|
|
|
RIGGAN
|
|
Okay.
|
|
|
|
JAKE
|
|
How ya doin?
|
|
|
|
RIGGAN
|
|
Good. Great.
|
|
JAKE
|
|
Good. That's good.
|
|
(A beat.)
|
|
The, uh, money came through. I just have to
|
|
transfer it to the account.
|
|
|
|
RIGGAN
|
|
Oh, that's terrific...
|
|
|
|
JAKE
|
|
Okay. Well, I'm gonna do that.
|
|
(He stares at Riggan who
|
|
seems about to collapse.)
|
|
You know I'm proud of you, right? This took
|
|
balls. And you did it.
|
|
|
|
Riggan nods. An exhausted sadness in his eyes.
|
|
|
|
RIGGAN
|
|
I can't do this anymore, Jake.
|
|
|
|
JAKE
|
|
What?
|
|
|
|
RIGGAN
|
|
I think I'm gonna cancel the
|
|
preview. I'm exhausted.
|
|
|
|
JAKE
|
|
It's a joke, right? (He forces a
|
|
laugh.) Good one, Riggan.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 74.
|
|
|
|
RIGGAN
|
|
I'm starting to believe that this is not
|
|
for me. The applause is... lukewarm. I
|
|
think they're laughing at me.
|
|
|
|
JAKE
|
|
What are you--? Listen. There's a three
|
|
block line of people waiting to see you.
|
|
We are sold out. It's a full house.
|
|
|
|
RIGGAN
|
|
Really?
|
|
|
|
JAKE
|
|
Yes. And the French embassador is
|
|
coming. And the prince of Saudi Arabia,
|
|
with one of his wives. And... I wasn't
|
|
going to tell you this, but-- Martin
|
|
Scorsese. He's casting for his new
|
|
film. But don't tell anyone, okay? This
|
|
is between you and me.
|
|
RIGGAN
|
|
Okay. I'll be ready.
|
|
|
|
Riggan smiles. He has forgotten about his existential doubts.
|
|
A worried Jake closes the door. He walks a few steps and
|
|
finds Laura and Lesley. They've been listening to his
|
|
conversation with Riggan.
|
|
|
|
LESLEY
|
|
How is he?
|
|
|
|
JAKE
|
|
He'll be okay.
|
|
|
|
LESLEY
|
|
Poor creature.
|
|
|
|
LAURA
|
|
Is it true? Scorsese?
|
|
JAKE
|
|
Yes. And the new Pope too.
|
|
(Beat.)
|
|
|
|
They both understand.
|
|
|
|
LAURA
|
|
You're an asshole, Jake.
|
|
|
|
JAKE
|
|
I'm the one keeping this boat afloat.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 75.
|
|
|
|
LESLEY
|
|
So there is no line of people out there?
|
|
|
|
JAKE
|
|
I don't know. Now go and get ready.
|
|
That's your job.
|
|
(He begins to walk.)
|
|
I'll better invest in a taco truck, or
|
|
a strip joint near the airport.
|
|
|
|
Laura leaves. We follow Lesley up to Riggan's dressing room.
|
|
She knocks on the door. Nothing. Silence. She half-opens the
|
|
door and, from behind her, we see Riggan examining his right
|
|
hand. He has blood falling from the palm to the wrist.
|
|
|
|
LESLEY
|
|
Are you okay?
|
|
|
|
RIGGAN
|
|
(Smiles.)
|
|
Yeah, I-- This is nothing. Shaving.
|
|
He cleans his hand against his trousers.
|
|
|
|
LESLEY
|
|
I just want to say I'm sorry.
|
|
|
|
RIGGAN
|
|
For what?
|
|
|
|
LESLEY
|
|
I knew what Mike was capable of,
|
|
and I brought him in, anyway.
|
|
|
|
RIGGAN
|
|
You did good.
|
|
|
|
Lesley nods. A beat.
|
|
|
|
LESLEY
|
|
Tomorrow's my first opening night
|
|
on Broadway.
|
|
|
|
RIGGAN
|
|
Mine too.
|
|
|
|
LESLEY
|
|
And I want you to know that,
|
|
whatever happens, I'll always be
|
|
grateful to you for that.
|
|
|
|
RIGGAN
|
|
Me too. It's going to be great. Full
|
|
house.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 76.
|
|
|
|
She looks at him with tender eyes. Then we follow her along
|
|
the corridor until she passes by Mike's dressing room. Mike
|
|
half-opens the door and sees Lesley walking by. He has a
|
|
black eye. He waits for Lesley to be completely gone, and
|
|
then he comes out of his dressing room and we follow him up
|
|
the stairs to...
|
|
|
|
38 EXT. ROOFTOP - THEATER - DUSK 38
|
|
...the rooftop. He finds Sam standing on the cornice, looking
|
|
at the street.
|
|
|
|
MIKE
|
|
For fuck's sake, just jump already.
|
|
|
|
Sam stares out, a smile creeping over her face.
|
|
SAM
|
|
How did you know I'd be up here?
|
|
|
|
MIKE
|
|
I didn't. I was just hoping.
|
|
|
|
Silence. Mike walks up next to her and stares out as well.
|
|
|
|
SAM
|
|
Where's Lesley?
|
|
|
|
MIKE
|
|
Moving on.
|
|
|
|
SAM
|
|
Smart girl...
|
|
|
|
MIKE
|
|
I appreciate that.
|
|
A beat.
|
|
|
|
SAM
|
|
Ready for the last preview?
|
|
(Noticing his black eye.)
|
|
Who did that to you?
|
|
|
|
Mike smiles. No answer.
|
|
|
|
SAM (CONT'D)
|
|
Could have been anybody, I guess.
|
|
(After a beat.)
|
|
I'm sort of hoping it was Lesley.
|
|
He barely says no, smiling, and lights a cigarette. She
|
|
understands.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 77.
|
|
|
|
SAM (CONT'D)
|
|
Oh, don't tell me...
|
|
|
|
Silence.
|
|
|
|
MIKE
|
|
What's the worst thing he ever did to
|
|
you?
|
|
|
|
Sam is surprised by the question. She thinks for a moment.
|
|
SAM
|
|
He was never around, so...
|
|
|
|
MIKE
|
|
That was--?
|
|
|
|
SAM
|
|
No. That was-- Who gives a shit. It
|
|
was the way he tried to make up for
|
|
it by constantly trying to convince
|
|
me I was special. (A beat.) What
|
|
about you?
|
|
|
|
MIKE
|
|
My dad?
|
|
|
|
SAM
|
|
Yeah.
|
|
|
|
MIKE
|
|
He pretended I was his son.
|
|
|
|
She stares him down. Silence.
|
|
|
|
SAM
|
|
So, what happens now?
|
|
|
|
MIKE
|
|
I have no idea...
|
|
SAM
|
|
Yeah...
|
|
|
|
A beat.
|
|
|
|
MIKE
|
|
He was right, though.
|
|
|
|
SAM
|
|
About what?
|
|
|
|
MIKE
|
|
About your being special. You're hanging
|
|
around here trying to make yourself
|
|
(MORE)
|
|
(CONTINUED)
|
|
10/29/14 / 78.
|
|
MIKE (CONT'D)
|
|
invisible behind that fragile little fuck
|
|
up routine. But you can't. You're
|
|
anything but invisible. You're big. And
|
|
you're sort of this really great mess, a
|
|
candle burning at both ends, and no
|
|
amount of booze or pills is gonna hide
|
|
that.
|
|
|
|
Sam tosses Mike's cigarette over the balcony, and kisses him.
|
|
He leans into the kiss.
|
|
MAN'S VOICE
|
|
(From below.)
|
|
Jesus Fuck!
|
|
|
|
She suddenly pulls away.
|
|
|
|
SAM
|
|
It's a good thing you're an actor and not a
|
|
writer cause that little speech was just
|
|
like, Oprah... Hallmark... R. Kelly bad.
|
|
She kisses him lightly one more time and then walks away. When
|
|
she gets to the door she stops and leans on the frame.
|
|
|
|
SAM (CONT'D)
|
|
Truth or dare?
|
|
|
|
MIKE
|
|
Truth.
|
|
|
|
SAM
|
|
No.
|
|
|
|
MIKE
|
|
Truth.
|
|
|
|
SAM
|
|
No. Truth or dare?
|
|
|
|
The slightest smile as she exits through the door, and after a
|
|
short pause, Mike follows...
|
|
|
|
39 INT. HALLWAYS - THEATRE - CONTINUOUS 39
|
|
|
|
...along a darkened hallway. They reach a tiny wooden door and
|
|
Sam leads the way through it.
|
|
|
|
MIKE
|
|
Do you have any idea where you're going?
|
|
|
|
SAM
|
|
Absolutely not.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 79.
|
|
|
|
She continues on until she gets to...
