THE DEAD POET SOCIETY than seventy-five percent of those went on

script for EAPP play to the Ivy League. This, this kind of
accomplishment is the result of fervent
Characters: dedication to the principles taught here.
John Keating - Jannati This is why you parents have been
Neil Perry - Maongco sending us your sons. This is why we are
Todd Anderson – Hanafie the best preparatory school in the United
Charlie Dalton – Idris States.
Knox Overstreet - Hussen
Steven meeks - Mujahid Mr. Nolan soaks up the applause from the
Richard Cameron - Omar audience.
Gerard Pitts - Emad
Mr. Nolan - Batua MR NOLAN: As you know, our beloved Mr.
Thomas Perry - Jahlinor Portius of the English department retired
Mrs. Perry - Yasmin last term. You will have the opportunity
Mr. McAllister – (Extra) later to meet his replacement, Mr. John
Mr. Hager - (Extra) Keating, himself a graduate of this school.
Mr. Hopkins – (Extra) And who, for the past several years, has
been teaching at the highly regarded
Technical Committee: Chester School in London.
Hamnah
Shareema SCHOOL GROUNDS - DAY
Saleha
Neil emerges from a building and sees
Props Committee/ Extras: Todd.
The Rest
NEIL: Hey, I hear we're gonna be
WELTON ACADEMY – DAY roommates.

MR NOLAN: One hundred years ago, in He shakes Todd's hand.

1859, 41 boys sat in this room and were
asked the same question that greets you NEIL: I'm Neil Perry.
at the start of each semester. Gentlemen,
what are the four pillars? TODD: Todd Anderson.

All throughout the pews, uniformed boys NEIL: Why'd you leave Balincrest?
rise to their feet. TODD, who is not
wearing a uniform, is urged by his father TODD: My brother went here.
to stand with them.
NEIL: Oh, so you're that Anderson.
BOYS: Tradition, honor, discipline,
excellence. HALLWAY - DAY

The boys quickly return to their seats. CHARLIE comes to the door with a smug
expression on his face. Knox and
MR NOLAN: In her first year, Welton MEEKS are close behind him. He points at
Academy graduated five students. Last Neil
year we graduated fifty-one. And more
CHARLIE: Rumor has it, you did summer Neil quickly gets up from his spot by the
school. window.

NEIL: Yep. Chemistry. My father thought I NEIL: Oh, this is Todd Anderson.
should get ahead. How was your summer
Slick? Todd turns around and shakes hands with
Meeks.
CHARLIE: Keen.
MEEKS: Nice to meet you.
The boys enter the room. Charlie turns
around and looks at Meeks who is just TODD: Nice to meet you.
entering.
CHARLIE: Charlie Dalton.
CHARLIE: Meeks. Door. Closed.
Charlie continues to lay on the bed,
MEEKS: Yes sir. looking smug. Knox extends a hand.

NEIL: Gentlemen, what are the four KNOX: Knox Overstreet.

pillars?
NEIL: Todd's brother was Jeffrey Anderson.
BOYS: Travesty. Horror. Decadence.
Excrement. CHARLIE: Oh yeah, sure. Valedictorian.
National merit scholar.
Charlie makes himself comfortable on
Neil's bed and lights up a cigarette. MEEKS: Oh well, welcome to Hell-ton.
Meanwhile, Todd is by his bed unpacking
his luggage. CHARLIE: It's every bit as tough as they
say, unless you're a genius like Meeks.
CHARLIE: Okay, study group. Meeks aced
Latin. I didn't quite flunk English. So, if you MEEKS: He flatters me. That's why I help
want, we've got our study group. him with Latin.

NEIL: Sure. Cameron asked me too. CHARLIE: And English, and Trig.
Anyone mind including him?
Charlie begins coughing. There is a knock
CHARLIE: Hmm, what's his specialty, at the door. Charlie quickly stamps out his
boot-licking? cigarette on the floor and Neil tries to
wave the smoke from the air.
NEIL: Come on, he's your roommate.
NEIL: It's open.
CHARLIE: That's not my fault.
The door opens and Mr. Perry walks into
Meeks seems to notice Todd for the first the room. Neil quickly rises from the
time. window.

MEEKS: Oh, I'm sorry, my name is Steven NEIL: Father, I thought you'd gone.
Meeks.
The other boys stand up when he enters.
BOYS: Mr. Perry. NEIL: Yes sir.

MR PERRY: Keep your seats fellows, keep Mr. Perry slaps his son on the shoulder
your seats. Neil, I've just spoken to Mr. and leaves. Neil leans his head back
Nolan. I think that you're taking too many against the wall as the other boys emerge
extra-curricular activities this semester, from the room.
and I've decided that you should drop the
school annual. CHARLIE: Why doesn't he let you do what
NEIL: But I'm the assistant editor this you want?
year. KNOX: Yeah Neil, tell him off. It couldn't
get any worse.
MR PERRY: Well, I'm sorry Neil.
NEIL: Oh, that's rich. Like you guys tell
NEIL: But Father, I can't. It wouldn't be your parents off, Mr. Future Lawyer and Mr.
fair. Future Banker.

MR PERRY: Fellas, would you excuse us CHARLIE: Okay, so I don't like it any more
for a moment? than you do.

