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Note: This document contains footnotes, by Jello Biafra. Choose Footnotes under the View menu to see them.

V 3.51 (Word 95) This is the emi!"fficial # $ord % Version of the &ion 'in( cri)t, ori(inally cast into te*tual form by +hil +ollard of J#,, and re!edited se-eral times into the form you see here by Brian Tiemann of Caltech. This is your (uarantee of .uality, that what you see here on your screen is as close to what was )resented in the mo-ie as is humanly )ossible. !BT Copyright:
The &ion 'in( and all its res)ecti-e wor/ and ideas are co)yri(hted by the 0isney com)any and its distributors. This is a scri)t rewritten from -iewin( the mo-ie, -arious )rinted resources, and the locali1ed radio broadcasts from Town and Country Cinema. This is meant 2ust as a fun way to re-iew the mo-ie and a source to .uote from. +lease do not char(e money for the distribution of this scri)t.

Flame Retardant:
Comments and discussions welcome. Corrections e*)ected and are encoura(ed. 3ll flames will turn on tiny s)rin/lers in your com)uter and flood your hard dri-e.

The Cast
4n al)habetical order, with translations of the names where a))licable: Banzai 5 /ul/ 6 &ur/7 : #ost .uic/ tem)ered of the 8yenas. Best with come bac/s. "ffsets hen1i and 9d .uite well. :Cheech #arin; Ed : The stu)idest 8yena. 8e has a Bill the Cat stare. Noted by warts on the ton(ue and holes in the ears. Too stu)id or slow to lie at the ri(ht time. :Jim Cummin(s; Cha a1 : imba<s and Nala<s cub. 8e com)letes the Circle. !"#a$a : Current 'in( of the +ride &ands. $ell!built lion. Thic/ mane. Brown eyes. Biiig Kitty. Father of imba. "lder brother of car. :James 9arl Jones; %ala : Friend and com)anion of imba. he can )in imba in a wrestlin( match. 3s an adult she and imba fall in lo-e, )rolon(in( a tradition they refused as cubs. :Ni/eta Calame 6 #oira 'elly;
: in(in(: &aura $illiams 6 ally 0wors/y;
ee the F3= :at htt):[Link]/in(.or(6fa..html; for a full discussion of the name of imba>s and Nala>s cub. $hen the [Link] :Simbas Pride; is released, we will /now for sure what the cub>s name is, and whether it is male or female.
1

&"m'aa 5 im)leton7 : 3 well!)added wart!ho( and friend of Timon. 3 little slow, but when he catches on, it<s sur)risin( what he can do. 8as a flatulence )roblem. :9rnie abella; Ra#i i 5Friend7 : 3 mandrill whose role is of a mystical shaman. "utwardly he a))ears to be cra1y, but in reality he is -ery wise. :?obert @uillaume; (ara'i 5#ira(e7 :#ad(e inclair;: #other of imba. $ife of #ufasa. ?eddish eyes. &eader of the lionesses. (ara#ina : Nala<s mother. Friend of arabi. :Aoe &eader; ()ar : Boun(er Brother of #ufasa. ,ncle of imba. $ell chiseled, bony features. Flat Blac/ matted mane. 3s)ires to be /in( of +ride ?oc/ by deceit, due to his thin si1e and wea/ stature. 8is claws are always )artly e*tended. 8as a -ertical scar around his ri(ht eye that )resumably accounts for his name. :Jeremy 4rons; (henzi 5,ncouth7: Female of the 8yena trio. #a2or attitude. +robably the smartest and deals the best with car. #ost e-en tem)er. :$hoo)i @oldber(; (im'a 5&ion7 : The cub of #ufasa. oon to be 'in( of +ride ?oc/. 4nitially a cub, later an adult. ?eddish!brown eyes, from his mother. 3s an adult, he<s not as well built as his father was. Friend of +umbaa and Timon. :Jonathan Taylor Thomas 6 #atthew Broderic/; : in(in(: Jason $ea-er 6 Jose)h $illiams; *imon : 3n outcast meer/atC a friend of +umbaa. Very self!reliant, .uite a fast tal/er :li/e a used car salesman;. tands about %D tall. :Nathan &ane; +az" : The 'in(<s loyal ser-ant. 3 hornbill, which is a lar(e!bea/ed bird. :?owan 3t/inson;

*he ()ript
E")en, Blac/ screenF E tart nature sound effectsF ECue Castle screenF EFade to blac/F ECue lion roar in the bac/(round, callin( the animals to (ather to +ride ?oc/ for the Ceremony.F

5T89 C4?C&9 "F &4F97G

2

4>d 2ust li/e to announce here that T&' won the years 3merican #usic 3ward. BaayH

# : #ale in(er B : Bac/(round in(er F : Female in(er :lead;

E unrise on 3frican (rassland, li(htly treed, in time with o)enin( chant to The Circle of &ifeF # : Nants in(onyama ba(ithi baba B : ithi uhhmm in(onyama 5There comes a lion7 5"h yes, it<s a lion7

EVarious shots of animals raisin( their heads at the sunrise: rhinos, antelo)e, a cheetah, meer/ats, stor/s...F # : Nants in(onyama ba(ithi baba B : ithi uhhmm in(onyama 4n(onyama # : iyo [Link] B : 4n(onyama 4n(onyama nen(w< enamabala Ere)eats IF 5$e<re (oin( to con.uer7 54t<s a lion and a ti(er7 5There comes a lion7 5"h yes, it<s a lion7

4n(onyama nen(w< enamabala : e!to!/waH; 4n(onyama nen(w< enamabala :3sana; Ere)eats JF EThe Circle of &ife (round forms in the B <s and holds its )attern for ei(ht bars. 4t is a non!chordal B )art. The )ro(ressions are in the medium ran(es of the strin(s. Various )ans and camera -iews of 3frican animals, all mo-in(. Coincidin( with the F )ic/u) in the ei(hth bar, we first -iew the (iraffes, )annin( to a lon( shot of all the animals in their )rocessionF

5The Circle of life te*t7

F : From the day we arri-e on the )lanet 3nd blin/in(, ste) into the sun There<s more to see than can e-er be seen #ore to do than can e-er be done

ECamera is )annin( and 2um)in( to ele)hants, 1ebras, ants, birds, stor/s, etc, etc ...F There<s far too much to ta/e in here #ore to find than can e-er be found But the sun rollin( hi(h 4n the sa))hire s/y 'ee)s (reat and small on the endless round

E$hen the DThe Circle of &ifeD is mentioned the lon( distance )an centers on +ride ?oc/ where all the animals are (atherin(. #ufasa is on +ride ?oc/. &on( camera arc to #ufasa and Aa1u.F 4t<s the Circle of &ife 3nd it mo-es us all EAa1u bows to #ufasa, who smiles and nods at himF Throu(h des)air and ho)e Throu(h faith and lo-e E3))earance of ?afi/i, the mandrill. 8e )asses between ran/s of animals, who bow to himC he then climbs +ride ?oc/ to where #ufasa is standin(.F Till we find our )lace "n the )ath unwindin( E?afi/i and #ufasa [Link] 4n the Circle The Circle of &ife E0ecrescendo in B . F dro)s out. +an Flute ta/es sim)le lead.F E#ufasa leads ?afi/i o-er to arabi who is holdin( imbaF E?afi/i )uts the 2uice and sand he collects on imba<s brow!! 3 ceremonial crown. 8e then )ic/s imba u) and ascends to the )oint of +ride ?oc/. #ufasa and arabi follow. $ith a crescendo in the music and a restatement of the refrain, ?afi/i holds imba u) for the crowd to -iew. F : 4t>s The Circle of life EThe crowd starts howlin(, stam)in(, etc... F 3nd it mo-es us all Throu(h des)air and ho)e Throu(h faith and lo-e EThe clouds )art and a sunbeam hi(hli(hts ?afi/i and imba on +ride ?oc/.F Till we find our )lace EThe crowd bows down, one by oneF 4n the )ath unwindin( ECamera slowly 1ooms out to a stri/in( )anoramic -iew of the +resentation.F
3

&oo/ here. 3s Aa1u flies u) to (reet #ufasa, we notice 2ust how far out into s)ace the ti) of +ride ?oc/ 2uts. #ufasa is standin( way out there on the ed(e of the roc/. Now ?afi/i a))roaches, and the animals ma/e way for him. Cut to #ufasa, still sittin( near the ed(e. ?afi/i comes up over the front of the roc/ to embrace #ufasa. Now 2ust how the hec/ did ?afi/i do thatL 3s admiralM2huni*.[Link] writes, #aybe he has a really (ood -ertical.

4n the Circle The Circle of life EBass drum hit :fff; and immediate switch to blac/ screen with title DThe &4"N '4N@D in blood!red ca)s.F

5#ouse 6 Challen(e cene7

ECue mouse soundsF EVisual fade into mouse in ca-eF E#ouse comes out and starts )reenin( in the li(ht. Be(ins sniffin(. Becomes fri(htened. uddenly a lar(e lion )aw swoo)s down and catches it.F ECue the car theme :dissonant, slow, reed theme;. Fade in slowly and u) full durin( s)eechF ECamera switch to car holdin( the [Link]/in( and stru((lin( mouse in his )aw. 8e tal/s to it while )layin( with itF car: &ife<s not fair, is itL Bou see 4 !! well, 4... shall ne-er be 'in(. Ee*hale li(htlyF 3nd you... shall ne-er see the li(ht of another day. Eclosed! mouth lau(hter. tarts to )lace the mouse on his e*tended ton(ueF ... 3dieu... [Link] lau(hF Aa1u : E4nterru)tin(F 0idn<t your mother e-er tell you not to )lay with your foodL car: E&i(ht si(h. The mouse is under his )aw.F $hat do you wantL Aa1u: 4<m here to announce that 'in( #ufasa is on his way. EbowsF N o you>d better ha-e a (ood e*cuse for missin( the ceremony this mornin(. EThe mouse runs away from carF car: "h now loo/, Aa1u. Bou>-e made me lose my lunch. Aa1u: 8ahH Bou<ll lose more than that when the 'in( (ets throu(h with you. 8e<s as mad as a hi))o with a hernia. car: "hhh... 4 .ui-er with FE,R. E"n F93? car crouches down and is barin( his teeth at Aa1u.F Aa1u: E-ery concernedF Now car, don<t loo/ at me that way... 89&+HHHH E car .uic/ly )ounces on the bird, catchin( him in his mouth.F #ufasa: Ealmost immediately and off!cameraF carH N

car: E#outh fullF #m!hmm...L #ufasa: 0ro) him. Aa1u: E )ea/in( from car<s mouthF 4mpeccable timin(, your ma2esty. E car s)its the Bird out, co-ered with sali-aF Aa1u: E limedF 9yyccch. car: E arcastically o-er2oyedF $hyH 4f it isn<t my bi( brother descendin( from on hi(h to min(le with the commoners. #ufasa: arabi and 4 didn<t see you at the )resentation of imba. car: EFa/in( astonishmentF That was today? "h, 4 feel sim)ly awful. E8e turns and start scra)in( his claws on the roc/ wall. Aa1u crin(es at the sound.F car: E3dmirin( his clawsF ...#ust ha-e sli))ed my mind. Aa1u: Bes, well, as sli))ery as your mind is, as the /in(<s brother, you should ha-e been first in lineH E car clic/s his teeth at Aa1u, who has flown near his face. Aa1u ta/es co-er behind #ufasa<s forele(. car bends down to s)ea/ to him.F car: $ell, 4 was first in line, ... until the little hairball was born. #ufasa: E&owerin( his head and meetin( car eye to eyeF That hairball is my son !and your future /in(. car: "hh, 4 shall )ractice my curtsy. E car turns away and starts to e*itF #ufasa: E#enacin(F 0on<t turn your bac/ on me, car. car: E&oo/in( bac/F "n, no, #ufasa. +erha)s you shouldn<t turn your bac/ on me. #ufasa: E?oars and literally 2um)s in front of car barin( his teeth for the first timeF 4s that a challengeL car: Tem)er, tem)er. 4 wouldn<t dream of challen(in( you. Aa1u: +ityH $hy notL car: E&oo/in( at Aa1uF $ell, as far as brains (o, 4 (ot the lion<s share. But, when it comes to brute stren(th Eloo/in( at #ufasaF ...4<m afraid 4<m at the shallow end of the (ene )ool. E9*it carF

Aa1u: E0ee) si(hF There<s one in e-ery family sire... Two in mine actually. E)erches on #ufasa<s shoulderF 3nd they always mana(e to ruin s)ecial occasions. #ufasa: $hat am 4 (oin( to do with himL Aa1u: 8e<d ma/e a -ery handsome throw ru(. #ufasa: EChidin(F Aa1uH Aa1u: 3nd 2ust thin/H $hene-er he (ets dirty, you could ta/e him out and beat him. EThey e*it chuc/lin(. +an out into o)en a-annah.F

5+aintin( cene7
E?ise in musicOThis &and trac/!! with theme stated in 3frican flute, it broadens e-entually with chorus and full orchestra. $e see a rainstorm (ently crossin( the a-annah. #ulti!layered a))roach to ?afi/i<s tree. Camera switch to inside. ?afi/i is doin( hand )aintin(s on the wall. $e see he is com)letin( a lion cub.F ?afi/i: E#utters to himself, in which the word D imbaD can be heardF 8mmm... 3h heh heh heh heh heh... Ecom)letin( the ceremonial crown in the )aintin(F imba. ?afi/i: 8mmm.... 3h heh heh heh heh heh.... Ecom)letin( the ceremonial crown in the )aintin(F imba. E8orns and brass close theme in a stately manner with a decrescendo, fade to blac/ /ee)in( the )aintin( of the cub as a crosso-er to the fade in of +ride ?oc/ in early mornin(F

5The unrise 6 +ouncin( cene7

E imba is seen comin( out on the roc/. 8e runs bac/ into the ca-e and lea)s o-er se-eral of the lionesses, accidentally 2um)in( on a few.F imba: 0adH Daad! Come on, 0ad, we (otta (o, wa/e u)H ?andom &ioness: "om)hH imba: orryH E imba starts to wa/e #ufasaF imba: 0adL 0aad. Dad Dad Dad Dad Dad Dad Dad Dad!... arabi: E"-er imba<s endless noise of 0ads, slee)ilyF Bour son.... is awa/e.... #ufasa: E3lso slee)ilyF Before sunrise, he<s your son.
4

@o ahead, count Pem u) and see if this isn>t the e*act number.

imba: 0adL 0aadH Come on, 0adH Etu(s at #ufasa<s ear.F 0aaO $hoaH E8e loses his (ri) on #ufasa<s ear, and sli)s and crashes into somethin( off camera. 8e then comes runnin( bac/ on screen and butts #ufasa. #ufasa slee)ily eyes his son.F imba: Bou )romisedH #ufasa: E eein( his son<s im)atienceF "/ay, o/ay. 4<m u). 4<m u). imba: BeahH E#ufasa yawns a well!recorded lion yawn, #ufasa and arabi follow imba u) to the to) of +ride ?oc/. imba rubs u) a(ainst arabi, she nud(es him ahead and stays behind. 0e)artin( shot of her, with a lo-in( e*)ression. The sunrise illuminates the to) of +ride ?oc/ im)ressi-ely. Both imba and #ufasa are on the )oint. Cue music.F #ufasa: &oo/ imba. 9-erythin( the li(ht touches is our /in(dom. imba: "ow. EThe camera )ans from a re-erse -iew to a frontal shotF #ufasa: 3 /in(<s time as ruler rises and falls li/e the sun. "ne day imba, the sun will set on my time here! and will rise with you as the new /in(. imba: 3nd this>ll all be mineL #ufasa: #$erything. imba: 9-erythin( the li(ht touches... E imba loo/s all around. 8e -iews the ri)!ra) canyon in the distance, to the ri(htF $hat about that shadowy )laceL #ufasa: That<s beyond our bordersC you must ne-er (o there, imba. imba: But 4 thou(ht a /in( can do whate-er he wants. #ufasa: "h, there<s more to bein( /in( than!! (ettin( your way all the time. E#ufasa starts bac/ down the roc/F imba: E3wedF There<s moreL #ufasa: EChuc/lesF imba. ECamera switch. #ufasa and imba are out wal/in( on the sa-annahF #ufasa: 9-erythin( you see e*ists to(ether, in a delicate balance. 3s /in(, you need to understand that balance, and res)ect all the creatures!! from the crawlin( ant to the lea)in( antelo)e.