|
|
|
|
|
|
40 INT. ABOVE STAGE - THEATER - CONTINUOUS 40
|
|
|
|
...the "grid" above stage where the lights are located. We can
|
|
see, below us, the empty seats of the auditorium and the
|
|
kitchen set.
|
|
|
|
MIKE
|
|
What now...?
|
|
|
|
Mike reaches up to kiss her. She stops him.
|
|
|
|
SAM
|
|
How do you do it?
|
|
MIKE
|
|
What?
|
|
|
|
SAM
|
|
How do you go out there and pretend to be
|
|
someone else in front of all those people?
|
|
|
|
MIKE
|
|
I don't pretend. Not out there. Just about
|
|
every place else, but never out there.
|
|
|
|
SAM
|
|
Good to know.
|
|
|
|
They stare at one another...
|
|
|
|
MIKE
|
|
What are we doing here?
|
|
|
|
SAM
|
|
What do you mean?
|
|
|
|
MIKE
|
|
I mean, what are we doing here?
|
|
|
|
She moves in.
|
|
|
|
SAM
|
|
Adrenaline...
|
|
They kiss. The camera begins to drift down toward the stage...
|
|
|
|
RIGGAN (O.S.)
|
|
Fucking teenager.
|
|
|
|
As the camera continues down from the grid, we discover an
|
|
auditorium full of people staring at the actors on stage.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 80.
|
|
|
|
RIGGAN (O.S) (CONT'D)
|
|
By the time I got to the hospital, the
|
|
kid was dead. He was off in a corner
|
|
laid out on a gurney. We took the old
|
|
couple up to the O.R.. They were a
|
|
mess. We worked like hell on them for
|
|
most of the night...
|
|
|
|
We pan along the auditorium back to the stage to find Riggan,
|
|
Mike, Lesley and Laura in the kitchen.
|
|
RIGGAN (CONT'D)
|
|
When we were done, we wrapped them in
|
|
full body casts. The husband was
|
|
depressed. Even when I told him his
|
|
wife was gonna pull through, he was
|
|
still depressed. So, I got up to his
|
|
mouth hole and asked him, and he told
|
|
me it was because he couldn't see her
|
|
through the eye holes. Can you imagine?
|
|
I'm telling you, the man's heart was
|
|
breaking because he couldn't turn his
|
|
goddamn head and see his goddamn wife.
|
|
|
|
LESLEY
|
|
(In genuine tears.)
|
|
That's terrible. (Beat.) Perfect.
|
|
And terrible.
|
|
|
|
She is crushed. Laura holds Lesley, trying to control her own
|
|
emotion.
|
|
|
|
RIGGAN
|
|
(Taking this in.)
|
|
Yeah. So I guess what we have to
|
|
ask ourselves is... What do we talk
|
|
about when we talk about love?
|
|
|
|
The lights go to a blackout and the audience applauds as some
|
|
scene change music plays. As we follow Riggan off stage, the
|
|
lights are turned on again, but now they have an orange mood.
|
|
Lesley is the only one on stage, doing a monologue.
|
|
|
|
LESLEY
|
|
Mel and I have been together five
|
|
years, been married for four. But
|
|
it was Ed who taught me something
|
|
no one else could... He taught me
|
|
what it felt like to really feel
|
|
loved. And the terrible thing is
|
|
that if something happened to Mel
|
|
or myself, if something happened to
|
|
either one of us tomorrow, I think
|
|
the other one would grieve for a
|
|
while, you know, but then would go
|
|
(MORE)
|
|
(CONTINUED)
|
|
10/29/14 / 81.
|
|
LESLEY (CONT'D)
|
|
out and love again, have someone
|
|
else soon enough. All this-- All of
|
|
this love we're talking about... it
|
|
would just be a memory. Maybe not
|
|
even a memory. Am I wrong? I mean,
|
|
I don't know anything. And I'm the
|
|
first one to admit it.
|
|
|
|
A Dresser waits in the wings to help Riggan with his change.
|
|
|
|
DRESSER
|
|
That was amazing!
|
|
|
|
Riggan looks proud. Things are finally going well. He undresses
|
|
to his underwear and puts on a robe and his moccasins, as the
|
|
stage begins to revolve. Laura, in costume, walks up beside
|
|
him. Over the following dialogue, the kitchen gives way to the
|
|
extravagant garden set we saw before.
|
|
|
|
LAURA
|
|
(A bit distant.)
|
|
It's actually going well.
|
|
|
|
RIGGAN
|
|
Yeah. (A beat.) Hey. I think we have to
|
|
talk.
|
|
|
|
LAURA
|
|
(Sad smile.)
|
|
No. We don't.
|
|
|
|
Riggan nods.
|
|
|
|
RIGGAN
|
|
Right. (Beat.) We will eventually,
|
|
though, `cause that's the only way I get
|
|
to say I'm sorry. I really am.
|
|
|
|
Silence.
|
|
|
|
LAURA
|
|
We could've made good parents.
|
|
|
|
RIGGAN
|
|
Horrible. We would've been just--
|
|
|
|
LAURA
|
|
Awful. Would have raised, like...
|
|
|
|
RIGGAN
|
|
...a serial killer...
|
|
|
|
LAURA
|
|
...or Justin Bieber.
|
|
(She smiles at him.)
|
|
(MORE)
|
|
(CONTINUED)
|
|
10/29/14 / 82.
|
|
LAURA (CONT'D)
|
|
I'm not really the housewife type anyway. I
|
|
thought I could be a mom. My body seems to
|
|
disagree.
|
|
|
|
The lights come up and Laura walks onto the stage.
|
|
|
|
LAURA (CONT'D)
|
|
(Back to him.)
|
|
You were right. This was fun.
|
|
Riggan watches her go, but something else grabs his attention.
|
|
We pan across the stage to see Sam and Mike on the other side.
|
|
They talk and laugh. Sam kisses Mike softly. Mike playfully
|
|
grabs her ass.
|
|
|
|
We pan back to Riggan. His expression morphs from broken-
|
|
hearted to rage. He marches over to a stage hand.
|
|
RIGGAN
|
|
You have a cigarette?
|
|
|
|
The stage hand holds out a pack, Riggan takes one.
|
|
|
|
STAGE HAND
|
|
You need a light?
|
|
|
|
Riggan snatches the lighter and storms out through the hallway,
|
|
and out the back door of the theater to...
|
|
|
|
41 EXT. AN ALLEY WAY - OUTSIDE THE THEATER - CONTINUOUS 41
|
|
|
|
...the alley. Down at the end, we can see the tourists making
|
|
their way about the streets. Riggan lights the cigarette and
|
|
leans back against the stage door trying to calm himself.
|
|
|
|
RIGGAN
|
|
Breathing in, I calm myself. Breathing out,
|
|
I ease myself.
|
|
|
|
But this is New York City. A fluorescent light buzzes above his
|
|
head. Taxis honk their horns. The sound of pedestrians yelling
|
|
at one another. All fueling his agitation.
|
|
Riggan checks his watch. He pulls one last drag from the
|
|
cigarette before he tosses it, and turns to head back in, only
|
|
to realize the door has locked. He tries to pull it open to no
|
|
avail. He begins to knock loudly on the door. There is no
|
|
response. He knocks louder. Nothing.
|
|
|
|
He is turning to walk away when he realizes that his robe is
|
|
caught in the door. He checks his watch again and now is
|
|
beginning to panic. He tries to tear at the robe but the terry
|
|
cloth is too strong for him to rip. Frantically, he looks around
|
|
for an answer. No answer. No time. He pulls the robe off of him
|
|
(CONTINUED)
|
|
10/29/14 / 83.
|
|
|
|
and, wearing only his underwear and moccasins, he charges down
|
|
the alley way toward...
|
|
|
|
42 EXT. STREET - CONTINUOUS 42
|
|
|
|
...the street. Now, rushing down the block in his underwear. A
|
|
tourist spots him.
|
|
|
|
TOURIST
|
|
Hey, aren't you...?
|
|
|
|
RIGGAN
|
|
I'm sorry. I can't really--
|
|
|
|
TOURIST
|
|
Riggan Thompson! Holy Shit! Let me get an
|
|
autograph.
|
|
|
|
Riggan marches on as a few more people begin to notice. The
|
|
Tourist runs in front of him, forcing him to stop.
|
|
|
|
TOURIST (CONT'D)
|
|
Come on, man. Don't be a dick. Let me have
|
|
an autograph.
|
|
|
|
The man produces a pen and a magazine from his pocket. More
|
|
people begin to gather...
|
|
|
|
MAN ON STREET
|
|
Birdman!
|
|
|
|
Seeing no other way out, Riggan signs the autograph.
|
|
|
|
TOURIST
|
|
Dude! You fuckin' rock!
|
|
|
|
Directly in front of him stand a lady and her two kids.
|
|
|
|
LADY
|
|
Can we take one picture?
|
|
|
|
RIGGAN
|
|
Are you kidding me?
|
|
|
|
KID #1
|
|
Why is he naked?