Mr. Perry walks towards the door and Neil NEIL: Well just don't tell me how to talk to
hesitantly follows. Mr. Perry pauses by the my father. You guys are the same way.
door and smiles to the other boys.
KNOX: All right, all right, Jesus. So, what
The smile has gone from Mr. Perry's face. are you going to do?
He grabs a hold of Neil's arm.
NEIL: What I have to do. Drop the annual.
MR PERRY: Don't you ever dispute me in
public. Do you understand? CHARLIE: Well, I wouldn't lose much sleep
over it. It's just a bunch of jerks trying to
NEIL: Father, I wasn't disputing- impress Nolan.

MR PERRY: After you've finished medical NEIL: I don't care. I don't give a damn
school and you're on your own, then you about any of it.
can do as you damn well please. But until
then, you do as I tell you. Is that clear? MEEKS: Well, uh, Latin, eight o' clock in
my room?
NEIL: Yes sir. I'm sorry.
NEIL: Yes.
MR PERRY: You know how much this
means to your mother, don't you? MEEKS: Todd, you're welcome to join us.

NEIL: Yes sir. You know me, always taking KNOX: Yeah, come along pal.
on too much.
Todd looks up from his desk where he is
MR PERRY: Well, that's my boy. Now setting his alarm clock.
listen, you need anything, you let us know,
huh? TODD: Thanks.
 this rating method. As your ability to
KEATING'S CLASSROOM - DAY evaluate poems in this matter grows, so
will - so will your enjoyment and
Keating sits at his desk at the front of the understanding of poetry.
classroom and opens up one
of his books. Neil sets the book down and takes off his
glasses. The student sitting across from
KEATING: Gentlemen, open your text to him is discretely trying to eat. Keating
page twenty-one of the introduction. Mr. turns away from the chalkboard with a
Perry, will you read the opening paragraph smile.
of the preface, entitled "Understanding
Poetry"? KEATING: Excrement. That's what I think
of Mr. J. Evans Pritchard. We're not laying
NEIL: Understanding Poetry, by Dr. J. pipe, we're talking about poetry.
Evans Pritchard, Ph.D. To fully understand
poetry, we must first be fluent with its Cameron looks down at the graph he
meter, rhyme, and figures of speech. Then copied into his notes and quickly scribbles
ask two questions: One, how artfully has it out.
the objective of the poem been rendered,
and two, how important is that objective. KEATING: I mean, how can you describe
Question one rates the poem's perfection, poetry like American Bandstand? I like
question two rates its importance. And Byron, I give
once these questions have been him a 42, but I can't dance to it.
answered, determining a poem's greatest
becomes a relatively simple matter. Charlie suddenly appear to become
interested in the class.
Keating gets up from his desk and
prepares to draw on the chalk board. KEATING: Now I want you to rip out that
page.
NEIL: If the poem's score for perfection is
plotted along the horizontal of a graph, The students look at Keating as if he has
and its importance is plotted on the just gone mad.
vertical, then calculating the total area of
the poem yields the measure of its KEATING: Go on, rip out the entire page.
greatness. You heard me, rip it out. Rip it out!

Keating draws a corresponding graph on Charlie looks around at the others. He

the board and the students dutifully copy then looks down at his own notes, which
it down. consists of drawing breasts.

NEIL: A sonnet by Byron may score high KEATING: Go on, rip it out.
on the vertical, but only average on the
horizontal. A Shakespearean sonnet, on Charlie rips the page out and holds it up.
the other hand, would score high both
horizontally and vertically, yielding a KEATING: Thank you Mr. Dalton.
massive total area, thereby revealing the Gentlemen, tell you what, don't just tear
poem to be truly great. As you proceed out that page, tear out the entire
through the poetry in this book, practice introduction. I want it gone, history. Leave
nothing of it. Rip it out. Rip! Begone J. MCALLISTER: I'm sorry, I- I didn't know
Evans Pritchard, Ph.D. Rip, shred, tear. Rip you were
it out. I want to hear nothing but ripping of here.
Mr. Pritchard.
KEATING: I am.
Meeks looks around reluctantly and then
finally begins tearing out pages. MCALLISTER: Ahh, so you are. Excuse
me.
KEATING: We'll perforate it, put it on a
roll. Mr. McAllister slowly backs out of the
classroom.
Keating sees Cameron still hesitating.
KEATING: Keep ripping gentlemen. This is
KEATING: It's not the bible, you're not a battle, a war. And the casualties could
going to go to hell for this. Go on, make a be your hearts and souls.
clean tear, I want nothing left of it.
Keating holds out the basket to Charlie
Keating goes over to his room. Cameron who spits out a wad of paper.
turns around to Neil.
KEATING: Thank you Mr. Dalton. Armies
CAMERON: We shouldn't be doing this. of academics going forward, measuring
poetry. No, we will not have that here. No
NEIL: Rip, rip, rip! more of Mr. J. Evans Pritchard. Now in my
class you will learn to think for yourselves
Neil makes Cameron turn back around. again. You will learn to savor words and
language. No matter what anybody tells
KEATING (O.S.): Rip it out, rip! you, words and ideas can change the
world. I see that look in Mr. Pitt's eye, like
From outside the classroom, Mr. McAllister nineteenth century literature has nothing
hears all the noise and sees all the to do with going to business school or
students ripping out the pages. He bursts medical school. Right? Maybe. Mr.
into the room. Hopkins, you may agree with him, thinking
"Yes, we should simply study our Mr.
MCALLISTER: What the hell is going on Pritchard and learn our rhyme and meter
here? and go quietly about the business of
achieving other ambitions." I have a little
The boys all turn around in shock. Charlie secret for ya. Huddle up. Huddle up!
stuffs a crumpled page into his mouth.
Keating emerges from his room with a The boys get up from their seats and
waste paper basket. gather around Keating in the center of the
class.
KEATING: I don't hear enough rips.
KEATING: We don't read and write poetry
MCALLISTER: Mr. Keating. because it's cute. We read and write
poetry because we are members of the
KEATING: Mr. McAllister. human race. And the human race is filled
with passion. Medicine, law, business,
engineering, these are all noble pursuits,
and necessary to sustain life. But poetry,
beauty, romance, love, these are what we KEATING: I doubt the present
stay alive for. To quote from Whitman: "O administration would look too favorably
me, o life of the questions of these upon that.
recurring, of the endless trains of the
faithless, of cities filled with the foolish. NEIL: Why? What was it?
What good amid these, o me, o life?
Answer: that you are here. That life exists, KEATING: Gentlemen, can you keep a
and identity. That the powerful play goes secret?
on, and you may contribute a verse. That
the powerful play goes on and you may NEIL: Sure.
contribute a verse.
The other boys crouch down around
Keating looks up at Todd. Keating.