imba: But, 0ad, don<t we eat the antelo)eL #ufasa: Bes, imba, but let me e*)lain. $hen we die, our bodies become the (rass. 3nd the antelo)e eat the (rass. 3nd so we are all connected in the (reat Circle of &ife. Aa1u: E&i(hts on a nearby roc/F @ood mornin(, sireH #ufasa: @ood mornin(, Aa1u. Aa1u: Chec/in( in... with the mornin( re)ort. #ufasa: Fire away. Aa1u: "ellH The bu11 from the bees is that the leo)ards are in a bit of a s)ot ... EAa1u<s s)eech will continue throu(h without sto). imba and #ufasa<s con-ersation is the focus.F #ufasa: E0istractedF "h, reallyL E imba, uninterested in Aa1u, )ounces at a (rassho))er and missesF Aa1u: Econtinuin(, not noticin( #ufasa<s lac/ of enthusiasmF ... 3nd the baboons are (oin( ape o-er this. "f course, the (iraffes are actin( li/e they<re abo-e it all.... #ufasa: ETo imbaF $hat are you doin(, sonL imba: E0isa))ointedly loo/in( in his em)ty )awsF +ouncin(. #ufasa: &et an old )ro show you how it<s done. Aa1u: ... The tic/ birds are )ec/in( on the ele)hants. 4 told the ele)hants to for(et it, but they can%t ... #ufasa: Aa1u, would you turn aroundL Aa1u: Bes, sire. EContinuin( immediatelyF The Cheetahs are hard u), but as 4 always say ... #ufasa: E$his)erin(F tay low to the (round. Aa1u: Cheetahs ne-er )ros)erN imba: E$his)erin(F "/ay, stay low to the (round, ri(ht yeah ... Aa1u: E?eali1in( somethin( is amissF $hat>s (oin( onL #ufasa: 3 )ouncin( lesson. Aa1u: "h -ery (ood. +ouncin(. E?eali1in(F Pouncing!?! "h no, sire, you can<t be serious ...

E#ufasa motions for Aa1u to turn bac/ around.F Aa1u: "h, ... this is so humiliating. #ufasa: E till whis)erin(F Try not to ma/e a sound. Aa1u: $hat are you tellin( him #ufasaL E&oo/in( around uneasily. imba and #ufasa ha-e seemin(ly disa))earedF #ufasaL ... imbaL E imba does a full )ounce lea-in( Aa1u stunned on the (roundF #ufasa: 8a ha ha ha ha. That<s -ery (ood. 8a ha ha... E3 (o)her emer(es under Aa1u.F @o)her: Aa1u. Aa1u: E9*as)eratedF BesL @o)her: E alutin(F ir. News from the under(round. #ufasa: Eto imbaF Now, this time!! Aa1u: E4nterru)tin( and with ur(encyF ireH 8yenasHH 4n the +ride &andsH #ufasa: E erious nowF Aa1u, ta/e imba home. imba: "h 0ad, can<t 4 comeL #ufasa: ECurtlyF No, son. E#ufasa heads off at a full (allo)F imba: 4 ne-er (et to (o anywhere. Aa1u: "h youn( master, one day you will be /in(C then you can chase those slobberin(, man(y, stu)id )oachers from dawn until dus/. EThey head off. Camera )ulls bac/ to wide -iew of sa-annahF

5 car Tric/s imba cene7

ECamera chan(e to car on an o-erhan(in( roc/ led(e. $e see car )ace a bit and /ic/ an old bone off the ed(e.F E9nter imbaF imba: 8ey ,ncle car, (uess whatH car: 4 despise (uessin( (ames. imba: &%m (oin( to be /in( of +ride ?oc/. car: E arcasticallyF "h (oodee.

imba: E&oo/in( out o-er the ed(e of the roc/FI #y 0ad 2ust showed me the whole /in(dom, E(reedilyF and 4<m (oin( to rule it all. 8eh heh. car: Bes. $ellN for(i-e me for not leapin( for 2oy.... Bad bac/, you /now. E car flo)s down on his side.F imba: 8ey, ,ncle carL $hen 4<m /in(, what will that ma/e youL car: 3 mon/ey<s uncle. imba: 8eh heh. Bou>re so weird. car: Bou ha-e no idea. N o, your father showed you the whole /in(dom, did heL imba: #$erythin(. car: 8e didn<t show you what<s beyond that rise at the northern borderNL imba: E0isa))ointedF $ell, noN he said 4 can<t (o there. car: 3nd he<s absolutely ri(htH 4t<s far too dan(erous. "nly the bra-est lions (o there. imba: $ell, 4<m bra-eH $hat<s out th!! car: E4nterru)tin(F No, 4<m sorry imbaC 4 2ust can%t tell you. imba: $hy notL car: imba, imbaC 4<m only loo/in( out for the well!bein( of my fa-orite ne)hew. E car rubs and )ats imba<s headF imba: E norts sarcasticallyF Beah, ri(htC 4<m your only ne)hew. car: 3ll the more reason for me to be )rotecti-eN 3n ele)hant (ra-eyard is no )lace for a youn( )rince ... Efa/in( sur)riseF "o)sH imba: E9nthusiasticF 3n ele)hant whatL $hoaH car: EFa/in( dismayF "h dear, 4<-e said too much.... $ell, 4 su))ose you<d ha-e found out sooner or later, you bein( so cle-er and all.... E)ullin( imba nearF "h, 2ust do me one fa-or!! +romise me you<ll ne-er -isit that dreadful )lace. imba: EThin/sF No )roblem. car: There<s a (ood lad. Bou run alon( now and ha-e fun. 3nd rememberN it<s our little secret.
5

Thou(h only a))arent in the lower!.uality )rints of the film, the )ainted bac/(round for this shot has -isible water dama(e.

E imba lea-es the roc/, car wal/s away with an e-il smile. #enacin( music.F

5Bath cene ! 4ntro to $ater 8ole cene7

E imba is runnin( down the slo)e of the bottom )art of +ride ?oc/. 8e runs down towards two lionesses : arabi and arafina;. arafina is (i-in( Nala a bath. #usic is li(ht, almost 2a11y. +an flute lead.F imba: 8ey, Nala. Nala: 8i, imba. imba: Come on. 4 2ust heard about this (reat )lace. Nala: EThrou(h clenched teethF imbaH 4<m /ind of in the middle of a bath. arabi: 3nd it<s time for yours. E imba tries :too late; to esca)eC arabi bends down and (rabs him. he )roceeds to (i-e the stru((lin( cub a bath.F imba: #omH ... 'om. Bou<re messin( u) my mane. E arabi smilesF imba: "/ay, o/ayC 4<m clean. Can we (o nowL Nala: o where are we (oin(L 4t better not be any)lace dumb. imba: No. 4t<s really cool. arabi: o where is this really cool )laceL imba: "h.... Ethin/sF uh ... around the water hole. Nala: The water holeLH $hat<s so (reat about the water holeL imba: E$his)erF 4<ll show you when we get there. Nala: E$his)erF "h.... EnormalF ,h.... #om, can 4 (o with imbaL arafina: 8mmN $hat do you thin/, arabiL arabi: $ell... Nala and imba: Ethrou(h broad, forced (rinsF +leeeeaseL arabi: 4t<s all ri(ht with me.... ENala and imba are o-er2oyedF Nala: 3ll ri(htH

imba: BeahHH arabi: ...3s lon( as Aa1u (oes with you. E imba and Nala sto) dead in their celebrationF imba: NoH Not (a)u.

5$ater 8ole cene7

ECamera is at a (round an(le sli(htly behind the cubs wal/in( towards the water hole. Aa1u is -isible in the s/y o-erheadF Aa1u: te) li-ely. The sooner we (et to the water hole, the sooner we can lea-e. ECamera an(le chan(es to the cubs from an immediate real -iewF Nala: E$his)erF o where>re we really (oin(L imba: E$his)erF 3n ele)hant (ra-eyard. Nala: $owH imba: E$his)erF hhhH Aa1u. Nala: E$his)erF ?i(ht. o how are we (onna ditch the dodoL ECamera switch to 2ust abo-e Aa1u. $e hear the cubs whis)erin( bac/ and forth belowF Nala: E$his)erin(F "h & /now how we can!! Aa1u: EFlyin( downF "h, 2ust loo* at you two. &ittle seeds of romance blossomin( in the sa-annah. Bour )arents will be thrilledN E8e lands in front of themF Nwhat with your bein( betrothed and all. imba: Be!whatL Aa1u: Betrothed. 4ntended. 3ffianced. Nala: #eanin(NL Aa1u: E3s thou(h holdin( on to his coat la)elsF "ne day you two are (oin( to be married! imba: +uc*! Nala: #www! imba: 4 can<t marry her. he<s my friend. Nala: Beah. 4t>d be too weird.

Aa1u: $ell, sorry to bust your bubble, but you two turtle do-es ha-e no choice. 4t>s a traditionN E imba mimics Aa1u durin( these last wordsF Aa1u: N(oin( bac/ (enerations. imba: $ell when &%m /in(, that>ll be the first thin( to (o. Aa1u: Not so lon( as 4<m around. E tart fadin( in intro to 4 Just Can<t $ait to Be 'in(F imba: $ell in that case, you<re fired. Aa1u: 8mmm.... Nice try, but only the *ing can do that. E+o/es imba on the noseF Nala: $ell, 8e<s the future /in(. imba: Beah. EThum)in( Aa1u<s chestF o you ha-e to do what 4 tell you. Aa1u: Not yet 4 don<t. 3nd with an attitude li/e that, 4<m afraid you>re sha)in( u) to be a )retty )athetic /in( indeed. imba: 8m)h. Not the way & see it. EFull son(, colors chan(e to wild )o)!3frican. Bac/(round abru)tly becomes surreal, bri(htly!colored cartoon style.F imba: 4<m (onna be a mi(hty /in( o enemies bewareH % Aa1u: $ell, 4<-e ne-er seen a /in( of beasts E+luc/s hair where mane would beF $ith .uite so little hair E imba (ets a mane of lea-esF imba: 4<m (onna be the mane e-ent &i/e no /in( was before EClimbs lo(F 4<m brushin( u) on loo/in( down 4<m wor/in( on my ?"3?HH E"n D?"3?D he shouts at Aa1u, startlin( him bac/wards into a )uddleF Aa1u: E0ryin( on what a))ears to be a han(in( towelF
coo)[Link] wrote: 0id anyone thin/ the /id sin(in( 4JC$tb' sounded li/e #ichael Jac/son when he had his real noseL 5Jac/son I era, #otown7 3nyoneL 3nyoneL N 3nd the answer isL Jason $ea-er :Boun( imba>s sin(in( -oice; )layed youn( #ichael Jac/son in the TV mo-ie The Jac/sons bac/ in the QR>s. @ood ear, coo)[Link].
6

Thus far, a rather unins)irin( thin( ECamera )ulls bac/C re-eals the DtowelD as the ear of a red ele)hant which hits Aa1u with its trun/ as with a (olf club, sendin( him s/i))in( li/e a stone across a shallow )ool of waterC the cubs follow immediately.F imba: "h, 4 2ust can<t wait to be /in(H Aa1u: E )ea/in(F Bou>-e rather a lon( way to (o, youn( master, if you thin/.... EFor this -erse Aa1u is ma/in( .uic/ s)o/en!)art re)lies to each line. imba and Nala are on each side of Aa1uC as he turns to tal/ to one, the other ma/es faces at him.F imba: No one sayin( do this :Aa1u: Now when 4 said that, 4!!; Nala: No one sayin( be there :Aa1u: $hat 4 meant was...; imba: No one sayin( sto) that :Aa1u: &oo/C what you don<t reali1e...; imba and Nala: No one sayin( see here :Aa1u: Now see hereH; imba: Free to run around all day : imba and Nala are now ridin( ostrichesF :Aa1u: $ell that<s definitely out...; imba: Free to do it all my wayH E+o)!art style silhouette of imba and Nala ridin( their ostriches, with Aa1u flyin( in the fore(round as the music brid(es.F Aa1u: EFlyin( ahead of the cubs, loo/in( bac/ to s)ea/ to them and so not )ayin( attention aheadF 4 thin/ it<s time that you and 4 3rran(ed a heart to heart EFlies into a rhinoF imba: 'in(s don<t need ad-ice From little hornbills for a start E&i(hts on a branchF

Aa1u: 4f this is where the monarchy is headed Count me outH "ut of ser-ice, out of 3frica 4 wouldn<t han( about ... aaagh! EThe camera )ulls bac/ to re-eal Aa1u has li(hted on a lo( bein( washed towards a waterfall. 4t disa))ears o-er the ed(e, elicitin( a yell of sur)rise from Aa1u. 8e .uic/ly rea))ears flyin( towards and throu(h the camera.F This child is (ettin( wildly out of win( imba: "h 4 2ust can<t wait to be /in(H EThe cubs trot u) a corridor of 1ebras standin( at attentionC when Aa1u follows, they all turn and raise their tailsC Aa1u co-ers himself with a win(.F ENala and imba dance about under a mo-in( herd of ele)hants while the 3frican flute leads a short instrumental [Link]. Aa1u flies o-erhead, loo/in( for them. imba ends u) standin( on a (iraffe<s headF 9-erybody loo/ left EAa1u [Link]/s as the herd tram)les himF 9-erybody loo/ ri(ht E imba ho)s u) a ladder of (iraffe headsF 9-erywhere you loo/ 4<m E lidin( down a (iraffe<s nec/ into theatrical )oseF tandin( in the s)otli(ht Aa1u: E )ea/in( but in strict timeF Not yetH Chorus: &et e-ery creature (o for bro/e and sin( &et<s hear it in the herd and on the win( 4t<s (onna be 'in( imba<s finest flin( EThe Chorus of hi))os, anteatersS, antelo)es, (iraffes, etc. form a )yramid with the cubs on to)F imba T Chorus: "h 4 2ust can<t wait to be /in(H "h 4 2ust can<t wait to be /in(H "h 4 2ust can<t waaaaaait ... to be /in(H EThe )yramid to))les lea-in( the rhino sittin( on Aa1uF Aa1u: E#uffledF 4 be( your )ardon, madam, but ... @9T "FFH... imbaL NalaL

59le)hant @ra-eyard ! 8yena cene7

?.a.d. sources re)ort the anteater to be a nati-e of "o)s...

7

outh 3merica.

ame with the leaf!cutter ants seen in the o)enin( [Link].