|
|
LADY
|
|
One picture...
|
|
|
|
KID #2
|
|
I can see his weenie.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 84.
|
|
|
|
Riggan tries to get past them, but a crowd has formed. A swarm
|
|
of cell phones begin to glow like fireflies.
|
|
|
|
LADY
|
|
(To her kids.)
|
|
Get next to him!
|
|
|
|
RIGGAN
|
|
Give me a fucking break, lady.
|
|
|
|
The kids run up next to him. Even more people crowding around.
|
|
Riggan puts up his middle finger, just as the Lady takes the
|
|
shot. He shoves the kids aside and moves on.
|
|
|
|
WOMAN ON STREET
|
|
He looks so old in person.
|
|
|
|
MAN ON STREET
|
|
(From across the street.)
|
|
You suck!
|
|
RIGGAN
|
|
Fuck you!
|
|
|
|
Riggan pushes through the crowd to get to the lobby. The people
|
|
begin to chant. Dozens of cell phones recording him.
|
|
|
|
CROWD
|
|
Bird-man! Bird-man! Bird-man!
|
|
|
|
Riggan pushes his way through to the lobby doors...
|
|
|
|
43 INT. LOBBY - THEATER - CONTINUOUS 43
|
|
|
|
...to be stopped by the vision of Ralph in a wheelchair. His
|
|
head wrapped in a bandage. A man in a suit next to him.
|
|
|
|
RIGGAN
|
|
Jesus Christ! What're you doing here?
|
|
|
|
RALPH
|
|
Waiting for Jake. This is Mr. Roth, my
|
|
attorney.
|
|
|
|
Riggan continues walking toward the auditorium. Ralph and Mr.
|
|
Roth follow him.
|
|
|
|
MR. ROTH
|
|
We're pursuing financial remuneration for the
|
|
injuries Mr. Pinkus suffered while rehearsing
|
|
your--
|
|
|
|
RIGGAN
|
|
I have a play to do.
|
|
(CONTINUED)
|
|
10/29/14 / 85.
|
|
|
|
RALPH
|
|
I'm going to ruin you!
|
|
|
|
Riggan storms toward the auditorium, but is stopped by an old
|
|
Usher.
|
|
|
|
OLD USHER
|
|
I'm sorry sir, you're going to have--
|
|
|
|
Riggan shoves the old lady aside and enters...
|
|
|
|
44 INT. AUDITORIUM - THEATER - CONTINUOUS 44
|
|
|
|
...the theater. Riggan stands in the back among the audience.
|
|
He sees the "rain" falling on the stage. The "Motel" sign is
|
|
lit. Mike and Lesley are in bed, for the motel scene, waiting
|
|
for the knock on the door. With nothing else to do, Riggan
|
|
yells his line from the back of the auditorium...
|
|
|
|
RIGGAN
|
|
Knock knock knock! Terri! Terri!
|
|
|
|
The audience turns to see Riggan standing in his underwear.
|
|
They begin to murmur and laugh and point at him.
|
|
Riggan marches down the aisle. He looks haggard and covered
|
|
with perspiration.
|
|
|
|
Lesley and Mike, confused, come out of bed.
|
|
|
|
LESLEY
|
|
Ed! What are you doing here?
|
|
|
|
RIGGAN
|
|
Why? I need you to tell me why. I lived for
|
|
you-- I worshipped you...
|
|
|
|
MIKE
|
|
Listen Ed, I know this is hard but--
|
|
|
|
RIGGAN
|
|
Fuck you. Shut up. Fuck you.
|
|
|
|
Giggles from the audience. Riggan turns threateningly and points
|
|
to an audience member on the aisle who is giggling at him.
|
|
|
|
RIGGAN (CONT'D)
|
|
Shut up!
|
|
|
|
The guy stops smiling. The audience goes silent. Riggan arrives
|
|
at the apron of the stage. Annie from the wings slides the gun
|
|
towards him. Riggan grabs it and points it at Mike.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 86.
|
|
|
|
LESLEY
|
|
Eddie! Please!
|
|
|
|
Riggan climbs onto the stage. Exhausted. He goes to Mike and,
|
|
with a last effort, pushes him lamely.
|
|
|
|
RIGGAN
|
|
What's wrong with me? Why do I end
|
|
up having to beg people to love me?
|
|
|
|
LESLEY
|
|
Ed. Eddie. Please... Give me the gun.
|
|
|
|
We pan to the wings where Jake is staring in disbelief. His
|
|
cellphone begins to vibrate, and he answers.
|
|
|
|
JAKE
|
|
Yeah. (A beat.) What?... No no no no no no
|
|
no. Wait there. I'm coming out in--
|
|
|
|
He walks toward the hallway and we follow him...
|
|
|
|
45 INT. HALLWAY - THEATER - CONTINUOUS 45
|
|
|
|
...through the corridor.
|
|
|
|
JAKE
|
|
No. Wait. Wait for me. I'll be there in a
|
|
second. (Beat.) What is that, a threat?
|
|
(Beat.) What wheelchair? (Beat.) Wait.
|
|
Don't hang up. Mr. Roth, we can discuss--
|
|
Hello?... Hello?...
|
|
|
|
He goes out one of the exits and we are left with the silence of
|
|
the empty hallway. After a few seconds, the sound of the gunshot
|
|
from the scene echoes through the theater. The audience
|
|
applauds. The camera starts to move forward. A few seconds later
|
|
Riggan takes over the POV with his bloody long wig and the fake
|
|
gun. We follow up to...
|
|
|
|
46 INT. RIGGAN'S DRESSING ROOM - THEATER - CONTINUOUS 46
|
|
|
|
...his dressing room. He puts on a robe. He walks to his
|
|
refrigerator without acknowledging Sam who is sitting on the
|
|
couch, scribbling her dashes on the toilet paper once again.
|
|
Riggan takes out a plastic container of bologna and a jar of
|
|
mustard. He sits in front of his dressing table, peels open the
|
|
bologna and opens the jar of mustard. Slice by slice, he dips
|
|
the bologna in the mustard and shoves it into his mouth.
|
|
|
|
SAM
|
|
Dad...?
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 87.
|
|
|
|
RIGGAN
|
|
(Looking up.)
|
|
Hey. How ya doin'?
|
|
|
|
SAM
|
|
Are you okay?
|
|
|
|
RIGGAN
|
|
Why?
|
|
|
|
SAM
|
|
I don't know. You seem--
|
|
|
|
RIGGAN
|
|
(Eating.)
|
|
I'm good. This is good.
|
|
(Holding out a piece.)
|
|
You want some?
|
|
|
|
SAM
|
|
I'm good.
|
|
RIGGAN
|
|
Great. Great.
|
|
|
|
He continues to eat. She tries to fill the odd silence.
|
|
|
|
SAM
|
|
So. Opening night, tomorrow.
|
|
|
|
RIGGAN
|
|
Yeah.
|
|
|
|
SAM
|
|
That's exciting, huh?
|
|
|
|
RIGGAN
|
|
Yeah. Well... I don't know. The previews
|
|
have been a train wreck. We haven't been
|
|
able to get through a performance
|
|
without a raging fire... or a raging
|
|
hard-on. I'm not really sleeping, you
|
|
know, at all. And I'm pretty much broke.
|
|
Oh, and also, this play feels like a
|
|
miniature, deformed version of myself
|
|
that keeps following me around, hitting
|
|
me in the balls with a tiny hammer.
|
|
(Beat.)
|
|
Sorry, what was your question?
|
|
|
|
SAM
|
|
(Looking through phone.)
|
|
Never mind... Tonight wasn't bad. It was
|
|
weird. But that's sort of cool. People
|
|
seemed to like it.
|
|
(CONTINUED)
|
|
10/29/14 / 88.
|
|
|
|
Silence. Riggan notices the toilet paper.
|
|
|
|
RIGGAN
|
|
What are you doing? Some homework?
|
|
|
|
SAM
|
|
No. I don't-- When I was in rehab, they
|
|
made us do this.
|
|
|
|
RIGGAN
|
|
Really...
|
|
SAM
|
|
Yeah. These dashes, represent the six
|
|
billion years the planet has existed.
|
|
Each dash represents 100 years.
|
|
|
|
She unravels the roll and we see that there are thousands of
|
|
black marks running along the toilet paper. She takes the last
|
|
two panels and tears them off.
|
|
SAM (CONT'D)
|
|
And this... (Hands them to him.) ...is
|
|
supposed to represent the entire time us
|
|
humans have been here. One hundred and
|
|
fifty thousand years. That's it.
|
|
(Beat.)
|
|
I guess they were trying to remind us
|
|
that that's what all our egos and self-
|
|
obsession are worth.
|
|
|
|
Riggan stares at the paper, and then at Sam.
|
|
|
|
RIGGAN
|
|
(Casually.)
|
|
I was a shitty father, wasn't I?
|
|
|
|
SAM
|
|
No. You were a-- (She stops herself.)