KEATING: What will your verse be? KEATING: The Dead Poets were dedicated
to sucking the marrow out of life. That's a
WELTON GROUNDS – DAY phrase from Thoreau that we'd invoke at
the beginning of each meeting. You see
Keating is walking down towards the lake, we'd gather at the old Indian cave and
whistling the same tune as before. The take turns reading from Thoreau,
boys emerge from the building and chase Whitman, Shelley; the biggies. Even some
after him. of our own verse. And in the enchantment
of the moment we'd let poetry work its
NEIL: Mr. Keating? Mr. Keating? Sir? Oh magic.
Captain, My Captain?
KNOX: You mean it was a bunch of guys
Keating immediately turns around. sitting around reading poetry?

KEATING: Gentlemen. KEATING: No Mr. Overstreet, it wasn't just

"guys", we weren't a Greek organization,
NEIL: We were just looking in your old we were romantics. We didn't just read
annual. poetry, we let it drip from our tongues like
honey. Spirits soared, women swooned,
He hands Keating the annual and Keating and gods were created, gentlemen, not a
looks at his old photograph. bad way to spend an evening eh? Thank
you Mr. Perry for this trip down amnesia
KEATING: Oh my God. No, that's not me. lane. Burn that, especially my picture.
Stanley "The Tool" Wilson-
Keating hands the annual back and walks
Keating crouches down and continues away, whistling once again. Neil remains
looking through the book. crouched.

KEATING: God. NEIL: Dead Poets Society.

Neil crouches down next to Keating. CAMERON: What?

NEIL: What was the Dead Poets Society?

The school bells begin ringing and
everyone heads back towards the school. Neil begins flipping through the book.
Neil stands up.
CHARLIE: All right, intermission. Dig deep
NEIL: I say we go tonight. right here. Right here, lay it down

STAIRWAY - NIGHT CAMERON: On the mud? We're gonna put

our food on the mud?
The shadows of hooded figures can be
seen moving throughout the darkened CHARLIE: Meeks, put your coat down.
halls. Picnic blanket.

CAVE - NIGHT MEEKS: Yes sir, use Meeks' coat.

The boys are trying to start a fire. The CHARLIE: Don't keep anything back
cave is quickly filling up with smoke. either. You guys are always bumming my
smokes.
Neil stands before the others with the
book in hand, and takes a drag on a Meeks lays his coat down and everyone
cigarette. dumps their food on it. Amongst the pile
are chocolate chip cookies, a box of
NEIL: I hereby reconvene the Dead Poets raisins, a few apples, an orange, and half
Society. a roll.

The boys cheer. NEIL: Raisins?

NEIL: Welton chapter. The meetings will KNOX: Yuck.

be conducted by myself and the other new
initiates now present. Todd Anderson, CHARLIE: Wait a minute, who gave us
because he prefers not to read, will keep half a roll?
minutes of the meetings. I'll now read the
traditional opening message by society PITTS: (talking with his mouth full) I'm
member Henry David Thoreau. "I went to eating the other half.
the woods because I wanted to live
deliberately. I wanted to live deep and CHARLIE: Come on.
suck out all the marrow of life." PITTS: You want me to put it back?

CHARLIE: I'll second that. Neil sits reading from the book by
flashlight.
NEIL: "To put to rout all that was not life,
and not, when I had come to die, discover NEIL: Alfred Lord Tennyson. Come my
that I had not lived. friends, 'Tis not too late to seek a newer
world for my purpose holds to sail beyond
Several boys whistle softly in reaction to the sunset. And though we are not now
the poem. that strength which in old days Moved
earth and heaven; that which we are, we
NEIL: And Keating's marked a bunch of are One equal temper of heroic hearts,
other pages. Made weak by time and fate, but strong in
will. To strive, to seek, to find, and not to
yield. NEIL: What I wanna do right now. What's
really, really inside me.
Meeks takes center stage and begins
reading a poem like he is performing a TODD: "A Midsummer Night's Dream"?
chant.
NEIL: This is it.
MEEKS: Then I had religion, then I had a
vision. I could not turn from their revel in TODD: What is this?
derision. Then I saw the Congo creeping
through the black, cutting through the NEIL: It's a play, dummy.
forest with a golden track. Then I saw the
Congo creeping through the black- TODD: I know that. I-- Wh-Wh-What does
it have to do with you?
CHARLIE: Meeks, Meeks.
NEIL: Right. They're putting it on at
MEEKS: ...cutting through the forest with Henley Hall. Open tryouts. Open tryouts!
a golden track. Then I saw the Congo
creeping through the black, cutting TODD: Yes, so?
through the forest with a golden track.
Neil pounds on the bed and then pulls a
Knox picks up a metal container and blanket off his bed, wearing it like a cloak.
begins using it as a drum. The other boys
stand and begin going in a circle, making NEIL: So, I'm gonna act. Yes, yes! I'm
music with sticks of wood, combs, etc. gonna be an actor! Ever since I can
remember, I've wanted to try this. I even
Then I saw the Congo creeping through tried to go to summer stock auditions last
the black, cutting through the forest with a year, but, of course, my father wouldn't let
golden track. me. For the first time in my whole life I
Then I saw the Congo creeping through know what I wanna do.
the black, cutting through the forest with a
golden track. Neil grabs a handful of papers off Todd's
bed and tosses them into the air.
BOYS: Then I saw the Congo creeping
through the black, cutting through the NEIL: and for the first time I'm gonna do it
forest with… whether my father wants me to or not!
Carpe diem!
TODD'S ROOM - DAY
TODD: Neil, Neil, hold on a minute. How
Todd is on his bed trying to write a poem. are you gonna be in a play if your father
The door opens and Todd turns his writing won't let you?
pad over. Neil enters the room laughing.
He crouches down next to Todd's bed and NEIL: First I gotta get the part, then I can
plunks a sheet of paper in Todd's lap. worry about that.