ECamera chan(e to imba and Nala ma/in( their way away from Aa1u. They are lau(hin(F imba: 3ll ri(ht, it wor/edH Nala: $e lost <im. imba: E3rro(antlyF 4 ... am a (enius. Nala: 8ey, @enius, it was my idea. imba: Beah, but & )ulled it off. Nala: $ith meH imba: "h yeahL... ?rarrHH E imba 2um)s at NalaC They tussle .uic/ly. Nala ends on to) and )ins imba with her fore)aws, )roducin( a resoundin( thum).F Nala: 8a. +inned ya. imba: E3nnoyedF 8ey, lemme u). ENala turns away, smir/in(. imba loo/s at Nala and 2um)s at her a(ain. They tussle, rollin( down a short hill. he )ins him a(ain in the same )osition with another thum).F Nala: +inned ya a(ain. E3 (eyser ma/es a loud noise near by, e2ectin( steamQ. The camera )ulls bac/ to a -iew of the surroundin(s that the cubs ha-e 2ust noticed. #ostly in (rays, we see a dar/ cra((y -ale filled with s/eletons of ele)hants. 9erie music.F imba: E3wedF This is it.... $e made it. EThey loo/ o-er the ed(e of the led(e they are on. 3 lar(e bull ele)hant s/ull is nearbyU. The camera follows to sur-ey the entire blea/ -iew.F imba and Nala: "hoa! Nala: 4t<s really cree)y. imba: Beah... isn<t it (reatL
This is either methane from cor)se decom)osition or steam from some under(round hot s)rin( :-olcanic acti-ity on the a-annahLH;. 4t>s alternately red, yellow, or (reen de)endin( on the )articular bac/(round. The boo/ The 3rt of the &ion 'in( and the T&' 3nimated toryboo/ C0!?"# both refer to it as steam, thou(h, so steam it is. :To (et the storyboo/ to mention steam you ha-e to as/ ?afi/i to define the word (eyser, 4 recall.; Bour (uess is as (ood as mine as to why it>s so -aried in color. 9 4n an early conce)t )aintin( of this bac/(round, the s/ull is #,C8 lar(er and is not )lanted in the (round but instead restin( in a lar(e )ool of (rayish [Link]. +erha)s later the s/ull was mo-ed to dry land to double as the hideout of the three hyenas. 4n early storyboards, this was )robably the case... 9*)lorin( in the (ra-eyard, imba and Nala stumble into the front yard of hen1i, Ban1ai, and 9ds> home. The hyenas chase the cubsC car sees thisC car formulates his )lan to use the hyenas. 4 su))ose the )roblem they had with this is that they would ha-e to 2ustify car>s initial tric/in( of imba somehow, without in-ol-in( the hyenas. ,nd $o, that is the reason the intro to Be +re)ared was cut.
8

Nala: E?elishin( her nau(htinessF $e could (et in bi( trouble. imba: E9n2oyin( it alsoF 4 /now, huh. Nala: E&oo/in( at the s/ullF 4 wonder if its brains are still in there. imba: E$al/in( towards the s/ullF There<s only one way to /now. Come on. &et>s (o chec/ it out. E imba wal/s towards the mouth of the s/ull. Aa1u fla)s suddenly u) in front of him, emittin( a shar/ [Link]/ of $ron(H and (i-in( the audience a start.F Aa1u: The only chec/in( out you will do will be to chec/ out of here. imba: 3w, man. Aa1u: $e<re way beyond the boundary of the +ride &ands. imba: 8uh. &oo/, banana bea/ is scared. 8eh. Aa1u: E+o/in( imba in the noseF That>s 'ister Banana Bea/ to you, fu))y. 3nd ri(ht now we are all in -ery real dan(er. E imba has mo-ed nearer to the entrance of the s/ullF imba: 0an(erL 8ahH 4 wal/ on the wild side. 4 laugh in the face of dan(er. ,a ha ha ha! EFollowin( imba<s confident lau(hter we hear more lau(hin( from inside the s/ull. imba runs bac/ and hides behind Nala and Aa1u. Three hyenas emer(e from the s/ull<s eyes and mouth.F hen1i: $ell, well, well, Ban1ai. $hat ha-e we (ot hereL Ban1ai: 8mm. 4 don<t /now hen1i. ,hN $hat do you thin/, 9dL 9d: ECra1y lau(hterF EThey circle around the cubs and Aa1u.F Ban1ai: Beah, 2ust what 4 was thin/in(. 3 trio of trespassersHH Aa1u: 3nd -uite by accident, let me assure you. 3 sim)le na-i(ational error. 9h heh heh... hen1i: $hoa, whoa, wait wait wait.... 4 /now you. E)eerin( close into the cameraF Bou<re #ufasa<s little stooge. Aa1u: E$ith a bit of )rideF &, madam, am the /in(<s ma2ordomo. hen1i: E&oo/in( at imbaF 3nd that would ma/e you...L imba: The future /in(.

hen1i: 0o you /now what we do to /in(s who ste) out of their /in(domL imba: +uh. Bou can<t do anythin( me. Aa1u: ,hh.... Technically, they can. $e are on their land. imba: But Aa1u, you told me they<re nothin( but slobberin( man(y stu)id )oachers. Aa1u: E3side, surre)titiously, to imbaF 4*!nay on the oo)id!stay... Ban1ai: $ho you callin> oo)id!stayLHL Aa1u: E8arriedF #y, my, my. &oo/ at the sun. Estarts to try to hasten the cubs awayF 4t>s time to (oH hen1i: $hat<s the hurryL $e<d lo$e you to stic/ around for dinner. Ban1ai: BeaaaahH $e could ha-e whate-er<s ... lion around! @et itL &ion aroundH Elau(hsF hen1i: "h wait, wait, wait. 4 (ot one, 4 (ot one. #a/e mine a cub sandwich. $hatcha thin/L E+eals of uncontrollable lau(hter. 9d 2um)s u) and starts (esticulatin( and 2abberin(.F hen1i: $hatL 9dL $hat is itL Ban1ai: E&oo/in( where 9d is )ointin(F 8ey, did we order this dinner to goL hen1i: No. $hyL Ban1ai: PCause there it goesHH ECamera -iew to the cubs runnin( offC they sto) after a bit. =uic/ camera 2um) showin( Aa1u bein( cau(ht in mid!fli(ht.F Nala: E"ut of breathF 0id we lose <emL imba: E3lso out of breathF 4 thin/ so.... $here<s Aa1uL ECamera switch. The hyenas ha-e Aa1u near a steam -ent. Ban1ai is holdin( the bird.F Ban1ai: The little #a2ordomo bird hi))ity!ho))ed all the way to the birdie! boiler. E8e wal/s Aa1u to the -ent and stuffs him into it, )lu((in( it u).F Aa1u: "h no.... Not the birdie boiler! E4t shoots him off in a cloud of -a)orF .aaaaaaa...! EThe hyenas start lau(hin( hystericallyF

imba: E"n a hill abo-e the hyenasF 8eyH $hy don<t you )ic/ on somebody your own si1eL hen1i: &i/e ... you? imba: "o)s. EThe hyenas start chasin( the cubs. They dart around behind them and )o/e their heads throu(h an acti-e methane -ent.F hen1i, Ban1ai, 9d: Boo! Elau(hterF EThe hyenas chase the cubs u) and o-er the s/ull and the cubs sli) away by slidin( down the s/eleton>s s)ine. They shoot off the end of the s)ine and land on a hillside of bones.F Nala: imbaH E imba turns around and is horrified to see Nala sli))in( bac/ down the )ile.F Nala: 3aaaieeH E imba runs bra-ely bac/ and claws hen1i across the chee/, distractin( her while Nala esca)es. hen1i becomes enra(ed and they )ursue the cubs .uic/ly and corner them in a ca-e.F

EFor a reason un/nown to me, the followin( line was cut. 4t a))eared on story boards and e-en in the )romotional )am)hlet for the mo-ie 5as well as on the first series of collector<s cards !BT7. 4t must ha-e been cut fairly late in )roduction.F hen1i: &oo/, boysH 3 'in( fit for a mealH Ban1ai: E9nterin( the ca-e, tauntin(F 8ere /itty, /itty, /itty. E imba tries to roar. 8e )roduces a nice medium yowl.F hen1i: "o!hooN That was itL 8ah. 0o it a(ain.... come on. E imba o)ens his mouth to roar a(ain, but we hear a full (rown lion roar.F hen1i, Ban1ai, 9d: 8uhLH E#ufasa char(es the hyenas from camera left and /noc/s them about until they are crin(in( under him.F hen1i: "h, +lease, )lease. ,ncle. ,ncle. Ban1ai: "w. "w. "w. #ufasa: E8alf roarF Silence!

C,T &4N9

Ban1ai: "h, we<re (onna shut u) ri(ht now. hen1i: Calm down. $e<re really sorry. #ufasa: 4f you e$er come near my son a(ain... hen1i: "h this is ... this is your sonLHL Ban1ai: "h your sonLL hen1i: 0id you /now thatL Ban1ai: /o.... #eL 4!4!4 didn<t /now it. No. 0id youL hen1i: /o! "f course not. Ban1ai: No. hen1i and Ban1ai: 9dL 9d: E tu)idly nods yesF E#ufasa roarsF Ban1ai: NToodlesH E$ith a (unshot sound they disa))ear. Aa1u li(hts in front of #ufasa, (i-in( him a that>ll show Pem nodN But then withers under #ufasa>s an(ry (lare.F imba: E3))roachin( his fatherF 0ad, 4 .. #ufasa: E8arshlyF Bou deliberately disobeyed me. imba: 0ad, 4<m.... 4<m sorry. #ufasa: E ternF &et>s (o home. EThey all start wal/in( out of the Burial @rounds. The cubs ha-e their heads bent down in shame.F Nala: E$his)erin(F & thou(ht you were -ery bra-e. EThe camera steadily )ans u) one of the walls of the ca-e. 4t sto)s on a horrifyin( ima(e of car, sittin( on a led(e where he was watchin( the cubs> near demise.F

50isci)linary ! tars cene7

ECamera switch to out on the sa-annah. The cubs are still wal/in( in a shamed manner behind #ufasa. Aa1u is flyin( between.F #ufasa: E till sternF Aa1uL

Aa1u: EFlyin( forward and li(htin( in front of #ufasa, his tre)idation showin(F Bes, sireL #ufasa: E ternF Ta/e Nala home. 4<-e (ot to teach my son a lesson. EThe camera -iews the cubs. imba hun/ers low in the (rass as if to hide. Aa1u flies bac/ to the cubs.F Aa1u: Come, Nala. imba... E)uts his win(s on imba<s shoulders, (i-es a hea-y si(h, and then a reassurin( )atF @ood luc/. EAa1u and Nala lea-e. The camera -iew is of imba in the fore(round with #ufasa facin( away from the camera in the bac/(round.F #ufasa: ECallin(, still -ery sternF imbaH EThe word re-erberates in the ni(ht air.F E imba slowly turns and wal/s towards his father. The camera follows him forward. "minous yet sad music. imba ste)s into a de)ression. &oo/in( down he sees that his fore)aw fits inside 2ust the )alm)rint of his father<s )aw. 3 -ery tense moment for imba. 4t comes across to the audience that his father could easily do much, much more than disci)line imba. 54t also comes across that imba has some rather bi( shoes to fill, so to s)ea/, and is only now reali1in( his true )osition. !BT7 imba is harshly reminded of how small and youn( he is com)ared to his father. 8e loo/s u) and, .uite coura(eously, continues to come forward.F E#ufasa thin/s silently for a few moments, not loo/in( at his son. Then, finally, he turns to him.F #ufasa: imba, 4<m -ery disa))ointed in you. imba: EVery .uietly and sadlyF 4 /now. #ufasa: EContinuin(F Bou could ha-e been *illed. Bou deliberately disobeyed me. 3nd what<s worse,! you )ut /ala in dan(erH imba: EBorderin( on cryin(, -oice crac/sF 4 was 2ust tryin( to be bra-e li/e you. #ufasa: 4<m only bra-e when 4 ha$e to be. imba ... bein( bra-e doesn<t mean you (o loo*ing for trouble. imba: But you<re not scared of anythin(. #ufasa: 4 was today. imba: E0isbelie-in(F Bou wereL #ufasa: Bes ... Ebends down close to imbaF 4 thou(ht 4 mi(ht lose you. imba: "h. E&i(htenin( sli(htlyF 4 (uess e-en /in(s (et scared, huhL #ufasa: #m!hmm.

imba: ECons)iratoriallyF But you /now whatL #ufasa: E$his)erin( bac/F $hatL imba: 4 thin/ those hyenas were e-en scareder. #ufasa: E@entle lau(hF Cause nobody messes with your dad. Come here, you. E#ufasa )ic/s imba u) and starts (i-in( him a <noo(ie<F imba: "h no, no ... 3aa(hH #rrrggh! ... E#usic rises as imba and #ufasa tussle )layfully for a brief while.F imba: "h, come here... Eas #ufasa runs awayF 8ahH 0otcha! EThey end u) with #ufasa laid down and imba on his headF imba: 0adL #ufasa: 8mmL imba: $e<re )als, ri(htL #ufasa: E@entle lau(hF ?i(ht. imba: 3nd we<ll always be to(ether, ri(htL #ufasa: E ittin( u), imba now on shoulderF imba, ... &et me tell you somethin( that my father told me ... &oo/ at the stars. The (reat /in(s of the )ast loo/ down on us from those stars. imba: E3wedF 1eally? #ufasa: Bes ... o whene-er you feel alone, 2ust remember that those /in(s will always be there to (uide you ... 3nd so will 4.

5Be +re)ared cene7

ECamera switch from stars to 8yena ca-e. 3s we mo-e in the ca-e, we first hear Ban1ai<s -oice and e-entually see Ban1ai and 9d to(ether with hen1i to the side.F Ban1ai: #an that lousy #ufasaH 4 won<t be able to sit for a wee/. Ewe notice numerous scratches on Ban1ai<s rearF 9d: E&au(hsF Ban1ai: 4t<s not funny, #d. 9d: ETries to sto) lau(hin(, but bursts out worseF

Ban1ai: 8ey, shut up! 9d: ECan not sto) lau(hin(F EBan1ai tac/les 9d and they start fi(htin(.F hen1i: $ill you /noc/ it offH EBan1ai sto)s. 9d continues, bitin( himself in the le(.F Ban1ai: $ell, he started it. hen1i: &oo/ at you (uys. No wonder we<re dan(lin( at the bottom of the food chain. Ban1ai: E$ith drool dan(lin( from his mouthF #an, 4 hate dan(lin(. hen1i: hyeahL Bou /now, if it weren<t for those lions, we<d be runnin the 2oint. Ban1ai: Beah. #an, 4 hate lions. hen1i: o pushy. Ban1ai: 3nd hairy. hen1i: 3nd stin*y. Ban1ai: 3nd man are they ... hen1i and Ban1ai: -""[Link] EThey lau(h.F car: EFrom his )erch we saw in the 8yena chaseF "h, surely we lions are not all that bad. Ban1ai: "hh. Erelie-ed from the sur)riseF "h car, it<s 2ust you. hen1i: $e were afraid it was somebody im)ortant. Ban1ai: Beah, you /now, li/e #ufasa. hen1i: Beah. car: 4 see. Ban1ai: Now that%s )ower. hen1i: Tell me about it. 4 2ust hear that name and 4 shudder. Ban1ai: #ufasa. hen1i: E hi-erin(F "oooh. ... 0o it a(ain.