|
|
You were fine.
|
|
He stops chewing and stares out.
|
|
|
|
RIGGAN
|
|
Fine... You're right. I am just
|
|
"fine". Adorably mediocre.
|
|
|
|
He smiles to her sadly, and then he wipes the mustard from his
|
|
face with the piece of toilet paper.
|
|
|
|
SAM
|
|
Dad!
|
|
|
|
RIGGAN
|
|
What?
|
|
(CONTINUED)
|
|
10/29/14 / 89.
|
|
|
|
Sam looks at the ruined toilet paper in his hands.
|
|
|
|
RIGGAN (CONT'D)
|
|
Oh... Shit. I'm sorry.
|
|
|
|
SAM
|
|
(Smiling.)
|
|
It's okay. You just destroyed the entire
|
|
human race in one blow.
|
|
|
|
Riggan looks at her with the saddest of expressions.
|
|
SAM (CONT'D)
|
|
Dad. (She hesitates.) Do you know
|
|
you're becoming a trending topic?
|
|
|
|
RIGGAN
|
|
Really? What does that mean?
|
|
|
|
Sam searches for something on her iPhone and then hands it to
|
|
Riggan. Riggan looks at the phone and sees a hand-held video of
|
|
himself in the streets in his underwear.
|
|
|
|
SAM
|
|
350,000 views in less than an hour.
|
|
Believe it or not, this is power.
|
|
|
|
Riggan looks at more footage, seemingly confused. After a
|
|
moment, the phone vibrates and the video is interrupted by a
|
|
text message, which reads "Truth or Dare?"
|
|
|
|
RIGGAN
|
|
It's for you.
|
|
|
|
She grabs the phone and looks at the screen. Then at her
|
|
father. Riggan is staring at her. She looks down.
|
|
|
|
RIGGAN (CONT'D)
|
|
Go ahead...
|
|
|
|
SAM
|
|
(Hesitant.)
|
|
Are you...?
|
|
|
|
RIGGAN
|
|
Go.
|
|
|
|
A sympathetic smile. An understanding. Sam exits.
|
|
|
|
Riggan stares into the mirror absently. His eyes locked on
|
|
his reflection trying to find himself in the image. Then he
|
|
spots a vase with dying roses, the same roses he flung to the
|
|
ground previously.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 90.
|
|
|
|
He gets up and goes into the bathroom. He pulls off the long
|
|
wig and the mustache. He washes his face. Then he opens a
|
|
small bottle and uses the liquid to scrub his goatee. The
|
|
dark dye begins to run out, leaving only white hair. For the
|
|
first time we see that Riggan has a white beard.
|
|
|
|
He puts on new clothes and comes out of the bathroom. He grabs
|
|
a beige raincoat and heads out of the dressing room and
|
|
into...
|
|
|
|
47 INT. HALLWAY - THEATER - CONTINUOUS 47
|
|
|
|
...the hallway. As he passes by Mike's door he can hear Sam and
|
|
Mike. They're trying to be as quiet as possible, but we can hear
|
|
them flirting and laughing.
|
|
|
|
He pauses for a moment but continues on. After a few seconds,
|
|
his phone vibrates. He looks at it. A text from Jake reads:
|
|
"Have you seen this??? Awesome!!!" He clicks the attachment and
|
|
sees the, now infamous, video of his underwear escapade in the
|
|
street. We zoom in until the image fills the screen, when we
|
|
finally pull away, we discover that...
|
|
|
|
48 INT. RUM HOUSE - LATER 48
|
|
...Riggan's video is being played now in a television in the
|
|
bar. We see the MTV logo on the bottom of the screen and a video
|
|
caption that reads: "Birdman goes viral, 930.000 views and
|
|
counting". The camera pans to find Riggan sitting at the bar,
|
|
drunk. He is one of the few customers. He polishes off his
|
|
drink.
|
|
RIGGAN
|
|
Let me have another one.
|
|
|
|
BARTENDER
|
|
You got it.
|
|
|
|
The bartender pours another whiskey for Riggan. A waiter steps
|
|
up to the bar. The bartender points to a martini.
|
|
|
|
BARTENDER (CONT'D)
|
|
(To the waiter.)
|
|
That's going over to Ms. Dickinson.
|
|
|
|
Riggan's head tilts at the mention of the name. He looks over to
|
|
see Tabitha sitting at a table, scratching in her notebook.
|
|
|
|
RIGGAN
|
|
(Hands the waiter a bill.)
|
|
I got it. She's a friend of mine.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 91.
|
|
|
|
The waiter pockets the money and gives Riggan the drink. He
|
|
walks it over to Tabitha and places it down in front of her. Not
|
|
looking up, she pulls the drink closer and takes a sip.
|
|
|
|
Riggan sits down across from her. She looks up and immediately
|
|
recognizes him. He takes out the Carver cocktail napkin and
|
|
pushes it in front of her. She looks at him, and then down to
|
|
the napkin. She reads it in silence.
|
|
|
|
RIGGAN (CONT'D)
|
|
(Re: The napkin.)
|
|
That was twenty years before I put on that
|
|
damned costume.
|
|
|
|
A pause. Then she pushes the napkin back toward him.
|
|
|
|
TABITHA
|
|
I don't care.
|
|
|
|
RIGGAN
|
|
I'm just saying, when you come tomorrow
|
|
night, I want you--
|
|
|
|
TABITHA
|
|
It doesn't matter.
|
|
|
|
RIGGAN
|
|
What are you--
|
|
|
|
TABITHA
|
|
I'm going to destroy your play.
|
|
|
|
RIGGAN
|
|
You haven't even seen it. I don't-- Did I
|
|
do something to offend you?
|
|
|
|
TABITHA
|
|
As a matter of fact you did. You took up
|
|
space in a theater which otherwise might
|
|
have been used on something worthwhile.
|
|
RIGGAN
|
|
But you don't even know if it's--
|
|
|
|
TABITHA
|
|
That's true. I haven't read a word of it,
|
|
or even seen a preview, but after the
|
|
opening tomorrow I'm going to turn in the
|
|
worst review anybody has ever read. And I'm
|
|
going to close your play. Would you like to
|
|
know why? Because I hate you. And everyone
|
|
you represent. Entitled. Spoiled. Selfish.
|
|
Children. Blissfully untrained, unversed
|
|
and unprepared to even attempt real art.
|
|
Handing each other awards for cartoons and
|
|
(MORE)
|
|
(CONTINUED)
|
|
10/29/14 / 92.
|
|
TABITHA (CONT'D)
|
|
pornography. Measuring your worth in
|
|
weekends. Well, this is the theater, and
|
|
you don't get to come in here and pretend
|
|
you can write, direct and act in your own
|
|
propaganda piece without going through me
|
|
first. So, break a leg.
|
|
|
|
Tabitha goes back to her writing. Riggan sits for a moment.
|
|
|
|
RIGGAN
|
|
What has to happen in someone's life,
|
|
for them to end up becoming a critic?
|
|
|
|
She looks up at him.
|
|
|
|
RIGGAN (CONT'D)
|
|
Whatcha writin'? You reviewin' a play? Was
|
|
it good? Bad? Did you even see it? Lemme
|
|
read.
|
|
|
|
He snatches the notebook from her.
|
|
TABITHA
|
|
I will call the police.
|
|
|
|
RIGGAN
|
|
No you won't. Let's read your review!
|
|
(He scans the notebook.)
|
|
"Callow". A label. "Lackluster". Label.
|
|
"Marginalia". Sounds like you need
|
|
penicillin to clear that up. None the
|
|
less... label.
|
|
(Looks to Tabitha.)
|
|
All labels. You're a lazy fucker
|
|
aren't you?
|
|
(Looks one last time at
|
|
the notebook.)
|
|
Epistemological vertigo?
|
|
|
|
Tabitha wants to reach for the notebook, but her pride won't
|
|
let her. Riggan takes a flower from a vase at the center of the
|
|
table.
|
|
|
|
RIGGAN (CONT'D)
|
|
You know what this is? You don't, do
|
|
you? You can't even see it if you don't
|
|
label it. You mistake those sounds in
|
|
your head for true knowledge.
|
|
|
|
TABITHA
|
|
Are you finished?
|
|
|
|
RIGGAN
|
|
(Wrinkling one of the pages.)
|
|
Nothin' about intention, structure,
|
|
(MORE)
|
|
(CONTINUED)
|
|
10/29/14 / 93.
|
|
RIGGAN (CONT'D)
|
|
technique. Just crappy opinions backed
|
|
up by crappy comparisons. You're
|
|
incapable of writing more than a couple
|
|
of paragraphs, and you risk nothing of
|
|
yourself.
|
|
(He tears out the page and tosses
|
|
the notebook.)
|
|
Well, I'm an actor and this play has
|
|
cost me everything. So you can take
|
|
your cowardly, malicious, shittily
|
|
written reviews and shove them up
|
|
your... (Showing her the wrinkled
|
|
page.) ...wrinkly, tight ass.