NEIL: I found it. TODD: Yeah, but won't he kill you if he

finds out you went to an audition and
TODD: You found what? didn't even tell him?
 NEIL: You're in the club! Being in the club
NEIL: No, no, no, no. As far as I'm means being stirred up by things. You look
concerned, he won't have to know about about as stirred up as a cesspool.
any of this.
Neil gets up from the window and stands
TODD: Well, that's impossible. over Todd.

NEIL: Bullshit! Nothing's impossible. TODD: So- You want me out?

TODD: Well, why don't you just call him NEIL: No! I want you in, but being in
and ask him? And m-maybe he'll say yes. means you gotta do something. Not just
say you're in.
NEIL: That's a laugh!
TODD: Well, listen, Neil. I-I appreciate this
Neil tosses the blanket back onto his bed. concern, but I-I'm not like you. All right?
You, you, you say thing and people listen.
NEIL: If I don't ask him, at least I won't be I'm, I'm not like that.
disobeying him.
NEIL: Don't you think you could be?
TODD: Yeah, but if he said--
TODD: No! I--I, I don't know, but that's not
NEIL: (shouting angrily) Jesus, Todd! the point. The, the, the point is that
Whose side are you on? there's nothing you can do about it, so you
can just butt out. I can take care of myself
Todd says nothing. Neil looks at him for a just fine. All right?
moment and then takes the flyer back
from Todd. He walks over to the window, NEIL: No.
his excitement gone.
TODD: What do you mean, "no"?
NEIL: I mean, I haven't even gotten the
part yet. Can't I even enjoy the idea for a A smile comes to Neil's face.
little while?
NEIL: No.
Once again, Todd says nothing. After a
moment, Neil sits on the heater and Todd Neil grabs Todd's notebook of poetry and
returns to his poem. runs across the room with it. Todd leaps
up after him.
NEIL: You're coming to the meeting this
afternoon? TODD: Give me-- Neil. Neil, give that
back.
TODD: I don't know. Maybe.
The two begin racing in circles around the
NEIL: Nothing Mr. Keating has to say room, jumping from bed to bed as Todd
means shit to you, does it, Todd? tries to grab his poem back.

TODD: W-What is that supposed to mean? NEIL: "We are dreaming of a--" Poetry! I'm
being chased by Walt Whitman! Okay,
okay.
Neil drops the notebook. Cameron walks NEIL: That's the main part.
into the room.
KNOX: Great, Neil.
CAMERON: What are you guys doing? I'm
sure-- You see this chemistry- NEIL: Charlie, I got it!

Cameron tries to hold up his book and Neil CHARLIE: Congratulations. Good for you,
snatches it from his hands and suddenly Neil. Good for you.
all three of them are racing around the
room. Neil enters his room with Todd and sits
down at his typewriter.
CAMERON: Hey, give me-- Neil, give me--
Don't be immature. Come on. I need my- NEIL: Okay, okay, okay, okay.

Charlie enters the room and begins TODD: Neil, how are you gonna do this?
waving his hands.
NEIL: They need a letter of permission
CHARLIE: Give it to me! Give it to me! from my father and Mr. Nolan.

NEIL: Charlie! TODD: You're not gonna write it.

Neil tosses Cameron's book to Charlie. NEIL: Oh yes, I am.

CAMERON: Let me have my book, I need TODD: Oh, Neil. Neil, you're crazy.
my-
Neil begins typing.
The four boys continue racing around the
cramped quarters, tossing Cameron's NEIL: Okay. "I am writing to you on behalf
book back and forth. Neil picks up a of my son Neil Perry."
recorder and begins blowing erratic notes
on it while Charlie starts pounding on a Neil begins laughing and stomping his feet
set of bongo drums. Outside the room a up and down.
crowd of boys watch.
NEIL: This is great.
DORM HALLWAY – DAY
KEATING'S CLASSROOM - DAY
Neil is racing down the hallway, all
excited. Knox stands at the front of the room with
his poem in hand.
NEIL: Charlie, I got the part! I'm gonna
play Puck! I'm gonna play Puck! KNOX: (quietly) "To Chris."

He pounds on Charlie's door. Charlie looks up from his desk with a grin.

MEEKS: What did he say? BOY 1: Who's Chris?