Ban1ai: #ufasa. hen1i: "oooh. Ban1ai: #ufasa. #ufasaH #ufasaH hen1i: EBuilds u) hysterical lau(hterF ... "oohH 4t tin(les me. car: 4<m surrounded by idiots. Ban1ai: Not you car, 4 mean, you<re one of us. 4 mean, you<re our )al. car: E arcasticF Charmed. hen1i: "hh, 4 li*e that. 8e<s not /in(, but he<s still so proper. Ban1ai: Beah. 8ey, hey hey. 0id ya brin( us anythin( to eat, car, old buddy, old )alL 8uhL 0id!ya!did!ya!did!yaL car: 4 don<t thin/ you really deser-e this. E8olds out a 1ebra haunch.F 4 )ractically (ift wra))ed those cubs for you. E0ro)s le( to hyenasF 3nd you couldn<t e-en dis)ose of them. E4ntro fade!in on Be +re)aredF hen1i: EChewin( with full mouthF $ell, ya /nowN it wasn<t e*actly li/e they was alone, car. Ban1ai: Beah. $hat are we su))osed to doL... EswallowF 'ill #ufasaL car: Precisely. EThe three hyenas )ause from eatin( and loo/ u) at car .uestionin(ly.F EThree!to) flutter to coincide with cars lea)s down to the 8yenas. tart full son(.F

C,T &4N9
E0ue to )lot ad2ustment, the intro lines to the music trac/ Be +re)ared were cut. They were ori(inally a monolo(ue of car tryin( to decide whether to use the hyenas or not. These were cut )resumably to allow for the earlier entra)ment of the cubs bein( credited to car. The monolo(ue does, howe-er, a))ear on the soundtrac/.F car: E )o/en o-er what is now faded introF 4 ne-er thou(ht 8yenas essential. They<re crude and uns)ea/ably )lain. But, maybe there<s a (limmer of )otential 4f allied to my -ision and brain. E car wal/s calmly throu(h sheets of flame and (as into the camera o-er the o)enin( bit of the son(F car: EFull son(F

E car )aces slowly around 9d, who is chewin( on the remnants of the 1ebra le(F 4 /now that your )owers of retention 3re as wet as a wartho(<s bac/side But thic/ as you are, )ay attention E8e an(rily swats the bone awayC 9d comes to abru)t attentionF #y words are a matter of )ride 4t<s clear from your -acant e*)ressions The li(hts are not all on u)stairs E$a-in( his )aw in front of 9d<s blan/ eyes to ma/e his )ointC 9d<s ton(ue lolls outF But we<re tal/in( /in(s and successions 9-en you can<t be cau(ht unawares E hen1i and Ban1ai are lau(hin( on a led(e behind himC on Dyou,D car turns and lea)s at them, throwin( them bac/ward onto a )air of (eysers, which then eru)t, throwin( the two hyenas into the air.F E4n the ne*t -erse, car is struttin( theatrically alon( a led(e which runs around bac/ to the floor.F o )re)are for the chance of a lifetime Be )re)ared for sensational news 3 shinin( new era 4s ti)toein( nearer hen1i: 3nd where do we featureL car: E(rabbin( hen1i>s chee/F Just listen to teacher E hen1i rubs her chee/, which is now bruised redF 4 /now it sounds sordid But you<ll be rewarded $hen at last 4 am (i-en my duesH 3nd in2ustice deliciously [Link] E car lea)s u) beside 9d, who is a(ain chewin( on the bone, and here /ic/s him off the led(eF Be )re)aredH E )o/enF Ban1ai: Beah, be )re)ared. Beah!heh. $e<ll be )re)ared, heh ... For whatL

car: For the death of the /in(. Ban1ai: $hyL 4s he sic/L E car (rabs Ban1ai by the throatF car: No fool, we<re (oin( to /ill him. 3nd imba too. E0ro))in( Ban1ai bac/ onto the floorF hen1i: @reat ideaH $ho needs a /in(L hen1i :and then Ban1ai;: E in(!son( -oices, dancin( around Ban1aiF No /in(H No /in(H la!!la!la!!la!laa!laaH car: &D&2TSH There will be a /in(H Ban1ai: 8ey, but you said, uh... car: / W/00 BE 1/%2H tic/ with me Etrium)hant, toothy (rinF, and you<ll ne-er (o hun(ry a(ainH Ban1ai, hen1i, and 90: BaayH 3ll ri(htH &on( li-e the /in(H ECamera re-eals hundreds more hyenas in the shadows.F 3ll 8yenas: &on( li-e the /in(H &on( li-e the /in(H EFull son( a(ain.F E car<s army of hyenas is (oose!ste))in( across the floor of the ca-e, now styli1ed into a Na1i![Link] .uadran(leF 8yenas: E4n ti(ht, cris) )hrasin( and dictionF 4t<s (reat that we<ll soon be connected. $ith a /in( who<ll be all!time adored. car: "f course, .uid )ro .uo, you<re e*)ected To ta/e certain duties on board E#otions a slice across the nec/F The future is littered with )ri1es 3nd thou(h 4<m the main addressee The )oint that 4 must em)hasi1e is E&ea)s off his roc/ throne to sin(le out one ha)less hyenaF Bou won<t (et a sniff without meH EThat hyena sli)s and falls into a fiery cre-iceF

EThrou(hout the ne*t -erse, the entire horde of hyenas 2oins in dancin( boisterously, lea)in( alon( the to)s of roc/ )illars, sha/in( animal s/eletons in the li(ht, one )layin( a rib ca(e6*ylo)hone.F EThe )aranthetical )arts are the hyenas< counter)oint sin(in(F o )re)are for the cou) of the century Be )re)ared for the mur/iest scam :"ooh... &aH &aH &aH; Erear ends )unctuatin(F #eticulous )lannin( :$e<ll ha-e foodH; Tenacity s)annin( :&ots of food; 0ecades of denial :$e re)eat; 4s sim)ly why 4<ll :9ndless meat; Be /in( undis)uted :3aaaaaahN; ?es)ected, saluted :NaaaaaaahN; 3nd seen for the wonder 4 am :NaaaaaaahH; Bes, my teeth and ambitions are bared :"o!oo!oo!oo!oo!oo!oo; Be )re)aredH 3ll: E9-en 9d, who can be heard (rowlin( and snarlin( an a))ro*imation of the lines:F Bes, our teeth and ambitions are bared Be )re)aredH EClose with a fill!in and a fade!out. car and the hyenas are lau(hin( e-illy. 0rum roll rises to a crash coincidin( with the )anoramic o)enin( of the ne*t scene.F

5 tam)ede cene7
ECamera switch to a -iew of a lar(e canyon. Cloud shadows scroll slowly o-er the landsca)e.F car: Now you wait here. Bour father has a mar-elous surprise for you. ECamera switch to bottom of the (ully. car and imba are near a roc/, underneath a small treeJR.F imba: "oooh. $hat is itL car: 4f 4 told you, it wouldn<t be a sur)rise, now would itL imba: 4f you tell me, 4<ll still act sur)rised.
ee that tiny little tree in the bac/(roundL 4sn>t that tree way too small com)ared to the canyon wall it is ri(ht ne*t toL The canyon floor didn>t loo/ T83T wide from abo-e... :;
10

car: 8o ho hoN Bou are such a naughty boy! imba: Come on, ,ncle car. car: No!no!no!no!no!no!no. This is 2ust for you and your daddy. Bou /now, a sort of father!son ... thin(.... EThrou(h imba>s e*)ression, we see that he resents car>s dismissi-e attitude, but soon shru(s it off.F car: $ellH 4>d better (o (et him. imba: 4<ll (o with you. car: E&oud, sna))in( toneF %oH Ere(ainin( com)osureF 8eh heh heh. No. Just ... stay on this roc/. Bou wouldn<t want to end u) in another mess li/e you did with the hyenas... imba: E hoc/edF Bou *now about thatL car: imba, e-erybody /nows about that. imba: E#ee/ and embarrassedF 1eally? car: "h, yes. &uc/y 0addy was there to sa-e you, ehL Eclearly en2oyin( himselfC he )uts a )aw on imba>s shoulderF "hN and 2ust between us, you mi(ht want to wor/ on that little roar of yours, hmmL E car starts to )ull awayF imba: "hN o/ay ... E car )ats imba rou(hly on the head, then mo-es off.F imba: 8ey, ,ncle carL ...$ill 4 li/e the sur)riseL car: ETurnin( bac/ o-er his shoulderF imba, it<s to 3/E for. EThe camera slowly )ans u) the side of the (or(e away from car and imba. 3fter a distance of roc/, we reach the ed(e and -iew on the )lain a -ery lar(e herd of wildebeestC the si1e of the herd comes across with a stri/in( com)uter!(enerated )aralla* )an. The camera then focuses in on the hyenas : hen1i, Ban1ai, and 9d;, who are waitin( off of the ed(e of the herd, hidden under a roc/ arch.F Ban1ai: E tomach (rowlsF hen1i: hut u). Ban1ai: 4 can<t hel) it. 4<m so hun(ry ... E2um)in( u)F 4 gotta ha-e a wildebeestH hen1i: Stay put.

Ban1ai: $ellN can<t 4 2ust )ic/ off one of the little sic/ onesL hen1i: /o! $e wait for the si(nal from car. ECamera switch to car mountin( a roc/ in -iew of the hyenasF hen1i: There he isN Ema/in( an e-il, almost humorous faceF &et>s (o. ECamera switch bac/ to imbaF imba: &ittle roar. PuhH E3 li1ard wal/s )ast imba. 8e (rowls at it.F imba: ?arrrH EThe li1ard has no reaction to this first attem)t. imba then 2um)s down and tries a(ain.F imba: N?rrraowr!nh. EFor the third attem)t, imba mo-es closer a(ain and inhales dee)ly.F imba: ?3"$? HH EThe li1ard s/itters off screen. imba<s roar echoes around the canyon. hot of imba liftin( his ears to relish the echo. The echo is soon ecli)sed, howe-er, by a low rumble. imba loo/s down and sees )ebbles 2um)in(. Cue the -ery sinister DTo 0ie ForD music. $e see the herd comin( o-er the li) of the canyon. 0ramatic multi!layer camera )ull u) to the face of imba. imba ta/es off in front of the herd.F ECut to the rim of the (or(e, where the 8yenas are seen chasin( the wildebeest herd, ni))in( at their heels to dri-e them o-er the ed(e. Camera switch to #ufasa and Aa1u a short distance from the canyon.F Aa1u: "h loo/, sireC The herd is on the mo-e. #ufasa: "dd.... E car runs u), out of breathF car: #ufasa. =uic/. tam)ede. 4n the (or(e. imba<s down thereH #ufasa: Simba? ECamera switch to imba. 8e is runnin( and climbs u) a dead tree. Aa1u flies ahead of #ufasa and car, down into the canyon. 8e s)ots imba.F imba: EClin(in( )recariously to a treeF Aa1uH 8el) meHH Aa1u: Bour father is on the wayH 8old onH

imba: E&osin( (ri)F 8urryH E#ufasa and car are on the lower led(es of the (or(e. Aa1u flies bac/ to #ufasa and )oints out where imba is.F Aa1u: ThereH ThereH "n that treeH #ufasa: 8old on,

imbaHH

E4n the (ully, a wildebeest rams the tree imba<s on, nearly brea/in( it.F imba: 3hhhhHHH E#ufasa runs out into the herd, 2oinin( the stam)ede.F Aa1u: "h, car, this is awful! $hat>ll we do what>ll we doLH 8ah ... 4<ll (o bac/ for hel), that<s what 4<ll do, 4<ll (o bac/ for he!! oom)hH E car bac/hands Aa1u into a roc/ wall, /noc/in( him out. car then follows #ufasa<s )ro(ress from the li) of the (or(e, his shadow cast mysteriously from the bottom of the (ullyJJ. #ufasa runs with the herd till sli(htly )ast the tree. 8e whi)s around the front of some wildebeest and runs into the herd towards imba<s tree. 8e (ets rammed head!first once, throwin( him to the (round. 3 wildebeest hits imba<s tree, throwin( imba into the air. #ufasa (ets u) in time to catch imba in the air with his mouth. 8e (ets hit a(ain and accidentally throws imba. imba dod(es a few oncomin( wildebeest. #ufasa runs by with the herd and (rabs imba. 8e 2um)s u) to a near roc/ led(e and sets imba down, but is immediately struc/ by a wildebeest and carried off into the stam)ede.F imba: 3,3HHH E imba watches in horror as he can not find his father in the swirlin( mass of wildebeest below him. 3t the last second, #ufasa lea)s out of the herd and starts to climb with (reat difficulty u) the loose (ra-el slo)e. imba turns and starts to climb to the to) of the (or(e. "ut of imba<s si(ht, #ufasa reaches a )oint ri(ht below a led(e where he can<t climb due to stee)ness. 8is claws are scra)in( and his bac/ )aws ha-e no traction. 3bo-e him on the led(e is car.F #ufasa: Scar! ... Broth!!JG Esli)s, barely han(s onF Brother ... 8el) meH E car loo/s disdainfully down, and then suddenly latches onto #ufasa<s fore)aws with claws e*tended. #ufasa roars, )rimarily from the sudden )ain of car<s claws, but no doubt also due to the sudden flash of reali1ation. 8is e*)ression slowly chan(es to one of horror as he reco(ni1es car<s intent.F car: E lowly and e-illyF 3ong li$e the *ing!

4t is a custom for -illains to cast ominous shadows when they do their stuff.... But what the hec/ is ma/in( that s)otli(ht from the bottom of the gorge?! 12 This C",&0 be Broth! or a meanin(less (runt. Bou #a/e the Call:tm;. :;
11

E car throws his brother bac/wards. #ufasa free!falls, bac/ first. The camera follows #ufasa down from under him, then from abo-e him, showin( the stam)ede ra(in( below.F #ufasa: Aaaaaaahh! ECamera suddenly focuses in on imba, who is watchin( his father hit the (round. No sound effects of the hit. No -iew of it either. #ufasa and imba>s screams min(le.F imba: %444444445 EThe herd )asses. 9-erythin( is clouded by dust. imba bounds to the canyon floor. #ufasa is no where to be seen.F imba: ECou(hF 0aaadHH E$e hear a soundF imba: E=uietlyF 0adL E$e see a stray wildebeest run )ast, the source of the sound. The wildebeest cur-es around a lo( farther down the (ully. ,nder the lo( is #ufasa, lyin( on his side. 8e is not mo-in( or breathin(. imba a))roaches the body. ad musical theme. 3(ain we notice how small imba really is.F imba: E8o)efullyF 0adL ...0ad, come on. E8e rubs u) a(ainst #ufasa<s chee/. The head merely rolls bac/ in )lace after the rubF Bou (otta (et u). E8e )laces both fore)aws on his father<s chee/ and )ushesF 0ad. $e (otta (o home. E8e tu(s at #ufasa<s ear. 3(ain the head lim)ly mo-es bac/ in )lace. imba runs off a bit, ob-iously -ery scared.F ,#####3PH omebodyH E8is -oice re-erberates hollowly off the sides of the (or(e.F 3nybody... hel). E8e cries. imba turns bac/ to the body. 8e nu11les u) under the lim) )aw so that his father is embracin( him. +ause for effect.F E$here the music would resol-e, we hit a minor chord as the ima(e of car ad-ancin( a))ears throu(h the dust.F car: imba. ... $hat ha-e you doneL imba: EJum)s bac/, cryin(F There were wildebeest and he tried to sa-e meN 4t was an accident, 4N 4 didn<t mean for it to ha))en. car: E9mbracin( imba, yet still distantF "f course, of course, you didn<t. No oneN e-er means E)ulls imba closer. imba hides his face on car>s forele(F for these thin(s to ha))en.... But the /in( is dead. Eloo/in( with moc/ re(ret at imbaF 3nd if it weren<t for you, he<d still be ali$e. E imba is crushed, belie-in( his (uilt. 3nother thou(ht occurs to car.F "hH $hat will your mother thin/L imba: E niffin(F $hat am 4 (onna doL

car: ?un away, imba.... ?un.... ?un away, and ne-er return. E imba runs off blindly, ob-iously bro/en. li(ht )ause, for the audience to catch its emotional breath. #usic ends. The three hyenas a))ear behind car.F car: ETo hyenasF 'ill him. EThe hyenas ta/e off after himC car stands motionless. imba is chased u) the entire len(th of the (ully. 8e reaches the li) only to see a sheer dro) on the other side. 8a-in( no choice he 2um)s and tumblesJK down into a )atch of briars below. The hyenas )ursue the entire way. $hen they are runnin( down towards the briars, Ban1ai sees them and recoils.F Ban1ai: "hoaHH E3fter s/iddin( e*tensi-ely, Ban1ai mana(es to sto) 2ust abo-e the brambles. 8e hea-es a si(h of relief. Then hen1i and 9d run into him, )ro)ellin( him into the bushes.F Ban1ai: YeooowH EJum)in( bac/ out of the bushesF E hen1i and 9d are lau(hin(F hen1i: E eein( imba emer(e from the far side of the briars into the desertF 8ey!! There he (oesH There he (oesH Ban1ai: E?emo-in( thornsF o (o (et <im. hen1i: There ain<t no way 4<m (oin( in there. $hat you want me to come out loo/in( li/e youL Cactus ButtL Ban1ai: E )ittin( out thorns into 9d<s lau(hin( faceC 9d lets out a small yel) of )ainF But we (otta finish the 2ob. hen1i: $ell, he<s as (ood as dead out there anyway. 3nd if he comes bac/, we<ll /ill him. Ban1ai: E houtin(F BeahH you hear thatL 4f you e-er come bac/, we<ll /ill yaH ED'ill yaHD echoes off as we see imba still runnin( into the desert. &au(hin(, the 8yenas ma/e their way off the cliffs bac/ to the +ride &ands.F