|
|
|
|
Riggan wears a proud smile. And suddenly, Tabitha begins to
|
|
smile with him.
|
|
|
|
TABITHA
|
|
You think you're an actor?
|
|
(Calls to the waiter.)
|
|
Eddie!
|
|
Eddie the waiter approaches the table.
|
|
|
|
WAITER
|
|
Yeah, Mrs. Dickinson?
|
|
|
|
TABITHA
|
|
Give us some Shakespeare.
|
|
|
|
WAITER
|
|
No problem. Got anything in mind?
|
|
|
|
Tabitha looks over at Riggan picking the perfect verse.
|
|
|
|
TABITHA
|
|
The Scottish Play. Act five...
|
|
|
|
WAITER
|
|
Tomorrow, and tomorrow, and tomorrow,
|
|
Creeps in this petty pace from day to
|
|
day, To the last syllable of recorded
|
|
time; And all our yesterdays have lighted
|
|
fools. The way to dusty death...
|
|
|
|
He is brilliant. The monologue is perfectly played and powerful.
|
|
Riggan being mercilessly reminded of his mediocrity... by Eddie
|
|
the waiter.
|
|
|
|
WAITER (CONT'D)
|
|
...Out, out, brief candle! Life's but a
|
|
walking shadow, a poor player, That
|
|
struts and frets his hour upon the
|
|
stage, And then is heard no more. It is
|
|
(MORE)
|
|
(CONTINUED)
|
|
10/29/14 / 94.
|
|
WAITER (CONT'D)
|
|
a tale told by an idiot, full of sound
|
|
and fury... Signifying nothing.
|
|
|
|
A few drunks clap at the beautiful performance. Then, a powerful
|
|
silence rings out for a moment, until...
|
|
|
|
TABITHA
|
|
Thank you, Eddie.
|
|
|
|
WAITER
|
|
You got it.
|
|
TABITHA
|
|
(To Riggan. A derisive laugh.)
|
|
You're no actor. You're a celebrity.
|
|
Let's be clear on that.
|
|
|
|
Tabitha rises from her seat and grabs her things.
|
|
|
|
TABITHA (CONT'D)
|
|
I'm going to kill your play.
|
|
She walks away. Riggan sits numb. After a moment, he reaches
|
|
over and gulps down Tabitha's entire martini, gin pouring out
|
|
the sides of his mouth. Unaware, he slams the empty martini
|
|
glass on top of the Carver napkin and gets up. We follow him
|
|
out onto...
|
|
|
|
49 EXT. STREET - CONTINUOUS 49
|
|
|
|
...the street, where he walks through the theater district.
|
|
Tired. Drunk. Empty. Neon lights all around him. A crazy, old
|
|
homeless man passes by in the opposite direction shouting
|
|
furiously. Riggan keeps walking until he arrives at a bench,
|
|
with a tree behind. Everything is quiet. Riggan sits on the
|
|
bench, lost. We begin to tilt up, slowly, toward a tall tree.
|
|
We move closer into the branches and the green leaves.
|
|
Silence.
|
|
|
|
A49 A49
|
|
Night turns into day. The sounds of the city disappear and
|
|
birds begin to sing. The branches now caressed by golden shafts
|
|
of morning sun. Finally, we tilt down slowly and find...
|
|
|
|
|
|
50 EXT. STREET - DAY. 50
|
|
|
|
...Riggan still sleeping on the bench. He looks like a bum. His
|
|
raincoat is dirty and wet.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 95.
|
|
|
|
BIRDMAN (V.O.)
|
|
God. You look like shit, brother. You
|
|
get that mongoloid look when you're hung
|
|
over, don't you?
|
|
|
|
Riggan opens an eye. He scratches his hair.
|
|
|
|
BIRDMAN (V.O.)
|
|
Let's go. Get up. It's a beautiful day.
|
|
|
|
Riggan sits up slowly. He is really hung over.
|
|
BIRDMAN (V.O.)
|
|
Stand up! Forget about the times. Everyone
|
|
else has. So you're not a great actor...
|
|
Who cares?!! You're much more than that.
|
|
Fuck! You tower over all these theater
|
|
douchebags. You're a movie star! A Global
|
|
force! Don't you get it?
|
|
|
|
Riggan stands up and begins to stumble forward. We pan around
|
|
to find Birdman (a stronger Riggan wearing a cool Birdman
|
|
outfit), following behind him.
|
|
|
|
BIRDMAN
|
|
You spent your whole life building a
|
|
reputation and a bank account, and now
|
|
they're both blown. So what? Fuck it. We
|
|
make a come back. Something huge. Take what
|
|
belongs to us. Take back the spotlight.
|
|
Magazine covers and billboards. Happy meals
|
|
with Birdman dolls. Remember that? That's
|
|
who you are. That's who we are!
|
|
|
|
Riggan just marches on. People and cars pass by, but nobody
|
|
notices Birdman. Riggan tries to ignore him.
|
|
|
|
BIRDMAN (CONT'D)
|
|
C'mon, buddy. Tell me we're going back
|
|
to the big leagues. Let's do this.
|
|
Shave off that pathetic goatee, and put
|
|
the mask back on! Batman my balls.
|
|
We'll start a new franchise. Birdman:
|
|
Phoenix Rising. Trust me! A billion
|
|
world wide. Swear to God.
|
|
|
|
A50 A50
|
|
|
|
Riggan keeps walking. Birdman, insistent, chases, until
|
|
suddenly he begins to flutter off the ground.
|
|
|
|
BIRDMAN
|
|
Do you hear me? You can do anything! You're
|
|
an icon!
|
|
(CONTINUED)
|
|
10/29/14 / 96.
|
|
|
|
Desperate, Birdman flies a bit higher around him.
|
|
|
|
BIRDMAN (CONT'D)
|
|
You're bigger than life. You save people
|
|
from their boring, miserable lives...
|
|
|
|
The camera pans to the street in front of them. People carry
|
|
out their everyday routines. There is a deli, a souvenir shop,
|
|
a small bank...
|
|
|
|
BIRDMAN (O.S.) (CONT'D)
|
|
...You make them jump, laugh, cry,
|
|
shit their pants... All you have to do
|
|
is snap your fingers and...
|
|
|
|
B50 B50
|
|
Riggan snaps his fingers, once, twice, and the bank suddenly
|
|
explodes. The sound is so loud that it seems to belong to
|
|
another movie. The earth shakes. People run. Dust all over.
|
|
Fire. An unsteady camera pans back to Birdman.
|
|
|
|
BIRDMAN
|
|
(Excited.)
|
|
That's what I'm talking about! That is
|
|
cool! Explosive! Big, fast, loud!
|
|
(He turns directly to the camera
|
|
and talks about the audience.)
|
|
Look at them. They love that shit!
|
|
They starve for blood and action,
|
|
not this artsy-fartsy-philosophical
|
|
bullshit!
|
|
|
|
C50 C50
|
|
We hear a loud roar, and the camera pans to discover a huge
|
|
alien about to crash a cab against the asphalt. Birdman uses his
|
|
powerful blow to send the alien flying away.
|
|
|
|
BIRDMAN
|
|
And when you shout "whooaa!"...
|
|
(Riggan shouts "Whooaa!")
|
|
...it explodes in the eardrum of
|
|
millions. Your power is unlimited.
|
|
|
|
Riggan slows down his pace, as he starts to listen.
|
|
|
|
BIRDMAN (CONT'D)
|
|
You glimmered on 3000 screens, over 5
|
|
continents, in 47 countries at the
|
|
same time. You are ubiquitous. You're
|
|
a God! You can do it again. You can
|
|
soar above all of them.
|
|
10/29/14 / 97.
|
|
|
|
D50 D50
|
|
|
|
Riggan suddenly begins to levitate.
|
|
|
|
BIRDMAN
|
|
There you go, you mother fucker! See?
|
|
Gravity doesn't even apply to you.
|
|
|
|
The camera flies up with Riggan as he floats above the street.
|
|
There is something magical in his ascension, gently impelled by
|
|
the breeze. A beautiful backlight makes his body glow. Birdman
|
|
flutters around him.
|
|
BIRDMAN (CONT'D)
|
|
Listen to me. We gotta go back! We have to
|
|
do this. We have to end it on our terms.
|
|
With a grand gesture.
|
|
|
|
A strange light suddenly palpitates in Riggan's eyes. Something
|
|
makes sense in what Birdman is telling him.
|
|
|
|
The camera becomes Riggan's POV. He looks down to see the
|
|
people on the street, watching him in awe.
|
|
BIRDMAN (O.S.) (CONT'D)
|
|
We'll go back. We'll show them how much
|
|
they're going to miss us. Flames. Icarus.
|
|
Sacrifice...
|
|
|
|
We tilt up again to Riggan's face. He has a plan.