PITTS: Puck? BOY 2: Mmm, Chris.

KNOX: I see a sweetness in her smile. Todd reluctantly stands and follows
Blight light shines from her eyes. But life is Keating to the front.
complete; contentment is mine, Just
knowing that... KEATING: You gotta get in "yawping"
stance.
Several students begin to snicker.
TODD: A yawp?
KNOX: just knowing that she's alive.
KEATING: No, not just a yawp. A barbaric
Knox crumples his poem and walks back yawp.
to his desk.
TODD: (quietly) Yawp.
KNOX: Sorry, Captain. It's stupid.
KEATING: Come on, louder.
KEATING: No, no. It's not stupid. It's a
good effort. It touched on one of the major TODD: (quietly) Yawp.
themes, love. A major theme not only in
poetry, but life. Mr. Hopkins, you were KEATING: No, that's a mouse. Come on.
laughing. You're up. Louder.

Keating approaches Todd's desk. TODD: Yawp.

KEATING: Mr. Anderson, I see you sitting KEATING: Oh, good God, boy. Yell like a
there in agony. Come on, Todd, step up. man!
Let's put you out of your misery.
TODD: (shouting) Yawp!
TODD: I, I didn't do it. I didn't write
apoem. KEATING: There it is. You see, you have a
barbarian in you, after all.
KEATING: Mr. Anderson thinks that
everything inside of him is worthless and Todd goes to return to his seat but Keating
embarrassing. Isn't that right, Todd? Isn't stops him.
that your worst fear? Well, I think you're
wrong. I think you have something inside KEATING: Now, you don't get away that
of you that is worth a great deal. easy.

Keating walks up to the blackboard and Keating turns Todd around and points out
begins to write. a picture on the wall.

KEATING: "I sound my barbaric yawp over KEATING: The picture of Uncle Walt up
the rooftops of the world." W. W. Uncle there. What does he remind you of? Don't
Walt again. Now, for those of you who think. Answer. Go on.
don't know, a yawp is a loud cry or yell.
Now, Todd, I would like you to give us a Keating begins to circle around Todd.
demonstration of a barbaric "yawp." Come
on. You can't yawp sitting down. Let's go. TODD: A m-m-madman.
Come on. Up.
KEATING: What kind of madman? Don't
think about it. Just answer again. TODD: M-Mumbling, "Truth. Truth is like,
like a blanket that always leaves your feet
TODD: A c-crazy madman. cold."

KEATING: No, you can do better than The students begin to laugh and Todd
that. Free up your mind. Use your opens his eyes. Keating quickly gestures
imagination. Say the first thing that pops for him to close them again.
into your head, even if it's total gibberish.
Go on, go on. KEATING: Forget them, forget them. Stay
with the blanket. Tell me about that
TODD: Uh, uh, a sweaty-toothed madman. blanket.

KEATING: Good God, boy, there's a poet TODD: Y-Y-Y-You push it, stretch it, it'll
in you, after all. There, close your eyes. never be enough. You kick at it, beat it, it'll
Close your eyes. Close 'em. Now, describe never cover any of us. From the moment
what you see. we enter crying to the moment we leave
dying, it will just cover your face as you
Keating puts his hands over Todd's eyes wail and cry and scream.
and they begin to slowly spin around.
Todd opens his eyes. The class is silent.
TODD: Uh, I-I close my eyes. Then they begin to clap and cheer.

KEATING: Yes? KEATING: (whispering to Todd) Don't you

forget this.
TODD: Uh, and this image floats beside
me. HALLWAY - DAY

KEATING: A sweaty-toothed madman? NEIL: Father.

TODD: A sweaty-toothed madman with a MR. PERRY: Neil.

stare that pounds my brain.
NEIL: Wait a minute. Before you say
KEATING: Oh, that's excellent. Now, give anything, please let me ex-
him action. Make him do something.
Mr. Perry rises from the desk.
TODD: H-His hands reach out and choke
me. MR. PERRY: Don't you dare talk back to
me! It's bad enough that you've wasted
KEATING: That's it. Wonderful. Wonderful. your time with this, this absurd acting
business. But you deliberately deceived
Keating removes his hands from Todd but me! How, how, how did you expect to get
Todd keeps his eyes closed. away with this? Answer me. Who put you
up to it? Was it this new man? This, uh, Mr.
TODD: And, and all the time he's Keating?
mumbling.
NEIL: No. Nobody-- I thought I'd surprise
KEATING: What's he mumbling? you. I've gotten all A's in every class.
MR. PERRY: Did you think I wasn't going Neil goes to take a seat but notices the
to find out? "Oh, my niece is in a play with chair is piled up with books. Neil picks
your son," says Mrs. Marks. "No, no, no," I them up and Keating gets up from his seat
say, "you must be mistaken. My son's not to help him.
in a play." You made me a liar of me, Neil!
Now, tomorrow you go to them and you NEIL: I'm sorry. Here.
tell them that you're quitting.
KEATING: Excuse me. Get you some tea?
NEIL: No, I can't. I have the main part.
The NEIL: Tea. Sure.
performance is tomorrow night.
Keating goes to a table in the corner and
MR. PERRY: I don't care if the world begins pouring several cups.
comes to an end tomorrow night. You are
through with that play. Is that clear? Is that KEATING: Like some milk or sugar in
clear? that?

NEIL: Yes, sir. NEIL: No, thanks.