53ddress and de)aint cene7

ECamera chan(e to car addressin( the lionesses by the moon on +ride ?oc/.F

"/ay now, loo/ here. hot of imba silhouetted a(ainst the sunset as he rolls rou(hly down the hill. 3 bit later: shot of imba runnin( away from the hill, directly into the sunset. 0o we ha-e a bac/(round )roblem here or whatL "h well!! it loo/ed )retty both times.
13

car: #ufasa<s death was a terrible tra(edyC but to lose imba ... who had barely be(un to li-e.... ECamera )ans around the lionesses. ome of them, with Aa1u, are comfortin( arabi, who bends her head in e*treme )ain. Nala is rubbin( a(ainst her mother>s )aw, cryin(.F car: NFor me, it is a dee) )ersonal loss. 3nd so it is with a hea-y heart that 4 assume the throne. Bet, out of the ashes of this tra(edy, we shall rise to (reet the dawnin( of a new eraN EThe hyenas start emer(in(, castin( (risly (reen shadows and lau(hin( hollowly.F Nin which lion and hyena come to(ether, in a (reat and glorious future. E car ascends +ride ?oc/ as the hyenas a))ear in full force.F EThe camera )ans to ?afi/i who is sha/in( his head in the distance. The scene chan(es with ?afi/i in the same )oint. 8e is in his tree house. 3fter wi)in( away a tear, he reaches u) and rubs his hand across the cub )aintin(, smearin( it. The camera chan(es. The )aintin(, smeared, is o-erlaid on imba layin( out in the hot desert sun.F

5Bu11ard ! intro to 8a/una #atata cene7

EBu11ards are circlin( imba>s body. "ne descends, then all. They circle around it. $ith a blast of musicJV, Timon, ridin( +umbaa, a))ears and di-es into the midst of the bu11ards. They sla) and /ic/ the bu11ards all away.F Timon: 8eeyyyaaaahhHH @et outH @et outH @et outta hereHHHH $hooH +umbaa: 4 lo-e itH Bowlin( for bu11ardsH Timon: E&au(hin(, dustin( himself offF @ets <em e-ery time. +umbaa: E&oo/in( at imbaF ,h!oh. 8ey Timon. Bou better come loo/. 4 thin/ it>s still ali-e. Timon: Beew(hH... ETimon wal/s to the front of imba. 8e is lyin( with his )aw o-er his face.F Timon: 3ll ri(hty, what ha-e we (ot hereL Ehe smells imbaF E8e tries to lift imba<s )aw. 8e can<t. 8e (ets under it and with a (reat )ush (ets it abo-e his head. 8e sees imba<s face.F Timon: Jee1, it<s a lionH EJum)in( u) on +umbaa, yan/in( his earsF 1un +umbaaH 'o$e it! +umbaa: 8ey, Timon. 4t<s 2ust a little lion. &oo/ at him. 8e<s so cute, and all aloneH Can we /ee) himL

4f you listen carefully, Timon and +umbaa>s yell ori(inates directly from the rear of the surround setu)! and )asses o-er6throu(h you until it is heard in the front s)ea/ers, when you first see them char(in(. Nice effect.
14

Timon: EBellin( into +umbaa>s ear, which creates a re-erberatin( effectF +umbaa, are you nutsLH $e<re tal/in( about a lion. &ions eat (uys li/e us. +umbaa: But he<s so little. E8e leans o-er to re(ard imba, and accidentally dum)s Timon from his head.F Timon: 8e<s (onna (et bigger. +umbaa: E een from Timon>s )oint of -iew on the (round, with a hu(e noseF #aybe he<ll be on our side. Timon: 3!!,uh! That<s the stu)idest thin( 4 e$er heard. #aybe he<ll b!! N 8ey, 4 (ot itH $hat if he<s on our sideL Bou /now, ha-in( a lion around mi(ht not be such a bad idea. +umbaa: o we /ee)in( <imL Timon: +th)t. "f course. $ho<s the brains in this outfitL E+umbaa scoo)s imba u) on his tus/sF +umbaa: ,hhh.... Timon: #y )oint e*actly. Jee1, 4<m fried. &et<s (et out of here and find some shade.

58a/una #atata cene7

ECamera switch to +umbaa, Timon, and imba near a )ool of water at an oasis. imba has been laid near the water. Timon s)lashes some water in imba<s face. imba stirs.F Timon: Bou o/ay, /idL imba: 4 (uess so. +umbaa: Bou nearly died. Timon: 4 sa-ed you. +umbaa: Esnorts at TimonF Timon: $ell, uh, +umbaa hel)ed... E+umbaa sna)s a )roud )ose.F Timon: a little. imba: E0ullyF Than/s for your hel). E imba heads off .uietly bac/ out towards the desert.F

Timon: 8ey, where you (oin(L imba: Nowhere. Timon: E$atchin( imba, but tal/in( to +umbaaF @ee. 8e loo/s blue. +umbaa: 4<d say brownish!(old. Timon: No, no, no, no. 4 mean he<s depressed. +umbaa: "h. E+umbaa trots u) to imbaF +umbaa: 'id, what<s eatin> yaL Timon: Nothin(!! he<s at the to) of the food chainH 3hhhhhhha ha haaaH The food cha!haainH E?eali1in( his 2o/e flo))edF 3h heh!! 3hem. o, where you fromL imba: $ho caresL 4 can<t (o bac/. Timon: 3hh. Bou<re an outcastH That<s (reatC so are weH +umbaa: $hat>cha do, /idL imba: omethin( terrible. But 4 don<t wanna tal/ about it. Timon: @ood. $e don<t wanna hear about it. +umbaa: ETo TimonF Come on Timon. ETo imbaF 3nythin( we can doL imba: Not unless you can chan(e the )ast. +umbaa: Bou /now, /id, in times li/e this my buddy Timon here says Bou (ot to )ut your behind in your )ast. Timon: Ewa-in( his armsF No. No. /o. +umbaa: 4 mean... Timon: 3mateur. &ie down before you hurt yourself. Eto imbaF 4t<s Bou (ot to )ut your )ast behind you. &oo/, /id. Bad thin(s ha))en, and you can<t do anythin( about it, ri(htL imba: ?i(ht. Timon: E+o/es imba<s noseF "rong! $hen the world turns its bac/ on you, you turn your bac/ on the worldH imba: $ell, that<s not what 4 was tau(ht. Timon: Then maybe you need a new lesson. ?e)eat after me. Eclears throatF 8a/una #atata.

imba: E till lethar(icF $hatL +umbaa: 8a!/u!na #a!ta!ta. 4t means no worries. EFull on(, no fade!in e*ce)t in marimba chordsF Timon: 8a/una #atataH $hat a wonderful )hrase +umbaa: 8a/una #atataH 3in<t no )assin( cra1e Timon: 4t means no worries For the rest of your days ETimon )ulls imba o-er to a (reen bush and leans him bac/ on it.F Both: 4t<s our )roblem!free )hiloso)hy

Timon: EFilin( down one of imba<s clawsF 8a/una #atataH E )o/en section o-er bac/(roundF imba: 8a/una #atataL +umbaa: Beah, it<s our motto. imba: $hat<s a mottoL Timon: Nothin(H $hat<s a motto with youL 3h haah haah hah hah... +umbaa: E&au(hin(F Bou /now, /id!! these two words will sol-e all your )roblems. Timon: That<s ri(htH Ta/e +umbaa for e*am)le. EBac/ into son(F Timon: $hy, when he was a youn( wart!ho(N

+umbaa: E4talian counter!tenor ran(eF $hen 4 was a youn( wart hooo(H Timon: E )ea/in(, cleanin( earF Very nice. +umbaa: Than/sH

Timon: E in(in(F 8e found his aroma lac/ed a certain a))eal 8e could clear the a-annah after e-ery meal +umbaa: E+arenthetical )arts shouted by TimonF 4<m a sensiti-e soul thou(h 4 seem thic/!s/inned 3nd it hurt that my friends ne-er stood downwind 3nd oh, the shame :8e was ashamed; Thou(hta chan(in< my name :"h, what<s in a name; 3nd 4 (ot downhearted :8ow did you feel; 9-<rytime that 4...JI Timon: E )ea/in(F 8ey, +umbaaH Not in front of the /idsH +umbaa: E )ea/in(F "h. orry.

E trin( )i11icato. imba loo/s into the camera, sur)rised.F +umbaa and Timon: 8a/una #atataH $hat a wonderful )hrase 8a/una #atataH 3in<t no )assin( cra1e imba: Eafter becomin( more and more enthusiastic, he finally 2oins in sin(in(, a s)otli(ht fallin( on himF 4t means no worries For the rest of your days Timon: ENot sin(in(, doin( a -aude-ille /nee!slide u) to imbaF Beah, sin( it, /idH imba and Timon: 4t<s our )roblem!free +umbaa: E&ands ne*t to themF )hiloso)hy. 3ll three: 8a/una #atataH ETimon )ulls bac/ a fern leaf, re-ealin( a beautiful -iew of a rift!2un(le. $aterfalls and ru((ed terrain ma/e a beautiful -iew. 8ar) runs accentuate the scene.F Timon: $elcomeN to our humble home. imba: Bou li-e here? Timon: $e li-e where-er we want.
?.a.d. sources ha-e told me that the actor who did the -oice of 9d, Jim Cummin(s, also thou(ht of this line for +umbaa>s son(. Could beH...
15

+umbaa: Be). 8ome is where your rum) rests. 8ehH imba: 4t<s beautiful. +umbaa: E&oud raunchy belchF 4<m star$ed! imba: 4<m so hun(ry 4 could eat a whole )ebra. ETimon is sli(htly disturbed by imba<s want for meat!! 3 little bit ner-ous and a little bit 4!/new!this!would!ha))en.F Timon: 9eeahhah. $e<re fresh out of 1ebra. imba: 3ny antelo)eL Timon: Na ah. imba: E3 bit des)erateF 8i))oL Timon: No)e. &isten, /idC if you li-e with us, you ha-e to eat li/e us. 8ey, this loo/s li/e a (ood s)ot to rustle u) some (rub. ETimon has sto))ed in front of a lo(. +umbaa forces it u) with his snout, re-ealin( many insects. Timon )ic/s one u).F imba: 9eew. $hat<s thatL Timon: 3 (rub. $hat<s it loo/ li/eL imba: 9eew. 0rossH Timon: E9atin(, mouth fullF #mmm. Tastes li/e chic/en. E+umbaa slur)s u) a lar(e worm from the (round. Both Timon and +umbaa are feastin( on bu(s by now.F +umbaa: E lur)in(F limy, yet satisfyin(. Timon: E@rabbin( a bu(F These are rare delicacies. #mmmm.... ECrunchesF +[Link], with a -ery )leasant crunch. +umbaa: E#outh full of bu(sF Bou<ll learn to lo$e <emH Timon: EChewin(F 4<m tellin( ya, /id, this is the (reat life. No rules, no res)onsibilities. E)o/es his hand into a /nothole!! many bu(s scramble outJ%F 2oh! !!the little cream!filled /ind. EmunchF 3nd best of all, no worries. ETimon has been collectin( bu(s on a leaf. 8e offers it to imba.F Timon: $ell /idL
4nside sources re)ort that when all the bu(s come )ourin( out of the hole, one of them :)ossibly an ant; is wearin( #ic/ey #ouse ears. This ha))ens so fast that it is almost im)ossible to catch, but it is said to be there. 3nother of the bu(s has the three blac/ circles on it>s bac/, but is shot out of focus and -ery blurry. :Than/s to ?ichWCarolW'osterMcu).)[Link];
16

E imba )ic/s u) a (rub.F imba: "h well!! 8a/una #atata. E8e eatsF E ic/ musicF imba: E&oo/in( more cheerfulF limy, yet satisfyin(. Timon: That<s itH EThe bu(s fly off the leaf in a colorful flutter.F EThe scene switches to all three crossin( a lo(, wal/in( to the music. $ith a steady build in the music, a chan(e occurs. $e see the ima(e of youn( imba become a teen!a(e imba. 3nd then a(ain, imba becomes a near! full (rown adultJS. $hile the chantin( is ha))enin(, the camera is )annin( at the low le-el E%D off (roundF where all the interaction between +umbaa, Timon, and imba as a cub had been occurrin(. First we see Timon, and then +umbaa. The camera continues )annin( at a low an(le to where the cub imba would fit. 4nstead we see the adult imba<s )aw come down. 3n immediate bac/ u) for a full -iew of a bi( imba.F +umbaa and Timon: Echantin( to musicF 8a/una. #atata. 8a/una. #atata. 8a/una. #atata. imba: E3dult -oice nowF 4t means no worries For the rest of your days. 3ll three: 4t<s our )roblem!free +hiloso)hy imba: 8a/una #atata E3ll three di-e off the lo( into a )ond. First, Timon 2um)s in doin( a cannonball, and ma/es a small s)lash. Then +umbaa, doin( a swan di-e, ma/es a small s)lash as well. Finally imba swin(s out on a -ine :(ri))ed in his teeth;. Before he can di-e, the -ine brea/s under his wei(ht. The resultin( s)lash is bi( enou(h to wash +umbaa and Timon ashore.F 8a/una #atata E imba 2oinin( Timon and +umbaa on shore. The son( brea/s into (entle 2a11 -oice im)ro-isations on the words 8a/una #atata, as +umbaa toots li/e a trum)et. $e see a rear -iew of Timon, +umbaa, and imba boo(eyin( off into the forest to the beat of 8a/una #atata.F

5Nobody /nows scene7

17

4 obser-e here, with some re(ret, that marchin( imba falls -ictim to the dreaded cartoon sliding4bac*wards4feet syndrome. 4t>s not as se-ere a case as found in any e)isode of cooby 0oo, but it>s there nonetheless. i(h.