|
|
|
|
BIRDMAN (O.S.) (CONT'D)
|
|
Let's go back one more time and show them
|
|
what we're capable of. You can do it.
|
|
You're Birdman. Do you hear me? You're...
|
|
|
|
A GUY'S VOICE (O.S.)
|
|
Birdman!
|
|
|
|
E50 E50
|
|
|
|
And as the camera pulls away, we discover Birdman is gone and
|
|
Riggan is standing on the ledge of a tall building. The camera
|
|
tilts down and we see that more people have gathered around,
|
|
and more cars has stopped, and they all point at Riggan,
|
|
worried about the situation.
|
|
|
|
A guy wearing shorts, a Bob Marley t-shirt and a robe opens his
|
|
window, one floor below Riggan, and looks up at him.
|
|
|
|
GUY
|
|
Dude, what are you doing?
|
|
|
|
Riggan looks down at the people on the street far below.
|
|
(CONTINUED)
|
|
10/29/14 / 98.
|
|
|
|
GUY (CONT'D)
|
|
You okay, buddy? Do you want me to
|
|
call someone?
|
|
|
|
We pan to a lady on her balcony filming Riggan with her phone.
|
|
|
|
LADY
|
|
Is this for real, or you're shooting a
|
|
film?
|
|
|
|
RIGGAN
|
|
A film.
|
|
|
|
The lady looks around but sees nothing.
|
|
|
|
LADY
|
|
Oh, you people are full of shit.
|
|
|
|
She goes into her apartment.
|
|
|
|
GUY
|
|
I'm calling 911.
|
|
|
|
The guy goes inside his apartment.
|
|
|
|
RIGGAN
|
|
One more time...
|
|
|
|
Now, from the door of the rooftop, a good neighbor calmly
|
|
approaches Riggan.
|
|
|
|
GOOD NEIGHBOR
|
|
Hi, sir. Can I help you? You should be
|
|
careful.
|
|
|
|
RIGGAN
|
|
Sorry. Can't talk. I'm late.
|
|
(Murmuring.)
|
|
Music.
|
|
|
|
Some underscoring music begins to sound. The neighbor is now
|
|
close to him and helps Riggan step down from the edge on to the
|
|
floor of the rooftop.
|
|
|
|
GOOD NEIGHBOR
|
|
Are you alright? Do you want me to
|
|
call someone? Do you know where to go?
|
|
|
|
Riggan closes his eyes for a moment as the camera moves slowly
|
|
toward him. He opens his eyes. The music begins to swell. Riggan
|
|
stands up straight and proud, and in a voice that sounds like
|
|
Birdman...
|
|
|
|
RIGGAN
|
|
Yes. I know where to go.
|
|
(CONTINUED)
|
|
10/29/14 / 99.
|
|
|
|
He turns and begins to run on the rooftop. The music is rousing.
|
|
As he runs, he holds out his arms, spreading them wide. The
|
|
camera runs behind him, until suddenly...
|
|
|
|
|
|
F50 F50
|
|
Riggan jumps, and the camera jumps after him. He rapidly
|
|
falls toward the street, toward the asphalt. But in his face
|
|
there is no fear. No. He spreads his arms again and...
|
|
|
|
|
|
G50 G50
|
|
|
|
He takes flight, soaring high over Manhattan. The music becomes
|
|
epic. There is something beautiful about this broken man flying
|
|
like a superhero. We fly next to him, and we can see below the
|
|
spectacular sight that is Manhattan, until...
|
|
|
|
51 EXT. THEATER - CONTINUOUS 51
|
|
...he finally lands on 45th street and calmly approaches the
|
|
theater. An Usher acknowledges him with a look of surprise.
|
|
|
|
USHER
|
|
Mr. Thomson. I think you forgot to--
|
|
|
|
RIGGAN
|
|
Stop the music.
|
|
|
|
The music stops.
|
|
USHER
|
|
I beg your pardon?
|
|
|
|
Riggan enters the theater.
|
|
|
|
The confused Usher watches him go by, as he points to the
|
|
street. We pan to see a taxi driver coming out of his car,
|
|
running like a mad man toward us.
|
|
|
|
We stay with the Usher and the taxi driver as they argue. They
|
|
take it inside the lobby, but we remain out front.
|
|
|
|
A51 A51
|
|
|
|
Day turns to night, igniting the lights of the marquee, which
|
|
reflect off of the lobby doors. We hear wild applause coming
|
|
from inside the theater. Seconds later, the doors of the
|
|
theater open and the audience files out for intermission.
|
|
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 100.
|
|
|
|
MAN
|
|
(Tweeting on his phone.)
|
|
It's really good.
|
|
|
|
WOMAN
|
|
I know. I can't believe it...
|
|
|
|
We begin to move up, outside the theater. We see the marquee of
|
|
the play that reads, "What We Talk When We Talk About Love".
|
|
Above the title, in smaller print, "Riggan Thomson and Mike
|
|
Shiner". Below on a banner, "Opening Night".
|
|
We keep climbing until we arrive at Riggan's dressing room
|
|
window. We push in to find...
|
|
|
|
52 INT. RIGGAN'S DRESSING ROOM - THEATER - EVENING 52
|
|
... that the room is full of roses and cards. Riggan lies on
|
|
the sofa, hugging a cushion. He is wearing the long wig and
|
|
mustache for the motel scene.
|
|
|
|
Sylvia appears in the doorway.
|
|
|
|
SYLVIA
|
|
Wow, that is just NASCAR hot.
|
|
|
|
He smiles at her.
|
|
SYLVIA (CONT'D)
|
|
I just wanted to come say hello. It's going
|
|
great out there. You're so good. I mean it.
|
|
You're-- I really mean it.
|
|
|
|
RIGGAN
|
|
Come here. Sit next to me.
|
|
|
|
ANNIE ON SPEAKERS
|
|
This is your five minutes.
|
|
SYLVIA
|
|
Do you need to--?
|
|
|
|
RIGGAN
|
|
I'm fine. Sit.
|
|
|
|
She does.
|
|
|
|
SYLVIA
|
|
Look at all these roses.
|
|
|
|
SYLVIA (CONT'D) RIGGAN
|
|
You hate roses... I hate roses...
|
|
|
|
She laughs. He watches her, something odd in his expression.
|
|
(CONTINUED)
|
|
10/29/14 / 101.
|
|
|
|
SYLVIA (CONT'D)
|
|
Are you okay? You seem-- I don't know, you
|
|
seem abnormally calm.
|
|
|
|
RIGGAN
|
|
I am calm. I'm great. I spent most of
|
|
the day observing how beautifully this
|
|
pile of dirty clothes was lit by the
|
|
warm afternoon sun. (A tiny smile.) So
|
|
beautiful.
|
|
Sylvia, teasing him, closes her eyes and imitates Riggan's
|
|
meditation posture.
|
|
|
|
SYLVIA
|
|
(Mocking him.)
|
|
Oh yes. God is those purplish light
|
|
dots I see between my eyes and my
|
|
eyelids.
|
|
|
|
RIGGAN
|
|
You know? I have this voice that talks to
|
|
me and tells me the truth. It's comforting,
|
|
and scary.
|
|
|
|
A beat.
|
|
|
|
SYLVIA
|
|
I'm going to pretend I didn't hear you say
|
|
that.
|
|
|
|
RIGGAN
|
|
Okay.
|
|
|
|
SYLVIA
|
|
(Changing the subject.)
|
|
You wouldn't believe the crowd outside.
|
|
They said, some people paid up to 500
|
|
dollars a ticket.
|
|
|
|
He sits down.
|
|
RIGGAN
|
|
You wanna hear something funny?
|
|
|
|
SYLVIA
|
|
Sure.
|
|
|
|
RIGGAN
|
|
Do you remember our last anniversary party?
|
|
|
|
SYLVIA
|
|
Seriously? You're going to ruin a nice
|
|
moment with that?