Mr. Perry goes to leave and then turns NEIL: How can you stand it?
around.
KEATING: Stand what?
MR. PERRY: I made a great many
sacrifices to get you here, Neil, and you NEIL: You can go anywhere. You can do
will not let me anything. How can you stand being here?
down.
KEATING: 'Cause I love teaching. I don't
NEIL: No, sir. wanna be anywhere else.

KEATING'S OFFICE - NIGHT KEATING: What's up?

Keating is seated at his desk. He is writing NEIL: I just talked to my father. He's
a letter and occasionally looks up at the making
framed photo on his desk of a woman me quit the play at Henley Hall. Acting's
playing the cello. There is a knock at the everything to me. I-- But he doesn't know.
door. He-- I can see his point. We're not a rich
family like Charlie's, and we-- But he's
KEATING: It's open. planning the rest of my life for me, and I--
H-He's never asked me what I want.
Neil enters and closes the door behind
him. He appears to be nervous. KEATING: Have you ever told your father
what you just told me? About your passion
KEATING: Neil, what's up? for
acting. You ever show him that?
NEIL: Can I speak to you a minute?
NEIL: I can't.
KEATING: Certainly. Sit down.
KEATING: Why not?
PUCK: If we shadows have offended,
NEIL: I can't talk to him this way.
Neil directs his eyes at his father, who
KEATING: Then you're acting for him, too. stills stands at the back of the theater.
You're playing the part of the dutiful son. I
know this sounds impossible, but you have PUCK: Think but this, and all is mended,
to talk to him. You have to show him who That you have but slumber'd here While
you are, what your heart is. these visions did appear. And this weak
and idle theme, No more yielding but a
NEIL: I know what he'll say. He'll tell me dream, Gentles, do not reprehend: If you
that acting's a whim, and I should forget it. pardon, we will mend: And, as I am an
That how they're counting on me. He'll just honest Puck, If we have unearned luck
tell me to put it out of my mind, "for my Now to 'scape the serpent's tongue, We
own good." will make amends ere long; Else the Puck
a liar call; So, good night unto you all. Give
KEATING: You are not an indentured me your hands, if we be friends, And Robin
servant. If it's not a whim for you, you shall restore amends.
prove it to him by your conviction and
your passion. Neil backs away and the curtains close as
You show him that And if he still doesn't the audience begins to applaud
believe you, well, by then you'll be out of enthusiastically. Behind the curtain
school and you can do anything you want. numerous people congratulate Neil as
they line up for the curtain call. The
A tear falls down Neil's cheek and he curtains open. Charlie and the other boys
wipes it away. rise to their feet, followed quickly by the
rest of the audience. The actors bow to
NEIL: No. What about the play? The continued applause. The actors push Neil
show's forward and he takes a second bow.
tomorrow night.
BOYS: Yawp!
KEATING: Well, you have to talk to him
before tomorrow night. KNOX: Yeah, Neil!

NEIL: Isn't there an easier way? THEATER - NIGHT

KEATING: No. Mr. Perry pushes his way through the

crowd of people, with Neil close behind.
NEIL: I'm trapped.
MR. PERRY: Excuse me. Excuse me.
KEATING: No, you're not. Excuse me.

THEATER - NIGH The boys notice Neil and try to dtop him to
talk.
The stage is dark. A spotlight comes on to
reveal Neil with his back to the audience. CHARLIE: Neil, Neil, you were great.
He slowly turns around to face the
audience and his father. NEIL: I can't, guys.
 MR. PERRY: We're trying very hard to
TODD: Neil! Neil! understand why it is that you insist on
defying us. Whatever the reason, we're
Outside of the crowd, Keating manages to not gonna let you ruin your life. Tomorrow
catch up to Neil. He takes hold of Neil's I'm withdrawing you from Welton and
coat. enrolling you in Braden Military School.
You're going to Harvard and you're gonna
KEATING: Neil. Neil. You have the gift. be a doctor.
What a performance You left even me
speechless. You have to stay with- NEIL: But that's ten more years. Father,
that's a lifetime!
Mr. Perry returns from his car and shoves
Neil aside. MR. PERRY: Oh, stop it. Don't be so
dramatic. You make it sound like a prison
MR. PERRY: Get in the car. Keating, you term. You don't understand, Neil. You have
stay away from my son. opportunities that I never even dreamt of
and I am not going to let you waste them.
CHARLIE: Neil! Neil! Mr. Perry, come on.
Neil rises to his feet.
KEATING: Don't make it any worse than it
is. NEIL: I've got to tell you what I feel.

Neil and Mr. Perry get into their car and Mrs. Perry stands up.
drive away. Keating stares after them.
MRS. PERRY: We've been so worried
CHARLIE: Is it okay if we walk back? about--
Captain?
MR. PERRY: What? What? Tell me what
Charlie motions Todd to follow. you feel. What is it?