EThe camera switches to a far -iew of +ride ?oc/. 3lmost all of the colorin( is in (ray. The )lants and trees a))ear to be dead. $e can hear Aa1u<s first line and then the scene switches to a -iew of Aa1u and car. Aa1u is in a ca(e made of some animal<s ribca(e. 8e is sin(in(. car is lyin( bac/ on a roc/ )ic/in( his teeth with a bone.F Aa1u: Nobody /nows The trouble 4<-e seen Nobody /nows #y sorrow... car: "h Aa1u, do li(hten u). E8e tosses the bone at Aa1u and it clatters a(ainst the ca(eF in( somethin( with a littleN bounce in it. Aa1u: EThin/s a momentF 4t<s a small world after allN car: E4nterru)tin(, almost shoutin(F NoH No. .nything but thatH Aa1u: EThin/s, then holds u) a feather as a tune comes to him.F 4<-e (ot a lo-ely bunch of coconuts :diddely!dee!dee; There they are a!standin( in a row. E car is en2oyin( this and starts to 2oin inF Aa1u and car: Bi( ones, small ones, some as bi( as your headN Aa1u: E$hile car continuesF "hN 4 would ne-er ha-e had to do this for #ufasa. car: E=uic/ and an(ryF "hatL $hat did you sayL Aa1u: "h, nothin(H car: Bou /now the law: Ne-er, e$er mention that name in my )resence. 4 ... am ... the *ing! E car sho-es his mu11le between the ribs of Aa1u>s ca(e on the last line. 8is breath blows Aa1u u) a(ainst the wall.F Aa1u: Bes, sire. Bou are the /in(. 4N 4N $ell, 4 only mentioned it to illustrate the differences in your royal mana(erial a))roaches. Ener-ous lau(hF Ban1ai: E"ffsta(eF 8ey, BossH car: "h, $hat is it this timeL Ban1ai: $e (ot a bone to )ic/ with you. hen1i: ETo Ban1aiF 4<ll handle this. ETo carF car, there<s no food, no water. Ban1ai: Beah, it<s dinner time, and we ain<t (ot no stin/in> entrees.

car: 4t<s the lionesses< 2ob to do the huntin(N Ema/es hel)less (estureF Ban1ai: Beah, but they won<t (o hunt. car: "hN eat Aa1u. Aa1u: ENer-ousF "h, you wouldn<t want me. 4<d be so tou(h and (amey and! eewwgh! car: "h, Aa1u, don<t be ridiculousH 3ll you need is a little (arnish. Ban1ai: E#umblin( to hen1iF 4 thou(ht thin(s were bad under 'ufasa... car: E=uic/ and an(ry a(ainF $hat did you sayL Ban1ai: 4 said #uf!! E hen1i is smilin( at car and thwa)s Ban1ai to remind him.F Ban1ai: N4 said, uh ... D=uX )asaLD car: @ood. Now (et out. EThe hyenas start out but then )auseF Ban1ai: #mNyeah, but!! we<re still hun(ry. car: 2ut! EThey run off, 9d lets loose a cra1y lau(hF

5 econd tar cene7

EThe camera switches to a -iew of the 2un(le. $e hear a monstrous belch re-erberate across the landsca)e. The camera switches to Timon, +umbaa, and imba lyin( on their bac/s loo/in( at the stars.F Timon: "hoah. Nice one, imba. imba: Than/s. #an, 4<m stuffed. +umbaa: #e too. 4 ate li/e a pig! imba: +umbaa!! you are a )i(. +umbaa: "h. ?i(ht. E3ll three si(h dee)ly, in unison. @entle music fades in.F +umbaa: TimonL Timon: BeahL

+umbaa: 9-er wonder what those s)ar/ly dots are u) thereL Timon: +umbaa. 4 don<t wonderC 4 /now. +umbaa: "hH ...$hat are theyL Timon: They<re fireflies. Fireflies that uhN (ot stuc/ u) on that bi(N bluish! blac/N thin(. +umbaa: "h. @ee. 4 always thou(ht that they were balls of (as burnin( billions of miles away. Timon: +umbaa, wit> you, e-erythin(<s (as. +umbaa: imba, what do you thin/L imba: $ell, 4 don<t /nowN +umbaa: 3w come on. @i-e, (i-e, (i-e .. $ell, come on, imba, we told you ours... )leeeeaseL Timon: Come on, come on... (i-e, (i-e.. imba: E?eluctantlyF $ell, somebody once told me that the (reat /in(s of the )ast are u) thereC watchin( o-er us. +umbaa: E3wed, either (enuinely or moc/in(lyF 1eally? Timon: Bou mean a bunch of royal dead (uys are watchin( usL Etries to /ee) com)osure, then...F +bbb. ETimon brea/s out lau(hin(. +umbaa 2oins in. imba does half!heartedly.F Timon: $ho told you somethin( li/e that? $hat moo* made that u)L imba: Beah. +retty dumb, huhL Timon: 3h, you<re /illin( me, imba. EThe music rises a(ain. imba loo/s bac/ u) at the stars. 8e .uietly (ets u) and lea-es.F Timon: $as it somethin( 4 saidL

50isco-ery cene7
EThe music continues. imba wal/s out on a led(e. 8e loo/s u) at the stars. 8e then colla)ses to lie on the ed(e of the led(e. #il/weed floss is stirred into the air by his flo). The camera follows its )ath. 4t blows across the desert. Ne*t we see ?afi/i<s hand snatch some it out of the air. 8e sniffs it, (runts, and bounds down into his tree. 8e )ours the mil/weed into a bowl, sifts it around, hummin(, and then eats from the same /ind of fruit he anointed imba with. 9*aminin( the mil/weed floss a(ain, reali1ation dawns on his face.F

?afi/i: imbaL 8e<s! he>s ali-eL 8e he! 8e<s ali$eHH Ehe lau(hsF E?afi/i (rabs his staff. &au(hin( in deli(ht, he )ic/s u) some )aint and )uts a mane around the smeared lion on the wall.F ?afi/i: 4t is timeH

54n the Jun(le cene7

EThe camera switches to a 2un(le scene. $e hear +umbaa sin(in( the familiar bass to D4n the Jun(leD. Timon 2oins in as they wal/ towards the camera. 3 Ca)ella.F +umbaa: Esin(in(F "hi<mbubeJQ "hi<mbube E9tc.....F Timon: E in(in(F 4n the 2un(le The mi(hty 2un(le The lion slee)s toni(ht. E+umbaa turns to follow a lar(e beetleC he fades out.F 4n the 2un(le The mi(hty 2un(le The lion slee)s to!! E )ea/in(F 4 can<t hear ya, buddy, bac/ me u)H E+umbaa has faded out, ha-in( followed the bu( sta(e left. The followin( line is in full and (ood falsetto.F 3!weee!ee!ee!ee aa!+um!ba!bum!ba!waaay... E?eali1in( +umbaa is not there.F 3!+umbaaL +umbaaL ECamera switch to +umbaa followin( the bu(. 8e is still hummin( the bass. 8e stal/s the bu( to a lo(, theatrically hidin( behind a tree. $hen he tries to 2um) o-er the lo( he (ets stuc/ momentarily and loo/s bac/.F +umbaa: E )oo/edF TimonL E&oo/s around, then shru(sF E8e 2um)s o-er the lo(. 3s he -iews the bu( at close ran(e, the camera :at his -iew)oint; switches focus from it to a )air of (reen eyes out in the (rass. The camera closes u) on a lioness (ettin( ready to 2um).F +umbaa: HYEEEEAAAHHH!!!!!
This is the actual Aulu s)ellin( of the chant, as written in the ?hythm of the +ride &ands lyric boo/. 4n the %R>s, the To/ens, in their ada)tation of the outh 3ftican traditional son(, s)elled it $eemoweh in order to release it )ublicly.
18

E8e runs, with the lioness in hot )ursuit. The lioness, with teeth and claws bared, chases +umbaa around at hi(h s)eed. Camera switch to Timon.F Timon: E8earin( the noise of the chaseF +umbaaL E+umbaa runs near Timon and (ets stuc/ under the root of a tree by tryin( to s.uee1e throu(h.F Timon: +umbaaH PumbaaH 8ey, what<s (oin( onL +umbaa: ETerrified, shoutin( in Timon>s faceF (6E7( 24%%, EAT ME!! Timon: 8uhL ETimon (ets u) on the branch and sees the lioness char(in( at full throttle towards them. 8e (ets down and tries to hel) )ush +umbaa out from under the root.F Timon: E eein( the lionessF $hoahHH ... Jee1H $hy do 4 always ha-e to sa-e your ,,,,,,HH E"n the 333333HH, Timon saw the lioness was about to close on +umbaa and he was in the line of attac/. 3t the last minute, imba bounds o-er +umbaa and catches the lioness head on at full force. They start fi(htin( sa-a(ely.F Timon: ETo +umbaaF 0on<t worry, buddyC 4<m here for you. 9-erythin(>s (onna be o/ay. ETo imbaF @et herH Bite her headH @o for the 2u(ular. The 2u(ularH Eto +umbaaF ee, 4 told you he<d come in handy. EThe lions tan(le for a bit more. The fi(ht becomes wrestlin(. The lioness fli)s imba and )ins him with a loud thum). imba is startled by this. The lioness is still barin( her teeth. imba, howe-er, is -ery sur)rised and no lon(er threatenin(.F imba: NalaL E he immediately bac/s off and loo/s at imba, e*aminin( him.F imba: 4s it really youL Nala: $ho are youL imba: 4t<s me. imba. Nala: imbaL E)ause for reali1ationF WhoahHHH EThe (reetin(s are enthusiastic and run o-er each other.F Nala: $ell how did you.. where did you come from ... it<s (reat to see you.. imba: 3aaahH how did you... who... wow... this is cool... it<s (reat to see youN

ECamera -iew of Timon who is com)letely baffled by this sudden chan(eF Timon: 8ey, what<s (oin> on hereL E8e ho)s down from +umbaa and wal/s o-er to the two lions.F imba: E till to NalaF $hat are you doin( hereL Nala: $hat do you mean, $hat am 4 doin( hereL $hat are you doin( hereL Timon: 6E8HH $83T< @"4N> "N 89?9LHL imba: Timon, this is NalaC she<s my best friendH Timon: EThorou(hly confusedF 5riend?!? imba: Beah. 8ey, +umbaaH Come o-er here. E+umbaa (ets himself unstuc/.F imba: Nala, this is +umbaa. +umbaa, Nala. +umbaa: +leased to ma/e your [Link]. Nala: The )leasure<s all mine. Timon: 8ow do you do.. "hoa! $hoa. Time out.. &et me (et this straight. Bou /now her. he /nows you. But she wants to eat him. 3nd, e-erybody<sN o/ay with thisL 3/3 / !/(( (4!E*6/%2LHL imba: 1ela6 Timon. Nala: $ait Ptil e-erybody finds out you<-e been here all this time. 3nd your motherN what will she thin/L imba: E3bru)tly afraid at the mention of his motherF he doesn<t ha-e to /now. Nobody has to /now. Nala: $ell, of course they do. 9-eryone thin/s you<re dead. imba: They do? Nala: Beah. car told us about the stam)ede. imba: 8e didL ENer-ousF $hat else did he tell youL Nala: $hat else mattersL Bou<re ali-e. 3nd that means... you<re the /in(H Timon: 'in(L +bbb. &ady, ha-e you (ot your lions crossed. +umbaa: 'in(L Bour #a2estyH 4 (ra-el at your feet. ENoisily /isses imba>s )awF imba: E+ullin( away his )awF to) it.

Timon: ETo +umbaaF 4t<s not (ra-el, it<s gro$el.7 3nd don%tC he<s not the *ing. Eto imbaF 3re yaL imba: No. Nala: Simba! imba: No, 4<m not the /in(. #aybe 4 was (onna be. But, that was a lon( time a(o. Timon: &et me (et this strai(ht. Bou<re the /in(L 3nd you ne-er told usL imba: &oo/, 4<m still the same (uy. Timon: E9nthusiasticF But with powerH Nala: Could you (uys ... e*cuse us for a few minutesL Timon: 8ey, Eta)s +umbaaF whate-er she has to say, she can say in front of us. ?i(ht, imbaL imba: 8mm.... EembarrassedF #aybe you<d better (oJU. Timon: E3(hast, then resi(nedF 4t starts. Bou thin/ you /now a (uyN E+umbaa and Timon )ad off. +umbaa si(hs.F imba: Timon and +umbaa. Bou learn to lo-e Pem. ENala has her head bowed down sadly.F imba: $hatL N$hat is itL Nala: E=uietlyF 4t<s li/e you<re bac/ from the dead. Bou don<t /now how much this will mean to e-eryone. E+ained e*)ressionF N$hat it means to me. imba: 8eyC it<s "'. Nala: E?ubbin( under imba<s chin, )urrin(GRF 4<-e really missed you. imba: E tartled by Nala>s boldness for an instant, then reci)rocatin(F 4<-e missed you too.

5Can you feel the lo-e toni(ht cene7

EThey are rubbin( heads. $e hear Timon si(h and camera switch to show them watchin( from the bushes.F
Fol/s li/e btmanMlion/in(.or( and #[Link].u/ are noticin( the subtle style chan(es that the 0isney animators wor/ed into their characters at a))ro)riate moments. #att wrote: The Dfi(htin(D!ty)e scenes in T&' are noticeably more realistic!! the eyes are lower, the mouths are bi((er, the faces lose their DflatnessD... in scenes where the dialo(ue is )rominent, the faces loo/ a lot more Dhuman.D 4 would li/e to )oint out that in this shot you can clearly see #atthew Broderic/>s facial structure and e*)ression in imba. 4t>s .uite fascinatin(, and a bit unner-in(. 20 &ions don>t )urrN
19

Timon: E8ea-y si(hF 4 tell ya, +umbaa. This stin/s. +umbaa: "h. orry.

Timon: Not you. Them! 8im. 8er. .lone... +umbaa: $hat<s wron( with thatL E in(in(F E+arenthetical )art is s)o/en by +umbaa.F Timon: 4 can see what<s ha))enin( :$hatL; 3nd they don<t ha-e a clue :$hoL; They<ll fall in lo-e and here<s the bottom line "ur trio<s down to two. :"h.; Ein a sarcastic moc/!French accentF Ae sweet caress of twili(ht EBac/ to normal, but still sarcasticF There<s ma(ic e-erywhere 3nd with all this romantic atmos)here 0isaster<s in the air EThe scene )asses from Timon and +umbaa to imba and Nala in front of a waterfall.F F : Can you feel the lo-e toni(htL The )eace the e-enin( brin(s The world, for once, in )erfect harmony $ith all its li-in( thin(s

E3fter wal/in( around each other, ta/in( in each other>s mo-ements, they sto) to drin/ at the water.F imba: o many thin(s to tell her But how to ma/e her see The truth about my )astL 4m)ossibleH he<d turn away from me 8e<s holdin( bac/, he<s hidin( But what, 4 can<t decide $hy won<t he be the /in( 4 /now he is The /in( 4 see insideL

Nala:

E0urin( the chorus the followin( occurs: imba loo/s at Nala, smiles, and runs offscreen. 8e runs bac/ on sta(e, (rabs a -ine in his mouth and s)lashes into the middle of the )ond. Nala loo/s out o-er the still water. uddenly imba lun(es u) under her and )ulls her )layfully into the )ond. he immediately comes out dri))in( and miffed. $hen imba comes out, (rinnin(, she smiles and )ushes him bac/ in. They run across a field, disturbin( a floc/ of birds. The scene switches to them tusslin(. They end u) )lay fi(htin(. imba ends u) )innin( Nala for a first. he (i-es him a tiny lic/, resemblin( a /iss. imba loo/s startled and stares at Nala. Close u) of Nala, as she stares bac/. Close u) of imbaGJ. The two rub heads Ea cat!style /issF, as the last lyrics are sun(.F Chorus: Can you feel the lo-e toni(htL The )eace the e-enin( brin(s The world, for once, in )erfect harmony $ith all its li-in( thin(s Can you feel the lo-e toni(htL Bou needn<t loo/ too far tealin( throu(h the ni(ht<s uncertainties &o-e is where they are. ECamera switches bac/ to a tearful Timon and +umbaa.F Timon: 3nd if he falls in lo-e toni(ht E+umbaa sniffsF 4t can be assumed ETimon hu(s +umbaa, tearfully.F +umbaa: 8is carefree days with us are hist>ry Timon and +umbaa: 4n short, our )al is doomed EThey let loose cryin( full force.F

58ammoc/ cene7
imba: 4sn<t this a (reat )laceL Nala: 4t is beautiful.... But 4 don<t understand somethin(. Bou<-e been ali-e all this time. $hy didn<t you come bac/ to +ride ?oc/L imba: EClimbin( into a Dhammoc/D of han(in( -inesF $ell, 4 2ust ... needed to (et out on my own. &i-e my own life. 3nd 4 did. 3nd it<s (reatH E8e sounds almost as if tryin( to con-ince himself as well as Nala.F

$hat do you thin/ of imba>s e*)ressions durin( this e*chan(eL 0efinitely not your stereoty)ical mo-ie!male. 4 may be readin( thin(s in, but Nala is .uite the a((ressor while imba is )retty much sur)rised by it all. 4 rather en2oy imba and Nala>s relationshi), as a refreshin( chan(e from typical mo$ie romance. Thumbs u) to the writers6directors6animators.
21

Nala: EVoice catchin(, as thou(h barely under controlF $e<-e really needed you at home. imba: E=uieterF No one needs me. Nala: Bes we doH Bou<re the /in(. imba: Nala, we<-e been throu(h this. 4<m not the /in(. car is.