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 102.
|
|
|
|
RIGGAN
|
|
Do you remember the party?
|
|
|
|
SYLVIA
|
|
The party where you fucked Janet Rossbach
|
|
in our bed? Yeah, it rings a bell.
|
|
|
|
RIGGAN
|
|
Yeah, well. Let's skip over that part
|
|
for a minute.
|
|
SYLVIA
|
|
Gladly.
|
|
|
|
RIGGAN
|
|
After you threw the guests out of the
|
|
house, and the furniture out of the
|
|
window. You locked yourself in the
|
|
bathroom.
|
|
|
|
SYLVIA
|
|
I remember. Why are we--
|
|
|
|
RIGGAN
|
|
I drove down to Malibu. I sat on the beach
|
|
for a while. Just... staring out at the
|
|
ocean.
|
|
|
|
SYLVIA
|
|
Riggan...
|
|
|
|
RIGGAN
|
|
Until I walked straight into the water
|
|
and tried to drown myself.
|
|
|
|
Silence. Sylvia stares at Riggan, surprised.
|
|
|
|
RIGGAN (CONT'D)
|
|
I was in up to my chest when I felt the
|
|
first one. On my back, like somebody was
|
|
holding a frying pan against me. And then
|
|
my chest, and my legs. The water was full
|
|
of jellyfish. I fought my way out of the
|
|
water, and I started rolling around the
|
|
sand like a maniac... crying.
|
|
|
|
Sylvia doesn't know how to react.
|
|
|
|
SYLVIA
|
|
You said it was a sunburn.
|
|
|
|
RIGGAN
|
|
(Smiling.)
|
|
And you believed me.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 103.
|
|
|
|
SYLVIA
|
|
To be honest, I didn't give a shit.
|
|
|
|
RIGGAN
|
|
I love you. And I love Sam.
|
|
|
|
SYLVIA
|
|
I know.
|
|
|
|
Silence. They stare at each other.
|
|
RIGGAN
|
|
I never should have video taped Sam's
|
|
birth. First of all because you and Sam
|
|
both look like shit in that video. But
|
|
mostly because I missed the moment. I
|
|
should have just been there with the two
|
|
of you. Present in my own life. So I'd
|
|
have it. But, I don't. I don't have any of
|
|
it.
|
|
SYLVIA
|
|
You have Sam.
|
|
|
|
RIGGAN
|
|
No, I don't.
|
|
|
|
SYLVIA
|
|
Listen, she's just--
|
|
|
|
RIGGAN
|
|
No, I understand. She needed a father
|
|
and she got one shamefully successful
|
|
youtube video. Pretty pathetic.
|
|
|
|
SYLVIA
|
|
(Putting a finger on
|
|
Riggan's lips.)
|
|
Shhh... There are more pathetic things
|
|
than that. That mustache, for example.
|
|
She kisses him.
|
|
|
|
ANNIE ON SPEAKERS
|
|
Places for act two. Places.
|
|
|
|
SYLVIA
|
|
Riggan...
|
|
|
|
RIGGAN
|
|
You should get back to your seat. You
|
|
don't want to miss what's next.
|
|
|
|
Sylvia lingers for a moment, and not knowing what to say, she
|
|
exits. Riggan opens a drawer and takes out a black case. He
|
|
(CONTINUED)
|
|
10/29/14 / 104.
|
|
|
|
gently opens the lid. Inside a revolver. He takes some bullets
|
|
out of a box and one by one loads them into the chamber as he
|
|
does his vocal exercises into the mirror.
|
|
|
|
RIGGAN (CONT'D)
|
|
Twenty little leopards laughed at two
|
|
lofty lions. Twenty little leopards
|
|
laughed at two lofty lions. Twenty
|
|
little leopards... laughed.
|
|
|
|
He stares at the dressing room door, and with his telekinetic
|
|
powers he opens it. He snaps the cylinder into the gun and
|
|
exits out into...
|
|
|
|
53 INT. HALLWAY - THEATER - CONTINUOUS 53
|
|
|
|
...the hallway. He paces deliberately, gun in hand.
|
|
|
|
A technician goes by in the opposite direction.
|
|
|
|
TECHNICIAN
|
|
Break a leg, Mr. Thomson.
|
|
|
|
Riggan ignores him and continues through to the...
|
|
|
|
54 INT. BACKSTAGE - THEATER - CONTINUOUS 54
|
|
|
|
...backstage area. Annie immediately hustles over to him holding
|
|
up the brain mechanism. He walks right by her.
|
|
|
|
RIGGAN
|
|
(Brushing her off.)
|
|
I don't need it.
|
|
|
|
Annie doesn't seem to understand. She stays there, holding the
|
|
device. Riggan takes his place outside the motel door. We pan
|
|
toward the audience. The auditorium is full. The audience in
|
|
complete silence.
|
|
|
|
|
|
Riggan knocks firmly on the door. Silence again. Then...
|
|
|
|
RIGGAN (CONT'D)
|
|
Terri! Terri!
|
|
(Beat.)
|
|
I know you're in there!
|
|
He barges through the door and onto...
|
|
10/29/14 / 105.
|
|
|
|
55 INT. STAGE - THEATER - CONTINUOUS 55
|
|
|
|
...the stage. The motel room as we saw it before. Mike and
|
|
Lesley jump out of the bed.
|
|
|
|
LESLEY
|
|
Ed! What are you doing here?
|
|
|
|
RIGGAN
|
|
(Almost whispering.)
|
|
Why? I need you to tell me why. I lived for
|
|
you-- I worshipped you...
|
|
MIKE
|
|
Listen Ed, I know this is hard but--
|
|
|
|
Riggan raises one hand to silence Mike. Mike looks at him,
|
|
confused. His eyes narrow on the gun. There is no red plug.
|
|
|
|
Dead silence. An eerie electricity in the theater.
|
|
|
|
RIGGAN
|
|
What's wrong with me? Why do I end
|
|
up having to beg people to love me?
|
|
|
|
LESLEY
|
|
Ed. Eddie. Please... Give me the gun.
|
|
|
|
She begins to cry.
|
|
|
|
LESLEY (CONT'D)
|
|
Just look at me. I was drowning. I
|
|
was not capable of-- You deserve to
|
|
be loved. You do.
|
|
|
|
RIGGAN
|
|
I just wanted to be what you wanted.
|
|
(Beat.)
|
|
Now I spend every fucking minute
|
|
praying to be someone else. Someone
|
|
I'm not. Anyone...
|
|
|
|
MIKE
|
|
Put down the gun, Ed. She just doesn't love
|
|
you anymore.
|
|
|
|
RIGGAN
|
|
(To Lesley.)
|
|
You don't, do you?
|
|
|
|
LESLEY
|
|
(With sympathy.)
|
|
No...
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 106.
|
|
|
|
RIGGAN
|
|
And you never will...
|
|
|
|
LESLEY
|
|
I'm sorry.
|
|
|
|
For the first time, Riggan turns to face the audience. He
|
|
smiles the most beautiful insane smile.
|
|
|
|
RIGGAN
|
|
I don't exist. I'm not even here. I don't
|
|
exist. None of this matters.
|
|
|
|
Then he raises a trembling arm, and with his eyes full of
|
|
tears, he aims the gun at Mike.
|
|
|
|
RIGGAN (CONT'D)
|
|
Pum.
|
|
|
|
But he doesn't shoot. Then he turns and aims at Tabitha
|
|
Dickinson who is sitting on the second row.
|
|
RIGGAN (CONT'D)
|
|
Pum.
|
|
|
|
Again, no shot. Slowly, Riggan raises the gun toward his own
|
|
head, suddenly a frightening explosion. Blood sprays. Riggan
|
|
falls. We stay with the shell-shocked audience. A moment of
|
|
tension, of uncertainty, until...
|
|
|
|
MAN
|
|
Bravo!
|
|
|
|
The audience, one by one, jump to their feet, applauding
|
|
wildly. The sole exception is Tabitha, who remains seated, a
|
|
dazed expression on her face. We stay with the audience a few
|
|
seconds longer.
|
|
|
|
FADE TO BLACK.
|
|
|
|
The sounds slowly vanish. After a moment of silence...
|
|
BIRDMAN (V.O.)
|
|
You won't be hearing from him
|
|
anymore.
|
|
|
|
MAN (V.O.)
|
|
Is he...?
|
|
|
|
BIRDMAN (V.O)
|
|
He's gone.
|
|
10/29/14 / 107.
|
|
|
|
INT. WAITING ROOM - HOSPITAL - DAWN
|
|
|
|
One of the old Birdman films is playing on a small television
|
|
screen that hangs on a corner. The scene ends and a Morning
|
|
Show host appears. Behind him a picture of Riggan and a
|
|
caption that reads: "Nation in shock." A shot of a candle
|
|
vigil in Central park.
|
|
|
|
HOST
|
|
What do we talk about when we talk
|
|
about Riggan Thomson? When we come
|
|
back, more on the actor who two
|
|
nights ago shot himself during the
|
|
opening performance of his new
|
|
Broadway play...
|
|
|
|
We pan away from the TV to see that the waiting room is
|
|
filled with newsmen waiting for something to happen. There is
|
|
almost no room to breath.
|
|
|
|
We pan to see Jake emerging from an elevator, carrying a
|
|
newspaper under his arm. He walks through the dense mass of
|
|
newsmen with a serious expression on his face. We follow him
|
|
into...
|
|
|
|
|
|
INT. ROOM - HOSPITAL - CONTINUOUS
|
|
|
|
...a room. Jake peers in. Riggan lies on a bed, the bandages
|
|
on his nose cover most of his face. Sylvia is looking out the
|
|
window.
|
|
|
|
JAKE
|
|
Is he...?
|
|
|
|
SYLVIA
|
|
He's awake.
|
|
|
|
Jake enters the room.
|
|
|
|
JAKE
|
|
(Serious.)