CHARLIE: Knox. Neil looks to his mother and then back to

his father but says nothing.
The boys leave and Keating continues to
stare after the car, wiping the falling snow MR. PERRY: Is it more of this, this acting
from his face. business? Because you can forget that.
What?
MR. PERRY'S STUDY - NIGHT
NEIL: Nothing.
A photo of Neil standing stiffly with his
parents sits on a table between a glass of Neil sits back down dejectedly.
alcohol and a half filled ashtray. Mrs. Perry
watches through the window as her MR. PERRY: Nothing? Well, then, let's go
husband and son arrive and then takes a to bed.
nervous puff on her cigarette before
sitting down. Mr. Perry walks in with Neil Mr. Perry leaves. Mrs. Perry pauses on her
close behind him. Neil sits down beside way out and kneels behind Neil.
the desk while Mr. Perry remains standing.
NEIL: I was good. I was really good.
 Mr. Perry turns on the hallway light and
Mrs. Perry nods slightly. knocks on Neil's door. He opens the door
and goes inside.
MRS. PERRY: Go on, get some sleep.
MR. PERRY: Neil.
NEIL'S BEDROOM - NIGHT
Mr. Perry notices the open window.
Neil's pyjamas, bathrobe, towel, and
shaving kit are all neatly laid out on his MRS. PERRY: Tom, what is it? What's
bed. Neil touches his pyjamas lightly and wrong? Neil?
then removes his coat and shirt. He walks
over to the windows and opens them, Mr. Perry continues to look through the
taking several deep breaths. He places house, continuing downstairs.
the crown of twigs on his head and then
closes his eyes, slowly letting his head fall MR. PERRY: Neil?
to his chest.
Mr. Perry notices the door to his study is
HALLWAY - NIGHT ajar.

A door opens and Neil emerges, slowly MRS. PERRY: I'll look outside. Neil?
walking down the stairs as if in a trance.
Mr. Perry flicks the light on but sees
MR. PERRY'S STUDY – NIGHT nothing. Then he smells something.
Looking closer, he sees a thin cloud of
Neil holds a key in his hands. He unlocks a smoke rising from behind his desk. As he
drawer in his father's desk and pulls out a moves around the desk he sees his gun on
pistol, wrapped the floor and Neil's outstretched hand.
in cloth.
MR. PERRY: No!
MR. PERRY'S BEDROOM - NIGHT
Mr. Perry crouches down by his son.
Mr. Perry jerks up out of bed, startled and
breathing fast. MR. PERRY: Oh, Neil! Oh, my God!

MR. PERRY: What was that? Mrs. Perry enters the room and sees her
son.
MRS. PERRY: What?
MRS. PERRY: Oh! No!
MR. PERRY: That sound.
MR. PERRY: Oh, my son!
MRS. PERRY: What sound? Tom?
MRS. PERRY: He's all right.
Mr. Perry turns on the light and gets up
out of bed, putting on his robe and MR. PERRY: My son! My poor son!
slippers.
MRS. PERRY: (crying hysterically) He's all
MRS. PERRY: What is it? What's wrong? right! He's all right! He's all right! He's all
right! He's all right! He's all right!
 CHARLIE: Todd.
MR. PERRY: Stop it! Stop it! Stop it.
TODD: His father killed him. He made him
Mr. Perry holds his wife and tries to do it.
comfort her.
MEEKS: You can't explain it, Todd.
CAMPUS - DAY
Todd pushes himself away from the boys
It is a snowy, overcast morning. Todd and stumbles down the hill, slipping and
walks through the snow. He has his coat falling in the snow.
on over his pyjamas. The other boys follow
closely behind him as he walks down MEEKS: Todd!
towards the water. He stops and stares
out at the snow-covered surroundings. CHARLIE: Leave him be.

TODD: It's so beautiful. The boys watch as Todd runs down

towards the dock by the river, yelling and
Todd begins to gag and then goes down crying. He finally seems to regain control
on his knees, vomiting into the snow. The of himself and walks in silence out onto
other boys huddle around him, hugging the dock.
him.
CLOAKROOM - DAY
CHARLIE: Todd. It's okay, Todd.
The boys (except Cameron) are sitting
PITTS: Calm down. about the cluttered room waiting. Charlie
lights a cigarette.
CHARLIE: It's all right, Todd.
CHARLIE: You told him about this
PITTS: Todd, it's okay. It's okay, Todd. meeting?

CHARLIE: It's all right. It's alright. PITTS: Twice.

Charlie grabs a handful of snow and wipes CHARLIE: That's it, guys. We're all fried.
Todd's mouth with it.
PITTS: How do you mean?
TODD: He wouldn't-- He wouldn't have
done it. CHARLIE: Cameron's a fink. He's in
Nolan's office right now, finking.
MEEKS: You can't explain it, Todd.
PITTS: About what?
TODD: It was his father!
CHARLIE: The club, Pittsie. Think about it.
CHARLIE: No! The board of directors, the trustees and
Mr. Nolan. Do you think for one moment
TODD: He wouldn't have left us. It's they're gonna let this thing just blow over?
because he- He wouldn't have. His dad Schools go down because of thingslike
was-- his, his father did it. this. They need a scapegoat.
The door opens. All the boys except CHARLIE: What's that mean? Who are
Charlie hurry to put their cigarettes out they after?
and wave the smoke away. A light comes
on and Cameron enters. CAMERON: Why, Mr. Keating, of course.
The "Captain" himself. I mean, you guys
CAMERON: What's going on, guys? didn't really think he could avoid
responsibility, did you?
CHARLIE: You finked, didn't you,
Cameron? CHARLIE: Mr. Keating responsible for
Neil? Is that what they're saying?
Charlie gets up and approaches Cameron,
tossing his cigarette away. CAMERON: Well, who else do you think,
dumb ass? The administration? Mr. Perry?
CAMERON: Finked? I didn't know what the Mr.
hell you're talking about. Keating put us up to all this crap, didn't
he? If he wasn't for Mr. Keating, Neil would
CHARLIE: You told Nolan everything be cozied up in his room right now,
about the club is what I'm talking about. studying his chemistry and dreaming of
being called doctor.
CAMERON: Look, in case you hadn't
heard, Dalton, there's something called an TODD: That is not true, Cameron. You
honor code at this school, all right? If a know
teacher asks you a question, you tell the that. He didn't put us to anything. Neil
truth or you're expelled. loved acting.