Nala: imba, he let the hyenas ta/e o-er the +ride &ands. imba: "hat? Nala: 9-erythin(<s destroyed. There<s no food, no water. don<t do somethin( soon, e-eryone will star$e. imba: 4 can<t (o bac/. Nala: E&ouderF $hyL imba: Bou wouldn<t understand. Nala: "hat wouldn<t 4 understandL imba: E8astilyF No, no, no. 4t doesn<t matter. 8a/una #atata. Nala: EConfusedF $hatL imba: 8a/una #atata. 4t<s somethin( 4 learned out here. &oo/, sometimes bad thin(s ha))enN Nala: Simba! imba: EContinuin(, irritatedF !!and there<s nothin( you can do about itH o why worry? E imba starts away from Nala, wal/in( on a fallen tree. Nala trots bac/ u) to him.F Nala: Because it<s your responsibility. imba: $ell, what about youL you left. Nala: 4 left to find help! 3nd 4 found you. Don%t you understandL Bou>re our only hope. imba: orry. Nala: $hat<s ha))ened to youL Bou<re not the imba 4 remember. imba: Bou<re ri(htC 4<m not. /ow are you satisfiedL Nala: No, 2ust disa))ointed. imba, if you

imba: Bou /now, you<re startin( to sound li/e my father. E$al/in( away a(ainF Nala: @ood. 3t least one of us does. E imba is ob-iously cut by the comment about his fatherC he tears into Nala with his words.F imba: E3n(ryF 3isten! Bou thin/ you can 2ust show u) and tell me how to li-e my lifeL Bou don<t e-en /now what 4<-e been throu(h. Nala: 4 would if you>d 2ust tell meH imba: 5orget it! Nala: 5ine! E imba )aces off. Camera switch to imba )acin( in a field.F imba: he<s wrong. 4 can<t (o bac/. $hat would it )ro-e, anywayL 4t won>t chan(e anythin(. Bou can<t chan(e the )ast. E8e loo/s u) at the stars.F Bou said you<d always be there for meH... But you<re not. 3nd it<s because of me. 4t<s my fault.... 4t<s my ... fault. E8e bows his head, cho/in( bac/ tears. The camera bac/s to a far -iew and then 1ooms o-er to ?afi/i in a nearby tree. $e hear his chant. Just for fun, 4<-e included its translation.F ?afi/i<s Chant: Translation:

3sante sanaH EThan/ you -ery muchHF .uash BananaH E .uash bananaHF $e we nu(uH EBou<re a B3B""N,F #i mi a)anaH E3nd 4<m notHF E imba seems sli(htly annoyed by the chant. 8e mo-es away. ?afi/i, elated by the si(ht of imba, follows him. imba lies down on a lo( o-er a )ond. 3 roc/ disturbs the waterC ?afi/i, now in a nearby tree, starts his chant a(ain.F imba: Come on, will you cut it outL E?afi/i, lau(hin(, is doin( random acrobatics in the trees nearby.F ?afi/i: Can<t cut it out. 4t<ll (row ri(ht bac/H Elau(hsF E imba starts wal/in( away. ?afi/i follows.F imba: Cree)y little mon/ey. $ill you sto) followin( meL $ho are youL

?afi/i: E4n front of imba, then ri(ht in his face.F The .uestion is: whooo... are youL imba: E tartled, then si(hin(F 4 thou(ht 4 /new.... Now 4<m not so sure. ?afi/i: $ell, 4 /now who you are. hh. Come here. 4t<s a secret. E8e )ulls imba<s head o-er to whis)er into his ear. 8e starts his chant into imba<s ear and lau(hs.F 3sante sanaH .uash bananaH $e we nu(uH #i mi a)anaH imba: 9rnhH 9nou(h alreadyH ...$hat<s that su))osed to mean anywayL ?afi/i: 4t means you are a baboon!! and 4<m not. Elau(hsF imba: E#o-in( awayF 4 thin/N you<re a little confused. ?afi/i: E#a(ically in front of imba a(ainF $ron(H 4<m not the one who<s confusedC you don<t e-en /now who you areH imba: E4rritated, sarcasticF "h, and 4 su))ose you /now. ?afi/i: ure doC Bou<re #ufasa<s boyH E imba is sur)rised by this re-elation. ?afi/i disa))ears off sta(e ri(ht.F Bye! ECue music: D&alaD theme.F B : $e san(oma n(i -elelwe 5"h, s)iritual healer, 4<m troubled7 $e baba n(i-elelwe 5"h, my father, 4<m in )ain7 $e baba n(i-elelwe 5"h, my father, 4<m in )ain7 imba: 8ey, waitH E imba chases after him. $hen the camera catches u), ?afi/i is in a meditati-e lotus )osition on a roc/.F Bou /new my fatherL ?afi/i: E#onotoneF Correction!! 4 *now your father. imba: 4 hate to tell you this, butN he died. 3 lon( time a(o. E?afi/i lea)s off the roc/ o-er to a dense 2un(le!li/e area.F ?afi/i: /ope. $ron( a(ainH 8ah hah hahH ,e%s ali$e44 and 4<ll show him to you. Bou follow old ?afi/iC he /nows the way. 8ome on!

E?afi/i leads imba throu(h the brush. imba has trouble /ee)in( u) due to his si1e. The music sli)s into 3frican chant.F ?afi/i: 0on<t dawdle.... ,urry up! imba: 8ey, whoa. $ait, wait. ?afi/i: Come on. Come onH imba: $ould you slow downL E?afi/i is seen flittin( throu(h the cano)y ahead of imba, lau(hin( hollowly and whoo)in(. imba stru((les to /ee) u). uddenly, ?afi/i a))ears with his hand held u) ri(ht into imba<s face.F ?afi/i:

T"+H

E?afi/i motions to imba near some reeds.F hhh. E8e )arts the reeds and )oints )ast them with his staff.F &oo/ down there. E imba .uietly and carefully wor/s his way out. 8e loo/s o-er the ed(e and sees his reflection in a )ool of water 8e first seems a bit startled, )erha)s at his own mature a))earance, but then reali1es what he<s loo/in( at.F imba: E0isa))ointedF That<s not my father. That<s 2ust my reflection. ?afi/i: Noo. &oo/ ... harder. E?afi/i motions o-er the )ool. ?i))les form, distortin( imba>s reflectionC they resol-e into #ufasa>s face. There is a dee) rumblin( noise.F Bou see ... he li-es in you. E imba is awestruc/. The wind )ic/s u). 4n the air the hu(e ima(e of #ufasa is formin( from the cloudsGG. 8e a))ears to be wal/in( from the stars. The ima(e is (hostly at first, but steadily (ains color and coherence.F #ufasa: E=uietly at firstF imba . . . imba: FatherL #ufasa: imba, you ha-e for(otten me. imba: No. 8ow could 4L

3 r.a.d. )oster cited a )ossible hidden #ic/ey here. 4 thin/ 4 may ha-e seen it, too. $hen #ufasa is first wal/in( from the stars, and his entire body is in -iew, loo/ at the swirlin( clouds on the far left of the screen! a bit more than halfway u). For an instant, a #ic/ey! head forms there. "f course, 4 su))ose if 4 stared hard enou(h 4 could see an ima(e of ol> $alt himself. "r )erha)s Te1u/a. Bou ne-er can tell...H
22

#ufasa: Bou ha-e for(otten who you are, and so ha-e for(otten me. &oo/ inside yourself, imba. Bou are more than what you ha-e become. Bou must ta/e your )lace in the Circle of &ife. imba: 8ow can 4 (o bac/L 4<m not who 4 used to be. E hot of cloud!#ufasa, with (lowin( yellow eyes. 8e is framed in swirlin( clouds, radiatin( (olden li(ht.F #ufasa: ?emember who you are. Bou are my son, and the one true /in(. EClose u) of imba>s face, bathed in the (olden li(ht, showin( a mi*ture of awe, fear, and sadness. The ima(e of #ufasa starts to fade.F ?emember who you are. E#ufasa is disa))earin( into the clouds fast. imba runs into the fields tryin( to /ee) u) with the ima(e.F imba: NoH +leaseH 0on<t lea-e me. #ufasa: ?emember... imba: FatherH #ufasa: ?emember... imba: 0on<t lea-e me. #ufasa: ?emember . . . E imba is left out in the fields. There is 2ust a cloud left where his father<s ima(e was. The wind tosses the (rass restlessly. ?afi/i a))roaches.F ?afi/i: $hat was thatL The weather!! +bbbahH Very )eculiar. 0on<t you thin/L imba: Beah. &oo/s li/e the winds are chan(in(. ?afi/i: 3hhh, chan(e is (ood. imba: Beah, but it<s not easy. 4 /now what 4 ha-e to do. But, (oin( bac/ means 4<ll ha-e to face my )ast. 4<-e been runnin( from it for so lon(.... E?afi/i smac/s imba on the head with his staff.F "wwH Jee1!! what was that forL ?afi/i: 4t doesn<t matterC it<s in the )astH Elau(hsF imba: E?ubbin( headF Beah, but it still hurts. ?afi/i: "h yes, the )ast can hurt. But the way 4 see it, you can either run from it... or ... learn from it. E8e swin(s at imba with his staff a(ain. This time imba duc/s.F 8ahH Bou seeL o what are you (oin( to doL

imba: First... 4<m (oin( to ta/e your stic/. E imba tosses ?afi/i<s staff to the side.F ?afi/i: No, no, no, noH Not the stic*H E3s ?afi/i )ic/s u) his staff, imba starts runnin( off.F 8eyH $here are you (oin(L imba: E houtin( bac/F 4<m (oin( bac/H ?afi/i: 0ood! 0o on! 0et out of here! E?afi/i lau(hs, hoots, Pn> hollers. 3s he holds his staff abo-e his head, a few shootin( stars 1in( across the s/y. #usic rises into celebratory DBusaD theme:F B : Busa le li1weGK Busa le li1we Busa le li1we Busa lomhlaba abusa le li1we abusa le li1we abusa le li1we Busa lomhlaba 5?ule this land7 5?ule this land7 5?ule this land7 5?ule this land7 5Bou shall rule this land7 5Bou shall rule this land7 5Bou shall rule this land7 5?ule this land7

5Timon and Nala cene7

ECamera switch to Timon and +umbaa slee)in(. Timon is curled u) on +umbaaC +umbaa is lyin( on his bac/. Both are snorin(. 4n his snore, +umbaa occasionally mumbles D@rubs.... (rubs. Nala a))roaches and nud(es Timon with a )aw.F Nala: 8ey. 8ey, wa/e u). ETimon wa/es u) and see a hu(e lion face in his -iew. 8e starts screamin( and +umbaa 2oins in.F Nala: 4t<s "'. $hoa, whoa. 4t<s "'. 4t<s me. Timon: Don%t e-er do that againH Carni-ores, oy! Nala: 8a-e you (uys seen imbaL Timon: E8oldin( a hand to his headF 4 thou(ht he was with you. Nala: 8e was, but now 4 can<t find him. $here is heL E$e hear ?afi/i<s lau(hC he<s sittin( in a tree abo-e them.F

23

4 actually hear this first line only as DThis land, in-incible.D

?afi/i: 8o ho ho hoH Bou won<t find him here. 8a ha. The /in(N has returned. Nala: E=uietlyF 4 can<t belie-e it. Elouder, ama1edF 8e<s (one bac/H Timon: @one bac/L $hat do you meanL Eloo/s where ?afi/i was, ?afi/i is now (oneF 8eyH $hat<s (oin( on hereL $ho<s the mon*eyLH Nala: imba<s (one to challen(e car. Timon: $hoL Nala: car. +umbaa: $ho<s (ot a scarL Nala: E ha/in( headF No, no, no. 4t<s his uncle. Timon: The mon/ey<s his uncleL Nala: /o! imba<s (one bac/ to challen(e his uncle to ta/e his )lace as *ing. Timon and +umbaa: "hhh.

5?unnin( cene7
E$ith accom)anyin( music, we see a far shot of imba char(in( full s)eed across the desert. 3 layo-er is faded in of imba<s feet )oundin( the sand.F

5&ed(e cene7
E imba slowly crosses the desolated land. 8e reaches the li) of a cliff and loo/s out o-er his former home. #ostly lac/in( in life, it is )ainted in (rays. eein( the desolation, a loo/ of determination, e-en fury, a))ears on imba<s face.F Nala: imba, wait u)H E he trots u) ne*t to him on the led(eF N4t<s awful, isn<t itL imba: 4 didn<t want to belie-e you. Nala: $hat made you come bac/L imba: 4 finally (ot some sense /noc/ed into me. 3nd 4<-e (ot the bum) to )ro-e it. Besides, this is my /in(dom. 4f 4 don<t fi(ht for it, who willL Nala: 4 will. imba: 4t<s (oin( to be dan(erous. Nala: E=uotin( youn( imbaF 0an(erL 4 lau(h in the face of dan(er. 8ah ha ha haaH

Timon: 4 see nothin( funny about this. imba: TimonL +umbaaL $hat are you doin( hereL +umbaa: Ebowin( on one forele(F 3t your ser-ice, my lie(e. Timon: ,h.. $e<re (oin( to fi(ht your uncle ... for thisL imba: Bes, TimonC this is my home. Timon: +hh. Tal/ about your fi*er!u))er. $ell, imba, if it<s im)ortant to you EbowsF, we<re with you to the end. E imba smiles a))reciati-ely. Nice scene with the four of them on the led(e -iewin( the wor/ ahead of them.F

58ula scene7
ECamera switches to imba. Nala, Timon, and +umbaa snea/in( u) to the ed(e of +ride ?oc/. From behind a lo(, they obser-e close u) the hordes of hyenas.F Timon: 8yenas. 4 hate hyenas. E$his)erin( to imbaF o what<s your )lan for (ettin( )ast those (uysL imba: &i-e bait. Timon: @ood idea. E?eali1in(F ,ey. imba: Come on, Timon!! you (uys ha-e to crate a di-ersion. Timon: E4ncredulousF $hat do you want me to doL 0ress in dra( and do the hulaL ECamera switch to Timon in a hula outfit. The music sun( is The 8awaiian $ar Chant much li/e the )i/e Jones arran(ement. +umbaa is set u) li/e a roast )i(, e-en with an a))le in his mouth. Jun(le drum riff.F &uauH 4f you<re hun(ry for a hun/ of fat and 2uicy meat 9at my buddy +umbaa here because he is a treat Come on down and dine "n this tasty swine 3ll you ha-e to do is (et in line E+arenthetical )arts are +umbaa sin(in(C the a))le is at his feet.F 3aaare ya achin< :Bu), yu), yu); Fooor some baconL :Bu), yu), yu); E+umbaa win/s at TimonF

8eee<s a bi( )i( :Bu), yu); Bou could be a bi( )i( too. 2yH EThey run off, screamin(, leadin( some of the hyenas away. imba and Nala cree) by.F imba: Nala, you find my mother and rally the lionesses. EdeterminedlyF 4<ll loo/ for car.