|
|
I thought I lost you, buddy. Thank
|
|
god you're a horrible shot! What
|
|
the hell happened? I was watching
|
|
you up on that stage, and all of a
|
|
sudden you get that goofy look in
|
|
your eye, and you were just like--
|
|
|
|
He starts to laugh.
|
|
|
|
SYLVIA
|
|
What the hell are you laughing
|
|
about? He tried to-- What is wrong
|
|
with you?
|
|
(CONTINUED)
|
|
10/29/14 / 108.
|
|
|
|
JAKE
|
|
I'm happy, okay? He's alive. My
|
|
best friend is alive. And he is the
|
|
man of the hour!
|
|
|
|
Jake holds the New York Times up in the air.
|
|
|
|
RIGGAN
|
|
What is that?
|
|
|
|
JAKE
|
|
You did it.
|
|
|
|
SYLVIA
|
|
(Coming to them.)
|
|
You have to be shitting me... She
|
|
wrote a review?
|
|
|
|
Jake unfolds the newspaper and we see the headline of the
|
|
review: "The Unexpected Virtue of Ignorance".
|
|
JAKE
|
|
(To Sylvia.)
|
|
Read it.
|
|
|
|
He hands her the newspaper. She begins to read to herself.
|
|
|
|
SYLVIA
|
|
I don't believe this...
|
|
|
|
JAKE
|
|
Read it out loud!
|
|
|
|
SAM
|
|
"Thompson has unwittingly given
|
|
birth to a new form that can only
|
|
be described as supra-realism.
|
|
Blood was spilled both literally
|
|
and metaphorically by artist and
|
|
audience alike. Red blood. The
|
|
blood that has been sorely missing
|
|
from the veins of the American
|
|
theatre..."
|
|
(Beat. To a smiling Jake.)
|
|
You're happy about this?
|
|
|
|
She hands it to Riggan.
|
|
|
|
JAKE
|
|
Happy? I'm fucking euphoric. This
|
|
is the-- This is the kind of review
|
|
that turns someone into a living
|
|
legend.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 109.
|
|
|
|
SYLVIA
|
|
He tried to-- He shot the nose off
|
|
his face!
|
|
|
|
JAKE
|
|
He's got a new nose! And if he
|
|
doesn't like that one, we'll get
|
|
him another one. We can use Meg
|
|
Ryan's guy. Who gives a shit? Turn
|
|
on the tv. There are people praying
|
|
for him all over the country.
|
|
They're lighting candles in Central
|
|
Park. He did it. (To Riggan) You
|
|
did it! The play's gonna run
|
|
forever. It's gonna open in London,
|
|
in Paris... The studios will call
|
|
us again. We'll get book offers.
|
|
|
|
SYLVIA
|
|
How do you know all that? You can
|
|
see the future?
|
|
JAKE
|
|
(Euphoric.)
|
|
Yes.
|
|
|
|
She slaps him in the face.
|
|
|
|
SYLVIA
|
|
Did you see that coming? You're so
|
|
full of shit, Jake.
|
|
|
|
Jake needs a few seconds to recover. Then he looks at Riggan
|
|
who just sits there, in silence.
|
|
|
|
JAKE
|
|
Why aren't you saying anything?
|
|
This is what you wanted wasn't it?
|
|
(Riggan gazes at the
|
|
review.)
|
|
Riggan, this is what you wanted.
|
|
RIGGAN
|
|
It's what I wanted.
|
|
|
|
JAKE
|
|
Okay, listen. You're gonna get hit
|
|
with a "brandishing a weapon"
|
|
charge. If anybody talks to you, it
|
|
was an accident and we're doing an
|
|
internal invest--
|
|
|
|
A newsman comes into the room and takes a quick picture.
|
|
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 110.
|
|
|
|
JAKE (CONT'D)
|
|
(Chasing him out.)
|
|
This is a hospital you motherfucker!
|
|
|
|
Jake rushes to the door, shoving the newsman and a few other
|
|
paparazzi out the door. Security guards. Chaos. Finally
|
|
silence. Sylvia steps up and looks Riggan in the eye.
|
|
|
|
SYLVIA
|
|
Is that what it was? An accident?
|
|
Riggan just stares at her. His calm, sad eyes peeking through
|
|
the bandages. After a moment his gaze moves over her
|
|
shoulder. Sylvia turns and we discover Sam standing in the
|
|
doorway holding a bouquet of flowers. A bit of awkward
|
|
silence, and Sylvia decides to leave them alone.
|
|
|
|
She kisses Sam on the head and exits. Sam walks the flowers
|
|
to Riggan at the bed. She lays them on his chest.
|
|
|
|
SAM
|
|
Alchemillas.
|
|
|
|
The hint of a smile on Riggan's face.
|
|
|
|
SAM (CONT'D)
|
|
Are you actually smiling?
|
|
(She smiles.)
|
|
What's so funny?
|
|
|
|
RIGGAN
|
|
I can't smell them.
|
|
|
|
A moment until the smiles turn to gentle laughter. She takes
|
|
out her cell phone and snaps a picture of him.
|
|
|
|
RIGGAN (CONT'D)
|
|
What are you doing?
|
|
|
|
SAM
|
|
I'm posting this picture on your
|
|
Twitter page.
|
|
|
|
RIGGAN
|
|
Very funny...
|
|
|
|
SAM
|
|
Set it up today.
|
|
|
|
RIGGAN
|
|
You're joking.
|
|
|
|
SAM
|
|
I'm not.
|
|
|
|
(CONTINUED)
|
|
10/29/14 / 111.
|
|
|
|
RIGGAN
|
|
Let me see the picture.
|
|
|
|
SAM
|
|
Absolutely not. You look hideous.
|
|
|
|
RIGGAN
|
|
Thanks a lot.
|
|
|
|
SAM
|
|
I'm just kidding. No, I'm not. You
|
|
look hideous.
|
|
(Working on phone.)
|
|
You already have 80 thousand
|
|
followers. In less than a day. And
|
|
I'm about to scare the shit out of
|
|
them.
|
|
|
|
RIGGAN
|
|
Let me see.
|
|
SAM
|
|
No. Done.
|
|
|
|
A moment between them. Sam picks up the flowers and kisses
|
|
him tenderly on the head. Riggan is pleasantly surprised by
|
|
that kiss.
|
|
|
|
SAM (CONT'D)
|
|
Now, I'm going to find something to
|
|
put these flowers in.
|
|
|
|
She heads out of the room. Riggan lies there for a moment,
|
|
tranquil. After a moment he reaches up and touches his
|
|
bandages. Finally, he climbs out of the bed. We follow him
|
|
into...
|
|
|
|
|
|
INT. BATHROOM - ROOM - HOSPITAL - CONTINUOUS
|
|
|
|
...the bathroom. He stands before the mirror. He stares at
|
|
his reflection for a few seconds, and slowly begins to remove
|
|
the bandages. We can see that Riggan's nose has been
|
|
reconstructed. It is a crooked, incomplete nose, like the one
|
|
Javier Bardem has.
|
|
|
|
RIGGAN
|
|
I do look hideous.
|
|
|
|
In the reflection, Riggan sees Birdman sitting on the toilet.
|
|
They look at each other, but say nothing. Riggan puts the
|
|
bandages back on and we follow him out to...
|
|
10/29/14 / 112.
|
|
|
|
INT. ROOM - HOSPITAL - CONTINUOUS
|
|
|
|
...the room. He looks around, but Sam is gone. He ambles over
|
|
to the window, his ass hanging out of the back of his
|
|
hospital robe. He opens the window and feels the sun and the
|
|
breeze on his swollen face. We just hear the sounds of the
|
|
people standing down in the parking lot. Media trucks. Fans.
|
|
We stay with Riggan, who seems to be thinking about
|
|
something. He sees a flock of birds dancing in the sky. Then
|
|
he grabs the side of the window with one hand and begins to
|
|
step up onto the sill.
|
|
The camera pans away from him to a table that has some photos
|
|
propped on it: One of he and Sam when she was a child. One
|
|
with Sylvia and Sam. A copy of Carver's "What we talk About
|
|
When We Talk About Love" laying on the surface.
|
|
|
|
The camera continues to pan until it comes to the door. Sam
|
|
enters with a small vase. She looks around...
|
|
|
|
SAM
|
|
Dad?
|
|
|
|
She goes to the bathroom and peers in... nothing.
|
|
|
|
SAM (CONT'D)
|
|
Dad...?
|
|
|
|
She spots the opened window and registers the sounds from
|
|
outside. Tentatively she walks toward the window. She gets
|
|
there, summons her courage and looks down. Nothing. Slowly,
|
|
confused, she tilts her head up and looks up into the sky. A
|
|
smile, filled with pride, begin to wash over her face.
|
|
|
|
SMASH TO BLACK *
|
|
FOXSEARCHLIGHT.COM/AWARDS
|
|
Released by Twentieth Century Fox © 2014 Twentieth Century Fox
|