CHARLIE: You little- CAMERON: Believe what you want, but I

say let Keating fry. I mean, why ruin our
Charlie lunges at Cameron but Knox and lives?
Meeks hold him back.
Charlie lunges at Cameron again and
MEEKS: Charlie! punches him in the face. Cameron falls to
the floor as the boys pull Charlie away.
CHARLIE: He's a rat! He's in it up to his Cameron
eyes, so he rattled to save himself. lifts a hand to his bloody nose.

KNOX: Don't touch him, Charlie. You do CAMERON: You just signed your expulsion
and you're out. papers, Nuwanda.

CHARLIE: I'm out anyway! Cameron rises to his feet.

KNOX: You don't know that, not yet. CAMERON: And if the rest of you are
smart, you'll do exactly what I did. They
CAMERON: He's right there, Charlie. And know everything anyway. You can't save
if you guys are smart, you will do exactly Keating, but you can save yourselves.
what I did and cooperate. They're not after
us. We're the victims. Us and Neil. Cameron walks away, closing the door
behind him.
 KEATING'S CLASSROOM - DAY
KEATING: Excuse me. I came for my
The students are all seated at their desks personals. Should I come back after class?
in silence. Everyone looks as the door
opens. They quickly stand as Mr. Nolan MR. NOLAN: Get them now, Mr. Keating.
enters the room.
MR. NOLAN: Gentlemen, turn to page 21
MR. NOLAN: Sit. of the introduction. Mr. Cameron, read
aloud the excellent essay by Dr. Pritchard
The students sit once again as Mr. Nolan on "Understanding Poetry."
walks to the front of the room.
Todd slowly closes his book. Keating opens
MR. NOLAN: I'll be teaching this class the door to the tiny room off the
through exams. We'll find a permanent classroom.
English teacher during the break. Who will CAMERON: That page has been ripped
tell me where you are in the Pritchard out, sir.
textbook?
MR. NOLAN: Well, borrow somebody
MR. NOLAN: Mr. Anderson? else's book.

TODD: Uh, in the, in the Pr- CAMERON: They're all ripped out, sir.
MR. NOLAN: I can't hear you, Mr.
Anderson. MR. NOLAN: What do you mean, they're
all ripped out?
TODD: In the, in the, in the Pritchard?
CAMERON: Sir, we, uh-
MR. NOLAN: Kindly inform me, Mr.
Cameron. MR. NOLAN: Never mind.

CAMERON: We skipped around a lot, sir. Mr. Nolan takes his own book over to
We covered the Romantics and some of Cameron's desk and then slaps the open
the chapters on Post Civil War literature. page.

MR. NOLAN: hat about the Realists? MR. NOLAN: Read!

CAMERON: I believe we skipped most of As Cameron begins to read, Keating looks

that, sir. out at Todd as he puts his scarf on. Todd
looks at him for a moment and then
MR. NOLAN: All right, then, we'll start glances away.
over. What is poetry?
CAMERON: "Understanding Poetry by Dr. J
There is a knock at the classroom door. Evans Pritchard, Ph.D. To fully understand
poetry, we must first be fluent with its
MR. NOLAN: Come. meter, rhyme and figures of speech, then
ask two questions: 1) How artfully has the
The students look back as the door opens. objective of the poem been rendered and
They quickly turn away when hey see it is 2)..."
Keating.
The door squeaks as Keating shuts it Keating slowly turns and heads to the
behind him. Cameron pauses. door. As he opens it, Todd, stands upon his
desk and turns to Keating.
CAMERON: "... How important is that
objective? Question 1 rates the poem's TODD: O Captain! My Captain!
perfection; question 2 rates its
importance. And once these questions MR. NOLAN: Sit down, Mr. Anderson!
have been answered,
determining the poem's greatness Keating pauses at the door and looks back
becomes a relatively simple matter. If the at Todd on his desk.
poem's score for perfection is plotted on
the horizontal of a graph--" MR. NOLAN: Do you hear me? Sit down!
Sit down! This is your final warning,
Keating passes by Todd and the others Anderson. How dare you? Do you hear
and gets to the back of the classroom me?
before Todd leaps up from his seat and
turns to face him. After a moment of indecision, Knox climbs
up onto his desk.
TODD: Mr. Keating! They made everybody
sign it. KNOX: O Captain! My Captain!

Mr. Nolan gets up from his desk and MR. NOLAN: Mr. Overstreet, I warn you!
approaches Todd. Sit down!

MR. NOLAN: Quiet, Mr. Anderson. Pitts climbs up onto his desk, followed by
several others, including Meeks.
TODD: You gotta believe me. It's true.
MR. NOLAN: Sit down! Sit down. All of
KEATING: I do believe you, Todd. you. I want you seated. Sit down. Leave,
Mr.
MR. NOLAN: Leave, Mr. Keating. Keating.

TODD: But it wasn't his fault! More students stand on their desks until
MR. NOLAN: Sit down, Mr. Anderson! half the class is standing.

Todd reluctantly returns to his seat. MR. NOLAN: All of you, down. I want you
seated. Do you hear me?
MR. NOLAN: One more outburst from you
or anyone else, and you're out of this MR. NOLAN: Sit down!
school!
Leave, Mr. Keating. Keating stands in the doorway, staring up
at the boys in wonder. A smile comes to
Keating hesitates at the back of the his face.
classroom.
KEATING: Thank you, boys. Thank you.
MR. NOLAN: I said leave, Mr. Keating.