5Confrontation cene7
E imba is ma/in( his way u) +ride ?oc/. car callin( his mother causes him to )ause and watch.F car:

3?3B444H

E arabi ascends +ride ?oc/GV. The hyenas sna) at her heels. he only (lares disdainfully at them.F arabi: Bes, carL car: $here is your huntin( )artyL They<re not doin( their 2ob. arabi: ECalmlyF car, there is no food. The herds ha-e mo-ed on. car: No. Bou<re 2ust not loo/in( hard enou(h. arabi: 4t<s o$er. There is nothing left. $e ha-e only one choice. $e must lea-e +ride ?oc/. car: $e<re not (oin( anywhere. arabi: Then you ha-e sentenced us to deathH car: Then so be it. arabi: E0is(usted, ama1edF Bou can<t do that. car: 4<m the /in(. 4 can do... whate-er 4 want. arabi: 4f you were half the /in( #ufasa was you would ne-e!! E car bac/hands arabi, /noc/in( her to the (roundGI.F
4t can be noted here, with some re(ret, that the sun is settin( in the same direction that it rose on +ride ?oc/ in the scene where imba and #ufasa are watchin( it in the be(innin( of the mo-ie. "o)s. 4 (uess they had a soft s)ot for theatrical li(htin(. 4 can e*cuse the -illain shadow car casts while )acin( in the canyon, e-en the (reen li(ht ma/in( those (risly hyena silhouettes,! but re-ersin( the direction of the sun itself? 8mmmH There is an e*)lanation for this 3N0 the abo-e error thou(h: 0urin( imba>s absence, an [Link]/e of such ma(nitude occurred that +ride ?oc/ rotated a full JQR H 25 omeone on r.a.d. )ointed out that a )ossible hidden #ic/ey could be found here. 4 am not e*actly sure what frame they were referrin( to, but 4 ha-e seen what may be a mouse!head!li/e shadow around arabi>s head in the shot that )ans from imba as he climbs down the led(e to arabi as she lies on the (round. Bou #a/e the Call .
24

car: 4<m ten times the /in( #ufasa wasH G% E imba a))ears on the led(e, (rowlin( loudly. 8e lea)s out and runs to his mother. car mista/es imba as #ufasa and is understandably fri(htened.F #ufasaL No!! you<re dead. E arabi awa/ens at her son<s nud(e, but mista/es him for #ufasa as car did.F arabi: #ufasaL imba: NoC it<s me. arabi: E0eli(htedF imbaL Bou<re ali-eL EConfusedF 8ow can that beL imba: 4t doesn<t matterC 4<m home. car: EConfusedF imbaL EBac/ in formF SimbaH 4<m a little sur)rised to see you... E(i-in( the hyenas abo-e him an an(ry loo/F ali$e. E"n the word ali-e, hen1i, Ban1ai, and 9d (ul) audibly and slin/ into the shadows.F imba: E3s arabi loo/s on with some )rideF @i-e me one (ood reason why 4 shouldn<t ri) you a)art. car: Ebac/in( into a wall, a)olo(eticF "h, imba, you must understand. The )ressures of rulin( a *ingdom... imba: N3re no lon(er yours. te) down, car. car: "h, oh, ye!! $ell, 4 would, heh, naturally, heh!! howe-er, there is one little )roblem. Bou see themL E)ointin( to the horde of hyenas on the roc/s abo-eGSF They thin/ &%m /in(. ENala a))ears with the rest of the lionesses.F Nala: $ell, we don<t. imba is the ri(htful /in(. imba: The choice is yours, car. 9ither ste) down or fi(ht. car: "h, must it all end in $iolence? 4<d hate to be res)onsible for the death of a family member. $ouldn<t you a(ree, imbaL imba: That<s not (onna wor/, car. 4<-e )ut it behind me. car: 9h, but what about your faithful sub2ectsL 8a-e they )ut it behind them?
?e(ardin( this dialo(ue, Brian Tiemann wrote: $hen car bac/hands arabi to the floor, after she says D4f you were half the /in( #ufasa was you<d...D, 4 :belie-e it or not; thou(ht 4 heard D4 ,! half the /in( #ufasa wasHD ort of a Freudian sli) it would ha-e been, and .uite funny and a))licable. ort of unfortunate that it wasn<t the true te*t. Y; 27 $here the roc/s form a PV>, one of the hyenas is actually a schnau1er. 4t>s in silhouette, so watch for it carefully. No, 4 am not ma/in( this u)H 3ctual si(ht (a(, )ut in on )ur)oseH 4 ha-e not been able to s)ot it, howe-er. ...The shot is only about J6K a second lon(, and is only -isible on the wide!screen -ersion of the mo-ie :i.e., the laserdisc;O it>s 2ust at the ed(e of the )an!and!scan -iewin( area.
26

Nala: imba, what is he tal/in( aboutL car: E0eli(htedF 3hh, so you ha$en%t told them your little secret. $ell, imba, now<s your chance to tell them. Tell them who is res)onsible for 'ufasa%s death! E cars last line causes the lionesses to start. 3ll are concentratin( on imba.F imba: E teelin( himself, then ta/in( a ste) forwardF 4 am. E arabi a))roaches her son.F arabi: E$ith much (riefF 4t<s not true. Tell me it<s not true. imba: E?e(retfullyF 4t<s true. car: Bou see, he admits itH #urdererH imba: NoH 4t was an accidentH E car wal/s around and around imba as he accuses himC -ery nicely done animated rotation.F car: 4f it weren<t for you, #ufasa would still be ali-e. 4t<s your fault he<s dead.... Do you deny it? imba: No. car: E e-erelyF Then ... you<re ... guilty! imba: No. 4<m not a murderer. car: "h imba, you<re in trouble a(ain. But this time, Daddy isn<t here to sa-e you. 3nd now e$eryone *nows why! E car has been bac/in( imba u) the len(th of +ride ?oc/. 3fter his last sentence, imba sli)s o-er the ed(e and is clin(in( to the led(e by his fore)aws. &i(htnin( stri/es below, i(nitin( the dry brush.F Nala: imbaH E car sits bac/ and )retends to thin/.F car: Now this loo/s familiar. 8mm. $here ha-e 4 seen this before. &et me thin/. 8mmm... hmmm. "h yes, 4 remember. This is 2ust the way your father loo/ed before he died. E car (rabs imba with his claws as he did #ufasa. 8e whis)ers into imba<s ear.F 3nd here<s my little secret. & *illed 'ufasa.

E imba has a .uic/ memory flash bac/ to that fateful instant. 8is -oice blends with his youn(er -oice in the scream of when his father died. 4n one (iant lea) he lun(es u) and )ins car on his bac/. car is cau(ht com)letely by sur)rise and is understandably -ery ner-ous and sha/en.F imba: Nooooo444.... !-R3ERER5 EThe lionesses are sur)rised at this sudden chan(e.F car: No, imba )lease. imba: Tell them the truth. car: TruthL But, truth is in the eye of the beholdll(///NH E imba starts to cho/e car.F 3ll ri(ht. 3ll ri(ht. [Link], -enemouslyF 4 did it. imba: o they can hear you. car: E@rud(in(ly, but clearF & ... /illed ... #ufasaH ENala starts towards car, the hyenas attac/ imba in a wall of teeth. The lionesses 2oin in, attac/in( the hyenas. $e see +umbaa and Timon come in. +umbaa char(es with Timon ridin( himC hyenas fly e-erywhere.F +umbaa: 8eyyy!yaaaaahHH Timon: P cuse me. +ardon me. Comin> throu(h. 8ot stuff. $hooH EBowlin( stri/e sound effect as hyenas fly. ?afi/i whac/s a hyena off of imba. Camera switch to himC with a battle scream, he 2oins the fray. 3s a bit of comic relief, ?afi/i is fi(htin( in /un(!fu DB!mo-ieD style, com)lete with cheesy sound effects.F ?afi/i: E3s he hits -arious hyenasF www3H 8o1ahH 8a1owwH BaaH BahH hhy99""$ wwH ECamera switch to Timon runnin( from hen1i. 8e runs into the ca-e. Aa1u s)ots him. Timon runs into his ca(e for safety from the hyenas.F Aa1u: &et me outH &et me outH Timon: &et me in let me inH Eto the hyenas, )leadin(F +leeease don<t eat me. E+umbaa a))ears at the ca-e<s entrance.F +umbaa: +roblemL Ban1ai: 8ey, who<s the )i(L +umbaa: 3re you tal/in( to meL

Timon: ,h oh. They called him a )i(. +umbaa: 3re you tal/in( to meLH Timon: houldn<t Pa done that. +umbaa: 3?9 B", T3&'4N@ T" #9LHL Timon: Now they<re in for it. +umbaa: T89B C3&& #9.. '&ST#1 P&&&0! AAAAAAAAAAA E+umbaa char(es and dri-es the hyenas off.F Timon: Ta/e thatH 3nd that! Eetc.F Ban1ai: "w ow ow ow ow ow ow ... +umbaa: Ta/e thatH 3nd thatH Eetc.F Bou yellow belly... Aa1u: Ta/e that you stu)id... Eetc.F EThey start the 3rsenio hall "oh, ooh chant. The scene switches to imba chasin( car u) to the hi(h )oint of +ride ?oc/. car runs u) to the ed(e and sees the sheer dro). imba lea)s u) to confront him and the cliff li/e ed(e. car is -ery a))rehensi-e, seein( he is cornered and at imba>s mercy.F imba: E=uietly, se-erelyF #urderer. car: imba, imba. +lease. +lease ha-e mercy. 4 be( you. imba: Bou don<t deser-e to li-e. car: But, imba, 4 am ... ah ... Eunsure of his tacticF family. 4t<s the hyenas Ere(ainin( com)osureF who are the real enemy. 4t was their fault!! it was their ideaH E hen1i, Ban1ai, and 9d are in the bac/(round. They o-erhear and bac/ away (rowlin( at car<s betrayal.F imba: $hy should 4 belie-e youL 9-erythin( you e-er told me was a lie. car: $hat are you (oin( to doL Bou wouldn<t /ill your old ,ncle...L Ein(ratiatin( (rinF imba: No, car. 4<m not li/e you. car: E@reatly relie-edF "h, imba, than/ you. Bou are truly noble. EasideF 4<ll ma/e it u) to you, 4 )romise. Estandin( u)F 8ow can 4, ah, )ro-e myself to youL Tell me, 4 mean, anythin(. imba: E@ra-ely, with dee) an(erF 1un. ?un away, car. 3nd ne$er return. car: Bes. "f course.... 3s you wish, Eloo/in( down and seein( a )ile of hot coals.F your 'a9estyH E car swi)es the coals into imba>s face.

$ith a cry of sur)rise and )ain, imba )aws the coals away as car lea)s and attac/s.F EThere is a fi(ht in slow motion. Both car and imba land hea-y blows. imba (ets /noc/ed on his bac/. car lea)s throu(h the flames at him. imba (athers coura(e and uses car<s momentum in a DthrowD similar to Nala<s fi(htin( tactics to send him flyin( o-er the ed(eGQ. car tumbles to the bottom. 8e wea/ly (ets u). 8e sees Ban1ai, hen1i, and 9d a))roachin( and smiles. 9d has a very an(ry loo/ on his face.F car: 3hh, my friends. hen1i: Frie!he!hendsL 4 thou(ht he said we were the enemy! Ban1ai: Beah, that<s what 4 heard. Ban1ai and hen1i: 9dL 9d: E&au(hs e-illyF car: EVery ner-ousF No. &!&!&!&e!&e!&e!&e!&et me e*)lain. No. Bou don<t understand. NoH 4 didn<t mean for... No, NoH &oo/, 4>m sorry 4 called you... NoH N""HGU EThe camera mo-es away and we can only see the shadows as the horde of hyenas close in on and attac/ car. ?ain o)ens u) and douses the fire. imba comes down and (reets his mother and Nala. ?afi/i motions for imba to ascend +ride ?oc/ as /in(. imba starts u) and )auses to hu( ?afi/i as his father did.F ?afi/i: 4t is time. EVery ma2estically, imba ascends. #usic is stron(. 3t the ti) of the roc/ imba loo/s u) throu(h the rain. Throu(h a hole in the clouds we can see a )atch of stars. "ne bri(ht star shines out briefly.F #ufasa: ?emember . . . E imba<s e*)ression (ains confidence and stren(th. 8e roars. The lionesses roar in re)ly. Time switch to the a-annah in full bloom a(ain. Cue Busa theme:F B : Busa le li1we 5?ule this land7 Busa le li1we 5?ule this land7 Busa le li1we 5?ule this land7 Bus!busa n(o *olo 5?ule, rule with )eace7 E"bscured -erseF # : e!fi!le
imba uses the same bac/!feet!)ushin( mo-e that Nala used to re-erse landin( )ositions in his )ounces on her! could it be that imba e-entually learned this mo-e from his bouts with NalaL The &ion 'in( &ittle @olden Boo/ says :and 4 .uote;: ... imba used Nala>s tric/ fli) to send car flyin( o-er the cliff to the hun(ry hyenas below. 4 rest my caseH :; 29 That last bit, 4>m sorry 4 called you is actually in there, as far as 4 can tell. 4>-e rewound the ta)e ten or fifteen times. Bes, it>s odd that ol> car would a)olo(i1e for anythin(, isn>t itL But that>s what & heard... C;
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Baba ti!tabo #aye babo Busa lomhlaba

5?ule this land7

B : E"bscured -erseF # : 8eH e!fi!le Busa imbaH Busa imbaH 5?ule imbaH ?ule imbaH7 ,buse n(o *olo ,buse n(o thando ,buse n(o *olo ,buse n(o thando ,buse n(o *olo 5Bou must rule with )eace7 5Bou must rule with lo-e7 5Bou must rule with )eace7 5Bou must rule with lo-e7 5?ule with )eace7

E imba, Timon, +umbaa, and Nala are on +ride ?oc/. Aa1u flies u) to the )oint. Timon, of course, is sha/in( his arms in the classic -ictory si(n. 3ll the -arious (rou)s of herds are there, ma/in( noise as in the )resentation of imba.F B : 4n(onyama nen(w< enamabala 4n(onyama nen(w< enamabala # : :n(w< enamabala!wa; Full Chorus: PTil we find our )lace "n the )ath unwindin( 4n the Circle The Circle of &ife

E?afi/i a))ears, holdin( Cha/a. 8e lifts him to )resent him to the crowd.F Circle of N &iiife EBass drum hit and blac/ out to title in red letterin( as in the be(innin(. The Circle is com)[Link]

3 [Link] is in the wor/s. 'ee) an eye on the ?umor #ill at [Link]/in(.or([Link] for the latest news about the [Link], titled :for now; Simbas Pride.
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