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